Valentin Sismann

A snub to technological hegemony in the arts, particularly in the world of contemporary music. In the most trivial representation of the computer tool, up to 16,384 "mouse players" (performers playing plastic mice) play like virtuosos in the style of the children's game Simon.

"Plasforms" is above all a visual composition, the relevance of the camera's absence, continuing in its time the plastic tradition of seeing. It is the exposure of the digital medium itself, a choreography of ghost images mechanically imitating the artificiality of a process.

Is aging, obese, breathless humanity still capable of anything other than these attempts at inharmonious dialogue between bodies, where what binds is also what kills? L'image arrêtée is a striking observation of the last hiccups of caged humanity. But life and work are everywhere in the sound, in the babbling and musical lapping of the wave, in the irreducible belief that a work of art can save the world from oblivion.