Watered and Living Image
Gestures of editing permeate Juliette Liautaud’s activities: collage, montage, make it appear and disappear, conversing, composing, arranging, juxtaposing, superposing. The presentation space, be it virtual or that of an exhibion1,is also thought of as an editing table, which is to say as “the medium of a work that must invariably be taken up again, and modified, if not begun all over again”,2 a set “with an openness always ready for new possibilities, new encounters, new multiplicities, and new configurations”.3 Different media are arranged as sets: photographs, videos, films, texts, sonic compositions. Each set is developed in this spirit of transmediality which plays with hybridization and the resonance of visual, acoustic and textual fragments with each other in an interplay of counterpoint. Different formats and supports thus invite us to discover “interstitial zones of exploration, and heuristic intervals”4 on the table, the floor, the walls and the virtual page. In the films, the gaps and differences are accommodated between the layers of images, in superimposition, or between levels, in the black areas that have become areas of vibration of images like sounds (Chaleur vacante(ou le soleil, 2019).
The politics of relation does not relate this to that, but the whole to the whole […] and thus achieves the diverse”.5 The work table is not a classificatory surface, and what is more the works themselves question categories of thought (nature, culture, urban, wild, living, nonliving) by inviting us to think about the trembling which “preserves us from thoughts about systems and systems of thought”.6 The forms directly illustrate this questioning as if with the ambiguity of the black-and-white and the strangeness of the cave (Ensemble II, 2015) or the night (Kapr, 2014, Ensemble 1 (Hypnagogia), 2015), or the exploration of the haptic, of an eye so close to the filmed object that it seems to be touching it (Dawn Chorus, 2020). Juliette Liautaud
1. Already with Des précipités de rêves (2015), J. Liautaud was arranging her works on a long table and on the walls. On her website and in the space devoted to her in Documents d’artistes, we find the same principle of arrangement.
2. Georges Didi-Huberman, Atlas ou le gai savoir inquiet. L’œil de l’histoire, 3, Minuit, Paris, 2011, p. 22.
3. Gilles Deleuze et Felix Guattari, Mille Plateaux, Capitalisme et Schizophrénie 2, Minuit, Paris, 1980, p. 20
4. G. didi-Huberman, op. cit., p. 14.
5. Edouard Glissant, Traité du Tout-monde, Gallimard, Paris, 1997, p. 37.
6. E. Glissant, Poétique de la relation, Gallimard, Paris, 1990, p. 12.
7. Films, videos and photographs de Kapr, Prelude, Sunshade, Dawn Chorus, Ensemble II.
8. “Jean-Claude Lebensztejn and Paul Sharits, interview” , in Y. Beauvais (ed.), Paul Sharits, Les Presses du réel, Dijon, 2008, p. 89.
9. The flicker is often defined by the flashing of photogrammatic editing.
10. Jonathan Crary, Techniques of the Observer. On Vision and Modernity in the Nineteenth Century, MIT Press, Cambridge, 1990, p. 20.