Le monde actuel
A few more things...
Words, written or simply enunciated, appear repeatedly in Antonella Bussanich's work. In Le monde actuel, the artist collects words from the mouths of adolescents as if from a hidden secret, that is, with attention and sobriety: revelation is, according to individuals, uncertain, timid, painful, clear or assertive. I would like to try this exercise and say the few words that seem to me to build part of the history of Antonella Bussanich's artistic work.
The verb is above all action. Antonella Bussanich films and contemplates, but also plays. The adolescent is at the centre of the work, he is the heart of the subject, the very subject of his speech, but the artist, like a satellite in orbit, creates movement through his movement. He accompanies them and constantly changes their point of view. This very "performative" work, which the artist loves and questions in many of her works, appears only as a filigree in the installation's device. In the circle formed by the televisions, the memory of this gesture is now absent.
And among other things the rotation of the camera, which leads the viewer to gradually discover the face of an unknown being. You then meet a glance and stop for a fraction of a second before the silence is broken by the brief intrusion of the word. Is it possible to grasp the complexity and depth of a person during this stealthy encounter? Faced with this world so familiar and at the same time so foreign, we can be condemned to touch it, hoping to penetrate it and understand it only in short but intense moments.
"You cannot enter the same river twice", with these words Heraclitus of Ephesus underlined the changing character of the world. This installation, created in 2004, echoes the philosopher's quotation by showing two video projections in which we see a phrase cut into fragments that descend along the river. This relationship with time, this reflection on the passing of time is an essential element of Antonella Bussanich's approach. In Est-ce que le plan est fixe, the camera looks helpless as the river flows, time passes, but nature seems immutable. In Le monde actuel the camera rotates, identifies the subject, rejects a linear reading of time, condemned to turn in circles, to know neither the beginning nor the end.
Antonella Bussanich's works seem to have their roots in some forgotten rituals. In La marche infinie, a 2001 video in which the artist uses the words of a Navajo healing ritual, the viewer follows in the footsteps of a walking woman. The repetition of the gesture, the rhythm of the movement create a particular alchemy, and the strange sensation that one can draw a harmony between being and the world. At the same time and paradoxically, this communion also exists in today's world. The figure of the circle symbolically draws an enclosed space that we do not know if its occupant lived it as a protection or a prison, a cocoon that immunizes or isolates. Each of the boys has his own universe, a world in itself of which Antonella Bussanich could very well possess one of the keys.
Fabienne Fulchéri, Director of the Espace de l'Art Concret