MES Collective


Tempus Aubergia – opening a parenthesis…

The association “Mis en Scene” unveils the third chapter of its existence. Named “Tempus Aubergia”, this publication approaches the question of time subjectivity in an attempt to break up with the idea of a compulsory rhythm, as an invitation to contemplate. Three artists invest this dwelling and offer time for dialogue.

In room 5, Mickaël Bernard works on the concept of prints, as traces left behind oneself, like memories of a stroll. Joseph La Mela, room 15, chooses to fix the emotions emanating from a single moment that offers you some time for interpretation. As for Room 25, it presents digital creations of Charles Mounios which evoke the ephemeral conscience of our time, autopsy of a rupture between personal and collective memory.

This multilingual catalogue opens a cycle of exhibitions looking to confront these creations with European views and to exhibit them continuously.

The parenthesis remains open.



Mickael Bernard explores the general concept of image prints. His work focuses on the relation between art and space, either by creating a visual perambulation with engravings, or by designing an intelligent web structure. This research in “Design and Environments” is being pursued at Sorbonne University, Paris.

His collection of sketch books retraces a reflection on prints, as a resistance to time passing. All his work is composed by the hand's intuition at the service of his inspiration.

“Cosmogonie”, literally a tale related to the origins of universe, rounds up 12 coloured monotypes enhanced with watercolour. They are presented as an instant where a character feels present while wandering. Away from the crowd, he takes time to slow down and to appreciate something he forgot: he leaves his passing-by habit for a strolling adventure.

“One could have thought some kind of saunter being in danger. Not only because it wouldn't be able to absorb the city's memories anymore, but also the conditions to its very existence could be disappearing – the open public space, the urban web, the places, or the wandering space.”

Regine Robin , L'écriture flaneuse , in Capitales de la modernité. Walter Benjamin et la ville  ; sous la direction de Philippe Simay , éditions de L'éclat, « Philosophie imaginaire », Paris, 2006.



After long journeys spent taking pictures of unique characters in search of the Other, Joseph La Mela has regularly exhibited his photographic essays throughout Europe.

His ability to catch perspectives and moods gets you further than the startling aestheticism. As in a puzzle, the images blend together, trade lights and seem to answer one another. Antitheses of shocking images, his photographs address the spectator with sincerity, suggesting the invisible in a timeless testimony.

With “Labyrinth of Solitude”, inspired by Octavio Paz' eponymous masterpiece, J.L.M. continues his humanist reflection. The pictures presented, suggesting a smooth melancholy, look like a metaphor of the photographer's solitude and that of human beings in general.



Using drawing as its core, Charles Mounios constantly seeks to widen his creative field with technical experiments, switching and combining different materials.

He invites us here to discover illustrations extracted from the first chapter of “Sténopé Stérile” (Sterile Pinhole). The drawn characters are placed in a set created from photomontages, opposing the instantaneity of a fixed image and the slow maturation of the drawing.

Sténopé Stérile Ev. 1 shows present time's incapacity to fulfill its duty of memory because registered in a world without History. The impotent protagonists, saunter among the scattered remainders of a world in suspension. Memory loses its common supports and becomes an individual vision. It locks up the characters in a passive and constant insulation.

It is a metaphor of the modern world where surrounding frenzy prevents the constitution of a collective memory.