我们用工厂的主题去表达工人阶层的消亡，至少在象征性层面上。在一个去工业化和大众阶级兴起的欧洲，如重组后的一系列图纸所示，我们建议对已经没有工人的空置的工业遗产进行文化占用。在飞碟形体育馆这件视频装置中，对工人阶级的消亡有着更清晰地表达：我们会听到好战分子莫里斯 · 索雷斯乐观的演讲，不合时宜地鼓舞着缺席的人群以及那些空置并废弃已久的座位。
This exhibition assembles works by the french artist duo Capucine Lageat & Antoine Perroteau. Together, they create links between still images and moving images. Their research focuses on various urban spaces, such as a deindustrialized district in England, a flying saucer-shaped gymnasium in France, a district built by the fascists in Rome or even the hutongs of Beijing.
Through their practice of the urban drift, they are interested in the memory of places, in particular places marked by the workers’ history in Europe. Their drifts allows them especially to have a new reading of the transformations of space and the resulting transfigurations of the landscape.
Their experiments lead them to create topographic documentations, to recompose images with multiple points of view, or using archives. Through imaginary spaces and actual territories, through photography, film and drawing, their practice questions the perception of space, in terms of its conception, propounding a critical approach to the urban space and suggesting its possibility of popular appropriation.
Our research focuses on the memory of places and the relationship of the image to politics. Our first common film, Grand Union Canal, summed up our attempts: a photographer, wandering in an abandoned industrial area in England, was searching through photography for traces of a forgotten past, the memory of a repressed humanity. Only industrial chimneys seemed to retain the memory of a human presence in this devastated area.
The motif of the factory allowed us to express the disappearance of the working class, at least on a symbolic level, in a Europe in the grip of deindustrialization and the bursting of the popular classes, as in the series of drawings After restructuring , with which we suggest the cultural appropriation of the industrial heritage emptied of its workers. The disappearance of the working class is more clearly expressed in the video installation shot in a flying saucer-shaped gymnasium: we hear the optimistic speech of militant Maurice Thorez echoing anachronically an absent crowd and some empty and long date abandoned seats.
It is undoubtedly an erratic quest of remembrance and memory which also pushes us to drift topographical, whether on a fictional territory, as in the drawings on nautical charts, or on a actual territory, as in the EUR district in Rome, where our drift was notably guided by the fictions of Pasolini, Fellini and Antonioni. The works of these committed filmmakers, filmed in a neighborhood built by the fascists, suggested the importance of a sensitive and popular appropriation of these architectures from Mussolini era at a time of resurgence of fascism in Europe.
Our excesses in the hutongs of Beijing were less related to the search for a memory than to a striking reality: the rapid transformation of popular dwellings into tourist imitations in the center of Beijing. The video Time Ellipse, through its topographical character, shows neighborhoods becoming memories in front of their imminent destruction, both in the minds of the inhabitants and through the eyes of tourists. Looking at some satellite photographs later, we were able to visibly estimate the disappearance of these areas of popular appropriation, the hutongs. That's why we created an installation recomposing an intertemporal map of Beijing between 2002 and 2018.
We are pleased to present those works for the first time in China today. The current transformations of Chinese cities echoes the slow changes in Europe, which is why we think that questioning the transfigurations of urban landscape, especially the old industrial spaces, also applies to China. The factory and the city are spaces of the public domain, and it is necessary for all to appropriate them, starting with their imaginary. To appropriate the space begins by learning to get lost, to drift, and getting to know the landscape by truly looking at it.