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TOWARD VIRTUALITY
Odile Burluraux

16 July 2017

Pejman Foundation: Café Musée Project presents a presentation by Odile Burluraux, Curator at Museum of Modern Art in Paris and Pejman Foundation: Kandovan's current curator-in-residence. During her presentation, Burluraux will present the Museum of Modern Art in Paris and its acquisitions and collections with a focus on the museum's video collection. Burluraux will also present examples from the video collection and will present some of the museum's most recent acquisitions.

Following the project Entre-temps – A decade of French art in the video collection of the Musée d’Art moderne de la Ville de Paris (which traveled from 2009 to 2014) – the selection Toward Virtuality presents itself as a video program aiming at giving an insight into the collection of Museum of Modern Art in Paris and more particularly its recent acquisitions. Entre-Temps presented a generation of artists that had emerged in the nineties and who focused on narrative in their practice. Gathering about thirteen videos produced in years following 2000, half of which date from the past decade, Toward Virtuality manifests a resonance of our immediate modernity.

Virtuality stands as an important component of one’s everyday life, from our standardized dependence regarding smartphones, to virtual reality headsets that lure us into other immersing realms. The pre-existing opposition between these two approaches, of reality and virtuality, tends to blend. Images, evolving towards digital and an oppressive ubiquity, conduct us to think over representation. Video makers take over this conflict in order to use it, to question it, to subvert it. Advertising, gaming, television, and music videos aesthetics canons become ways and methods to express art. It translates into both an oneiric sublimation and a blunt reality. This antithesis conveys an intense contemporaneity about our schizophrenic society. Indeed, virtuality opens its inquisitor up to unattainable experiences as well as a customary and usual triviality. But do not be misled; this current issue is connected with past and a mode of forecasting future. The ethereal and changing essence of virtuality enables us to look into History and Cosmogony. This pedestal on which a new all-knowing, all-powerful and ever-present Humanity is perched is shaky. This field of possibilities might carry us out to our own estrangement, particularly in the alienation of our awareness. Toward Virtuality brings up artistic, philosophical, human and societal questions and invites the viewer to wonder and reflect himself.
Pejman Foundation: Café Musée Project presents a presentation by Odile Burluraux, Curator at Museum of Modern Art in Paris and Pejman Foundation: Kandovan's current curator-in-residence. During her presentation, Burluraux will present the Museum of Modern Art in Paris and its acquisitions and collections with a focus on the museum's video collection. Burluraux will also present examples from the video collection and will present some of the museum's most recent acquisitions.

Following the project Entre-temps – A decade of French art in the video collection of the Musée d’Art moderne de la Ville de Paris (which traveled from 2009 to 2014) – the selection Toward Virtuality presents itself as a video program aiming at giving an insight into the collection of Museum of Modern Art in Paris and more particularly its recent acquisitions. Entre-Temps presented a generation of artists that had emerged in the nineties and who focused on narrative in their practice. Gathering about thirteen videos produced in years following 2000, half of which date from the past decade, Toward Virtuality manifests a resonance of our immediate modernity.

Virtuality stands as an important component of one’s everyday life, from our standardized dependence regarding smartphones, to virtual reality headsets that lure us into other immersing realms. The pre-existing opposition between these two approaches, of reality and virtuality, tends to blend. Images, evolving towards digital and an oppressive ubiquity, conduct us to think over representation. Video makers take over this conflict in order to use it, to question it, to subvert it. Advertising, gaming, television, and music videos aesthetics canons become ways and methods to express art. It translates into both an oneiric sublimation and a blunt reality. This antithesis conveys an intense contemporaneity about our schizophrenic society. Indeed, virtuality opens its inquisitor up to unattainable experiences as well as a customary and usual triviality. But do not be misled; this current issue is connected with past and a mode of forecasting future. The ethereal and changing essence of virtuality enables us to look into History and Cosmogony. This pedestal on which a new all-knowing, all-powerful and ever-present Humanity is perched is shaky. This field of possibilities might carry us out to our own estrangement, particularly in the alienation of our awareness. Toward Virtuality brings up artistic, philosophical, human and societal questions and invites the viewer to wonder and reflect himself.