She is rotting quietly under her skirts with a melancholy smile, like the odour of violets given off by a decomposing body.
La Nausée, Jean-Paul Sartre.
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Confidence by Eric Rondepierre, 1996-1998 (from Moires series)
The game of man and of his own rotting is perpetuated in the most dismal of conditions without the one having the courage to confront the other. It seems that we will never find ourselves faced with the grandiose image of decomposition whose risk, which intervenes at every breath, is nonetheless the very meaning of a life that we prefer, we know not why, to the life of another whose breath may survive us. We know only the negative form of this image - soaps, toothbrushes and all the pharmaceutical products we accumulate in order to escape daily, with difficulty, from filth and death. Each day we make ourselves into the docile servants of these petty fabrications, the sole gods of modern man. This servitude continues in all places where a normal being might still go. We go to an art dealer like we’d go to a pharmacist, seeking well-displayed remedies for respectable illnesses.
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Couple, passant by Eric Rondepierre, 1996-1998
From Moires series
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Eric Rondepierre - From Précis de décomposition series (Scènes)
For this series, photographer Eric Rondepierre viewed fragments of forgotten silent films. Ravaged by time, dampness, and poor storage conditions, the damage and distortion was then documented for your enjoyment.
Check this out, the whole series is wonderful: Via
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Eric Rondepierre, Moires series
This series of thirty pieces continues the procedure of the Précis de décomposition. Again, these are images that have become corroded over time. The frames come from colorized films in the Montreal archives. The choice centres on the body and intimacy, and the ‘justified’ titles relate directly to the image.
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Eric Rondepierre, Précis de décomposition series (‘Scènes’)
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Eric Rondepierre, Précis de décomposition series (‘Masques’)
In this series, Eric Rondepierre began to make systematic use of film archives. Working in American archives, the artist systematically viewed fragments of anonymous silent movies that had been corroded by the effects of time, damp and poor storage. He photographed the resulting anomalies (erasures, deformations, blotches). Scènes comprises 18 pieces and shows characters in action. Masques comprises eleven pieces and shows faces in close-up. In Cartons the texts of the intertitle cards of silent movies has been corroded. This series comprises thirty pieces.