Static images of romantic landscapes, of a road frozen in its unwinding, punctuated by a succession of harmoniously intermingled music and noise. The two flaps of a shutter open onto the scene, an unlimited backdrop of moving, virtual, infinite images. The space is redefined by this new frame, 'a window onto the world', in André Bazin's terms, which represents the filmic frame, a perception refocused on what is off-camera. Thus, everything is playedout in the reversibility of the images, their passage between the panels of the triptych.

Photographs, fragments of films, of series, shapes, bodies, ritual objects, images of factories, of war, of offices and mines which enter and exit the central strip. Between the circular movement of the merry-go-round in Alfred Hitchcock's Stranger on a Train and that of the rattle set in motion by an anonymous hand, a cyclical round gives a fleeting glimpse of traces of light, an image between the images, at once veiled and visible, a present past which is still active.

Stéphanie Moisdon

Translated by Miriam Rosen