A red chair stands across from five screens. Three different images are shown on the monitors (c-b-a-b-c). Although separate, together these images form a terrifying unity. The central image cannot stand without the other images. The outer images appear mainly static. It is the calm before the storm because, irresistibly, you are drawn into the eye of the tornado: the central image. The viewer will sometimes be inclined to move the chair back. The images are interpretations of the elements wind, water, fire and earth. The soundtracks together form a cacophony of indefinable sounds; a threatening, sonorous drone. The motif of the red chair is woven through the images - for example in the form of candlelight. The viewer is led into an unreal world that is perhaps a more accurate reflection of reality than the images at first glance suggest. Alain Favre, originally a sculptor and painter, gave the following particulars of the nature of this installation:
- Real-time movement changes into virtual movement.
- The use of chemicals (photography) and video.
- The transmutation portrays real objects as if they were scale models.
You could conclude from this that artists are not able to characterise their work adequately. The symbiosis of images and sounds, the power that derives from this, the awe for the four elements declared by each image and the magnificent way this is represented are not dealt with at all in the technical description above, despite the fact that that is what 'La chaise rouge' is really all about. This installation underscores the increasing interest of video artists in nature. The selection of the tenth edition of the World Wide Video Festival gives the lie to the criticism that video art is too much 'l'art pour l'art' - quite apart from the question as to whether such a conception might not be legitimate. More than ever, video artists are paying attention to the beauty and the importance of nature, to the power of natural elements and in much of the work, there is definitely an engaging background. It is remarkable that the set up of this installation reminds you of an average living room; a chair in front of a television set, although there are five sets together here. The big difference from a living room is that you can't get away from these images. The suggestion is so tangible, and this making palpable of, in themselves, vague emotions is perhaps the major strength of this installation. There is a popular Dutch song 'You can't flee now' which tells that it is impossible on this earth to escape famine, war and environmental pollution. You could paraphrase this installation by saying: zapping doesn't help anymore.
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Eric van ‘t Groenewout
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Music: Al Comet
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