Interactive installation, 2011
Camera, computer, projection or screen
A camera focussed on a public place frames in a red rectangle any moving person or object. The device is extremely sensitive and reacts to any movement: passers-by but also pigeons, plastic bags carried by the wind, light reflections, opening windows, etc.
Using a CCTV system rendered absurd by the indiscriminate nature of the machine, the installation stages the fictionalisation of reality shared by the “surveillance society” and blockbuster films: law enforcement as a spectacle.
Usual Suspects was exhibited in 2011 for Hotspot, along with IRL (Contexts, Paris). It is also one of the works presented for Augmented Window exhibited at the Centre Pompidou in June 2011.
In connection with: Hotspot, IRL, See You, Outside Lectures – See also the Credits page.
Generative video installation
LCD screen, computer, internet access
IRL is a generative video installation that involves a prior intervention of the artist on the exhibition site. A series of short silent video shots show details of the neighborhood around the exhibition site. The screen also displays a news ticker giving the time, breaking news and showing stock quotes.
The shots are taken in situ in the language of a news bulletin (mini stills, zooms and panoramic shots). The whole is edited automatically at random by a real time computer programme, while an RSS feed provides the time, news and stock quotes. This configuration provides infinite superimpositions of text and image, where the banality of the TV shots is contaminated by the news – and vice versa. A work on the “fictionalisation of reality”, a subject also developed with the exhibition Hotspot and the interactive installation Usual Suspects.
In connection with: Hotspot, Usual Suspects, See You, Outside Lectures – See also the Credits page.
Interactive installation, 2011
Camera, infrared projector, video projector, computer – variable dimensions.
Facing the spectator in an unlit room a video projection acts at first sight like a mirror. The visitor’s silhouette is reflected in blurred white on a black background. However, by projecting the silhouette from a different angle it creates at once a discrepancy and tension in the visitor’s perception.
After some seconds there appears on the screen a slow-moving blurred shadow sliding through space: the silhouette of the visitor himself, out of sync with real time and in slow motion. The perception of his own presence is caught up in this triple combination of a gap in space, a slowing down of movement and the resulting gap in time.
Akin to the worlds of both Peter Campus and Hideo Nakata, Limbo leads the spectator from an expected specular reflection of himself into paradoxically chasing after his own past shadow.
Limbo was first created and shown at the choreographic production Entrelacs by Lionel Hoche (Centre des Arts d’Enghien et Centre national de la Danse, 2010 et 2011), with the support of the Dicréam. In connection with: Reanimation, FeedbackroomOpen Source.
