François Halard and the Soul of Places
- IN SITU
- 3 hours ago
- 2 min read
Because he has turned the disorder of genius into an art form, François Halard has become one of the most singular portraitists of our time—capturing not people, but the spaces they inhabit. On the occasion of his exhibition in Aix-en-Provence, the artist personally guides us through the show at the Hôtel de Gallifet, a refined 18th-century townhouse in the historic center, now transformed into a contemporary art space known for its elegant garden and curated exhibitions.

Unlike traditional photographers, Halard never stages. He enters studios with the eye of an archaeologist, convinced that objects reveal more than faces. From the quiet world of Giorgio Morandi to the iconic Villa Malaparte, his images become silent portraits—traces of presence through absence.
His relationship with artists is built on trust. One story captures his approach perfectly. In Gaeta, Italy, Halard arrives to photograph the home of Cy Twombly. The door opens only halfway: the notoriously unpredictable artist cancels the shoot. As an apology, Twombly invites him to lunch at his favorite restaurant. Seated across from the master, Halard confesses Twombly that he bought his own house in Arles because it resembled Twombly’s. Producing photographs of his Provençal home, he sparks recognition - and everything shifts. The photographer is suddenly welcomed. The result: two days of complete access to the sanctuary, and a now-iconic series.

The exhibition “Keep Nothing, 33 Years Later” brings together decades of work, from magazine commissions with Condé Nast to deeply personal explorations. Inspired by a phrase from Walter Benjamin, the project reflects a lifelong practice of collecting, revisiting, and transforming images.
Today, Halard goes further—painting, altering, and reinterpreting his photographs, notably in works inspired by Claude Monet’s Giverny. Less documentary, more abstract, his work continues to evolve.
More than a retrospective, “Keep Nothing, 33 Years Later” is a rare opportunity to experience how, through spaces and objects, one of the most singular photographers of his generation has rewritten the language of portraiture.
Hôtel de Gallifet, Aix-en-Provence, France
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