- Projects
- Exhibitions
- Documenta 14, ballhaus museum, kassel, 2017
Kassel, Germany
10.06 - 17.09.17
An installation by Stéphanie Marin for the film "Le Fort des Fous" of the director Narimane Mari on the occasion of Documenta 14.
From June 10 to September 17, inside the Ballhaus in Kassel, former residence of Jerome Bonaparte, brother of Napoleon, the installation breaks with an architecture emblematic of the violence of the domination relations structuring societies. The subject of Narimane Mari's film.
The installation risks the encounter of otherness. To integrate a large unstable body, the spectator must advance by climbing inside a large stack and seek, in the midst of others, a space of oneself. The positions are multiple and all create a context of acoustic isolation in a sensitive cohabitation.
The first image of the structure evokes the revolutionary barricade, constructed with arms in the urgency and in the energy of the struggle, on which one is supported to project itself in a film which is a true fight. Installed, the spectator is feeling responsible for his movements, his looks and his sharing, and is integrating a narrative articulating the temporalities: the past, the present and the future. In the physical proximity of positions to be invented, you can feel the sensuality of the relations to the others which forge the identities of the South, and the materialism of the forms of refuges, flexible but firm, is more suitable for awakening consciences than for dispersed reverie.
Mathilde Roman
An installation by Stéphanie Marin for the film "Le Fort des Fous" of the director Narimane Mari on the occasion of Documenta 14.
From June 10 to September 17, inside the Ballhaus in Kassel, former residence of Jerome Bonaparte, brother of Napoleon, the installation breaks with an architecture emblematic of the violence of the domination relations structuring societies. The subject of Narimane Mari's film.
The installation risks the encounter of otherness. To integrate a large unstable body, the spectator must advance by climbing inside a large stack and seek, in the midst of others, a space of oneself. The positions are multiple and all create a context of acoustic isolation in a sensitive cohabitation.
The first image of the structure evokes the revolutionary barricade, constructed with arms in the urgency and in the energy of the struggle, on which one is supported to project itself in a film which is a true fight. Installed, the spectator is feeling responsible for his movements, his looks and his sharing, and is integrating a narrative articulating the temporalities: the past, the present and the future. In the physical proximity of positions to be invented, you can feel the sensuality of the relations to the others which forge the identities of the South, and the materialism of the forms of refuges, flexible but firm, is more suitable for awakening consciences than for dispersed reverie.
Mathilde Roman
