It is necessary to be seen/watched for an artwork to exist, but it has to be made to be seen/watched and thought by… a hidden evidence as we forgot the beginning of Duchamp’s sentence – still him, during an interview for Ingénieur du temps perdu/Engineer of Lost Time, a very significant title – that, however, restore balance: “there is the hub of one who makes artwork, and the hub of one who watches it”. To return to the one who makes amount to return to the diversity of definitions of the experimental; whose different names – that could be borrowed by photography, by art installations – confirm the continual research: cinéma pur/pure cinema, abstract film, rhythmic, structural, processual, metric film, avant-garde cinema, art-house, different cinema… for artefacts that refuse rules and create its own, that refuse the enslavement to the narrative norm and work on the very materiality of the medium. Art invents its practices. Art is caused.

Traverse XXIII, March 13 - 31, 2019, Toulouse (France)Experimental{research/art}

When an art is called “installation”, it implies an approach even if we can regret this appellation since “ephemeral”, in situ, a moving sculpture, taking up space, minimalism of a large screen with loop option, in other figures, refuses this enslavement to a place, for a closed use. He has to question his relationship with space, with those who approach it, it thinks itself in intersubjectivity. When an art borrows an ambiguous term connoting prowess, but however emancipates itself from the couple action-reaction/action-result; we can regret that one assimilates it to a live show, with its rules of completion whereas it is performative, that it exists through what it does.