Vernissage vendredi 21 septembre de 18h à minuit
Mercredi, jeudi, dimanche, 1er novembre : de 14h00 à 19h00 Vendredi, samedi, 11 novembre : de 14h00 à 20h00 Fermeture le lundi, le mardi, et le 25 décembre Les 24 et 31 décembre, fermetures à 17h.
Tarifs visites guidées : 40,00 € groupe de 10 à 30 pers, 1h Sur réservation: 03 20 28 38 04 / lmenard@lefresnoy.net
Tarif normal : 4€ Tarif réduit : 3€ (demandeurs d’emploi, étudiants, seniors) Entrée libre pour les détenteurs de la C’Art et les Amis du Fresnoy Gratuit chaque dimanche pour tous.
“Today, we have invented an accidental time – that is an instant, which partakes neither of the past, nor of the future, and which is fundamentally uninhabitable.” Paul Virilio
Two worlds coexist in embryo. Contemporary ruins superimposed over ancestral ones evolve together, marrying past, present, and future.
This film is an invitation to archaeological introspection, in a world in suspension where man is nothing more than a memory. It invites us to contemplate the development of the flesh and the birth of an imaginary alchemical and mineral universe.
If the word ETYMOLOGY means literally the origin of a word and its historical, cultural, and metaphorical progression, it becomes here a kind of interval that links a multitude of layers, between ancient architecture and ultramodern structures, between dance and death, between stone and life, motion and inertia.
The real and the hyperreal. ETYMOLOGY also becomes an eternal dialogue between forms, in which meaning no longer exists, no more than the narrator (author). Just a few sounds engraved on rocks subsist, functioning like records, exactly like the black boxes that become so fascinating after a plane crash.
Accelerating progress in the contemporary world implies that tomorrow’s surveys will be of ruins; a kind of archaeology of the future.
Production : Le Fresnoy, Studio national des arts contemporains
Trained at Le Fresnoy - Studio national des arts contemporains, Saïd Afifi has in recent years been exploring “postmodernist” architecture, heightening this with the dimension of an order that is at once chaotic and utopian.
New technologies are omnipresent in his artistic practice, especially in his use of 3D rendering tools.
“Without fighting change and the necessary evolution of the world, and while maintaining the position of an observer, close to record, I try to metaphorically question the political, social and economic circumstances that engendered the advent of the ultra-modernist landscape.”
