how can duration be defined as an object of work?
the improvised texts, images that are improvised, the sounds born
from interferences. between appearance and disappearance in time. pausing on the sound.
circulating in the space-time of improvisation. pauses. long pauses.
i wanted to work on length, duration, defined time. the period of my residency in Berlin
was a sort of long-term, continuous performance accompanied by
compositions of images and sounds, photographs with long exposures and performances with other artists.
in a defined duration everything is composed if we notice it.
nothing conceptual. a simple wish to be in real time. to be there in the moment, then to allow interactions
to occur between things. without controlling the texts, the images. like the sounds. allowing dialogue between them.
this idea is surrounded by the discipline of improvisation. improvisation is a
for me. visually or with sounds, it relates the particular moment. the research also consists of creating
a space where we are distanced from meaning and move closer to it. the question of recording these moments is no longer
posed because it isn’t a documentation but a transformation of the time and place where it can
be accessed at any time through different moments.
Statement of intent by Anil Eraslan concerning his exhibition at the CEAAC international space, March 2013.
I went to Berlin with the aim of creating a herbarium composed of weeds, on my return I had photos of friends (musicians, artists, publishers, critics and designers) respectively posing with the pieces I had done at different times.
During this residency I decided to highlight the benefits of the Berlin landscape : people who were very important to me, unusual places to which I am attached, and the creativity that implies.
Statement of intent by Guillaume Alimousa, March 2013.