Shot by Cyril Teste

The journalistic image fill the news on television and paper. This redundant images, once picked up by the brain, lurks somewhere between consciousness and subconscious, between memory and experience. Their realness loses its meaning to attain a properpictorial dimension.
 
As layers laid upon by the time, the images left by the everyday life shuffle in an informational magma, that take after the notion of non-image. Everything is in it but nothing is distinguishable.
 
The collective memory, explored in its depth, swing between the swarming of composed and decomposed forms, the slow dissolution and the perceivable emergence of a form over the others. The boiling informational liquid dissolves into shapeless mental images.
 
 
Critics
« Shot clings to the anatomy and the radiography of the social body though photography, the black box of the last fifty years. Endlessly repeated, the cut and paste deflects the signals emitted by the half-length photographed presenter. A poetic scenic installation intended to disenchant of media hypnosis, to bring to life again the very last images of the history. »
Libération, 23rd July 2004

Theme of the piece

Zeurope by Natacha Kantor

Zeurope relies on a myth, the one of the kidnapping of Europa by Zeus. Europa, the ancient texts reveal, was a young Phoenician princess by whom the big Zeus was interested. Zeus, metamorphosed in a bull, both to hide himself from his jealous wife Hera and not to scare the young maiden, kidnapped and brought her, on his bull-like back, through the Aegean See to Crete. It’s where, under a platan, that the act was consumed.
 
Among other divine honours, Zues willed that Europa, after her death gave her name at the continent, where she was not born.
 
 

Video stage
The video system is circular, but the perception of the spectators is limited and related to their position. As the metopes in Greek temples, the screen beneath the fronton, where the action has place, visualize the iconic data underlining the narrated theme.
 
Sixteen screens are arranged by four colors. Red for earth : the labyrinth and the hole in the ground. Green for tree : metamorphosis and evolution. Blue for voyage : from Tyr to Gortyn, and through killed time. Gray for the crown : floral and royal. The inner movements of the images suggest circularity and continuity of the subjects. Their concatenation is characterized by slow metamorphosis. Screens are employed as light sources. They function as thermometers transposing the stage temperature.