The 23rd International Encounters Traverse | 23èmes Rencontres Internationales Traverse
March 11 - 31, 2020 – Toulouse (France)
For it's 23nd edition, which will be held March 11 - 31, 2020 in Toulouse, France, Traverse seeks for original experimental art works – experimental cinema, video art, art installations and digital art installations, performancies, photographs – that will constitute a journey across the city of Toulouse, between several venues.
No entry fee.
Deadline for submission: October 18, 2019.
For more details on the submission process, please visit our website.
The tematics of this 23rd edition :
Off screen – Off camera: who’s watching?
No doubt, a proposal that implies less of constraints to the artworks than a questioning on their reception and the space that they open like so.
We are talking about artworks at the time of the dematerialisation even though the video image was of a passage, that of the electricity in odd and even lines, and that, formerly, to go against the merchandised-standardised object was one of the watchwords of experimental, and that the performance is at its moment… and what is there to say about the created digitally…
One says artworks/œuvres because there is opera, work, action but then that should simultaneously induce to recognise that there is artwork/œuvre because something takes place, there, in front of me who watches… most often, one is hasten to deny it by repeating over and over that one could says whenever s/he wants of the said artwork/œuvre because s/he feels it. There is artwork if it resists, thus we can only elaborate a reading that really takes it into account and that do not confuses it with the projective test of psychological analysis of “Rorschach’s inkblots”.
Two term, however, clearly distinguish the two domains of creation and reception: the “off screen” which in video – at least narrative – can, on each change of shot, axis… discover itself in the other side both inscribed and covered by what is open to the visible and the “off camera” of the absolute exteriority if this created field… it is the production, the composition, the reception of those who do, who receive.
Thereby, the protagonist nor the portrait is/are looking at us even if the artist provokes this effect of appeal, of relation even of complicity.
The performance would be our current stallion: when does it claim what is around the performative body approaches to the happening and moreover, how to perceive this possibility of transgression of the off camera with the field of vision.
However, the history of the arts shows such signs concerning the crossing. Like Las Meninas: whereas, by definition, the fixed visual image does not include an off camera, the painter’s addressed look implies the subject he paints on the large canvas at the inaccessible to us, while the painting granted to our eyes includes those who gravitate around it and would not be the subject of his set painting. His subject: the king and the queen in its off camera/off frame – that of the pose – reach to the field of vision of the painting through the mirror hanging on the wall of the back of this room-workshop and museum.
As well as the cinema that sets an off screen in the always potentially visible of the film, that a change of axis or a stitching in the editing lead in the visible, thereby remind us the first scenes of telephone where the interlocutor is off screen or in polyvision or of pursuer/pursued. Yet, some films fracture this illusion, when reflective, they import the question of the cinema as creation, composition, writing and not as a simple statement of the reality. Like Godard quoting Bergman’s Monika, from 1953, the shot he described as “the saddest in the history of cinema”, the one that includes the look of the young woman eponymous to the title, who abandoned baby and husband, and who, in a café, gives this not motivated look by the diegesis of her discussion with her young lover, as he is placed on the other side of the table at the bar where she just went to slide a coin in the jukebox, and a second shot just as addressed, the one where sitting on her bed, at her place, she turns her head as from off camera.
This effect implies… It involves the beyond of the field of vision as it does in the explicit of The 400 Blows, by Truffaut, which in 1959 provokes a similar upsetting call to the point of view: the young teenager having run to the sea that he never had sight, ran away from the borstal. The last shot in a zoom advances to his pointed look.
The awakening of the figurative illusion of IMR – Institutional mode of representation – is no longer so rare and because it joins our proposal, succumb to quote Godard one again, the founder and the emblematic look in Pierrot le fou – of Ferdinand who, while driving, turns back, commenting on the wishes of his companion Marianne: “See, she thinks only to laugh!” She: “Who are you talking to?” He: “To the spectators!” – breaks the comfortable space of the narrow fiction and provokes the reflective return on the film being made.
And certainly, Traverse’s 2019 program liked such questions: as Cindy Cordt waiting for the locks of hair of her audience who did not respond; as well as Tales Frey and Paulo Aureliano da Mata whose F2M2M2F X 6 involves embraced mirrors that include those who watch kisses take place; like so, in photography, Laurie Joly disrupting the limit by texts disturbed by the framing of her photographs, trace of the performative; as S’élever c’est d’abord être à terre by LAC Project one of which creators-makers dances in his field as well as his “patron” like the “donors” of altarpieces from the Renaissance or even Yoan Robin whose Promesses d’un récit includes from the beginning of its project that the other in off camera participates in the re-creation of its field of vision, and, without lingering longer, refer to flight of pleasure to the lyric score of AAA (Mein Herz) whose voice of an addressed face such as the look of Medusa…
The desired propositions can totally ignore the limit as a question or, on the contrary, take it as the center of their writing, they can “pretend” to interact with the off camera… and that they question what makes them artwork would be welcome.