Bastien Cuenot / Bruno José Silva / Caroline Mauxion / Aaron Parish /
Born in 1987 in velizy_villacoublay.
Vit and works in Auffargis.
In this installation, which is comparable to an inverted sympathetic ink process, the light prevents the image from being displayed by its emission of heat just as much as it reveals it.
Each image created by the path or splash of the drop is unique and ephemeral, combining a video of moving water in the background and the telltale trace of the water on the surface of the screen.
This series of installations was born from a personal discovery made when I was working on other works that required LCD screens.
They are assemblages borrowing from the scientific world of laboratories and computers and want to express a strong link between simple physical materials that appear to be like a drop of water and fairly sophisticated manufactured human objects.
More broadly part of my approach in which the desire to connect the elements is recurrent, this series materializes the ephemerality of the tangible character of water through a partly virtual digital device.
These installations therefore make it possible to appreciate the concept of “virtual water” in reality.
Virtual water is here the quantity of water necessary for the operation of the work.
Bruno Jose Silva
Born in 1992 in Lisbon.
Lives and works in Lisbon.
Limit of Disappearance is an installation crossing visual arts, robotics and computational processes. The aim is to problematize the creation and excessive consumption of images. This reflection is part of a broader reflection on the crisis and the massification of images by technology. This contaminates, conditions and (de)forms the individual. The technology on display has been designed to place the human element at the center, whose action is reflected in the work. And also to create a mechanism that makes it impossible or difficult to see the images in the rooms. Fulfillment processes take time. The visitor must be aware of the impact of his decision or his intervention. Limit of Disappearance is an installation composed of an image printed on fabric. This is mounted on a pulley mechanism and activated by the presence of the visitor, whose intention is to damage this image. Entry into the room is only possible after signing a declaration accepting that this visit causes an irreversible change in the image. Subsequent visitors will see the image transformed by the previous ones. The idea is to transform the image to the limit of its disappearance. Each viewer is responsible not only for their choice, but also for what subsequent people will see. The image on the fabric ceases to exist as a whole and emerges as a painting created with the textures, spots and lines that the black paint places on the mechanism. In this process, a new piece is designed, over which I have no control. This is a machine designed to make that happen. The goal only materializes with visitors.
Support: Calouste Gulbenkian Foundation, Câmara Municipal de Torres Vedras and DCST Inox, Ld
Born in 1980 in Paris.
Lives and works in Montreal.
Body and photography are intrinsically linked in my practice. There is the body of the photographic image that I cut up and assemble into compositions and that I hybridize with sculpture in installations. Plaster, glass or soluble paper are all supports that can give substance to these images. Then there is my own body, treated on several occasions and which today retains traces of its history. Drawing on my bodily memory like a sensitive archive, I think of the image for its surface of representation but also its corporeality. It is not so much a question in my work of representing disability but rather of drawing on experiential knowledge to approach the photographic medium. It is in this sense that I speak of cripper the image, or thinking about one's skin and one's body, and this from my crip body. Floating between two bodily realities, I navigate between an image of disability to which I do not seem to correspond and an experience of non-visible disability. It is in this sense that the name crip deconstructs what we understand but also what we expect from disability.
If the charge of pain is present in my work, it is also a question of the charge of desire, like a vector of emancipation on the body. A medicalized or non-standard body is scrutinized, diagnosed, felt. It is in this sense that I think of carnal pleasure as a source of agency and that I work to create friction between these two sensations as well as between my images and my sculptures, to think of the body as both vulnerable and desiring.
Born in 1998 in London.
Lives and works in Brighton.
Using digital scanning techniques, 3D rendering software, traditional engraving and plaster processes. My practice aims to expose local landscapes, to return to raw elements. Expose the past, present and future uses of the territory. Investigate our changing landscape interventions, from prehistoric to contemporary architecture, one working harmoniously with the landscape the other in contrast.
Born in 1985 in SAINT-GILLES.
Lives and works in SAINT-GILLES.
“Blindfolded” is a photographic installation project that questions the use of the photographic medium in the Anthropocene era. Our phones and cameras have become compulsive objects, seeking to capture a fragment of reality. Within this abundance of images, the question of what we are looking at has faded. In the “Blindfolded” project, different glaciers were photographed. The question throughout this work was to find a way for the photographed place to physically bear witness to its decline and the impact of human activity on it. .
The pigments used to create these images come from carbon deposits found on the surface of various locations. Under the influence of human activity, these deposits form a sort of border of carbon material which accelerates the melting of glaciers. The collection of these pigments then allows them to be used in various technical processes to make the images appear.
The use of glass plates interrupts the viewer in a linear reading: The reflections and variations of pigments in these installations create inaccuracies, offering suggested images. The mirror thus created incorporates the viewer into the structures themselves, recalling the interdependence of systems.
Blindfolded also questions our relationship to speed, imposing a slowdown both in the creation and in the contemplation of these images. This creates an archaic posture which resonates with the fragility of the photographed glaciers. Blindfolded invites us to think about a pictorial ecosophy where the place exists as a form of suggested image, delicate on the surface of the glass, echoing our collective issues faced with the massive transformation of our relationship with the living.