¢â‚¬“METHOD OF COMPOSING WITH INDIVIDUALS WHICH ARE No one told me -...

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Transcript of ¢â‚¬“METHOD OF COMPOSING WITH INDIVIDUALS WHICH ARE No one told me -...

  • “METHOD OF

    COMPOSING WITH

    INDIVIDUALS WHICH

    ARE RELATED ONLY

    WITH ONE

    ANOTHER”

  • No one told me - “Method of Composing with Individuals Which are Related Only with One Another”

    My work is based on a mechanism of irony. Using specific antiphrasis, I am particularly interested in psychic dissociation and desocialization. I accommodate my visuals spe- cific style: classic, familiar, advertising, documentary to the design of work to support its critical function. This diversion of procedures suggests our absurd alienation for the authoritarian technicality of power. Its negative impact on the rendering or resolution of the image deliberately blurs the narrative codes of its dissidence. It magnifies the subject’s feeling of uncertainty in a context of disenchantment with the world.

    12 is a close collaboration with individuals who experience homeless related to mental health. The project consists of a corpus of hybrid works and is based on recurring in situ interventions spread over twelve months. Combine: happening, videography, and photography. The artist’s intention is to make an analogy between aesthetics and mar- ginality that does not serve an “aestheticization of marginality”. The primary interest of the process lies in the constitutive role that the participants occupy within the work. They are its primary components and define its unity, stylistics, and signature. This work, based on the appropriation of scenes or atmospheres by the protagonists, takes the risk of displaying, through their interpretation, an effect of reality that takes a criti- cal look at current representations of poverty and homelessness.

    One of the silent participants used to open audio cassettes and tape the black ribbons to them on sheets of colored paper. The rock albums to destroy were cleverly chosen based on their narrative construction.

    Georges always participated in the design of the shots with great enthusiasm! He sug- gested using references from Spanish painting for his portrait session. I was exchanging on his works inspired by the gay cabaret. He had once made spectacular decorations! We quickly imagined an analogy between the sound ribbons of the anonymous draw- ings and those of a metallic stage curtain. The large quantities of chrome ribbons (mir- ror) of the curtain have become for us; “A vast metaphorical collection of biographies of ” audio-virgin “tape!”. It is the unfathomable representation of an individual hidden under his stories. This curtain transformed into a tunic serves as an accessory to rein- terpret the portraits of Saint at Zurbarán. Mysticism taking its minimalism serves this production of “circumstance”. The pictorial composition concentrated on a single man is inhabited by a surreal emotion. The posture is pushed to the limit of mental disorder. The adaptation retains the essential elements. We see men inhabited by an authentic fragility. The low key monochrome - serves this series well.

    All the pictures are 91,44cm X 121,92cm. I can print them in Austria if it is less of a problem.

  • landscape version

  • https://youtu.be/AXhzYxhumXo

    Rarely has the emergence of such a deep feeling been cap- tured with such authenticity live. Williams’ speech is a poi- gnant moment. His improvisation reveals the need to express his immense loneliness.

    Georges made an equally memorable performance. He was in two states of consciousness. He entered a particularly cruel trance towards him. Her voice changed rapidly depending on her activities. It was becoming very acute. This double always told him the same series of nonsense repeated when express- ing his needs. In front of the camera, he will use a puppet to project his demon into it. Contrary to all expectations, a warm and benevolent dialogue was organized between them. The shrill little voice became his friend. Today, Georges is doing very well. “Any trauma in the psychopathological sense of the term, in fact derives for Lacan, from a certain after-the-fact meeting between the local irruption of an effect of insubstantial real- ity and fantasy. Hence the fact that any traumatic effect must somehow be conceived in the previous future. There is no traumatic event in itself, but only an event which will have been traumatic when it fits, in a way, into the fantasy sce- nario of the subject, by producing an “beyond the pleasure principle” , that is to say “enjoyment”. “

    Voir Livio Boni: https://popups.uliege.be/2031-4981/index.php?id=1382&lang=es

    https://youtu.be/AXhzYxhumXo

  • “METHOD OF

    COMPOSING WITH

    INDIVIDUALS WHICH

    ARE RELATED ONLY

    WITH ONE

    ANOTHER”