Ungrave

65 inch LCD screen, USB key, wood, program-generated video (1080p, 14h), 145 x 80 x 8 cm, 2020

Placed on the ground, a very large screen diffuses the image of a tombstone whose inscription is constantly being rewritten, as if it were still alive: its first name, dates and epitaph are modified, erased and then rewritten, often very quickly.

While the dead are those who, by definition, never respond anymore, Ungrave establishes the fiction of a zombie death, whose technology would have perverted the very principle and which would continue to bug ad vitam æternam, constantly questioning its existence and the best way to sum it up. The project evokes ironically the transhumanist ideology of an unlimited rewriting of life, where everything would still be possible, even after death. It is also a vision of hell, where traditionally the souls continue to wander and act, without never being able to get this over with or finding peace.

The name on the tombstone is alternatively John or Jane Doe. The date of death varies constantly, but the date of birth is always 2020, evoking a person who is somehow already promised to a “becoming-program”, in the Deleuzian sense of the term.

Produced with the support of Biennale Chroniques, 2020

Precursion

network installation, 2014

In situ and network installation, 2014

The installation Precursion questions the relationships between democracy, communication and spectacle. A program randomly assembles: video footage made in the surroundings of the exhibition; news feeds in real time; and excerpts of blockbusters’ musics. It generates an infinite video, by combining these three elements. The resulting layering of meanings – sometimes comical, sometimes tragic – highlights a general storytelling shared by TV, reality shows and the blockbusters, that are always centered on the imminence of events or even disasters : the attention economy at work. The work always implies a 2-days session on location to shoot the videos.

Thierry-Fournier-Precursion-02

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Precursion was created within a residency in digital arts at Maison Populaire (Montreuil, FR) in 2014. Photograph by Emile Oroumov.