Contaminations
Contaminations is a series of photos that began in April 2020 during the Covid-19 crisis. The spine appeared to us as a strong symbol of these new physical and social distances born and experienced during this period of isolation. These distances profoundly affect us by transforming our relationship with others and the world. The spine is a mental projection on the perception of our own bodies, marked by fear, suffering and the search for protection. For many years we have been exploring the question of touch, its sensoriality, its language, its vital strength, its relationship to the world ” “touch, is to touch ourselves, says Merleau-Ponty […] things are the continuation of my body and my body is the continuation of the world which surrounds me [...]. The touch and the contact must be understood as the other side of one another” . The object touches us when we touch it, and it dissipates when the contact ends”.(David Le Breton, La Saveur du Monde, 2006) The question of the skin arises more ardently today, how to apprehend it, perceive it, live it, feel it. The spine, this plant horn, pricks our eyes, sinks into the skin. In the form of a mental image, it goes through us, and it seeks to hybridize with our human elements, skin, flesh and bone. This symbolic hybridization with spines aspires to protect our own body. This body that contaminates and protects itself at the same time. The spine is also a defense that symbolizes life. By appropriating the spines of the plant, we project excrescences on our body that gradually follow an epidermal evolution, to get closer to a form of animality. From this period of health crisis, we approach a metamorphosis that is gradually embodied through photos, objects/sculptures and probably installations. Our artworks follow the concept of hybridization since 2007, in order to explore different artistic process of crossings, meetings, living and symbolic interactions. Crossing different kind of elements allows us to create new symbolic relationships between our human body and our natural and social environment. The hybridization present in our artworks aims to create a singular unity between matter that did not seek to meet. It is within these delicate crosses that we draw sensitive interactions with the body. The plant has been several times a source of inspiration and matter for our interactive artworks such as «Akousmaflore» or «Matières sensibles», and currently for a series of photos and sculptures. Today, we would like to appropriate and imitate its defenses: its spines. We imagine to cross them with our body, in the form of vegetal excrescence.
Contaminations is a series of photos that began in April 2020 during the Covid-19 crisis. The spine appeared to us as a strong symbol of these new physical and social distances born and experienced during this period of isolation. These distances profoundly affect us by transforming our relationship with others and the world. The spine is a mental projection on the perception of our own bodies, marked by fear, suffering and the search for protection. For many years we have been exploring the question of touch, its sensoriality, its language, its vital strength, its relationship to the world ” “touch, is to touch ourselves, says Merleau-Ponty […] things are the continuation of my body and my body is the continuation of the world which surrounds me [...]. The touch and the contact must be understood as the other side of one another” . The object touches us when we touch it, and it dissipates when the contact ends”.(David Le Breton, La Saveur du Monde, 2006) The question of the skin arises more ardently today, how to apprehend it, perceive it, live it, feel it. The spine, this plant horn, pricks our eyes, sinks into the skin. In the form of a mental image, it goes through us, and it seeks to hybridize with our human elements, skin, flesh and bone. This symbolic hybridization with spines aspires to protect our own body. This body that contaminates and protects itself at the same time. The spine is also a defense that symbolizes life. By appropriating the spines of the plant, we project excrescences on our body that gradually follow an epidermal evolution, to get closer to a form of animality. From this period of health crisis, we approach a metamorphosis that is gradually embodied through photos, objects/sculptures and probably installations. Our artworks follow the concept of hybridization since 2007, in order to explore different artistic process of crossings, meetings, living and symbolic interactions. Crossing different kind of elements allows us to create new symbolic relationships between our human body and our natural and social environment. The hybridization present in our artworks aims to create a singular unity between matter that did not seek to meet. It is within these delicate crosses that we draw sensitive interactions with the body. The plant has been several times a source of inspiration and matter for our interactive artworks such as «Akousmaflore» or «Matières sensibles», and currently for a series of photos and sculptures. Today, we would like to appropriate and imitate its defenses: its spines. We imagine to cross them with our body, in the form of vegetal excrescence.
|
Scenocosme
Grégory & Anaïs are an artist couple that go by the name “Scenocosme”. They live in the Rhône-Alpes region in France. Their unique creations take shape through various expressions: interactive art installations, plastic art, digital art, sound art, collective performances etc. By distilling digital technology, they bring out essences of dreams and poetry. As visual artists, they divert various technologies to create contemporary works of art. They develop the notion of interactivity, by which the work exists and evolves thanks to the physical and social relations of the spectators. They realize astonishing hybridizations between technologies and living or natural elements (plants, humans, water, wood, stones). Most of their interactive works perceive various invisible relationships between bodies and the environment. They make sensitive the tiny energy variations of living beings by offering interactive staging where spectators share extraordinary sensory experiences. Their works are presented in numerous museums, contemporary art centers and digital art festivals around the world. Their artistic installations have notably been exhibited at the ZKM Center for Art and Media Karlsruhe (Germany), the Art Gallery of Nova Scotia (Canada), the Daejeon Museum of Art (Korea), the National Center for Contemporary Arts ( Moscow), at the Contemporary Art Museum Raleigh (USA), at the Bòlit Center d'Art Contemporani (Girona); in numerous biennials and international festivals: Art Center Nabi / INDAF (Seoul), Biennial International Experimenta (Australia), Futuresonic (UK), BIACS3 Biennial International of Contemporary Art (Seville), NAMOC National Art Museum of China / TransLife Triennial of Media Art (Beijing), WRO (Poland), FILE (São-Paulo). |
|
