By Stéphane Troiscarrés.
A vast corpus of video art critique exists that details its subjects and concerns. Personalities and themes are commented upon, but much more rarely is the question of video or animated images approached in the form of a discretization of time and of space.
That is to say in the form of a set of images video recorded concatenated units in order to produce continuations of morphological and semantic connections that create meaning. The theoretical radicalness that strips affect and hagiography from video enables the approach to the question in a mathematical form that calls to mind the informational, energetic, and spatial nature of image sequences connected to results that are more or less meaningful or more or less random.
This formal position might seem sterile if the combinations that this causes were not so vast… Indeed, the videographer who is relieved from the discourse is then free to find in the abundance of possible combinations the unexpected interpretations all of which are possible worlds; the multitude of choices make the author responsible for the direction he will have chosen. Far from relinquishing the demands of the artist and the singularity of his vision, this method causes many more significant risks than the egotistical immobility of the conventional author.
Multiplicity causes an extraordinary ontological risk, it’s like being at the edge of a galaxy gazing at millions of light years that submerge us and choosing one star out of all of them.
That is how I interpret the Video_Age project that came from the experience of the procedural montage called Cage Suite.
VIDEOFORMES and Grand Canal are two pioneering institutions of video art in France who have amassed a collection of historical works… All these works are available beyond the patrimonial intent. How to reactivate them and give them a new historical perspective if it is not to re-inject them into a contemporary project?
Gabriel Soucheyre, Alain Longuet and I joined together after the “Cage Suite” project in order to experiment with a new context for these images. I could have shown them in the places they were shot to show the work of time and space. I could have redone similar shots in order to show the transformation of the cultural field. I preferred to apply a theoretical formalism and manipulate them as if they had been a collection of digital spaces that I put in relation with functions to the nth degree.
That is how I produced 45 minutes in which the images slide over each other and provoke unexpected connections. The images accumulate, produce improbable bijections, and disrupt temporalities in the daydream of all possible worlds.
© Stéphane Troiscarrés, 2015 – Turbulences Vidéo #87