Joseph Dadoune's work is deeply marked by the questioning and the overcoming of borders, whether those separating the East from the West, central power from…
Joseph Dadoune's work is deeply marked by the questioning and the overcoming of borders, whether those separating the East from the West, central power from the periphery, or the imaginary from the real. At the confluence of video, photography, architecture and drawing, his research combines artistic practice with social commitment and metaphysical reflection. Among his notable works, one may note his film Sion (2006–2007), produced by the Musée du Louvre with the actress Ronit Elkabetz; Impossible Calendars (2013), shown notably at the Musée de Tel-Aviv during the celebration of the centenary of Dada; and, more recently, Barrière Protectrice (2017), a set of autobiographical war drawings, gathered in a publication by Éditions Arnaud Bizalion. Exhibition view Des Racines, Joseph Dadoune March 2018, Photo © François Fernandez The archetype of a letter tips over into a stain or a line. The use of German, which I do not speak, allows me to project myself elsewhere, to be another. Another language then takes hold. The loves found in Hannah Arendt's poems become at times flowers, at times writings transformed into solar wheat, at times titles: You and Me. Me and You; the double arrows refer to the comings and goings of yellow or pink springs, to the subjectivity of lovers lying in fields of wheat, to extrasolar landscapes. Geographic and temporal markers are erased and give way to a white and “sonorous” background, onto which traumas and memories are inscribed. I made these pastels in my studio, in the south of Tel Aviv, the neighbourhood of Eritrean refugees facing the towers of the wealthy “Gated Communities”. The boys and girls who die through the whims of the gods in Ovide become here flowers or trees, recalling the metaphors of the wreaths of flowers woven by the Romans for their dead. Fleurs / After War. Blind Spot are these flowers blackened by physical and political pollution. Their greased iron stems, their “legs” and their roots are like the bases on which anti-rocket missiles are fixed. They are vertical beauties; seen from afar, they form a field of hybrid black flowers where the feminine and the masculine play the game of seduction. Jean-Baptiste Warluzel lives and works in Toulon. He approaches video and sound as a mode of thought allowing him to question, among other things, the world of performance and that of the exhibition. Through rearrangements, compositions and reprises, he makes his images while questioning the action of the performer, of the documentary maker and that of the author. He regularly produces video projections for the opera house in Salerne, Italy, and shows his work in various exhibition venues (the Palais de Tokyo for the D'Days, the Musée de Petach Tikva in Israel for the exhibition Bibliogia). For three years he has collaborated with the choreographer Régine Chopinot and teaches at the École supérieure d’art et de design Toulon Provence Méditerranée. Eloge de l’invisible In May 2008 Jean-Baptiste Warluzel and a…
