MOSER Claudio, Grand Central Station I, 2000 ; GRONON Philippe, Tableau noir, Graduate Center, New York, 2004 ; FIGARELLA Dominique, Qui est, 2004
Dike Blair, Denis Castellas, Stephen Dean, Uri Dotan, Eric Duyckaerts, Heide Fasnacht, Ivan Fayard, Dominique Figarella, Barbara Gallucci, Philippe Gronon, Millree Hughes, Claudio Moser
Exhibition from march 12th to april 16th 2005
If you just think of the millions alight television screens, working at the same time in billions hotel rooms around the world, if you just think of the billions of working PC screens, play-stations, wall-papers on the mobiles, of the amount of time and lives spent in front of immaterial pictures, you can imagine that the screen-picture has become definitely the dominant way to express experience out of art and, consequently, in art.
The works, which are presented in this exhibition, do not make an exception to this rule. They become integrated into this mood. But they enlarge the frame. They accelerate the movement. They are the movement.
Some of those movements seem to be stopped or suspended: one calls them pictures. Others seem to be liberated of the frame and seem to move as fast as the pictures they express: one call them video’s.
Independently of those recognised categories, we’ll call them “ screen-pictures “, in the same sense as Sigmund Freud, when he spoke about “ screen-memories ”.
Those « screen-memories » remain so present in our mind that they seem fixed forever. The secret of those pictures lies in the high definition of their surface: even contrasted as the shadow of an explosion in a sunny sky. The “screen-memories” are the marks of invisible shocks, implosions of affects.
We can observe one and the same thing in the “screen-pictures», whatever the techniques may be. In the picture, which can be more or less subliminal, one can see the track of a certain expression rhythm, which rhythm is the expression of the speed differential between chosen and necessary materials by the artists. The picture expresses the setting of the body going by those materials, the recycling of the energies into power and the switch of this power in an emotional language.
One could call those pictures “screen-affects» but we fear that the viewer should look for pictures “of” affects. The affects of which they transmit the emotional load are still involved in the frame of work. They do not have names. They only disturb the surface of the screen, as a slight wind ruffled a crystal-clear water.