摘要：In Approximativement (1995), Lewis Trondheim offers a complex portrayal of Paris as postmodern, or, in Marc Augé’s term, supermodern cityscape, anonymous and dislocated. It is, at the same time, the ever-present backdrop of the early days of L’Association, and the site of the studio in which Trondhem’s avatar fantasises about the global marketing potential of his comic La Mouche. In his four Carnets de bord (2002-2003), and in the eight Petits riens (2006-2018), Trondheim, having moved away from Paris, focuses on his travels, usually by air, as an invited artist at festivals. This involves time spent in what Augé has referred to as non-lieux, non-places such as airports and hotel chains in which isolated individuals are linked only by contractual relationships. It also entails treks around tourist sites that fail to inspire him. However, as an “interstitial tourist”, in Jean-Didier Urbain’s term, Trondheim finds the exoticism that he craves in the details of the everyday environment, and his astute perceptions are interspersed with the imaginative detours proposed by Michel de Certeau, offering alternative trajectories to both artist and reader.
