The idea for POLAROID arose from listening to the radio. I was listening to a programme with Marie Richeux, in which a short text called POLAROID was read. A collection of these texts was then published. These texts never failed to intrigue me; I was fascinated by them. They often spawned images and specific imagery. In this collection, the preface captured my attention. It is a text by Georges Didi-Huberman in which he reveals his questions regarding the meaning of a literary Polaroid.
‘To focus’ on the very texture of things. To approach, lean in and give the minuscule its due place. Also, ‘to polarise’ the relationships that each thing has with the things around it: move, change the play of light and give consideration to spacing.
I asked myself what is a theatrical polaroid?
Experiences with students and interns confirmed interest in this approach, stemming from my experimental obsessions and preferences.
Fascination in this specific photographic technique, its appearance, relative immediacy and chromatic blend, that we see permeating an organic space and time, evokes theatricality in the image. In performing arts, the creative moment is the present. The creation of an image in a polaroid is also present and tangible.
The evocation of Remembrance: impression nm (subst. of v. to remember, 1080 lat. subvenire "to come to mind") That which comes or can come to mind from past experiences; image that keeps and provides the memory.
An image that ages, fades, transforms… in itself, the Polaroid is a material vector of memory and its transformations over time.
How to create a theatrical polaroid? Create the live game, the transformations, see a memory submerge and fade away, transform...
Starting from image work, compilations of personal memories, poems, I want to take the gamble of creating a hybrid piece that speaks to the intimate.
For the text, in a free and personal adaptation, poetic material will be taken from the writings of Hanne Bramness, Huguette Champroux, Marie Richeux, Georges Didi-Huberman, and Marc Augé among others.
For the images, a work of reflection will be carried out around the Polaroids of Daniel Blaufuks in particular, the artist Sophie Lécuyer, the sculptors Parc Ki Pyung and Medardo Rosso, among others.
He is Good obvious that our memory would be quick "saturated" if we were to keep all the images of our childhood, especially those from our earliest childhood. Corn that is what remains - memories or trace - what is the product of an erosion by forgetting. Memories are shaped by oblivion like the outlines of shore by sea. (...) Something therefore, of the complicity between the sea and the earth, Who have contributed both throughout elimination work of which the current landscape is the result. (...)
Oblivion, in short, is strength long live of memory and remembrance is its product.
Marc Augé, The Forms of Oblivion
During the experimentation process we will work on the image by making very short video films. We will explore the themes and issues of the play. These videos, autonomous in themselves, can be found later in the piece or in the associated installation. For this, we wish to collaborate with videographers, creators of the image...
The first is a collaboration with Hugo Germser (Nov.21).
The second, in collaboration with Aurélie Bonamy (Jan.22), was produced during the Attention Chantier#2 experimentation residency at the MAgasin / MA Scène Nationale Pays de Montbéliard.