Alexia Rogiest


In this publication, photographs from several years of attending concerts are combined in a monumental format, recalling the poster culture, essential to the scene. The images are cropped in a way that leaves the actors in the photographs isolated from the strongly defined environment of concerts. This creates doubt. Accompanied by the title “not quite dancing not quite fighting”, which directly refers to the act of moshing, it blurs the line between love and aggression, but also refers to the doubt felt by the reader at the sight of these contrasting images. The heavily weighing blank spaces also emphasise the loneliness that is ironically bound to these gatherings.

 
 
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