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Ghosts and foes become muddled and amass when night falls.

Pierrick Mouton

Oro, 2017, 17 mn


Oro is a god of nature, a god of wind, an invisible god. In the land of the Yoruba, Oro is the most influential, the most fearsome and the most powerful deity. In the summer season, and for two weeks, Oro awakes. At nightfall, wearing a long robe, decorated with shells, a painted wooden mask, her lips tinged with blood, Oro walks through the dark town. Initiated men parade in the gloomy streets; whirling, dancing, singing, killing stray dogs and chickens. Suddenly a strange noise roars and rings out from the forest, faraway.

This is the signal for all the women to shut themselves up in their homes: they will never come out from them. They lie down, covering their heads and their children’s heads. They are formally prohibited from looking at the masked character of Oro, under pain of death, or sudden amnesia. PM

Baptiste Jopeck

Viewfinder material, 2017, 16 mn


“Viewfinder material” is a “night footage” film made from pictures of American armed forces undergoing nighttime military training. All the images are shot using night vision, and attest to the production of the target’s visibility and invisibility. They illustrate the idea of progress in the effectiveness of military visibility. But they nevertheless confirm the end of the dialectic of “seeing” and “showing” originally underpinned by the image, because the conjugation of weapon and camera has indeed taken place in an aiming technique. The field of vision is only delimited by that of the person taking aim and the gun’s viewfinder, in which foes and phantoms are muddled and amassed. BJ


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