Éléonore Goldberg, “Wandering”, 2013
In this period of teleworking and téléloisir, a whole world opens up to us, paradoxically. Museums have never been able to be explored, virtually it means, that this spring. However, you have to search well to find a real experience of the works proposed. The video program That we can live in peace of Videographer is one of those.
Unlike in the movies, or even television, the video does not need a support larger than a computer screen. By its nature intimate and sometimes experimental (pictures and / or scrambled, for example), it wins more than it loses during a viewing isolated, not to say confined. In other words, That we might live in peace is a thematic exhibition that is anything but virtual.
There would not be if this program of ten videos was not an echo of the current planetary situation. The commissioner Karine Boulanger was found in the collection of the artists ‘centre, the well-appointed Vithèque, works through, she writes, by” the idea of the refugee, and the survivor “. Thing without a doubt easy, because the Videographer is attached over the years ” to the fate of civilian populations in armed conflicts “.
James Solkin, “Tarde Gris”, 1988
War and oppression are the backdrop of these stories. Ten videos for ten times, that of the great migratory waves of the Twentieth century to that of the camps of kurdish refugees. The general distress that emerges, it is clear, however,, also, a glimmer of hope, of healing. This means that the need to preserve from oblivion, or the secret. Transmission, the oral, but not only, is the key here.
For Drasko Bogdanovic, about The First Time (2013), Chris Dupuis, there is a “before” and ” after “. The front, it is his life of pianist teenager in his Sarajevo native. After, it is his flight to Canada, and the rejection of everything that reminded him of the Bosnia war, including the piano.
This portrait-interview fairly standard, reveals what is missing from the protagonist to really move forward : getting back to the piano. Exercise outlet that it is executing, for the first time, in front of the camera.
Without doubt the planet currently confined will it change as paradigm shift. Before live fully sound after that is still unknown, she must accept her fate. And live, despite everything. That is the lesson of humility as we pound a population of moved from his encampment.
In this immense territory, as shown on a panoramic camera, the life continues. There is a present, a future also, the one that promise to the bride and groom of the wedding that concludes the documentary The Guests (2018), of Arshia Shakiba.
Paul Tom, “That I may live in peace”, 2010
Do not adjust your device
Resilience and entrechoquements are at the heart of the Las Mujeres de Pinochet (2005), by Eduardo Menz. Formally, the work stands out of the lot. She is the one that draws the best in the free spirit and rebellious of video art. His twelve minutes are only made of two images and their soundtracks, as the director repeats tirelessly, the retailer or the blurring sparingly.
Do not adjust your device : it is normal if the sound is inaudible, if the image appears blurry — the sub-titles reflect that. The difficulty of perception is at the heart of a discourse that targets the hypocrisy of a dictatorship, here, the Chile of Pinochet. Two faces face each other, a queen of beauty acclaimed by tv State and that of a survivor, burned by the police.
If Eduardo Menz has built its video through the appropriation, the sequences are derived from d’Images of a dictatorship by Patricio Henriquez (1999) —, the other artists of the selection have turned their images. There is a strong contingent of the shots that are real, like documentaries already mentioned, or those at high risk A day in Palestine (2007), the trio José Garcia-Lozano, Mary Ellen Davis and Will Eizlini, shot in the style of “direct cinema”.
Mary Ellen Davis, Will Eizlini, José Garcia-Lozano, “A day in Palestine”, 2007.
Side animation, in addition to the beautiful aesthetic diversity, the works tend more towards abstraction, or to a lyricism that is more personal, less inclined to document a specific fact. In the opening program, Wandering (2013), Eleonore Goldberg, offers a trip back in time, supported both by the memories that haunt the protagonist, and by the stories of all the migrants from Europe to America.
Finally, note the presence of the (almost) mythical Co Hoedeman (The sand castle, the Four seasons in the life of Ludovic) with The blue marble (2014), a drawing of silhouettes in cut paper. The master of the animation frame-by-frame offers a fiction about the reality of child soldiers. Despite the drama, the hope, embodied by a ball of blue, is never very far away.
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That we may live in peace
By Cameraman, online free of charge until 7 may.