The exhibition includes two series of works that the artist has been carrying on for years, enriching them from time to time with new elements. Assuming that we aredefined by the writings we spread, Anne-James Chaton realizes portraits compose by all the textual matrices that the subject carries with him during the meeting with the artist. Chaton’s Portraits are based on the literal transcription of the conten of everyday life documents defined by the artist “poor literature” such as ban statements, subway tickets, restaurant and shopping receipts. Portrayed subject are chosen according to their craft or profession. The information are collected an assembled so as to build a long sequence of data resembling a written litany in whic meaning and identities dissolve and re-form over and over again.

     Conceptually symmetrical to the Portraits, the Muséographies shift the focus to the circulation of “poor images” as well as on the accessibility and fruition of art. The series originates from Chaton’s interest about photo reproductions of modern paintings - mainly portraits - that appear on admission tickets to museums. Each of the final images follows the original size of the reference painting and retains the signs and information originally printed on the back (or front) side of the ticket, such as bar codes, dates, names, prices and typology. The artist starts from a transitory and ephemeral support bringing on the same level the symbolic dimension of the artwork and the material conditions of its accessibility.