Digitale Infiltraties

Dexia Art Center
Schildknaapstraat 50
Brussel 1000

demi-pas (opening 'Infiltrations Digitales')
reversed camera projection-performance
Julien Maire (FR)

30.09.109910 - 00h00

performance - visuele kunsten - digitale cultuur

Demi-Pas is a short film and is projected using a ’reversed camera’ technique. A projector has been converted to house micro-mechanisms that produce animated images using a principle similar to that of cinematography. »Demi-Pas« thus finds its own narrative methods, its own action and images, like a kind of projected theater. Real objects and photographic material are transposed within the projector.
Based on this experimental form of projection, the film narrates a tale that has an extremely simple storyline: one man’s daily routine. »Demi-Pas« is a short film that constructs an everyday reality, thus highlighting simultaneously both the simplicity and the complexity of this reality.

There will be 2 projection-performances on 29/10 : first one is at 20h30, second one is expected in the middle of the opening night (duration is 20 minutes)

Julien Maire, born 1969 in Metz (F), studied art in Metz. Solo exhibitions at Galleries in France and Germany , his work was also shown at „Les rencontres internationales de la photographie“ Arles, „Hull Time Based Art,“ Hull, Centre National de la Photographie, Paris, „International Symposium of Shadow,“ London. Performances include venues such as Site Gallery Sheffield, Festival „EXIT,“ Maison des Arts de Créteil, Transmediale 01, 04, ZKM, Ars Electronica 04 and Dundee Contemporary Art Center. Text by Timothy Druckrey ( extract from "Future Cinéma", M.I.T press / Z.K.M ):
Julien Maire’s Imaginary Archaeologies

Maire’s Demi-Pas (Half-Step) transforms the image machine into a time machine by evoking both mechanical and physical movements. The adapted projector of his earlier work becomes a computer-assisted one in this work. The ‘stepper motors’ and the ‘half steps’ of human motion are linked as the projected images establish a dynamic relationship between image and movement, sensation and narrative. By layering image and performed interventions into the projected scenes, the images and operations differentiate themselves spatially with perceived realities weaving in and out of perceptibility. Maire’s performances play in the interstices between machine and image and provoke a serious reconsideration of the ‘cinemaginary’ interface.

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