Yan Giguère knows perfectly well the limits and possibilities of photography, and has been doing so for more than fifteen years. But he chose to engage in a fully-fledged artistic practice eight years ago. What did convinced the photographer to become an artist? I would willingly put forward the hypothesis of a curiosity, not to say a passion, of Yan Giguère for this unique space that arises from the moment the photographer orchestrates several photographs together. Yan Giguère began by presenting installations composed of nearly one hundred photographs. He thus created real environments for the eye (visual spaces) and for the mind (possible figures of meaning). Since then, he has considerably reduced the number of images in his works. Bienvenue, presented in the small room of Galerie B-312, is made up of only three images. This is undoubtedly an opportunity to grasp exactly what leads Yan Giguère to make, from a sum of photographs, one and only one work. The three images of Bienvenue, so large, and gathered in a relatively small room, alter the physical space. The room becomes the interspace of images where to be is no longer just to see, but also to experience a poetic articulation between the visible and what it evokes. This "poem" testifies to an unheard-of hospitality towards the Other: a photograph welcoming the Other without giving the Other any other image than the other image itself. An ethic then emerges, no spectacular points of view or extravagant iconography to represent otherness, no technical acrobatics that would make us forget that the Other is other, simply other...
—Translated from a text by Jean-Émile Verdier