PRESS REVIEW            


A saill voyage
Jean-Paul Lubliner

Each day of this last year of the century, starting with the 1st of january 1999, Jean-Paul Lubliner took an often surprising, always unusual picture featuring the noticeable luminous electronic clock on the Eiffel Tower which told the parisians how many days were left before the last year 2000.
The photographer positions himself as the guardian of time; his lens proposes an interpretation and offers a memory of the mosaic of the year preceding the new Millenieum.

Continuity ? Finality ? Transition? Anxiety ? Materialism ? Spirituality ? Promise ?

Recalling the idea which drew him to the foot of the Eiffel Tower, in order to illustrate the last year of the century, Jean-Paul LUBLINER says he sispects time being the true object which motivated his project. Attraction to the luminous meter, on the second floor of the monument, irrersibly punctuating the passage of the days, which brings us to closer to the year 2000? Need for perpetuity which is sought from the eternal youth of this long steel framework, proudly planted in the Parisian landscape? Or a replica of the artist -bearing ifinity, if any- with a technique of a profession which only recognizes the instant? all of these, most probably, define the approach of this creator of images on the look out for life's hereafter. As reality here is only a pretext for the photographer's quest, the trigger of his lens acts only in the..., the unexpected, the unusual, truer than truth that is the question.
Considering the result, is it the subject that passes by or the one who pursues it, which has the most wit.
LUBLINER's work carries the colors and the mobility of a theater. The captured gesture, the illustrated scene is only silence in appearance. Each one of his shots has its own meaning and that is how the story unfolds.
It is certain, that through this photo album he offers us a beautiful opening story for the Eiffel Tower's entry to the millenium, as well as the complicity she establishes with her environment. Of course, there are aspects which are familiar to her as well as to ourselves : the sky, the trees of the Champs de Mars, the Trocadero, the Iena bridge.
Everlasting ! Yet there is also the animation and those who animate it : Full time Parisians, part time Parisians, those coming from afar, very far, walk past this giant mehanical toy which reminds them of their chidhood.
The enchantment of the Tower, its universality, the various manner of seduction which she plays, shaded beneath the clouds, gleaming through the sunlight, adorned each night in light, these have never been rendered so faithfully, seen through the gestures and on the faces of those who gaze at her. Or simply those who daily encounter her.
They pass... She remains.
I do not know if Jean-Paul LUBLINER found the answer to time that he was looking for as he turned the last few pages of the 20th century. But having failed to the meaning of time through this journey, he has nevertheless given us an eloquant exemple of his talent.

Jacqueline NEBOUT

Chairman Executive Officer of the Société Nouvelle d'Exploitation de la Tour Eiffel - 1999