These images will all be selected and extracted from a photographic corpus that includes part of a work in progress initiated by the artist in August 2008 during a trip in the southwestern United States. This corpus now includes about 11,400 so-called analogical photographs, taken in the United States, London (2011), in Northeast France (2011 and 2012), Kyoto and Osaka (2012), Naples (2013), in Venice (2013 and 2014), as well as during repeated stays between 2008 and 2017, in the Swiss Alps and in the South of France. Although the destinations are very different from each other, the photographs taken during these travels find a unit between them by using, each time, a device Leica M6 photographic (35mm lens), with Fujicolor film films Professional 400H thirty-six breaks. During these trips, Christophe's photographic concerns Rey have been recurrent, revolving around tourist places and activities : views of famous landscapes and cities / tourists on guided tours / tourists taking photographs / tourists eating in restaurants, etc. But, although still based on his starting point, Christophe Rey exceeded it in a number of shots. Thus the spectators will discover in the exhibition underlying forms of recurrence of the subject basic, such as: rituals of photographs of vernacular architecture / passers-by on sidewalks / shops / garbage / streets, roads and paths / cars on the road / people crossing pedestrian crossings / isolated objects on floor surfaces / trees / flowers in bouquets / sculptures, figures of characters more or less frightening / posts / drawings formed by natural elements or cultural / textual inscriptions / and also: friends, friends of the photographer. Unlike a Martin Parr, Christophe Rey's work is neither cynical nor ironic like a Nicolas Faure. Christophe Rey does not consider himself out of the picture of the tourism industry, one of the world's largest industries (10% of the World GDP) with its 1260 billion in turnover and its billions of passengers, but as part of it.

The exhibition will be presented in the form of a frieze of photographic prints 13 x 18 cm format (alternately either vertical or horizontal views), unfolding next to each other on a horizontal line at eye level, along the entire exhibition walls of the photography (77 meters), thus strictly following the architecture of the place. From this way, an a priori decorative play effect will occur, a play that will be found in the recurrence of "motives" and their various deployments in the rooms.