Pression à froid, 2007
13 artists / 13 curators
Composition, Digital Print , 580 x220
Footballers, Video Projection, 8min loop.
Video Footballers: device of projection 220x80, loops video 8minutes, 2007.
Pression à froid, Couvent des cordeliers, Paris, October 2007
Each day, of the thousands of images of sporting events are filmed, diffused and retransmitted, but paradoxically the representation of the sporting gesture remains rather little studied and theorized. One of my trips led me to live several days opposite a gymnasium where offered through the windows, a view of ongoing football matches.
Fascinated by slowness that on the match the distance and the absence of its direct conferred, I started to film this remittent action. This new perception of what I believed to know interested me because disconcerting: no steps (of the terraacing), no public, nor of vision fixed at the balloon. Here a part of my culture, and what constitutes by the force of the media the culture of all one each one, was played again under my eyes, but in a new form.
If one thinks of Roland Barthes, and precisely of the frame/mask, it is, more still than the framework of the camera like mask, the framework of the window which induces ,to some extent, an assembly, plans of cut and ellipses, the player disappears there then reappears in another posture, tired, victorious or combative. The video Footballers, is put in abyss by a device at frame for the Pression à froid exhibition in the Couvent des Cordeliers (Paris, 2007), and then creates an action somewhat simple but however attractive.
Of itself, the scene observed since my window suggests me the concept of cinema, and by filming it I repeat this idea.
In the device of the installation still, which consists in keeping the spectator far from the screen (thus of the scene) by means of a bored wall of a window, I still accentuate the process from formal but such a conceptual point of view, then placing the spectator in the initial posture of capture of film, recreating the same distance, and reinforcing the dependence with the framework then. This similarity questions the traditional posture of the spectator, that, in my opinion, to look at the recordings of the world, sitted in a red seat, and to feel the quota. Here the catharsis is accompanied by a physical posture, and the identification is double between scenario writer and characters.
Julia Guillon, 2007
