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Le sac rose
2008
Jordi Colomer
Photography
100 x 75 cm
Lightjet print on gelatin-silver paper.
© ADAGP, Paris, 2010.
Acouple of improvised actors are travelling through the Atacama Desert. They are seen deep in conversation, about music amongst other things, or washing their car. By setting up his camera in this Chilean no-man’sland, or printing photos of it, Colomer has opted to film the absurd. These staged scenes of roaming the world, divided into five episodes shown in a continuous loop, are rooted in a quotation from Guy Debord: “Wandering in the open country is naturally depressing”.
Text : Carole Vantroys.
Translation : Pamela Hargreaves.
© ADAGP, Paris, 2010.
Acouple of improvised actors are travelling through the Atacama Desert. They are seen deep in conversation, about music amongst other things, or washing their car. By setting up his camera in this Chilean no-man’sland, or printing photos of it, Colomer has opted to film the absurd. These staged scenes of roaming the world, divided into five episodes shown in a continuous loop, are rooted in a quotation from Guy Debord: “Wandering in the open country is naturally depressing”.
Text : Carole Vantroys.
Translation : Pamela Hargreaves.
Jordi Colomer
Spain
Born in 1962
Born 1962 in Barcelona, Spain
Lives and works in Paris.
Trained as an architect, something of a sociologist and primarily a stage director, Jordi Colomers uses his videographic fictions to explore the manner in which urban development can affect human behaviour. From a Situationist road movie in the midst of the pampa to a gypsy caravan parked in a Belgian shopping centre, via Niemeyer’s utopian city of Brasilia, his improbable voyages, on the borders of reality and fiction, strive to show that architecture is above all a decor and that any space can be transformed into a theatre stage.
Text : Carole Vantroys.
Translation : Pamela Hargreaves.
Lives and works in Paris.
Trained as an architect, something of a sociologist and primarily a stage director, Jordi Colomers uses his videographic fictions to explore the manner in which urban development can affect human behaviour. From a Situationist road movie in the midst of the pampa to a gypsy caravan parked in a Belgian shopping centre, via Niemeyer’s utopian city of Brasilia, his improbable voyages, on the borders of reality and fiction, strive to show that architecture is above all a decor and that any space can be transformed into a theatre stage.
Text : Carole Vantroys.
Translation : Pamela Hargreaves.
Artwork of
Jordi Colomer
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