Bad Anima, 2012

BAD ANIMA

Projection, Vidéo HD, couleur, son. 2012.

2’50’’ boucle continue

A l’horizon d’un paysage silencieux, une étendue d’eau miroitante et calme bruit lentement du dessous. De la surface lisse de cette eau dormante émerge graduellement une créature énigmatique, une chevelure qui semble étirer son noir à l’infini dans le pli de l’onde. L’irruption de cette masse sombre érectile vient fendre le miroir d’eau et troubler l’étain de la surface y inscrivant la trace d’un étrange anneau.

Apparition fantomale, la masse fuligineuse s’élève et lévite au-dessus de l’eau et se maintient mystérieusement suspendue dans les airs, tournoyant et ruisselant abondement en cascade fibreuse. Corps improbable, fontaine échevelée d’où se déverse l’eau des rêves et des mythes, telle une Néréide à la chevelure d’encre, elle étire puis résorbe son noir à la pliure de l’onde claire. L’oblong crevant le lustre du lac retourne dans les profondeurs, sa demeure, et rejoint le silence des confins, son origine mystérieuse.

Empruntant son titre à l’archétype jungien de l’Anima, la vidéo met en scène la figure universelle, légendaire, mythologique, merveilleuse de la Sirène, qu’elle soit Ondine, Néréide, Naïade, etc… De la nymphe aquatique à la Vénus anadyomène (« que les hommes appellent Aphrodite pour s’être formée d’une écume » Hésiode, Théogonie), elle possède un fort pouvoir d’évocation, d’incantations magiques, et appelle récits de voyages, créatures cauchemardesques ou enchanteresses.

« L’eau s’alourdit, s’enténèbre, s’approfondit, elle se matérialise. »

Gaston Bachelard, L’eau et les rêves

Burning Bush, 2003

Permanent video, monitor on the floor.

CG, color, silent.

(1 min extract)

Object, 2002

Permanent video. Monitor on pedestal. CG, color, silent.

The monitor and pedestal form a single object. The monitor shows a computer graphics “object” placed on a slowly rotating base, in a constant state of flux. It appears ex nihilo and evolves continually, changing both its shape and substance. Transparent to start with, it becomes marble, milk, blood, stone, perfect sphere etc. It turns tirelessly on its own axis in the space of the monitor, like a commodity presented in a shop window. Arousing fascination, this “object” plays on the twofold register of a transitory nature and an amnesic permanence. Being indescribable, it catches the eye. There is nothing real about it and yet all potentials are in it; it is a perpetual motion, inscribed in the time frame of a permanent video.

We Are the Children - part 2, 2004

Permanent video, color, silent.

The video We Are the Children presents a seemingly endless succession of « portrait-products », that is to say, supermarket products the packaging of which features a realistic representation of a human being. Coming from all over the world, this international community (which constitutes H.U.M.A.N.W..O.R.L.D.) is shown here in a continuous, seamless, dual morph : both the faces on the packages and the geometry of the respective packages are simultaneously morphed into each other. Part 2 exclusively features pairs : from heterosexual couples to mothers (or fathers) and children, from babies and stuffed animals to kids, from friends or siblings of all ages to people with pets.



07 Doves 1936

Black and white video, silent. / Video noir et blanc, muet.

In this ten seconds video, doves from Snow White are composited onto a scene from the movie Olympia, showing the release of doves at the opening ceremony of 1936 Berlin Olympics. Both movies are contemporary (1936), and had interwoven destinies. Riefensthal and Disney were very respectful of each other’s work, and Hitler a devout fan of Mickey.

Withering 1, 1998

Permanent video (DVD). Monitor on pedestal. Color, sound.

with Daniela Attansio

The video features an Italian yogurt dating from 1991 on the packaging of which is a photographic representation of a woman. A fungus growth is visible on the top left corner of the packaging and the resulting stain covers in part the model's portrait, defacing it slightly. Every twenty minutes, the face on the packaging speaks for approximately ten minutes. The model talks, in Italian, about her childhood, her private life and the relationship she entertains with her own reflected and photographed image. The biographical dimension and the time-span of the narrative contrast both with the organic time frame of the perishable contents and the cyclical one of the manufactured commodity (produced, bought, consumed, destroyed). Presented on a monitor placed on a base, the piece has the same height as the actual model.

This work was presented as part of the exhibitions Withering (Quebec, 1998) and Still Withering (Paris, 1999) which comprised the following three elements (a man, a woman, a child):

Untitled (Janus)

Withering II