REPLAY GOYA
REPLAY GOYA
Blending past and present
Tisser passé et présent
Blending past and present
Tisser passé et présent
Blending past and present
Tisser passé et présent
This series was presented in a solo exhibition at the Centre d'Art Contemporain de Castres in 2004, accompanied by a published catalogue.
On one hand, a photographic frieze of disparate elements. Black backgrounds overlaid with white marks; on the other, the central presence of Goya, with his celebrated paintings covered in the same geometric motif. A journey across forms and eras, unified by the infographic technique of highlighting that reveals the image's underlying structure.
The work undertaken by Isabelle Grosse for Castres prompts us to question lived space both sensory and perceived and the relationship between body and power.
This series was presented in a solo exhibition at the Centre d'Art Contemporain de Castres in 2004, accompanied by a published catalogue..
On one hand, a photographic frieze of disparate elements. Black backgrounds overlaid with white marks; on the other, the central presence of Goya, with his celebrated paintings covered in the same geometric motif. A journey across forms and eras, unified by the infographic technique of highlighting that reveals the image's underlying structure.
The work undertaken by Isabelle Grosse for Castres prompts us to question lived space both sensory and perceived and the relationship between body and power.
"La Junte", video loop.
"La Junte", video loop.
"La Junte", video loop.
Another collision: two interlocking spaces, emblematic sites of power. Images of the Junta of the Philippines, filmed as a caress penetrating deep into the material itself, are juxtaposed with those of the Council of Ministers' chamber, emptied of all presence. A structure of endless reflection constructed through absence, through negative space Disoriented by the interplay of shadow and light and the constant oscillation between past and present, the viewer's gaze follows the camera's circular movements.
A violent unveiling of power's instability and the world's reversibility.
Another collision: two interlocking spaces, emblematic sites of power. Images of the Junta of the Philippines, filmed as a caress penetrating deep into the material itself, are juxtaposed with those of the Council of Ministers' chamber, emptied of all presence. A structure of endless reflection constructed through absence, through negative space Disoriented by the interplay of shadow and light and the constant oscillation between past and present, the viewer's gaze follows the camera's circular movements.
A violent unveiling of power's instability and the world's reversibility.
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WEBSITE BY ANTONIN FARRUGIA