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“en chantier”


Clorinde wants to thank Nuria, Merle, Sandra, Kingsley, Jean-Jacques, Waldemar and Peter.

Proposed by Clorinde Durand

Text by Irina Raskin

“En chantier” – under construction – is the title for Clorinde Durand’s tryout in collaboration with Nuria Guiu Sagarra, not for the finished product. Further, the expression under construction describes very well what we see in this video, not only as it shows the act of building, but also as it is a processual artwork, which unfolds entirely just through its duration. Whereas usually under construction signs exclude curious persons from process, Clorinde and Nuria allow us a glance into their work in progress.

The scenery shows an epic picture of a tranquil moment after something enormous happened. Contrasts – between the sunrays, sharply falling from the ceiling into the room, and the rest of the in shadow plunged setting; between the rather new, accurately built wall and the loosely piled up old bricks; between the moderate calm of stillness and the dynamically sculptured furniture etc. – compose a visual tension within the image. As we linger into the beauty of the image, it promotes our imagination, taking us further in this situation. But the image moves, back and forth, scanning the scene over and over again. Against all expectations the slow motion cinematic absorption doesn’t tell us the story behind the scene. Nothing new comes into the frame. Though, we watch the evolution of the event. The attention shifts to the settled, picturesque movements. While the privilege of action is attached to the female body, her movements vacillate between a controlled dealing with the situation and being exposed to it. The cause and context of the situation are still unknown. A subtle, but powerful force seems to work without being visible to us. But also the movements of the women withdraw from a perception in its full range. They appear only briefly within the moving image. Each time when field of vision travels from one side to the other, we observe another placement of the body. These abrupt changes within the composition stay in contrast with the constantly turning of the slow motion camera and the fixed position of the body within the same sequence. The course of event stays erratic.

As the image manages to capture a dynamic that refers outside of its visibility, the movements do the same by being fragmented. It is this paradoxical relation between motion and image, presence and absence that defines this collaborative project between the visual artist Clorinde and the dance artist Nuria. Watching the sequences of “en chantier” we aren’t only captivated by the imagery, but we also remain in the expectation of something to happen. And so at the end, we wait for what will come. With “en chantier” Clorinde “laid the foundation stone of a project” as she puts it herself. We wait for what will become of “en chantier”, what will be constructed outside of the visible frames of TryAngle.