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Manuel Fadat on The Sirens Chant, November 2013

Aline Biasutto, born in Luneville in 1980, lives and works in Paris. She received her DNSEP at the Academy of Fine Arts in Montpellier. She says of her work, be it video, photography, or drawing makes mediums also often communicate, "it questions the political image, its potential of resistance to representation and interpretation; it is an investigation into the limits of the visible."

Aline Biasutto is interested in multiple areas, such as the humanities, literature, music. But she is also interested in various issues, such as relationships between individuals, politics, understood in a broad sense, the major changes and great evils of our time, it addresses issues of philosophical and artistic view. For her, everything is "porous". Also, in her works, she creates "poetic connections" between the elements, the mediums she employs, all of her interests and concerns, perceptions and sensations.

As mentioned in the text devotes Alexandra Delage, Aline Biasutto "believes that the imperceptible is the starting point." She draws indeed behind everyday life, the substance of her works, from events that may seem insignificant. She "punctures, tears bits that are a priori silent when emptied of their context." The artist thus records moments of reality, the news, the sensible world around her, and change them to make the spectators, filtered through her vision, share their experience, so they can "perceive" differently this real. But the artist is well aware of the gap that exists between the work shown and the work seen. This is precisely what interests her. Therefore, she makes her work thinking about this relationship between viewer and work. For her, image is a vehicle, but also a mirror that can be crossed sometimes, sometimes not.

The video The Sirens Chant, that the artist shows as an audio and visual installation in an enclosed room where viewers are in a state of immersion, can be seen as the perfect illustration of her approach.

The work begins with a quotation from The Tempest, by Shakespeare: "noise storm, mixed with thunder and lightning, on board a ship struggling against a raging sea." Then, with the first images of a stormy sea at night, slow and powerful, begins the fourth movement of the Third Symphony of Gustav Mahler, known as the Midnight Song and whose words are the Song of Zarathustra by Nietzsche.

What do we see? Motion pictures, drawn, are linked at different rates. The images and symbols scroll. The waves are transformed into a map of the Mediterranean, colored dots appear and African women, a boat overloaded with men and women that it has become clear that they are candidates for immigration. Then a constant fast motion images are transformed, pack, Africa, the boat, the Mediterranean, the paths of migratory trajectories, waves, a man drowned, cards, then Venus appears, which is no other than the Venus of Urbino by Titian. Aphrodite born from the foam, beauty, love, desire that drops its flowers. Arise gaming graphics flower-woman, a smiling, happy, then Venus, the sea and the skiff man's face, the smile, and then the Mediterranean and plots, sea, waves, a constellation man colored dots that rise into the sky, evanescent, souls? The sea swells, and then disappears into the hills.

The film, which is divided into two parts, a parallel between the political desire and erotic desire in a tragic background, the clandestine (the points represent statistical dead illegal drowned UNHCR, and their presence as fireflies, a reference to the text of Didi-Huberman the survival of fireflies and represents a realization of these people often faceless and nameless) who leave their families, their country, with all the hope of a better life, and bottom of a Mediterranean "geopolitical entity" whose story is "shared" by all the countries of the periphery. Then comes the desire of a man (the smiling man) and female (Venus), whose story carries a lot of hope too. The Song of Zarathustra, finally, is the hope of a joy that survives despite pain. We must go beyond many things, says the artist, it takes a lot of strength to leave everything and everyone you love hoping for the best and risking death. As for the sirens, the reference is clear. As written by Virginia Lauvergne in a short text: "There is something that is going nowhere. Yet a small skiff risk carried by the din of the sea, this crossing in this Mediterranean both closed in on itself and open to the depths of time, the stars and the knowledge that has transformed its depths silt for thought for the future of man. " For the artist, every image, every symbol, every note, every word of the song has a meaning, as well as how these elements were arranged in a very specific narrative, with an address to the audience, to share with her. But the work will not be reduced because the interpreter viewer also works with his own imagination, his own sensibility.

 Manuel Fadat, November 2013, text written in the framework of the exhibition Jean Jaurès, between arts and litterature, Château-Musée du Cayla, Andillac, June -Nov. 2014.

 

1. Interpretation directed by Pierre Boulez, and sung by mezzo-soprano Anne Sofie von Otter.

2. « Ô homme 
prends garde ! 
Que dit minuit profond ? 
J'ai dormi, j'ai dormi -, 
D'un rêve profond je me suis éveillé : — Le monde est profond, 
Et plus profond que ne pensait le jour. 
Profonde est sa douleur -, 
La joie — plus profonde que la peine. 
La douleur dit : Va-t-en!  
Mais toute joie veut l'éternité — 
— veut la profonde éternité !" » 

3. Georges Didi-Hubermann, Surviving of Fireflies, Les Editions de Minuit, Paris, 2009.

4. Tarek Elhaik, about the Sirens Chant, independent curator and assisting professor assistant Cinema Department
at San Francisco State University