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Fata Morgana:
Don’t dive in what you see

Recto side, verso side. The space is processed as a postcard.

Through the window of the gallery, we see a synthetic landscape of a mountain projected, a miniature forest and a forest of cables. A ritornello (instrumental loop of House of the rising sun The Animals), audible from the street, lulls the whole. The landscape is unattainable, flat, ideal of projection.

It is the Recto.

One enters the gallery, the half-light. A neon light helps to illuminate parts of the wall. 3 walls lined with green screen fabric are covered with writings. A room scaled mind map, a mental diagram developing the content of the exhibition: what is a mountain? What is a postcard? What is an artistic object? The discourse moves from metaphor to the "immediate" statement. Arrows are shot from one end of the room to the other.

A desk makes the junction, fixed behind the "screen-recto", some tools (felt pens and remote controls), a small amplifier and a computer.

Via the microphone of the computer, the sound of the room (that of the visitors...) is recorded and rebroadcast with a delay of 2 minutes. The passage of the spectator is registered in the room, just like the writings.

The recto is a form, a projection of the mind, the result of a mental and technical process. The content is not visible.

The verso is the drawing of the process and questions that the spectator must explore.

They are not visible simultaneously, like a postcard, like an artistic object and its process.

In short, it is about being in front of the mountain and contemplating it, being inside and exploring it.

Fata Morgana:
Don’t dive in what you see