Joris Guibert
Matières électriques
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Add rightsFormat DVD Interzone
Original format HD, mini DV
Year 2009-2016
Artist(s) Joris Guibert
Running time 65 min
Films
BIG BANG RÉMANENCE (2015)
TABLEAUX ÉLECTRONIQUES (2016)
RÉALITÉS ANODIENS (2009)
TSUSHIRO NAKATOMI (2015)
Description
Big Bang Rémanence
An experimental science-fiction film that traces the formation of the universe from electrical and electromagnetic video phenomena. The narrative is based on the principle of residual radiation from the Big Bang: the cathode ray tube can capture these fossil photons, which constitute part of the screen noise—the "snow."
The sound work is an expression of the video apparatus, through the capture of radio waves and emitted electromagnetic fields.
Réalités anodines
A poetic exploration of reality, based on fragments captured throughout the world. The editing serves to link these moments of minimal and heterogeneous realities into a sensitive and meaningful composition.
Tableaux électroniques
These video feedback compositions claim a free and pure visuality; a beyond-representation that modern painting has explored, a musicality of relationships and articulations, an exorcised perception such as experimental cinema has sought, a malleability and pictoriality of electronic substance that video art has revealed from its origins. Fluid and fleeting painting, erratic colors, unstable lines, produce an act of intensive and elusive viewing.
Tsushiro Nakatomi
Excerpts from two performances
A generative apparatus of video phenomena played on modular monitor architectures. Literally an electroluminescent sculpture, between kinetic art and video.
“Joris Guibert, who is currently exhibiting in Givors under the title Le Revers de l’Image, a series of sensational, scratch-marked, analog installations—not at all virtual in the sense of VR—but which bring to the surface the first tremors of liberated electrons dancing above the cathode volcano. A dance without which digital technology would never have been born, and we would not be on the verge of becoming supreme beings hovering above the waters of Genesis, amid the shards of the Big Bang, in the primordial soup of the Cosmos.
More concretely, Joris Guibert’s alterations give the impression of returning to the pre-Paikian stage of video art. As if he were able to rediscover the cave paintings of the electronic cavern, its “negative hands” (a motif he also uses in a feedback demonstration). In this, I see, for my part, the justification for my initial misdefinition: “video art is an art of less” (Art Press, 1979). ”
-Jean-Paul Fargier, “What Is a Digital Artwork?” roundtable discussion, March 21, 2015, Maison de la Culture, Clermont-Ferrand