Triptyque [Z] comes after the changeover. The blue lining and the transformation of the bodies into (calligraphic) signs marked the switch. Transition from day to night, from real to virtual. It is not the people who go towards the landscape, it is the landscape which comes towards them, towards us, which breathes in and breathes out, devours and does not annihilate. For years, n + n corsino’s work has anticipated a reflection on relationships between humans and the environment. By working on the mutation and porosities of representations (and their spaces), all the philosophies of origins (and of naturalities) fade away by themselves, leaving room for exploring new fields of relationships. Triptyque [Z] and Dragonfly are new fables for humankind.
In this virtual world, the characters are real new people – perhaps this is the real morphing, keeping the freedom to evolve and move (the movement of the living) in a reconstituted universe. It is not a question of opposing the artificial to the natural, but of proposing the hypothesis of the living as universal.
Can the landscape do without the human? The relationships of scale are reversed. Huge palms, fireballs, giant flower-meteorites and parachute-jellyfish appear on all sides, while two silhouettes separately draw and register their actions of living, resilient beings.
The same and the other: such is the person, in an otherness which is not reproduced, but is projected. When n + n corsino started working with the cloned representation of bodies, they enlarged the field of creation, and this allows them to now challenge the questions that haunt life sciences (among others).
On the screens of Triptyque [Z], artificial nature is proliferating, explosive, unpredictable. The human voice has deserted the sound composition, a disturbing muffled atmosphere creates tension in the hearing, and a tilt of the camera invents new balances. In an implacable geometry, the light undulates and creates breathtaking changes.
Claudine Galea
