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1985, La dernière biennale de Paris. Personne ne le savait à l’époque. En pleine montée du post-modernisme je m’interroge sur le sens de la pratique artistique au milieu des années 80. 8 artistes contemporains seront «mis en situation», sommés de justifier leur œuvre. Ce n’est que plus tard que je compris que ce travail sans scénario initial, créant par la fiction le contexte d’émergence du film improvisé, prendrait le chemin des dispositifs interactifs jusqu’à la réalité virtuelle. Lavier se retrouve dans une banque, aux heures de pointes acculé à tout dire sur Brandt/Haffner. Le malaise vient du fait qu’il n’était pas prévenu. Il est interrogé en public sur ce qui serait pour ce dernier un vrai sujet d’interrogation: son œuvre, « un ready made sur un ready made ». Alberolla ne voit pas la camera qu’il lui rase le visage: elle n’est pas censée le filmer, il se sent plus libre de dire ce qu’il a sur le cœur: « Vous savez qu’il n’y a pas la guerre ici ? », et quand il découvre que c’est un acteur et non le réalisateur qui l’interroge, celui qui expose un faux texte de Hegel accepte avec humour les hasards de la situation...
DA Editor 05-02-2016
1985 The last biennial in Paris. No one knew it at the time. In full rise of postmodernism I question the sense of artistic practice in the mid 80s. 8 contemporary artists will be "put in a situation" and told to justify their work. It was only later that I realized it works without initial scenario, creating the fictional context of the emergence of improvised film, and taking the path of interactive devices to virtual reality. Lavier is found in a bank at rush hour driven to tell everything about Brandt / Haffner. The discomfort comes from the fact that he was not warned. It is questioned in public about what it would be for a real subject of interrogation: his work, "a ready made on a ready made". Alberolla does not see the camera when he shaves his face: it is not supposed to film it, it feels more free to say what he has on the heart, "You know that there is no war here? "And when he discovers that he's an actor, not the director who asks, one who exposes a false text from Hegel agrees with humor the chance of the situation ...
DA Editor: Pièces à conviction, 05-02-2016, in: Archive of Digital Art 1985 The last biennial in Paris. No one knew it at the time. In full rise of postmodernism I question the sense of artistic practice in the mid 80s. 8 contemporary artists will be "put in a situation" and told to justify their work. It was only later that I realized it works without initial scenario, creating the fictional context of the emergence of improvised film, and taking the path of interactive devices to virtual reality. Lavier is found in a bank at rush hour driven to tell everything about Brandt / Haffner. The discomfort comes from the fact that he was not warned. It is questioned in public about what it would be for a real subject of interrogation: his work, "a ready made on a ready made". Alberolla does not see the camera when he shaves his face: it is not supposed to film it, it feels more free to say what he has on the heart, "You know that there is no war here? "And when he discovers that he's an actor, not the director who asks, one who exposes a false text from Hegel agrees with humor the chance of the situation ...
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