Un réseau de neurones tente de décrire ce qu’il voit en observant le film Blow-Up (1966) de Michelangelo Antonioni. Sa description erronée produit une seconde histoire parallèle à la narration du film.

In the series, cross stitch embroidery has been sewn directly into family photographs. The images are broken down and reformed through the embroidery into a hand-sewn pixel structure. As areas of the image are concealed by the embroidery, small, seemingly trivial details emerge while the larger picture and context are erased. I am interested in the disjunct between actual experience and photographic representation and photography’s ability to supplant memory. By borrowing the visual language of digital imaging with an analog process, a connection is made between forgetting and digital file corruption. The tactility of the pieces also references the growing trend of photos remaining primarily digital- stored on cell phones and hard drives, but rarely printed out into a tangible object.

Jean-Marc Bustamante

Fête 71 - Thomas Lévy-Lasne (2015)

We might not have girlfriends but we do know how to have good time - Jeremy Deller (1991)

Tapes of the four movies that made the artist cry are altered only by the superimposition of the year in which he saw each movie and cried.

Digital C-print mounted on recycled hexacomb paperboard

Boxes - Martin Creed