2006 La Fabrique
Video Installation with 4 wall projections, 25 TVs, 29 sound sources. coll. FNAC, Paris
La Fabrique is the extension of Tania Mouraud’s videographic work but it is also the creation of a new open space. Indeed, La Fabrique completes a polyptych of videos by introducing for the first time the human figure into a place of fabrication. In Sightseeing , Le Verger (The Orchard), Du Pain et des jeux (Bread and Games), Or donc (Gold Now), the individual is projected into the foreground by his/her absence. The individual’s condition is revealed by the periphery or surroundings, by the objects and spaces.
La Fabrique was created for the international exhibition lille3000. The videos, shot in Kerala, India, show male and female textile workers in their work locations and at their work stations.
The number of workshops, the diversity and the richness of the actors who give life to the weaving machines, led Mouraud to “shoot/edit”. This was necessary to preserve the spontaneity of the action, of the sound and visual rhythms, while eliminating the clichés of video reporting.
The installation chosen by Mouraud for lille3000 consists of 29 videos, 8 to 16 minutes each, shown on 25 TVs and four wall projections. [For the site at lille3000] the 25 televisions are set upon stands scattered around the space; each set with its base is to be viewed as a physical entity. What is at stake is to constantly link the viewer with the weavers, to create a complicity with them by the interplay of nonaccusatory gazes inviting you to share a common space. The wall projections [dis]place this relationship and send us back to our reality and, as Giorgio Agamben wrote, “...such as a precious veil of Maya which one will never ever be able to grasp concretely, but only through the reflected image in the magic mirror of one’s own taste.”
Jorge Luis Borges wrote, “He does not use the word meaning time. How can you explain this voluntary omission?” In La Fabrique, time is not left out but rather suggested by the rhythm and the repetitive gestures which the sound of the mechanical clacking of the loom punctuates at regular intervals. The sound that indicates the end of one process and the beginning of another does not fade away here; it does not illustrate anything. It marks the presence of the loom, carries temporality, and makes the link between the entire installation in motion and the viewer. Sound in La Fabrique intervenes like a text interpreted by different actors; here I will borrow the reply of Kluge to Müller: “- Ah, as a sort of factory in which the texts would continually be repeated...?”
In La Fabrique, there are no anecdotes to tell or to discover. We are confronted with patterns of reality, this reality which is so close to us: Kerala is in Lille and vice versa. With the development of new technologies, the third millennium penetrates spaces, abolishes27 frontiers, reduces time to its smallest measure. This allows Mouraud toassert the combination sound-images-space-time in order to displace the viewpoint of the viewer in order to lead him/her to discovery and to knowledge. But, as Georges Didi-Huberman has written, “To know, one must imagine. To know, one must imagine oneself.”
Those are the issues that Tania Mouraud develops in La Fabrique, while giving it a poetic dimension that I would link to a quote from Beaudelaire: “Poetry is that which is the most real, that which is completely true, only in another world.”
Pierre Petit June 2007