Stile der Stadt, Ein Projekt von Filomeno Fusco und Dirck Möllmann

deutsch

Videopanel 2011

February 19 – 27, 2011

Altonaer Museum, Hamburg

House

Sébastien Caillat

Sébastien Caillat *1979 in Grenoble, France
lives and works in St. Vincent de Mercuze, France


Exhibitions and Screenings (selected)

2009 Videos & Films – Lemaître Collection, Museum of Contemporary Art, Lima, Peru (G)
2008 Videos & Films – Sammlung Lemaître, Kunsthalle Kiel (G)
2007 The territories of picture, Le Fresnoy, Tourcoing, Frankreich (G)
2005 Opus, Musée de l’Art Moderne Lille, Frankreich (G)
2002 2. Video Marathon, Musée de l’Art Contemporain Lyon, Frankreich

Awards and Fellowships (selected)
2006 Best Contemporary Artist bei der Estampa International Art Fair, Madrid

Histoire sans gravité

Beta-Video on DVD, 16:9, colour, 14 min.
produced with support of Le Fresnoy, National Studio of Contemporary Arts

Courtesy Galerie Martin Mertens, Berlin

In 2012, Sophie and her mother live in a futuristic tower building in the Paris business quarter of La Défense. The apartments are the property of a company listed on the stock market. Depending on the development of the stock prices, they move as mobile extensions of the tower along its vertical and horizontal axes. The apartment of mother and daughter belongs to a pharmaceutical company. It is fabulously decorated and lit elegantly. The inside seems too plastic and, at the same time, shallow. Behind the windows, the outside world slowly slides past, sometimes it comes to a halt. Sophie is ill. She sits in a wheelchair and has to take pills. There is a feature about the stock market on the radio. The market prices are going down. Perhaps the child takes the pills of her “own” company. Her mother is waiting for the flu epidemic that is growing in the world outside. More drugs would be sold, the stock prices would rise and provide them with a better view. Perhaps they would be able to see the Arc de Triomphe, like last year. Sophie asks how much longer she will live. At the end, she gives herself and her mother an overdose, and the apartment rises. The title of Sébastien Caillat’s film Historie sans gravité refers to the virtual and – in this sense – zero-g world of stock markets. The wheel of capital streams keeps turning faster, but it would be hubris to think that gravity can be conquered. Because the stocks are symbolised by the bodies of the mother and the child, and because the stocks’ performance on the market has direct effects on these two, gravity is reintroduced. History demands sacrifices, regardless of how autonomous the sacrificed might be.