Géopolitique de l’oubli, 2018
Vidéo, 17’
Co-production Jeu de paume/CAPC-Bordeaux et le Museo Amparo
Mise en place d’un rideau noir séparant l’écran et la salle.
Le spectateur est invité à choisir entre les deux parties pour regarder la vidéo.
Composition musicale : Vincent Guiot
Geopolitics of oblivion, 2018
Video, 17’
Co-produced by the Jeu de Paume, the CAPC-Bordeaux and the Museo Amparo
The black curtain set up dividing the screen and the room.
The audience is invited to make a choice between the two parts, to watch the video.
Music creation: Vincent Guiot
Vidéo, 17’
Co-production Jeu de paume/CAPC-Bordeaux et le Museo Amparo
Mise en place d’un rideau noir séparant l’écran et la salle.
Le spectateur est invité à choisir entre les deux parties pour regarder la vidéo.
Composition musicale : Vincent Guiot
Geopolitics of oblivion, 2018
Video, 17’
Co-produced by the Jeu de Paume, the CAPC-Bordeaux and the Museo Amparo
The black curtain set up dividing the screen and the room.
The audience is invited to make a choice between the two parts, to watch the video.
Music creation: Vincent Guiot
Écrite à partir d’images collectées sur Internet, puis retravaillées jusqu’à une dégradation de contenu, la vidéo prend la forme d’un diptyque engageant le visiteur dans son regard. Composée d’un montage de ces sources existantes, elle interroge l’écriture par l’image. Sondant la prolifération d’informations et de signes produits par Internet et la langue digitale (arborescences, cloud, déluge informationnel, etc.), Géopolitique de l’oubli met en regard deux possibilités de naissance de l’écriture : l’archivage numérique et l’externalisation de notre mémoire. L’écriture cunéiforme, apparue il y a plus de 3 000 ans av. J.-C. à Sumer d’une origine que l’on présume comptable, est associée à la ligne et à l’eye tracking. C’est sur ce modèle que nous concevons aujourd’hui la mémoire en sauvegardant l’information dans des data centers. L’écriture maya (VIe-IXe s.), qui consigne les mouvements des astres et le calcul du temps, est rattachée aux glyphes et à la mémoire corporelle. L’artiste imagine une battle entre deux communautés rétrofuturistes fictives, les SUM et les MAY. Ces nouveaux signes ressemblent davantage à des techniques de mémorisation qu’à un alphabet stable. À l’heure d’une pratique de l’écriture née de l’écran fondée sur les pictogrammes et mots-clés, d’interactions nouvelles entre l’œil et la main, d’une communication par emojis ou gifs reposant sur l’image et sa stylisation, l’artiste interroge les comportements générés par cette langue nouvelle, codifiée, désagrégée.
Compiled using images harvested from the Internet then reworked so that their content is corrupted, this video essay is a diptych that involves visitors in their own gaze. The film is a montage of these existing resources and uses the image as a means of interrogating writing. Geopolitics of oblivion probes the proliferation of information and signs produced by the Internet and digital language (tree structures, the Cloud, the data flood, etc.). It compares two possible ways in which a writing system might come into being: digital archiving and the externalisation of our memory. Cuneiform script, which appeared in Sumer over 3,000 years before the Common Era, is presumed to have originated in an accounting system and is associated with lines and eye tracking. This is the model we use today as the basis for memory when we store information in data centers. The Mayan script (6th–9th centuries CE), which recorded the movements of the stars and the calculation of time, is linked to glyphs and body memory. The artist has imagined a “battle” between two fictitious retro-futurist communities, the SUM and the MAY. These new signs are more like memorising techniques than a stable alphabet. In this era of screen-based writing with pictograms and keywords, new interactions between eye and hand, and communication using emojis and gifs based on images or stylised images, Daphné Le Sergent explores the behaviour generated by this new, codified but fragmented language.
Agnès Violeau
Compiled using images harvested from the Internet then reworked so that their content is corrupted, this video essay is a diptych that involves visitors in their own gaze. The film is a montage of these existing resources and uses the image as a means of interrogating writing. Geopolitics of oblivion probes the proliferation of information and signs produced by the Internet and digital language (tree structures, the Cloud, the data flood, etc.). It compares two possible ways in which a writing system might come into being: digital archiving and the externalisation of our memory. Cuneiform script, which appeared in Sumer over 3,000 years before the Common Era, is presumed to have originated in an accounting system and is associated with lines and eye tracking. This is the model we use today as the basis for memory when we store information in data centers. The Mayan script (6th–9th centuries CE), which recorded the movements of the stars and the calculation of time, is linked to glyphs and body memory. The artist has imagined a “battle” between two fictitious retro-futurist communities, the SUM and the MAY. These new signs are more like memorising techniques than a stable alphabet. In this era of screen-based writing with pictograms and keywords, new interactions between eye and hand, and communication using emojis and gifs based on images or stylised images, Daphné Le Sergent explores the behaviour generated by this new, codified but fragmented language.
Agnès Violeau