Un pneu, des fleurs et une brouette
Geraldine Kosiak & Yveline Loiseur

A rare kinship exists between Yveline Loiseur and Géraldine Kosiak: for both, attention is not simply a way of looking, but a way of being in the world.

In Yveline Loiseur’s work, this attention extends beyond photography. It embraces life—childhood and old age, water, flowers, trees, memory and disappearance. Michel Poivert speaks of an “optical polyphony” in which images create resonances between existence and time.

In Géraldine Kosiak’s practice, attention becomes an archaeology of the sensitive world. Since J’ai peur (1993), she has worked through drawing, writing, painting, embroidery, books and installations, turning towards what usually goes unnoticed: ordinary gestures, popular objects, minor narratives and the silent traces of memory. Beneath their apparent harmony, her images seem inhabited by ghosts.

Where Loiseur composes a photographic fable of the living world, Kosiak creates a poetry of almost nothing. One looks to thresholds, the passage of time and the fragility of presence; the other gathers remnants, intimate archives and quiet survivals.

Both reject spectacle. They choose slowness, nuance and what endures over what merely demands attention. Their work reminds us that art is an exercise in attention: political when it restores visibility to the overlooked, poetic when it preserves what seemed destined to disappear, and spiritual when it teaches us to look differently.

Loiseur and Kosiak do not simply show us the world: they invite us to SEE it.