Thursday November 24th, 2016 at 9pm :
Perpetual Present with artworks by Liv Schulman (in the presence of the artist) and Jeremy Deller
During three evenings this fall, In extenso becomes a “Grindhouse” − those former American movie theaters dedicated to “exploitation” films screenings − to project contemporary artists movies or videos who, as many filmmakers included in this genre, play with taboos and leave a significant room for creativity and visual experimentation.
Videos or films by artists often admit a close relationship (if not belonging) with this genre (low budgets, insubordination to censorship, critical dimension, running parallel to blockbusters…) which, though misunderstood and wrongly analyzed during its heyday (the 50’s, 60’s and 70’s), has produced plethora of movies now regarded as remarkable, as much for their rich visual experimentation, musical orientation as for their off-beat or critical look on society and their counter-cultural positions.
Following the frequency of those movie theatres’ program, several films and videos will be projected each evening, one after another, based on special topics that viewers will be invited to discuss and question. Just like in those theatres, viewers will be allowed to eat and drink, and even sleep, backrooms however will be hard to consider…
In the last decade, many analysis on the perception of present time noticed we would live in a perpetual present, devoid of any projection for the future, where we would have reached a final stage (in all fields: political, social, economic, technological, cultural, etc) with no alternatives. Human beings would thus reproduce already existing schemes ad infinitum for they would have reached the so called “end of history”, confirming the Hegelian teleological conception’s of History defended by Alexandre Kojève and Francis Fukoyama.
Are we yet going in circle in this so called present? If their works are not explicitly subjective representations of reality, many artists are wondering about the present, representation of time and how our contemporary world will turn. What is there to consider? What will social history of art be able to tell two centuries ahead of us? Are there no alternative to this understanding of present these days?
We would like to thank :
The artists, Artangel Collection, London, Art : Concept, Paris, École supérieure d’art de Clermont-Métropole (ESACM), École d’Enseignement Supérieur d’Art de Bordeaux (EBABX) and services techniques de la ville de Clermont-Ferrand.