Télécharger le pdf de la publication - Reynald Drouhin

a very physical relation with the machine. Stelarc’s 2 work
blasts the notion of a disembodied technological art. The
intangible approach becomes more appropriate if one
considers the flow of information on the net. Nothing is
static, nor remains identical.
L. S: “ Incident”, the team of artists you belong to since 1997
has indubitably boosted your research on this medium.
What is typical of your common vision of digital art?
R. D: Our various research does stimulate each other. Some
creations answer or prolong those of other members of
Incident. To demonstrate the specificity of the medium, we
often start on classical themes such as portraits, or pleats,
or landscapes. What brought us together initially is the will
to create projects that are meaningful only on the Net.
However our paths and research are very personal. Grégory
Chatonsky and Julie Morel share challenging new fictional
writing. But I wouldn’t define my own work in those terms.
L. S: Nevertheless, the key words chosen to define the
images of your compositions (The Angels, The Origin of the
World...) usually reveal the identity of your subjects. In
BetaGirl, bits of stories are glimpsed.
...................
!C!, 2002
R. D: The key words at the heart of each project tell a story
perhaps, however this is not intentional. The idea is to
define a subject in a few words, but shifting and unbalancing
it. Sometimes humorously, sometimes with a rub.
Recomposing Courbet’s L’Origine du monde, using the key
word “transsexual” creates a new perspective concerning
this stereotype from art history. What also interests me is to
not control the final result, but to be surprised by the image
that the combination of several key words provokes.
L. S: Slowly digital art is entering galleries, integrating festivals.
How do you see this evolution? You multiply your own
concrete interventions, presenting “Avril.exe” at the
Confluences Festival at the Fine Art School of Angers, or
“Originally Yours” at the Reso diversion gallery... Digital
prints, navigational trajectories on your sites, DVD videos
follow your online works.
R. D: Digital art has taken some time to be understood by
content rather than technical identity. Now it’s practically
taken for granted that digital art is one of the plastic arts.
This is a natural evolution similar to that of video art: a
contemporary production, neither compartmentalized nor
put in a corner. After having submerged myself in the Net, I
feel the need to confront my work to places of artistic distri-