Whether it's their vision of fiction and how it can be infused into settings and objects, questioning the concept of the living within its limits; whether it's scraping away the veneer of artificial imagery to try and capture the slightest traces of the infinite self; or whether it's the precise, hypnotic exploration of the anomalies of an almost ghostly territory : the boundaries between different states of perception of the physical and inner world run through the works of Raphaël Moreira Gonçalves, Arash Nassiri and Jonathan Pêpe. Like a 12K prophecy, the promise of a pearly horizon of eternal images with no hierarchy, swirling in the air, edging our pupils, draws ever closer. And in this looped dance of the last night before the end of the world, repeated day after day, a subtle smell of gunpowder mingles with that of the party.
In this strange mix, only one thing remains certain: whether falling or soaring, movement is essential to all celebrations, not only as a technical issue, but also as a metaphor for celebration, whether joyous or abysmally sad. Movement is an inherent part of it, whether it's dance, bustling crowds or, more generally, the experience of being alive. Here, mediums overlap, and the various possible histories bounce from screen to screen, each person's plastic experiences calcifying in this basement, only to become, scattered across the space, several small blocks of thought imprisoned in various materials, space-time. And then, like colorful confetti, we dance in the aftermath of their collisions, on the edge of a horizon that violently, joyously rushes towards us.