Pierre Pauze
Mizumoto - Film - 20min - 2018
présenté dans le cadre de l'exposition Panorama 20
Film
MIZUMOTO, a portrait gallery in a retro-futurist and queer closed space where the protagonists assemble around the power and potentiality of water: aqua-metaphysics. This discipline reinterprets the state of knowledge in a euphoria induced by the multiplication of devices. Identities are expressed as so many distinct cells, assembled in a relational flux made up of music, exchanges and interpretations. A conductor of information, water evokes both big data and a transient human condition, between a new humanism and capitalist transhumanism. The symbols here evoke unban figures traversed by the primitive instinct for survival. Each character negotiates their place in keeping with their knowledge and obsessions.
Mingled quantic phenomena, the revolution of medicine, synthesis through music: this is a fantasy future in which “sonic fluid,” the originary substance, has assumed authority ever since scientific research into the memory of water ushered in a new digital revolution. Materialised by closed space-time, this is inscribed without linearity, in the maelstrom of links forged between the cycle of water and the information networks of the web. Humanity, the data centre of water and of its hidden memory, henceforth contemplates water as the place of an impossible redemption, subject to its unfathomable power.
Théo-Mario Coppola
Pierre Pauze
Born in 1990 in France, Pierre Pauze received a diploma with honours from the École des Beaux-Arts de Paris. Winner of the Prix Artagon and the Prix Agnes B in 2017, he recently exhibited his work at the Carreau du Temple, La Villette, and the Fondation Brownstone in Paris, as well as at the Musée Es Baluard in Majorca and the K Museum of Contemporary Art in Seoul. For several years, he has been exploring the theme of water and waves through installations and video protocols drawing on several levels of writing: the sciences, science fiction, mythology and iconoclastic issues linked to the post-internet culture.
