The Ones With No Name, A Desire For Anomaly, originates as an artistic project including sonic, visual, textual and performative productions, unfolding on a period of 3 years.
As a tribute to those who always fail, by choice or exclusion, to fit a name,
The Ones With No Name starts with the question of a performative act that cannot be reproduced or be enclosed in an identity, a political system, a language, and that is doomed to disappearance.
We are trying to explore and invent alternative ways for infiltrating the order of discourses, reacting to them from within, and creating counter-representations for the re-imagination of life.
The practice of naming is a rich and complex one, holding in itself different layers of name dropping, un-naming, de-naming, re-naming, especially when it refers to a private or collective history, colonization, adoption, deportation, migration, concentration etc.
Working on the artificiality and the mirroring effect of the image, The Ones With No Name is very much inspired by a « camp attitude » that consist of duplicating, appropriating, over acting representations. The narrative and the form enclosed in the « legitimated », « commodified » image, often perceived as « natural », suddenly appears as a codified and entirely constructed one because of social norms, intellectual references, artistic disciplines, gender identifications.
The Ones With No Name reflects also very intimate feelings during the pandemic, the (self or imposed) quarantines, new arbitrary legislation and regulation that generate a mix of profound isolation, separation, solitude, vertigo, as well as of intense focus on extremely detailed and essential physical percepts, affects and artistic creation.
Thus, the challenge of this project is to translate and to rearticulate these percepts and affects
in a critical, constructive, generous, individual and collective experience.
Each occurrence of The Ones With No Name is unique and so aims to be (re)invented according to the specificity of each context.
The Ones With No Name, A Desire For Anomaly takes the forms of
a space in between
a cinema genre
a musical genre
a visual display
A black wooden platform (350 x 350 x 50 cm) is covered on its top surface with dark grey tatamis in order to welcome visitors who can gather, rest, chat, as well as read/watch/listen five videos and soundtracks released on 5 horizontal screens disseminated on the platform.
The installation is also made of nine linen fabric panels (280 x 100 cm each) suspended from the ceiling to the ground and they are discretely floating around the cubic platform. The blue, grey and beige panels have a quality of transparency and opacity, allowing visitors to see through in and out. Gaps are also managed in between panels so that the structure is freely opened and connected to the surrounding environment.
Eight of the nine panels are stitched on both side of the fabric with disseminated words in 6 languages stating “The Ones With No Name”. However, the viewer can rarely catch in one glance the full statements. Gaps, disseminations and combinations of languages are part of the installation. The impossibility to control language substantially acts the “differance” of the writing and reading processes (Jacques Derrida).
The six languages are:
– English: “The Ones With No Name”
– French: “les sans nom”
– Malay: “yang tiada nama”
– Maori (Tahitian): “o te aita e i’oa”
– Simplified Chinese: “无名者”
– Traditional Chinese:”無名者”.
Five videos with five original soundtracks were created in 2021 to be released in loop on the horizontal screens:
– (Not) A Vision”, sound composition, poem, video, 08:40
– “Close To Me Against You”, video and real sound capture, 02/21
– “怪獣 Kaijū Forever Remain (PandeMix)”, sound composition, video, 08:12
– “-ism”, sound composition, text, video, 05:25
– “Oblivious”, sound composition, text Universal Declaration of Human Rights, video, 07:19.
The videos are each time made of specific “montage” of image, text and sound related to poetical, mental, social and political situations.
Gaps, ruptures, movements, combinations in between these materials are more important than the simple “animation” or “narration” of a story.
Rawness, (dis)appearance, artificiality of image and text, sonic beats and resonance are also important components of the videos.
Raw statement or Essay. Please open PDF below.
Occurence #04 (creation on process)