Angela Grauerholz, images tirées du film Ephemeris (extraits)
The question today is, however – perhaps has always been – how somebody can appropriate (in fact steal) somebody else's doing and yet make something of it that is uniquely his own. In other words, the question is not what are the models to be followed or that are being followed, but what are the doings that by the fact of being reappropriated are turned into models: in this process – when true reappropriation is involved – the models generated become something that is at once identical and different from their source, like an old being that is the offspring of a younger one, issued from itself, and who only in this relation could come to realize what it was (and is: 'figlia del tuo figlio' – daughter of thy son – says Dante of the Virgin Mary). Thus a new form (of seeing, of hearing, of living, etc.) gives life to an old one. When this occurs – it occurs constantly, or we would be all dead – some form of art is at play, something that turns out to be absolutely necessary, but only after the fact. This necessity, a posteriori, is akin to that which governs magical thought: that form of thought which refuses to accept that anything may be without a recognizable cause and that behind this cause there may not lie a definite intention.
–Francesco Pellizzi, Riddles of the Model
Reading room for the Working Artist (Salle de lecture de l'artiste au travail), 2002-2004, première installation montrant le film-collage intitulé Ephemeris, produit pour l'oeuvre en collaboration avec Réjean Myette. Blaffer Gallery. The Art Museum of the University of Houston, 2003. Photographie: Rick Gardner. Images extraites du film.
© Angela Grauerholz
La rédaction · CV66 · Lundi, 02 Mai 2005 00:00
http://cielvariablearchives.org/fr/articles-et-portfolios-cv66/portfolio-angela-grauerholz-salle-de-lecture-de-lartiste-au-travail/portfolio-angela-grauerholz-images-tirees-du-film-ephemeris.html
