Moment élastique (Cute Fiction and Facts)

Andrés Baron and Juan Pablo Plazas are partners in crime. They work on stylistic figures applied to moving images, sculpture, installation and the ready-made. Also, in a cubic space, two people evoke the exhibition in the making, they relate what is happening factually before their eyes, but by responding to each other, they let themselves go to fiction, adopting the point of view of a dazed visitor

how interesting it is to write about an office in an office that looks just like it I wonder if in a while there will be artists who will tear out the carpet to reveal the grey of the concrete but I also believe that everything is already so strange that they simply wanted to adjust the strangeness to the height of everyday life in an office where you can see exhibitions and where there is this office scent all around everyone pretends that it has become something else since everything has been taken away except the windows 

where we saw the city and the passing of time reflected like an automated landscape in the eyes of the regular visitors who can look at the objects placed there which are perhaps no longer lulled by the light smothered by the white filters this is perhaps what gives the impression that what seemed obvious has moved into the uncanny well it’s funny how many things don’t translate

I’m curious about de-objectification, is it possible to de-objectify an object It’s when everything is flattened on the same surface the one of the wall where we see a dog looking at a whirlwind and a man who is constantly whirling in his race or rather it’s the camera that is swirling and this may have no end and it’s at this moment that time stretches like the red of the pencil crushed on the sheet of paper filmed while the dog waits and the frame tightens as the black is crushed in its turn

but the postures are silent, the noise comes from within and the hubbub is that of the loosening of logic and its evidence that we have let slip away like a step aside that we will catch up with later

on the screen the characters untie themselves, the images open up the objects are assembled since the context of art authorises movement and at any moment we could sit on what we are looking at to hang out there  

to have your head in the clouds is to be absent from reality while being there yet there is no time out but an elastic moment with hypnotic movements dream or lapse the two companions seem to extend time on several planes in a way that evokes both the horizon and a playful interest in the constitution of matter like when one wraps a piece of chewing gum around one’s finger and pulls it out to see it stretch out stretch out strecht out between the tip of the face and the end of the hand

what are objects made of perhaps noises of ambiences of interior monologues of moods of motives that make that when we observe them we like to give them other utilities that they would seek in the invisible of what constitutes their climate their ambiance their circumstance  and perhaps the circumstance is the arbitrariness of affinity and it doesn’t matter because we let ourselves be caught up by the displays of the exhibition

Rémi Guezodge & Fiona Vilmer