La Source - The source

The face in front, eyes open straight towards the one looking at it, turns slowly, in an improbable rotational movement, yet filmed without artifice, the subject rotating around a fixed camera. The slowness of the movement, the framing and the homogeneity of the video space conceived by the artist, create a rhythm of the image so perfectly constructed that it accompanies our vision to the point that this rotation seems possible to us and that our gaze on that of the filmed face seems to make it immobile, since it is facing him: icon and robot.
This look is 360°, it sees everywhere. In evoking certain paintings, Nicolas de Cues in "Le tableau ou la vision de dieu", speaks of "the image of an omnivoyant whose face is painted with an art so subtle that it seems to look everything around. (1). Nicolas de Cues explains in fact that if you turn around the image of God from the front, you always see it, and this, because he sees you. As soon as you look away from the image of God, you sink into darkness. Your gaze exists only in his, he nourishes you, gives you his mercy. From the reciprocity of the gaze is born your existence." As long as I'm here, you're with me. And as seeing for you is being, then I am because you look at me" (2). In Orwell's Big Brother, in God's absence, this nurturing bond becomes a police officer. Since it is the image of the face that turns on itself, naturally, it is you who follow it, you are no longer nourished, but rejected by it. You find yourself waiting for him. The repetition in loop of this so subtle rotational movement, annihilates its past or future moment, placing us in front of the fascination of an eternal present  subtle movement, because without clash, nor stop ; movement as natural as the person who moves around a painting.
The detour through this theologian of the 15th century illuminates, in my opinion, the specular but unidirectional structuring of our media economy system. Trademarks spread around the world so that we can identify with them wherever we are. The bond they are trying to create between us and them is indeed a bond of existence that they hope will last, but because it is deceptive, because it is unilateral, remains ephemeral and drowns in the demands of the incessant and artificial renewal of the present. Antonella Bussanich's video reminds us how this system attracts us, fascinates us, then rejects us in this perpetual rotation of the present time. This look, yet so striking, so particular, so personal, becomes generic and gets lost in the insignificant.
This video is a metaphor of the will of ubiquity and eternity of this system that dreams of an eternal present, its own.

Stéphane Doré, Director École supérieure des beaux-arts TALM, Angers

Nicolas de Cues (theologian born in 1464 in Todi) Le tableau ou la vision de Dieu, Editions du Cerf, Paris, 1986. p.32
Ditto. p.37

Translated with