On the occasion of the anniversary of 10 years of the Residence Dompierre s / Besbre (03). From 14 to 29 May 2011. Multipurpose Hall of Pierrefitte s / Loire (03)
In close union with the place and context, installing black show reinterprets Overnight, an installation in Chalon s / Saône in 2009, itself playing a series of performances of Marina Abramovic and Ulay, carried out in 80, entitled NightSea Crossing (crossing of the Abyss). Each time, the two artists remained motionless and absorbed, face to face, sitting on either side of a table, for several hours, or even days, plunging together into the unconscious. It was for them to blend in, to bury themselves up to be in harmony with the natural process of things, be still life.
The multipurpose room of Pierrefitte s / Loire is a small village hall such as those encountered in many village. It is characterized by colorful false ceilings: orange and green on top of the room, black above the stage. This marked difference between heaven and dining scene sky may reveal one thing: we are here in the West, the twenty-first century, and though most of the time the rooms that are devoted to him are empty, the show is now everywhere, it has replaced human life as "a misery more than a conspiracy" (G. Debord).
In the room, resting under the stage a large black and shiny disc, made of juxtaposed tiles spaced from each other by 3 centimeters. Two objects are arranged on either side of the disc, one on the stage, the other in the room. They face. In the room, TAXIS, a Dalmatian naturalized sits. Its muzzle is extended by a covered human form of the same coat, squatting in front of him. The human head disappears into the dog's head. His gaze is toward the stage and into Skull Electric, facing him, in height, on the other side of the black disk: a red electric generator rests on the floor of the raised stage. This is a housing for feeding fences for penning livestock. A human skull made of a braided red thread is suspended above the generator, the red light flashes. The skull is electrified.
Juxtaposed tiles of ceramic, apart from each other, form a split ring, as by a shock wave. Is taken by the frame false ceilings made of squares of insulating material supported by metal bands. The black ceramic acts as a mirror. The upper parts of the room reflect it in a vertical abyss layout.
Nature of landslides can then occur: two species adjacent to each other mammals borrow form and substance. The animal -that perhaps he knows best do- absorbs and transforms the other in an osmotic game. This is a dialogue between black and white and color, between natural and artificial, domestic and wild. The border trouble between animal and human. Humans are buried, as was the Abramovic-Ulay couple. But the spiritual (which also notes sometimes show), survives here as the object. The art object, in this case. Object to which, of course, we can not lend meditative intension, unless you see in the still life, our own image, our life reified ...
Our room-neighbors of this "eternal Treblinka" (Isaac Bashevis Singer) send us the catastrophic picture of our relationship with the animal. This controlled animal that is shrinking now in destruction of biodiversity, while animal and plant species disappear. The animal mirror tells the error. She says it is not the kind that has a problem is us: our cosmetics is deadly. Our anthropocentrism too. Still life Abramovic-Ulay did not awake us. While everything went good, now support a ceasefire deal against what seems to inevitably against the perpetuation of life and refuse to consider humanity as an incurable disease of living matter, is difficult. Take the animal that unfolds into our consciences, may be located while in the invention of an animal art. An art that would explore the intimate relationship we have with living matter and secretes symbioses, association points between the agencies can not live without each other. An art that finally embody our biological systems. Which finally would be simultaneous body massage and thought ... Everything remains.