VERA ICONA (L'image vraie)
INSTALLATION VIDEO ET PERFORMANCE
INSTALLATION PERFORMANCE/ INSTITUT DU MONDE ARABE PARIS 2018
INSTALLATION PERFORMANCE / FESTIVAL CURIOSITAS 2019
ARTICLE / VERA ICONA / MIT PRESS LEONARDO 2022
The Vera Icona Installation and performance : A reflection on face surveillance in Contemporary Society (Véronique Caye / Michèle Gouiffès) 2022
RESUME
Cette installation/performance propose une réflexion sur les origines de l’image. Elle est inspirée par la légende de la Vera Icona (l’image vraie) qui ouvre l’histoire politique et philosophique des images occidentales, de l’icône à la vidéo contemporaine.
Capsule vidéo/ Interviews des spectateurs et des artistes, dossier de présentation
EQUIPE
Conception, mise en scène et vidéo Véronique Caye
Conception, recherche et développement scientifique Michèle Gouiffès (LIMSI - CNRS)
Musique Frédéric Minière
Scénographie Pascale Stih
Développeur réalité augmenté Toky Rakotomalala
Performance avec (en alternance) Véronique Caye, Camille Durand-Tovar, Sandrine Juglair, Jean-Charles Gaume, Estelle Meyer, Pierre Mignard, Rafael de Paula, Fanny Sintes
Partenaires arts/sciences Panagiotis-Alexandros Bokaris, Christian Jacquemin
En collaboration avec Céline Willame et Michel Assenmaker
PRODUCTION
Le Laboratoire Victor Vérité
Avec le soutien de La Diagonale Paris Saclay
de l'Institut du Monde Arabe
du LIMSI/CNRS Université Paris Sud - Université Paris Saclay
de la Cnie Pilier des Anges / Théâtre Roublot
Aide au développement du DICREAM/CNC
La Chartreuse de Villeneuve Lez Avignon
Avec le soutien de Stéphanie et Joao Rousseau Anselmo
INSTALLATION / PERFORMANCE VERA ICONA
(video augmented reality)
The installation / performance Vera Icona offers a reflection on the relationship of the image and the face in contemporary society.
It is inspired by the legend of the "Vera Icona" (true image) that opens the political and philosophical history of Western images, from the icon to contemporary video. The term refers to one of the first « Icons Made Without Hands ». The imprint of Christ's face left on the veil stretched by Veronica on the Via Crucis in Jerusalem suggests looking at a print that is similar to photography, long before it was actually "invented".
In Jerusalem nowaydays, the installation / performance features a metaphor for its legend, in the new images not made of the hand of a man, produced by the thousands of surveillance cameras of the city.
Thanks to a video augmented reality system, the installation puts in abyme the faces of the watched and those of the spectators of these images. The installation proposes a meditation on the human-image relationship. It invites the viewer to consider himself in the center of his universe, far from established norms and control societies.
A performance of actors and Circassians accompanies this installation.
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This installation/performance is a part of the artistic research project about « directing » the image in performing arts and its meaning in contemporary society. Its purpose is theoretical - to publish the book ABC of image-stage - and artistic - creation of artworks (films, installations, workshops, performances) as the translation of the theoretical parts of the research.
