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In that sense, it is not a legacy one can capitalize on but an
irreparable debt to come. Therefore, Reynald Drouhin keeps
the promise of the mosaic. Traditionally, it is inseparable
from the supporting architecture. It is only since the
Renaissance that the image can detach itself from the wall
and become mobile. The artist sets out to overthrow that
tradition, going back to the origins, proposing something
incredible: the basic unit will be a particular image. The only
referent to the origin of an image is another image, and that
origin weaves the multiple, ramified links of the web, our
culture’s seismographic symptom. That formal peg will allow
to join what was and what will come and develop a
Pathosformel. Art dies, is born again and history again
begins, it is again the same thing, and yet different every
time. To return to the question of the mosaic, contradiction
and repetition, Drouhin does not imitate the Ancients. No
grandeur, decadence or renaissance, he enters the time of
memory. Survivance, the returning ghost of that form, does
not obey the model of transmission which the archetypal
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1. In 1993, David Blair developed a totally different
approach, this heritage is still perceived today as a
promise to come with the WaxWeb project:
http://www.iath.virginia.edu/wax/
2. Georges Didi-Huberman, L’image survivante -
Histoire de l’art et temps des fantômes selon Aby
Warburg, Minuit, Paris, 1992.
3. Acronym for Ecole Nationale Supérieure des
beaux-arts, referring to the School of Fine Arts of
Paris. (TN)
4. Jean-François Lyotard, Heidegger et “les juifs”,
Galilée, Paris, 1988.
5. Friedrich Wilhelm Nietzsche, Généalogie de la
morale, Gallimard, Paris, 1985.
6. Jacques Derrida, La Voix et le Phénomène, PUF,
1967.
7. Refer to the notion of spatial montage in the works
of Eisenstein and Vertof, as well as Bill Seaman and
Lev Manovich renewing that concept.
8. Bernard Stiegler, La technique et le temps,
3 volumes, Galilée.
9. Martin Heidegger, Qu’appelle-t-on penser?, PUF,
1959, p. 90.
10. Alexandre Kojève, L’idée du déterminisme dans la
physique, Le Livre de Poche, Paris,1990.
11. Lev Manovich, Language of New Media, MIT Press,
2001.
12. Jacques Derrida, De la Grammatologie, Minuit,
Paris, 1968.
13. Jay David Bolter et Richard Grusin, Remediation:
Understanding New Media, MIT Press, 1999.
14. One could think of Gebhard Sengmüller’s,
imitation of ancient works of art by more recent works of art
would assume, but the incessant translation, saying something
instead of something else, speaking in the name of all
but oneself. To this end, one needs a print, the mosaic, and
also displacements of space and time, and finally, an antithesis,
the image within the image which deconstructs the relation
between discretion and continuity. Choosing the mosaic
as origin is adopting an imprint which formally avoids all
localized pathos. Origin as such has never existed. The artist
produces an opening in the survival process: the disturbing
recursion of an image of an image of an image. Difference in
repetition, discontinuity of time and sight. Reynald Drouhin
invites us to a genealogy of the image which is distance within
origin. “Repetition is constituted only through and within the
disguises affecting the terms and relations of series of reality;
but that is so because it depends on the virtual object as if it
were an immanent instance, whose particular quality is the
displacement (…) if pushed, only what is strange is familiar,
and only difference repeats itself.” 15
VinylVideo, which inscribes video images on vinyl
records. Since the sixties, this media translation
has been possible thanks to another phenomenon,
transfer: films are transferred to videos, these
videos are transferred from one format to another,
are digitized, then from a floppy disk to a DVD, etc.
Data is no longer confined to a unique medium.
Well what is more static than a mosaic?
15. Gilles Deleuze, Différence et Répétition, PUF, 1968,
pp.138-145.
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* In English in the original text. (TN)