3 DEC
2022
au
4 DEC
2022
14h à 19h
The Cosmopolis project initiated in 2021 at the WindsoR Hotel brings together Foreign Cultural Institutes (under the aegis of FICEP), International Cultural Centers and Friends of OVNi. Each room, proposes curatorial projects of video art.
2022 - 16'00" - Color
Researchers are attempting to inject photosensitive algal DNA to heal our retinas. From ocean blue to screen blue, vision becomes hybrid. Guided by glass test patterns, « Bleu silico » proposes a poetic-scientific drift around the ancestral relationship between algae and human retinal cells.
2017-2020 - 48'00" - Color
“The Chernobyl Bride Project,” 2017-2019 (in collaboration with the Ukrainian artist Ira Bilobrodska) is a hand-made wedding dress composed by original gas masks sawn to each other to form a female silhouette, a white veil and a traditional Ukrainian head band with flowers and long colourful ribbons. She is an enigmatic Madonna behind her veil, ever subjugating, subtly mesmerizing, almost invisible but intensely present as her crown stands out over the constant fog of despair and confusion surrounding her.
This work was created in collaboration with the Ukrainian artist Iryna Bilobrodska.
2017 - 4'37" - Color
The potential narrative here is suggested by the actions of the male and female character, as well as the composition of the set. This installation work reflects upon the subjectivity of the camera in parallel to that of a staged narrative. The scene presented is one which is contrived and hyper real, suggestive of time and space which is non-existent.
2022 - 12'39" - Color
During the winter of 2022, following the invasion of Ukraine by Russia, Olivier Roller welcomed young Ukrainian refugees in his home in Paris. From these encounters, made in this tragic context, the photographer has created striking portraits.
Taking the form of short videos, Olivier Roller’s images are frontal and uncluttered: the bodies and faces, framed up close, open themselves up to the photographer’s lens, which slowly focuses on the gaze, fixed or distant, of these young women and men. Their voices, which share their stories, make their shattered existences palpable: broken voices which, beyond words, carry cruel memories, doubts and sometimes feelings of guilt; firm voices too, which tell of their energy, their courage, their commitment to help their compatriots.
2022 - 6’6’’ - Color
“Boat” begins with a sentence someone very dear to me, once told me ‘We all fell of a boat’. This sentence evoked, at the time it was said to me, my research on exodus mouvements and its reverberations. From this point on, the text aims to approach existential questions on poetic or pictorial manners in the context of the changing era and its paradigms. As in my other video essays, the use of Landscape as bodies, Nature as artistic phenomena, The invisible as raw material, based on a quest to touch the inframince ( also with its sense of humor ) constitute the fundamental axes of my work.
2021 - 4’50" - Color
‘FLOWER MOUTH’ was created in Caraíva, a small village in Bahia, Brazil, that I visit since 2001 and where I self-exiled for almost two years during the Covid pandemic. The nature there is omnipresent and technical resources are scarce. The videos used for this work were filmed there and were part of my personal archive. This sentence from Vita Sackville-West that someone once read me was echoing in my head for a long time already, I remembered it by ‘In times of war we need to talk about the flowers’. It gave me this urge to find in both mundane and spectacular ways nature presents itself, a door to play with the ideas of Landscapes as bodies, Nature as artistic phenomena,The invisible as raw material, all based on a quest to touch the inframince ( also with its sense of humor ) which are the fundamental axes of my work.
2022
Monica Hirano proposes a break in the chain of sexual abuse. The starting point of the work is to open the discussion on the correlation between the telecommunication industry during the Berlusconi era, its almost harmless and unrestricted entry into the family environment, the normalization of the image of depredation and humiliation (usually female) in the imaginary of children and the cycle of abuse as a family legacy. The central issue is that of the child who absorbs all this experience and grows up without understanding what the healthy boundaries of a relationship with his or her body and sex are, or at least without the awareness of creating those boundaries.
In 2022, on the occasion of its presence at the Grande Halle of the Pôle cultures contemporaines de Nice, Le 109, OVNi welcomes Chac MacGill’s RAVERSE Collection in the form of an original installation exploring the history of digital art.
This proposal was produced in partnership with TV Store.
