TEMPS MORT, 1992
«Dimensions», (one channel) Pittlerwerke, Leipzig, Germany, 2023
«Body Media Il», (one channel) Power Station of Art, Shanghai, China, 2017
«L’effet film», (one channel) Galerie Le Réverbère, Lyon, France, 1999
Centre de Photographie Lectoure, Ecole des Beaux-Arts Cherbourg, C.R.A.C. Valence, France, 1999
«Unmapping the Earth», (four channels cylindrical installation) Biennial of contemporary art, Kwangju, Korea, 1997
«Images du futur», (two channels) Cité des Arts Montréal, Québec, 1996
Le Cirque d’Hiver, (videostroboscopic installation) Paris, 1996
«Temps Mort», (four channels cylindrical installation) Biennial of contemporary art, Lyon, France, 1995
» Le temps à l’œuvre”, (four channels installation) Espace d’art contemporain, Caen, France, 1995
Series of portraits (Vanessa Paradis, Jeunet and Caro, Victoria Abril, Willem Dafoe…) Canal +, France, 1995
« Temps Mort » (documentary France 2), France, 1994
“M.T.M” (video projection) La Fura dels Baus, Europe, 1993
A text by S. Zagdanski is at the origin of this experiment: “…to annihilate time, to settle in a time that is forever dead, to kill time in order to kill death…”. In a photograph, time is stopped but so is space. In a cinematographic shot, we can travel through space but we also travel through time; neither of these two mediums makes it possible at the same time to travel through space while stopping time. However, it would theoretically suffice to cross their two genes, the ability of one (photography) to fix the moment and the ability of the other (the cinematographic shot) to discover space, to finally penetrate into this fourth dimension by tearing apart the siamese space-time couple. TEMPS MORT is this genetic manipulation, an attempt to evolve in space without evolving in time.
Deadly dream of immortality; need to escape duration by taking refuge in the chimerical and powerful instant which nourishes our memory and our poetic, photographic and cinematographic universes. Dream of eternity; capturing time within its space, freezing the fleeting moment in its three dimensions, not killing time, only freezing it. Turn around time as one beats around the bush, cool its momentum by giving it a sacrilegious duration, take the measure of the moment finally mummified in the Augustan definition of time «moving image of immobile eternity».
The man with the glass of water (1992). I carried out my first experiment with 50 Lubitel cameras fixed on a circular wooden plate at equal distance from each other and oriented towards the center of the circle where the subject is; a young man holding a glass of water. The room is plunged into darkness and the devices go into long pause. The man throws the glass of water in his face and impresses the film at the opportune moment in a flash of flashes. Ubiquity disorder, we can see everything, take the time to look at the moment. The liquid became solid. The man, frozen in his grin, is transformed into a living sculpture escaped from the logic of time.
Homme au verre d’eau from Emmanuel Carlier on Vimeo.
Temps mort portraits from Emmanuel Carlier on Vimeo.