Realunreal andrée julikà tavares solo exhibition Cons Arc Chiasso (CH), 2009 06.12.2009-31.1.2010 Presentation by Gianfranco Ragno All the works on display by Julikà Tavares find their origin in photography, as a pure fragment of memory, a fragile minimal unit of 'what has been' (ça-a-été) of Barthesian memory. In its nature of pure silence, it appears as an antidote to oblivion, to the lack of history and biography, it illuminates something that could be swallowed up by darkness and forgotten. With cinema, moreover, photography has a direct, successive, almost parental relationship. Two images are enough for a sketch of a story, a synthetic form of a story - and it is amazing how they are compact in nuce already plot, yet ready to accommodate developments, sequences and scenarios (Autour d'un film, 2005). At the apex of a relationship between memory and place, photography constructs fictitious theatres, shapes new roads, ignites the narrative mechanism. However, it is interesting how the images are placed in the casing of transparent boxes that indicate a way out of the theatres, taking us in the opposite direction to the filmic dimension, in practice a road that (re)leads us towards reality - where the enchantment ends. Little does the apparent dichotomy between real and unreal matter: more urgent is the need to break oblivion (it is the interrupted film, the darkness, the lack of an outcome that is unbearable). This is also the case for Réelirréel (2007), symbolically played out in the space between fiction and the observer, in front of a film noir, the highest degree of deception, seductive and illusory, but at the same time nourished by the dark side of the chronicle. Great weight in Play With Me (2009), as in the aforementioned Autour d'un film, also has the memory: it is no coincidence that the retracing in places dense with existential significance testifies that the past is malleable matter between truth and deception, between recollection and its private scripts, but above all it is a vital and sensitive tissue. It is therefore indicative that in both projects the protected universe of the home, a theme faithful to the author's poetics, stands out. In different ways but with a tension common to all the projects, Andrée Julikà Tavares moves on a territory that is not simple, at times obscure, between memory and the imaginary, between the everyday and fiction. The artist's works speak softly of a collapse of certainties, where what remains is sustained by appearance more than by will, by artifice and the evocation of mass media (cinema, television) more than by the slow oscillation between action and reason. The subject of his art is not photography in the strict sense of the word, but rather the nature of photography in its relationship with memory, and thus of mankind with itself and the acceptance, or construction, where it may deem it possible, of its own destiny. Gianfranco Ragno (Nov. 2009)


Le film dans le film. Une autre histoire.

The movie in the movie. Another plot.


Autour d'un film Juxtaposition of pictures of two different places.
Play with me