The exhibition opens a photograph of Florence Paradeis, Drink in a park where a woman sitting on a bench drinking a glass of water and look to the first room that we do not yet see. That is the question of off-screen, this posed photograph, off-field all the more impressive that the field contains a transparent (glass of water).
few pieces I was particularly marked. Mark Leckey's film, Shades of Destructors, is a beauty. Composed of frames of a film for a new BBC adaptation of Graham Greene, its soundtrack slightly distorted (slowed down?), And photographs taken by the artist in his studio is a true work of reappropriation of a work by its diversion romantic-anarchist. Images taken fairly, since we know Pier, the impression of a future. And the future seems to be a future after the disaster. There is joy in this post, along with a languid bordering on nihilism. We see, for crossfades, deform faces, grimacing, contorted. Is the anti-pose. It's redefining what a face by the arrested movement of the stolen picture. The Pirate reinvents the figures.
Reclaiming is fertile. All images invented by the author show an off-field work of pre-existing offscreen he invested in the dream and action, photographing her studio space as possibly taken assaulted by the heroes of the telefilm. And perhaps the destructive fury of the news of Graham Greene is itself coming mischief in the studio of the artist through the BBC.
The issue of off-field is really central to this exhibition. I keep the film a specific image: men against a wall alone in a very large site. After rage against the machine is raging agains t the Wall. A photograph by Bill Owens, Dinner in pool, he echoed a few rooms away - a couple dining in an empty pool, with behind their house in California and their dog. Found, without noticing it, the reason for the photograph of Florence Paradeis: glass of water. She seems to have a photograph taken from this figure, only one - and women no longer look her husband but the unknown.
In truth, perhaps even more than the outfield, the real question of artists brought together in this prospective, is this: what to do with what we pre-exist? how do we dream works of art? The response e Ry year Gander, Basquiat or I can not dance to it, one day but not now, one day I Will but thats it Will Be, But You Will not Know And That Will Be it is perfect. He asks his gallery to reinterpret a scene from the film Basquiat Schnabel, and write and speak a text highlighting his work. Which path we traveled in a work? How a work also opens a live sometimes we need urgently? "What has been scratched, it's something we should seek" said the gallery owner.
Further, Emilie Pitoiset we propose to hear his version of Last Year at Marienbad in I can not remember last summer . The soundtrack goes on a sizzling vinyl, mark time, and disintegration. Marienbad is a film about memory. And Emilie Pitoiset wondered how one remembers a work about memory. The soundtrack is extracted - the extraction process, as they say of an ore. The three photographs, entitled Just Because , Emily Pitoiset this out of the room where you can hear Marienbad show three people, black and white in the 50s, rifle in hand in a shooting gallery, pointed in our direction. The glass protects the picture is broken at the location of the probable impact of the ball. At the same time that the photographs out of forgetfulness, the artist has risen shooting that preceded it.
There are many exciting things in this exhibition, as these two pieces held apart by Michel Francois, installation called Deja-vu . Two identical parts, with wallpaper representing the birches, and a stack of newspapers Spotted at the center of black ink that falls drop by drop from the ceiling. Leakage. The feeling of being watched by all eyes in these jobs. Maybe they are the trees that were used to produce this paper we see. Perhaps it is time to reflect on the fate of matter. Review this room after a long time to stroll through the exhibition, is an unsettling experience.
Bruno Serralongue offers three beautiful photographs of Calais. On the sidelines of Calais. There is not a work that is revisited, but a news: the migrants pending. Two faces looking at us strong, a path in a light of dawn, the relic of a sleeping bag in bushes: this is a reality that we've ever seen. Bruno Serralongue offers another angle, another perspective, and defines with unprecedented precision which is beyond the media.
Finally, the work of Mario Garcia Torres, What Happens in Halifax in Halifax STAYS, which closes the exhibition is a marvel. The artist investigates a secret work, conceptual, not physical reality, only between a few students, and exists only because it is secret. This work was produced in the 70's, on the spur of the artist Robert Barry. Mario Garcia Torres starts looking for students who do not deliver the secret of this work, but the memories it evokes them. Vague memory: themselves do not remember, they argue, of what it was. Offscreen buried in oblivion, missing piece, cut off from the world and time.
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