The video animation ce qui arrive is a virtual tour though a large office building, whose anonymous corridors and meeting rooms could be anywhere in the western world. As the camera moves through the building on a horizontal or vertical path, the configurations of people in each room change through overlapping still images. So that the motions of each individual character appears fragmentary. This is one of three ruptures that give the work its tension. Another noticeable rupture occurs through the presentation of an extremely ordinary and detailed everyday scene and the absurdities that penetrate this world outbursts. According to Jürgen Link’s theory of normalism, the more deeply embedded these ruptures are in every day life sceneries, the more effective they become.
If one is irritated by the group of employees staring at the ceiling above a seating area in a meeting room, one is even more disturbed by the burning, paper-spewing copy machine or the colleagues with oxygen masks and rescue vests, which are even more profound breaks from everyday office life.
The final rupture is somewhat subtler. The rooms are not designed in coherent sequences. Doors to individual rooms and corridors always lead to nothingness. In a room, a door opens to the next room, whereas in the room on the other side of the wall there is only a white wall. The absurdity of the fragmented events that penetrate the everyday world represents spatial incomprehensibility and isolation.
(Text: Bettina Back)
collectif_fact is Annelore Schneider and Claude Piguet. They live and work in both London and Geneva.
Their projects, particularly videos, are often a deconstruction of what we perceive as cinematographic codes of our visual culture. collectif_fact are fascinated by the daily repetition, stereotypes and clichés from popular culture. They deal mostly with aspects of the(anti) spectacle, simulacra and appropriation. In order to accomplish this, they investigate the ways in which narration can be taken apart and restructured to form different stories and alternative meanings. Through the appropriation of cinematographic codes and strategies in their works, they encourage the observer to reflect critically on the habits that condition our perception of reality.
From 2002 to 2009 collectif_fact included also Swann Thommen.