Marco Barbon’s Tangier series retraces five years of the photographer’s immersion in a city suspended between reality and fiction. As is often the case in Barbon’s work, the notion of the border—both physical and imaginary—returns: in corners and intersections, doubt creeps in, perfectly embodying the fluid transitions that characterize his images. One no longer knows whether one is imagining, dreaming, or floating. Has the city of Tangier become a mirage, since, as in Burroughs’s Interzone, 'there is no line between "real world" and "world of myth and symbol"'? The Interzone reveals Marco Barbon’s vision of Tangier, seen through eyes cleansed of the initial fantasies born of discovery, yet still haunted by the imaginary. To elevate this edition, texts by the photographer and Jean-Christophe Bailly are printed on Sirio Pearl Gold paper, in a bilingual version. 

Moving from one image to another, you say yourself, “But this is a film!” Then, as you progress between the different stages of his freeze-frames, you say “But it’s a novel!”, and yet there isn’t anything else than an astonished and patient exploration of a state of affairs, a city, such as it is, which, without striking a pose and by simply displaying its fatigue, ptolongs the resonance of its name, sending it very far into that “interzone” that is simultaneously that of its renaissance and its waning, hat of the dawning of its dreams and its collapse into itself, at ground evel or at the height of its roof”, Jean-Christophe Bailly