Un film de 5 minutes avec un plan séquence de 5 minutes et défilement du texte de description de cette action

Synopsis / Description:

Performances:

Nobody Needs French Theory

rush de l'action

Synopsis / Description:

rush de l'action

Performances:

Nobody Needs French Theory

Objets:

6 miroirs

Technique description référence:

6 miroirs

50 x 100 cm

Documents:

Un carton d'invitation tiré à une dizaine d’exemplaires inspiré de l’imagerie SPAM (tendance Automne / Hiver 2006)

Type:

Imprimé

Technique description référence:

Un carton d'invitation tiré à une dizaine d’exemplaires inspiré de l’imagerie SPAM (tendance Automne / Hiver 2006)

GANNE_

Une invitation par courriel sous forme de SPAM utilisant l’image du carton cité ci-dessus et le texte d’un SPAM en anglais (donc généré par un robot) faisant allusion à une topographie volcanique, à Marx et Engels, à l’anarchiste espagno...

Type:

Imprimé

Technique description référence:

Une invitation par courriel sous forme de SPAM utilisant l’image du carton cité ci-dessus et le texte d’un SPAM en anglais (donc généré par un robot) faisant allusion à une topographie volcanique, à Marx et Engels, à l’anarchiste espagnol Francisco Sabate, et s’achevant par la phrase suivante : « Nobody needs French theory ».

GANNE_

Description:

An eighty-square-meter apartment. Let’s say at least eighty people passing here and there. So here we are, in the apartment. What is there to see besides the people themselves? Anyway, as with each opening, it’s what one comes to see, the others, and oneself in the middle of the others. “Nothing left to see.” And yet we don’t hear that often; instead, it’s “Nothing left to drink” at these “private drinkings.” Oops, we’ve gone off topic. We had to reverse the Klein and jump into the void. Jump from outside. From outside to inside. But that was before the public arrived. 1 / Klein, we’ll say. An empty room filled only with my image.

Let’s start again: the public arrives to see themselves as something (or to drink themselves to something, but we digress again (or maybe even to think themselves something, but now we’re even further off the topic (“Nothing left to believe”))). So let’s go back to the beginning, let’s say to early childhood. Yes, younger than Alice, even before that. We are there in front of the mirror, and we are using that image to unite our bodies and finally say “I.” Except that in this game, the “I” has no purpose; it has no purpose if it doesn’t negate anything. Why say “I” if there is no one to oppose it? So I invite, the artist invites, we invite, they invite themselves, young dancers, the how we used to be but really not at all, Tecktonik dancers, into their bubble, into their music, into their iPods. Of course, they dance, facing the mirrors. We might say, they unite their bodies but it’s not enough. The others, we, I, they, we see as gangling and lanky, uniting their bodies perhaps, but one limb at a time. And then there’s no music, it’s in their head, just the sound of the moving bodies, and then, louder and louder, the conversations of the exhibit opening. In fact it’s really my watching body that they unite. I don’t know what we’re watching anymore—I, you, they. We watch ourselves watch. The dancers watch themselves dance.

I remember the other who wrote, “Watch me, that’s enough!” Why not, “Watch me watching, that’s enough!” Pff, more logorrhea. And maybe it’s not enough. My apologies. It brings out my verbosity.

I was forgetting: Nobody needs French theory *.

Might there be something left to see think drink?

* In English in the original text

[The exhibit Nobody needs French theory lasted one evening. In the largest room, there were six meters of mirrors hung a little below eye level. In the kitchen, a legal announcement from the Brazilian region of Paraná read in Portuguese: “Bebida alcoólica é prejudicial à saùde, à famìlia e à sociedade (‘Drinking alcohol is harmful to health, family, and society’).” In the bathroom, a lipstick message on the mirror asked in Italian, “E tu, cosa fai? (‘And what are you doing?’).” Outside, facing the main window, graffiti read in English, “The Revolution will not be televised.” During the opening, the Team ELECTRASH took turns dancing for three hours in the middle of the guests.]

Jean-Baptiste Ganne