Bugada & Cargnel

Flash Back (Cinecitta, Rome)
2014
silver based print
200 x 300 centimeters
Unique

The Je ne regrette rien series stemmed from Théo Mercier’s residency in the ivory tower of the Villa Medici. He escaped boredom and the outer walls of the building, taking over the ruins of the Via Antica in Rome, where he illegally placed big banners on which one could read the titles of popular songs on youth and lost love, as catchy as the slogans of an improbable demonstration against the march of time and history. Théo Mercier repeated the performance in other places and in other ruins, always producing a backand- forth movement between the archaeology of what never existed and a nostalgia for lost worlds. His first stage production, Du futur faisons table rase, developed from this performance and photography project.

Je ne regrette rien (via Appia Antica, Rome)
2014
silver based print
300 x 200 centimeters
Unique

The Je ne regrette rien series stemmed from Théo Mercier’s residency in the ivory tower of the Villa Medici. He escaped boredom and the outer walls of the building, taking over the ruins of the Via Antica in Rome, where he illegally placed big banners on which one could read the titles of popular songs on youth and lost love, as catchy as the slogans of an improbable demonstration against the march of time and history. Théo Mercier repeated the performance in other places and in other ruins, always producing a backand- forth movement between the archaeology of what never existed and a nostalgia for lost worlds. His first stage production, Du futur faisons table rase, developed from this performance and photography project.

Youth Hotel (Agrigente, Sicile)
2014
silver based print
300 x 200 centimeters
Unique

The Je ne regrette rien series stemmed from Théo Mercier’s residency in the ivory tower of the Villa Medici. He escaped boredom and the outer walls of the building, taking over the ruins of the Via Antica in Rome, where he illegally placed big banners on which one could read the titles of popular songs on youth and lost love, as catchy as the slogans of an improbable demonstration against the march of time and history. Théo Mercier repeated the performance in other places and in other ruins, always producing a backand- forth movement between the archaeology of what never existed and a nostalgia for lost worlds. His first stage production, Du futur faisons table rase, developed from this performance and photography project.