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From the oral description of an action film by three different people
(Téléscripteur, 2006), each one developing their own narrative
strategies, to tight shots of the trembling mouths of dancing women
in motion (Chorée, 2014), Camille Llobet’s videos shed light on the
gaps between language and its objects, intentions and reflexes,
and the way in which the body expresses a non-verbal share of
communication. Deliberate presentations of the physical and
mental difficulties in channelling affects, which, in return, create
choreographic and musical idiolects, i.e. distinctive and unique
uses of language, substitute languages which broaden the field of
expression.
As a simple situation with complicated consequences, Voir
ce qui est dit
(2016) proposes the deconstruction in space of a
disturbing scene. At the outset it was a performance organized
by the artist: a deaf woman, standing beside an orchestra conductor,
uses sign language to describe what she sees but cannot
hear — namely, the musicians playing their instruments. A simultaneous
translation, a score mirroring the synchronized movements
of the orchestra, but also a copy of the almost epileptic beats,
movements and reflexes of the professional conductor’s body. If the
deaf performer invents a live story by transcribing her — perforce
subjective — perception of the scene, you would at times swear that
you’re hearing the music, just by looking at her. As a choreographic
synaesthesia, where the sound is turned into movement, but also
as a reference to silent film and the bodily language of the farce,
the video installation is a reflection on language as a creative act.
All translation has to accept the deviance of an initial message, and,
on the principle of the grape-vine, this entropy of discourse creates
a form of poetry. Everything in fact happens in the interstices and
in what is not said, that inaccessible zone of intimate perception,
both physically close and radically exotic.

Guillaume Désanges, Catalogue of the 61st Salon de Montrouge, 2016