Here, in D'une seconde majeure ou mineure, the works of Julie Béna and Dominique Blais (born in 1982 and 1974, live in Paris) meet.
As a prologue, Julie Béna presents Elisabeth II. In each window, a device made up of motorised blinds subtly influences the interior light by a rotary movement. As a way of introduction, this work then carries out a shift between day and night, at dusk.
Inside, the installation of Dominique Blais invites the visitor to wander in a sound landscape through an archipelago of sandstone records.
Started in 2008, Sans titre (Les disques) is presented for the first time on the scale of the entire exhibition space. Almost all the terra cotta circles are spread on the ground while some of them are suspended from engines and brush against the static elements. A game of subtle harmonic frictions is created, like an “hypnotic ballet”, a sound poem in random stanzas.
On the wall, four prints show us ghostly traces produced by the arrangement of lit candles in front of a camera obscura. At the foot of each copy, Dominique Blais has laid a bronze sculpture made with the lost-wax casting technique. It is the residual shape formed by the candles used to produce the photographic image. Entitled Ring, this piece refers to Wagner's opera Tetralogy The Ring of the Nibelung. Lasting almost 15 hours, this work is divided into a prologue and three days. For each opera, the artist has lit a candle in front of a pinhole camera with the aim of exposing photosensitive paper to the effective during the actural time of the performance. The revealed image (in negative format) functions like the abstract testimony of the flow of time relating to the presence of the musical work.
WithLa Disparition, Dominique Blais works with Georges Perec's eponymous novel. At the end of this action, the reading of the book is however unaffected. Handling generates neither dysfunction, nor modification of meaning. One could even consider that the audience, plunged in its reading, does not perceive that the modification was carried out, or only does so afterwards.
For Le paysage est magnifique, Julie Béna suggests a window using only a simple aluminium tube equipped with a chain. At the edge of interior and exterior, she sends us back to all the rooms which here, by their minor presences, reveal a landscape with major nuances.