Marco Barbon's Tangier series traces five years of the photographer's absorption in a city, between reality and fiction. As often with Marco Barbon, the notion of border – physical as well as imaginary – reappears: in the nooks and intersections, doubt creeps in, characterizing the shifts specific to the photographer’s images. We no longer know if we are imagining, if we are dreaming or if we are flying. If the city of Tangier has turned into a mirage, since there is no longer, as in Burroughs' Interzone, "a line of separation between the real world and the world of myth and symbol". The Interzone reveals to us Marco Barbon's vision of Tangier, once his gaze has been washed from the first fantasies inherent in discovery, but still prey to the imagination.

“From one image to another, we say to ourselves “but it’s a film! “, then, by crossing the successive levels of these freeze frames, we say to ourselves” but it’s a novel! »,
(JEAN-CHRISTOPHE BAILLY)

And yet there is nothing other than the astonished and patient exploration of a state of affairs, a city which prolongs the resonance of its name, sending it very far, into this "interzone" which would simultaneously be that of its rebirth and its disappearance, that of the lifting of its dreams and its fall into itself, level with its ground or its roofs.