VIDEHOLE
DVD, 2mn 30, 2003
Music by Sébastien Brault
M'interrogeant sur les processus de surreprésentation qui caractérisent notre époque, j'ai collecté les images pornographiques qui prolifèrent sur le WEB et, considérant qu'une image fixe correspond à un photogramme de film, je les ai éditées à la cadence du cinéma de 30 images par seconde, composant ainsi un film dont le contenu ne pourrait jamais être entièrement vu, qui nous laisserait incapable de saisir la multitude de ses transformations. Le voyeurisme du porno n'est pas seulement sexuel mais un voyeurisme de la représentation et de sa perte, un vertige de perte de la scène et d'irruption de l'obscène. Tout voir comme une orgie de réalisme, une overdose de représentation. Mais à trop montrer, on en revient à voiler: la séduction réapparaît. En fait, il s’agit moins de montrer des images du corps que d'interroger le corps nomade des images.
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We are saturated with images that claim to represent contemporary life. To respond to this I wanted to create a work that makes use of pornographic imagery on the Web. This involved appropriating images and - considering the still image equivalent to a film still - editing them at a speed of thirty frames per second. Creating a film whose content can never be seen entirely frustrates the viewer’s attempt to grasp the multitude of transformations it contains. This is the same principle used by cinema. The sequence unfolds too quickly for the perception of individual images. We see only what they have in common; what is repeated from one image to the next.
It is less a question of displaying images of the body than of questioning the nomadic body of images.
I wanted to trigger a surfeit of seeing, make a subliminal film, hysterical, epileptic, in which the roar of images would overwhelm the viewer - like a child turning in circles - reducing his environment to a kind of luminous chaos.
Voyeurism is never purely sexual. We care more about the act of seeing than the object seen. In Videhole, showing too much veils the obscene. We are seduced again because we do not exactly know what we are seeing. An attentive viewer will discover images that have no relation to pornography.
The sound track, composed by Sébastien Brault, is an integral part of the film. The score is built up from a finite quantity of sounds that have been broken down into 1/30 of a second units. Their juxtaposition and superimposition closely follow that of the images. The resulting collage, played over a continuous monotone background, evokes the hollow sound of a dropped call, the murmur of an omnipresent multitude.
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