Frédéric Vincent
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READONLYMEMORIES

READONLYMEMORIES
from october 2th to october 16th, 2003.
artist : Grégory Chatonsky

READONLYMEMORIES is an experimental study of the cinematographic relationships between space and time.
Bernard Stiegler’s book, La technique et le temps (Technique and time), convinced us of an epochal change in the distribution of transcendental categories of perception. Time, which traditionally structu- red space in the form of distance, sees its future suspended to a permanent obsolescence that obstructs history. New narrative objects, of which the video game is archetypal, can no longer be thought of temporally, but must be thought of spatially.
Meanwhile, film pushed to its logical conclusion the temporal flux that the photograph inaugurated in the 19th century. For the past decade, film has constituted an important reference in contemporary art, developed along several lines : film montages and remixes, the analysis of the principles of producing, directing, distributing (structural approach), the intensification of clichés and standards (media- related approach like Pop Art), the return to the question of the story (narrative approach, micro and inter-stories). Grégory Chatonsky’s project involves reversing this reference and deconstructing the transcendental structures of movies. The images shown do not exist, and yet, we all know them. A film is composed like a melody ; it flows. Chatonsky interrupts this flow, using color photographs glued to aluminum, representing scenes from famous movies (Rear Window by Alfred Hitchcock, Faux- semblants and Crash by David Cronenberg, Blue Velvet and Lost Highway by David Lynch, Marathon Man by John Schlesinger, and Le Mirroir by Andreï Tarkovski). These photographs are a succession of screen shots and a reconstitution of the space, the space of the scene itself. They are fragments of space and the reconstitution of a space larger than what the viewer sees.
By analyzing time, we reconstruct the spatial continuity of space by putting together the fragments captured by the camera. The image is no longer temporal but spatial ; time is made perceptible by the space (of the screen).