The movement of the images

This fixing is articulated around the question of the cinema and sound inflence on the modern art and contemporary.
The cinema cannot be thought without passing by the techniques of the assembly, assembly.
Part of the exposure is of aillor devoted to the assembly.

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collage cubists of Directs or Picasso, surrealist max Ernst or Man Ray, the pop assemblies of Martial Raysse or James Rosenquist arrange a multiplicity of images or fragments of images in a single sequence: they gather in simultaneity what the ordinary experiment of the cinema deploys in the succession. The visual arts produce a static equivalent of dynamics and sequence of the cinematographic plans......continuation

Since 1953, with the return of a voyage in Europe and North Africa, Rauschenberg works with the series of Red Paintings considered as the first outlines of Combines: abstract assemblies of various types of materials covered with painting according to a method of combination of disparate topics, whose majority of the reasons will take place in its iconographic register definitively. Without any hierarchy are thus mixed found objects, images of the popular culture and media, references to the masterpieces of the history of art and mythology and elements more strictly typographical. It is as from this same year that Robert Rauschenberg employs the term “Combines” to indicate this series of works in which it integrates images and objects of the real world into abstracted painting, abolishing kind the borders between painting and sculpture.

Installation intéractive

Born into 1994 from an initiative of Luciano Benetton and Oliviero Toscani, Fabrica is a research laboratory in communication going from graphics to the cinema, while passing by the industrial design, the music, the edition, the new media and the photography, installed in a purified architecture of Tadao Ando close to Trévise (Italy). Ci below one of the instalaltions which intérroge time.

A intéractive installation whose public is the propagonist. The visitors are of effects confronted with two images of them same in real time, with which they possibilté to interact. One of it slows down time and L E makes distinct, as if it S acted of a photograph under development, the other fragment of time is sequences of solidified moments as a pélicule of cinema which seems to move on a wall. On one of the walls the spectator is incited to immobilize itself so that the image remains clear whereas on the other it is encouraged with this moving, in order to animate the sequence.

This installation depicts two ways of being represented in time the fixity of the photograph and the filmic sequence. However in “we are the time we are the famous” the fixed image is actually the only moving image representing a certain duration, in mobility, whereas the filmed sequence is actually made up of a sériede static moment.

Of this façn the spectator is brought to make the direct experiment of the passage of the time, which it simultaneously resent like a flow and a series of fixed points. thus time can be perceived in two contradictory ways.