Rue Sainte Rose 63000 Clermont-Ferrand
Tuesday to Sunday from 11AM to 7PM
This project is the portrait of a no man's land. Burnt and sterile, it contains the traces of an invisible war.
While still fresh in these places memory, this unknown war is like a demon from the past who left its marks all over the place, creating post-destruction sculptures. There are no human combatants, only machinery: some of it lying dead, like a scar of the landscape; and some caught in a mysterious choreography.
The theater of post-destruction takes place in an almost unearthly landscape, beautiful and barren.
Mountains, desert, lakes, lie as a glimpse of infinity. But while in the outrage of destructive fire, they are left with scars, mutilated and broken : the geography changes, it mixes with an artificial post-traumatic topography.
Mihai Grecu was born in Romania in 1981. After studying art and design in Romania and France, he has been pursuing his artistic research at the Fresnoy Studio of Contemporary Arts. Recurring topics such as environment, water, city life and war articulate the whole of his exploration of mysterious and subconscious beginnings. These visual and poetic trips, mix several techniques and styles and may be seen as propositions for a new dream oriented technology. His work hes been shown in numerous film festivals (Locarno, Rotterdam, Festival of New Cinema in Montreal, Videoformes) and exhibitions ("Dans la nuit, des images" at the Grand Palais, "Labyrinth of my mind" at Le Cube, "Studio" at "Les Filles du Calvaire" Gallery, etc).
Creation in residence, With the support of Clermont Communauté, D.R.A.C. d’Auvergne.
Screen effect is a cinematographic term that evokes the occlusion of a shape by another, and which is modified by movement, either because the hidden shape reveals itself more, or because it is
The creation of this multimedia installation came from an observation: the gap screen/sound observed at the end of a film projected in an outside theater. Indeed, the sound of the film, broadcast on radio waves, continues to be captured in a perimeter around this space. This observation, linked to the drive-in theater system itself, is the basis of a reflection around the area of projection and what remains of the work once we leave the area, materially or immaterially. What does the viewer retain after leaving the exhibition area?
The installation is a description of her research during her Vidéoformes residency.
Justine Emard was born in Beaumont in 1987. She developed an interest for video and images at the age of 10 when she discovered her parents’VHS camera. A student at the Ecole
Supérieure d’Art de Clermont Métropole (ESACM), she studied in Oklahoma City (USA) in 2008, which ended up being a turning point in the development of her practical experience and reflection.
Her videos were presented on two occasions during the Vidéoformes festival in a selection of ESACM student submissions. In 2010, she was awarded the DNSEP (Diplôme National Supérieur
Her image research can be divided into several techniques: photography, video, installation, virtual reality. Her different works examine the notions of fixed and moving images, the media, and ways of representing the image. During her studies in the U.S., the gradual disappearance of the image, seen in her photographs and videos, begins through a study of the end of drive-in theaters. The cinematographic system is a source of inspiration for her. The idea of projecting (first as a system then in the idea of mental projection) is key to her research and leads her to concentrate on the idea of the screen, the main theme of her reflection. The inside of the frame becomes porous, open to the hors- champs of the surrounding world: the rust spot on the empty screen, the airport lights, the halo of headlights being turned back on...