TIME FOR REVOLUTION
TIME FOR REVOLUTION
TIME FOR REVOLUTION
As a spectator who can’t take any more of the news—each story worse than the next,
As an activist tired of seeing that nothing can be resolved by talking to institutions,
As a human being fed up with sterile communications that bring no action for those affected,
As a social being who, despite herself, belongs to capitalist society, feeling powerless, as if her voice— even when shouting at demonstrations— is never heard...
It’s as if the body must become the battleground for my struggles, because a body—dead or alive—seems to say more than voices or words that sink into oblivion.
With my own body, I want to shout my indignation at a humanity that learns nothing from its past mistakes. We are stuck in a perpetual cycle, as our old friend Plato might say, and it’s time to break this circle.
I’ve been waiting for the Messiah, but now that they’re clearly not coming, it’s up to us to come together and fight for an end to the desperate agony of a humanism that no longer resonates beyond borders.
If the words and images shared across all our fabulous social networks don’t make the elites—who clearly have the power to resolve poverty, social, and medical injustices—react, then let’s take up arms, WE ARTISTS, and burn all these arid, endless talks.
Without artists to tell the story, the world will remain a barren wasteland, where only aimless, detached capitalism will grow, serving merely to exchange a currency that doesn't actually exist if we stop using it.
The only real currency that exists is our exchange—from being to being, from idea to idea, from image to image.
That’s what history will remember.
!! Happy burning year of 2025 !!
Performance written by Sarah Konté
Directing and Shooting by Meredith Marlay
2023
Les Grandes Serres de Pantin, Paris
The installation was created as part of a group exhibition, "Éc(h)o Poétique", curated by Elona Prime and in collaboration with the digital art collective 36degrés.
The installation was thought of as a circle of perception unfolding from the moment one closes one's eyes, then when an image is sketched and finally when a word comes to try to describe this sensation.
It illustrates in a poetic way what we are likely to see when we close our eyes.
On two white sheets moving according to the movement of the audience, the videos are projected. The projections extend beyond the white sheet to show beyond the projection fabric so that the video leaves the frame.
Visitors are invited to take headphones with different channels to listen to the sound of each installation in this group show
The video and sound installation was conceived from a sound composition realized in the Serres d'Auteuil on the basis of an electric signal emitted by a plant and played on a modular synthesizer.
This recording was made possible during a workshop with the two Dutch artists Christiaan Zwanikken and Marc Marc.
During this workshop we placed sensory sensors on plants to listen to their electrical signals and then modulate their signals on the modular synthesizer.
I then decided to put these sensors on my eyes in order to play directly on the plant an electric signal according to the movement of my eyes and my contact with my hands on the plant.
The plant had become an instrument playing between its own electric signal and mine.
The videos represent a conversation between two abstract videos, a metaphor for what we see when we close our eyes, and a text written on the ground with sand: "WHAT DO YOU SEE".
The text and the image play in concert, in a blue night light, with an alternation of temporality as if a conversation took place between these two languages.