Hors sol
RENAUD AUGUSTE-DORMEUIL
There is no street demonstration without slogans and banners.
In order to express their point of view and to be heard by the inhabitants and the media present on their route, the demonstrators make banners, distribute leaflets or chant slogans.
The banners are made to be visible from afar by passers and by the demonstrators themselves.
To organize a demonstration in France, a request for authorization must first be filed with the Prefecture of Police. The latter then gives its authorization and imposes a precise itinerary. Thus in Paris, there are three or four "classic" itineraries for all demonstrations. The best known and used of these itineraries is the axis Place de la République - Place de la Nation.
For reasons of law and order, the itineraries of these demonstrations never pass by the windows of the "powerful of this world" or of our leaders.
The "Hors sol" project proposes to create demonstration signs fixed on sleeves large enough (minimum 4m) so that, once put in situation, they are immediately visible from the high floors of executive buildings or ministries.
By being placed directly in front of the office windows overlooking the demonstrations, these signs will have the new function of obstructing the view of the "powerful", forcing them to read the slogans.
On the signs will appear slogans as multiple as they are varied...real or invented...like so many invitations to recall previous battles, utopias or future dreams.
This project may take the form of a performance during an opening.
A resident at the Villa Medici from 2008 to 2009, he was awarded the Le Meurice Prize for Contemporary Art in 2009-2010. He is represented by the In Situ Gallery (Romainville). His artistic work, which takes the form of photographs, videos, and installations, explores, in particular, "new cartographies" and themes related to security issues. Between what we know and what we think we know, between memory and forgetting, Renaud Auguste-Dormeuil is interested in communication technologies as a critical reflection on their use. Starting from the problem of the destruction and fabrication of images, the artist explores different temporalities, all of which are related to the question of point of view: from where do we see things, and at what moment? For the Biennale, and in the form of a performance, I Will Keep a Light Burning gives form to the lines of tomorrow's sky. Lit throughout the evening, candles gradually appeared like a constellation of the future, in a huge circle materializing the invisible.