Monique Allain

Album: DYNAMIC PHOTOGRAPHS 1/20

View Image Details ALIVE

ALIVE
Duration: 00:01:46
Single channel, loop video, 1'46", 2009.
Video selected by the Jury of the 5th FASM Video Show in partnership with the Videobrasil Cultural Association.
ALIVE is a looping video transmitted on a monitor or projected on the wall. The images were captured with the camera in motion, translating an action of the perceptive body that responds to stimuli and dialogues with space / time, at the moment where the filming takes place. It is a record of interactive experience between body, image and sound, an inverted performance: the camera, instead of recording the action through the filming of the performing artist, works as an extension of her body, and films her relationship with space, during the process.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.

View Image Details W Paraty B

W Paraty B
Duration: 00:01:03
Walk series, loop video, 1'03", 2008-2011.
In the WALKS series, the artist films the ground with zoom in, while walking. Each video corresponds to a walk in a different location. The resulting images are understood here as vivid and vibrant paintings, whose particular chromatism reflect the identity of each of these places in space and time. The Walk series videos are part of the Dynamic Photographs project. They are images between pause and motion, of a body in action.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.


DYNAMIC PHOTOGRAPHS OF A BODY IN ACTION
In this series of videos, the experimentation of an expanded time also occurs due to the absence of a linear narrative. But in this case, the images captured by the moving camera are the reflection of the living body in action.

View Image Details W Paris 2B

W Paris 2B
Duration: 00:02:02
Walk series, loop video, 2'02", 2008-2011.
In the WALKS series, the artist films the ground with zoom in, while walking. Each video corresponds to a walk in a different location. The resulting images are understood here as vivid and vibrant paintings, whose particular chromatism reflect the identity of each of these places in space and time. The Walk series videos are part of the Dynamic Photographs project. They are images between pause and motion, of a body in action.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.


DYNAMIC PHOTOGRAPHS OF A BODY IN ACTION
In this series of videos, the experimentation of an expanded time also occurs due to the absence of a linear narrative. But in this case, the images captured by the moving camera are the reflection of the living body in action.

View Image Details Walks - Paris 1

Walks - Paris 1
Duration: 00:01:40
Walk series, loop video, 1'40", 2008-2011.
In the WALKS series, the artist films the ground with zoom in, while walking. Each video corresponds to a walk in a different location. The resulting images are understood here as vivid and vibrant paintings, whose particular chromatism reflect the identity of each of these places in space and time. The Walk series videos are part of the Dynamic Photographs project. They are images between pause and motion, of a body in action.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.


DYNAMIC PHOTOGRAPHS OF A BODY IN ACTION
In this series of videos, the experimentation of an expanded time also occurs due to the absence of a linear narrative. But in this case, the images captured by the moving camera are the reflection of the living body in action.

View Image Details W Field 1B1

W Field 1B1
Duration: 00:01:57
Walk series, loop video, 1'57", 2008-2011.
In the WALKS series, the artist films the ground with zoom in, while walking. Each video corresponds to a walk in a different location. The resulting images are understood here as vivid and vibrant paintings, whose particular chromatism reflect the identity of each of these places in space and time. The Walk series videos are part of the Dynamic Photographs project. They are images between pause and motion, of a body in action.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.


DYNAMIC PHOTOGRAPHS OF A BODY IN ACTION
In this series of videos, the experimentation of an expanded time also occurs due to the absence of a linear narrative. But in this case, the images captured by the moving camera are the reflection of the living body in action.

View Image Details W Field 2B3

W Field 2B3
Duration: 00:02:04
Walk series, loop video, 2'04", 2008-2011.
In the WALKS series, the artist films the ground with zoom in, while walking. Each video corresponds to a walk in a different location. The resulting images are understood here as vivid and vibrant paintings, whose particular chromatism reflect the identity of each of these places in space and time. The Walk series videos are part of the Dynamic Photographs project. They are images between pause and motion, of a body in action.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.


DYNAMIC PHOTOGRAPHS OF A BODY IN ACTION
In this series of videos, the experimentation of an expanded time also occurs due to the absence of a linear narrative. But in this case, the images captured by the moving camera are the reflection of the living body in action.

View Image Details W Field 4B

W Field 4B
Duration: 00:02:15
Walk series, loop video, 2'15", 2008-2011.
In the WALKS series, the artist films the ground with zoom in, while walking. Each video corresponds to a walk in a different location. The resulting images are understood here as vivid and vibrant paintings, whose particular chromatism reflect the identity of each of these places in space and time. The Walk series videos are part of the Dynamic Photographs project. They are images between pause and motion, of a body in action.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.


DYNAMIC PHOTOGRAPHS OF A BODY IN ACTION
In this series of videos, the experimentation of an expanded time also occurs due to the absence of a linear narrative. But in this case, the images captured by the moving camera are the reflection of the living body in action.

View Image Details W Sampa 1B03

W Sampa 1B03
Duration: 00:02:29
Walk series, loop video, 2'29", 2008-2011.
In the WALKS series, the artist films the ground with zoom in, while walking. Each video corresponds to a walk in a different location. The resulting images are understood here as vivid and vibrant paintings, whose particular chromatism reflect the identity of each of these places in space and time. The Walk series videos are part of the Dynamic Photographs project. They are images between pause and motion, of a body in action.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.


DYNAMIC PHOTOGRAPHS OF A BODY IN ACTION
In this series of videos, the experimentation of an expanded time also occurs due to the absence of a linear narrative. But in this case, the images captured by the moving camera are the reflection of the living body in action.

View Image Details W Sampa 2B03

W Sampa 2B03
Duration: 00:00:39
Walk series, loop video, 0'39", 2008-2011.
In the WALKS series, the artist films the ground with zoom in, while walking. Each video corresponds to a walk in a different location. The resulting images are understood here as vivid and vibrant paintings, whose particular chromatism reflect the identity of each of these places in space and time. The Walk series videos are part of the Dynamic Photographs project. They are images between pause and motion, of a body in action.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.


DYNAMIC PHOTOGRAPHS OF A BODY IN ACTION
In this series of videos, the experimentation of an expanded time also occurs due to the absence of a linear narrative. But in this case, the images captured by the moving camera are the reflection of the living body in action.

View Image Details V Field

V Field
Duration: 00:00:47
Views series, loop video, 0'47", 2008-2011.
In the VIEWS series, the artist films the side view with zoom in, while walking. Each video corresponds to a view in a different location. The resulting images are understood here as vivid and vibrant paintings, whose particular chromatism reflect the identity of each of these places in space and time.
The View series videos are part of the Dynamic Photographs project. They are images between pause and motion, of a body in action.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.


DYNAMIC PHOTOGRAPHS OF A BODY IN ACTION
In this series of videos, the experimentation of an expanded time also occurs due to the absence of a linear narrative. But in this case, the images captured by the moving camera are the reflection of the living body in action.

View Image Details V Garden

V Garden
Duration: 00:01:04
View series, loop video, 1'04", 2008-2011.
In the VIEWS series, the artist films the side view with zoom in, while walking. Each video corresponds to a view in a different location. The resulting images are understood here as vivid and vibrant paintings, whose particular chromatism reflect the identity of each of these places in space and time.
The View series videos are part of the Dynamic Photographs project. They are images between pause and motion, of a body in action.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.


DYNAMIC PHOTOGRAPHS OF A BODY IN ACTION
In this series of videos, the experimentation of an expanded time also occurs due to the absence of a linear narrative. But in this case, the images captured by the moving camera are the reflection of the living body in action.

View Image Details CH2-300

CH2-300
Duration: 00:00:33
Robes series, loop video, 0'37", 2008-2011.
In the ROBES series, the reflection of a mast on the water is shot with zoom in. The film is edited with speed up or slow down. The resulting image, decontextualized, allows the viewer to detach himself from a literal interpretation of the filmed object, and to enjoy its sensory and haptic character. The mast, like a ruler or clock, has objective metric precision. However, the reflection of this same mast is sinuous with variable rhythm. Likewise, our perception of time is subjective and variable. More than 70% of our body is made up of water. We are water! We perceive the world in a fluid and particular way.
This series of videos belong to the "Dynamic Photographs" project. They are alive images, between pause and motion, of a resting body.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.


DYNAMIC PHOTOGRAPHS OF A RESTING ALIVE BODY
In this series, the “body-camera” is at rest. It does not move. There is no change of the spatial context. The resulting images reveal a pulsating and breathing space, in tune with the being that holds the camera and inhabits it. The absence of an event or linear narrative provides the experience of an expanded time. Water remains present as a founding base, and reflects elements of nature as a sensitive mirror that merge subject and space. It is intended to promote the perception of the body as space as well as of space as a body, to highlight similarities and correlations between the view of macro and micro situations.

View Image Details CH2-20

CH2-20
Duration: 00:00:59
Ropes Series, loop video, 0'59", 2008-2011.
In the ROBES series, the reflection of a mast on the water is shot with zoom in. The film is edited with speed up or slow down. The resulting image, decontextualized, allows the viewer to detach himself from a literal interpretation of the filmed object, and to enjoy its sensory and haptic character. The mast, like a ruler or clock, has objective metric precision. However, the reflection of this same mast is sinuous with variable rhythm. Likewise, our perception of time is subjective and variable. More than 70% of our body is made up of water. We are water! We perceive the world in a fluid and particular way.
This series of videos belong to the "Dynamic Photographs" project. They are alive images, between pause and motion, of a resting body.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.


DYNAMIC PHOTOGRAPHS OF A RESTING ALIVE BODY
In this series, the “body-camera” is at rest. It does not move. There is no change of the spatial context. The resulting images reveal a pulsating and breathing space, in tune with the being that holds the camera and inhabits it. The absence of an event or linear narrative provides the experience of an expanded time. Water remains present as a founding base, and reflects elements of nature as a sensitive mirror that merge subject and space. It is intended to promote the perception of the body as space as well as of space as a body, to highlight similarities and correlations between the view of macro and micro situations.

View Image Details Free Table

Free Table
Duration: 00:05:33
Loop video, 5'33", 2009.
In this video, the reflection of a table with an empty chair on the water is shot.
This videos belong to the "Dynamic Photographs" project.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.


DYNAMIC PHOTOGRAPHS OF A RESTING ALIVE BODY
In this series, the “body-camera” is at rest. It does not move. There is no change of the spatial context. The resulting images reveal a pulsating and breathing space, in tune with the being that holds the camera and inhabits it. The absence of an event or linear narrative provides the experience of an expanded time. Water remains present as a founding base, and reflects elements of nature as a sensitive mirror that merge subject and space. It is intended to promote the perception of the body as space as well as of space as a body, to highlight similarities and correlations between the view of macro and micro situations.

View Image Details DO

DO
Duration: 00:05:26
Compositions Series, loop video, 5'26", 2011. This series of videos belong to the "Dynamic Photographs" project. They are alive images, between pause and motion, of a resting body.


The COMPOSITIONS series was designed for the Intimate Landscapes installation. Here, the performing body is at rest and the camera records it through a fixed point of view. The uniformity of the moving images happens both because of the stillness of the filmed context and because of the stillness of the camera. Water remains present as a founding element, as a sensitive mirror that approximates and integrates body and space. These images come from reflections on water and elements from nature. The purpose is to subtly highlight affinities in the view of macro and micro situations, in the perception of space as a body and vice versa. The audio tracks are built electronically from the mix of sounds captured during filming, with compositions using only one musical note, and their octaves. They are like the voices of these dynamic photographs with their variations, according to the momentary state in which they find themselves.


INTIMATE LANDSCAPES
Video installation What is a house for if there is no one to live in it? A poem only makes sense if someone appreciates it. Immersive spaces are built to be experienced. The meaning of these occurs through experience, enjoyment and dialogue with the public. The body as a living instrument has a determining role in reading, interpreting and responding to the stimuli it receives. The video installation allows an expansion of the image, from the plane to the three-dimensional space. The goal is to expand the channels of sensory apprehension far beyond the eye. The images become basic elements of vocabulary, bricks for the construction of immersive environments, in which visual and auditory sensory stimuli are integrated to sensitize the body as a whole. Monique Allain's installations are structurally designed as organic meshes in constant adaptation. They consist of sets of modular units varying in shape and dimensions. Conversely to site specifics, the installations behave like organic structures that grow, spread and retract, adjust like plants to the space-time conditions where they will be accommodated. They are not occupations, since they do not involve aggressive or violent processes. These modular units constitute “habitations”. They reproduce the vital force of organic nature, overlapping the inanimate world in search of an existence. Following this principle, the Intimate Landscapes video installation was designed with a variable number of kinetic photographs from the Compositions series, simultaneously projected on the walls or transmitted on LCD screens. They are reflections of situations deformed by the ripple of the water surface that reveal the intimacy of small sensory universes. The images in this series were captured from a fixed point, with the camera still supported on a tripod, translating a contemplative look of a body at rest. The footage was edited and recorded individually in DVD format. Each digitally manipulated unit presents images with specific pictorial characteristics, with audio digital sound compositions typical of a single musical note, and a slowed wave motion. The set of these "cells" or unique micro landscapes composes a new organic and artificial system, a melody of sounds and images constantly renewed, as without any planning, the "loops" generate new combinations.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.


DYNAMIC PHOTOGRAPHS OF A RESTING ALIVE BODY
In this series, the “body-camera” is at rest. It does not move. There is no change of the spatial context. The resulting images reveal a pulsating and breathing space, in tune with the being that holds the camera and inhabits it. The absence of an event or linear narrative provides the experience of an expanded time. Water remains present as a founding base, and reflects elements of nature as a sensitive mirror that merge subject and space. It is intended to promote the perception of the body as space as well as of space as a body, to highlight similarities and correlations between the view of macro and micro situations.

View Image Details MI

MI
Duration: 00:06:07
Compositions Series, loop video, 6'07", 2011. This series of videos belong to the "Dynamic Photographs" project. They are alive images, between pause and motion, of a resting body.


The COMPOSITIONS series was designed for the Intimate Landscapes installation. Here, the performing body is at rest and the camera records it through a fixed point of view. The uniformity of the moving images happens both because of the stillness of the filmed context and because of the stillness of the camera. Water remains present as a founding element, as a sensitive mirror that approximates and integrates body and space. These images come from reflections on water and elements from nature. The purpose is to subtly highlight affinities in the view of macro and micro situations, in the perception of space as a body and vice versa. The audio tracks are built electronically from the mix of sounds captured during filming, with compositions using only one musical note, and their octaves. They are like the voices of these dynamic photographs with their variations, according to the momentary state in which they find themselves.


INTIMATE LANDSCAPES
Video installation What is a house for if there is no one to live in it? A poem only makes sense if someone appreciates it. Immersive spaces are built to be experienced. The meaning of these occurs through experience, enjoyment and dialogue with the public. The body as a living instrument has a determining role in reading, interpreting and responding to the stimuli it receives. The video installation allows an expansion of the image, from the plane to the three-dimensional space. The goal is to expand the channels of sensory apprehension far beyond the eye. The images become basic elements of vocabulary, bricks for the construction of immersive environments, in which visual and auditory sensory stimuli are integrated to sensitize the body as a whole. Monique Allain's installations are structurally designed as organic meshes in constant adaptation. They consist of sets of modular units varying in shape and dimensions. Conversely to site specifics, the installations behave like organic structures that grow, spread and retract, adjust like plants to the space-time conditions where they will be accommodated. They are not occupations, since they do not involve aggressive or violent processes. These modular units constitute “habitations”. They reproduce the vital force of organic nature, overlapping the inanimate world in search of an existence. Following this principle, the Intimate Landscapes video installation was designed with a variable number of kinetic photographs from the Compositions series, simultaneously projected on the walls or transmitted on LCD screens. They are reflections of situations deformed by the ripple of the water surface that reveal the intimacy of small sensory universes. The images in this series were captured from a fixed point, with the camera still supported on a tripod, translating a contemplative look of a body at rest. The footage was edited and recorded individually in DVD format. Each digitally manipulated unit presents images with specific pictorial characteristics, with audio digital sound compositions typical of a single musical note, and a slowed wave motion. The set of these "cells" or unique micro landscapes composes a new organic and artificial system, a melody of sounds and images constantly renewed, as without any planning, the "loops" generate new combinations.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.


DYNAMIC PHOTOGRAPHS OF A RESTING ALIVE BODY
In this series, the “body-camera” is at rest. It does not move. There is no change of the spatial context. The resulting images reveal a pulsating and breathing space, in tune with the being that holds the camera and inhabits it. The absence of an event or linear narrative provides the experience of an expanded time. Water remains present as a founding base, and reflects elements of nature as a sensitive mirror that merge subject and space. It is intended to promote the perception of the body as space as well as of space as a body, to highlight similarities and correlations between the view of macro and micro situations.

View Image Details FA

FA
Duration: 00:05:56
Compositions Series, loop video, 5'56", 2011. This series of videos belong to the "Dynamic Photographs" project. They are alive images, between pause and motion, of a resting body.


The COMPOSITIONS series was designed for the Intimate Landscapes installation. Here, the performing body is at rest and the camera records it through a fixed point of view. The uniformity of the moving images happens both because of the stillness of the filmed context and because of the stillness of the camera. Water remains present as a founding element, as a sensitive mirror that approximates and integrates body and space. These images come from reflections on water and elements from nature. The purpose is to subtly highlight affinities in the view of macro and micro situations, in the perception of space as a body and vice versa. The audio tracks are built electronically from the mix of sounds captured during filming, with compositions using only one musical note, and their octaves. They are like the voices of these dynamic photographs with their variations, according to the momentary state in which they find themselves.


INTIMATE LANDSCAPES
Video installation What is a house for if there is no one to live in it? A poem only makes sense if someone appreciates it. Immersive spaces are built to be experienced. The meaning of these occurs through experience, enjoyment and dialogue with the public. The body as a living instrument has a determining role in reading, interpreting and responding to the stimuli it receives. The video installation allows an expansion of the image, from the plane to the three-dimensional space. The goal is to expand the channels of sensory apprehension far beyond the eye. The images become basic elements of vocabulary, bricks for the construction of immersive environments, in which visual and auditory sensory stimuli are integrated to sensitize the body as a whole. Monique Allain's installations are structurally designed as organic meshes in constant adaptation. They consist of sets of modular units varying in shape and dimensions. Conversely to site specifics, the installations behave like organic structures that grow, spread and retract, adjust like plants to the space-time conditions where they will be accommodated. They are not occupations, since they do not involve aggressive or violent processes. These modular units constitute “habitations”. They reproduce the vital force of organic nature, overlapping the inanimate world in search of an existence. Following this principle, the Intimate Landscapes video installation was designed with a variable number of kinetic photographs from the Compositions series, simultaneously projected on the walls or transmitted on LCD screens. They are reflections of situations deformed by the ripple of the water surface that reveal the intimacy of small sensory universes. The images in this series were captured from a fixed point, with the camera still supported on a tripod, translating a contemplative look of a body at rest. The footage was edited and recorded individually in DVD format. Each digitally manipulated unit presents images with specific pictorial characteristics, with audio digital sound compositions typical of a single musical note, and a slowed wave motion. The set of these "cells" or unique micro landscapes composes a new organic and artificial system, a melody of sounds and images constantly renewed, as without any planning, the "loops" generate new combinations.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.


DYNAMIC PHOTOGRAPHS OF A RESTING ALIVE BODY
In this series, the “body-camera” is at rest. It does not move. There is no change of the spatial context. The resulting images reveal a pulsating and breathing space, in tune with the being that holds the camera and inhabits it. The absence of an event or linear narrative provides the experience of an expanded time. Water remains present as a founding base, and reflects elements of nature as a sensitive mirror that merge subject and space. It is intended to promote the perception of the body as space as well as of space as a body, to highlight similarities and correlations between the view of macro and micro situations.

View Image Details LA

LA
Duration: 00:04:39
Compositions Series, loop video, 4'39", 2011. This series of videos belong to the "Dynamic Photographs" project. They are alive images, between pause and motion, of a resting body.


The COMPOSITIONS series was designed for the Intimate Landscapes installation. Here, the performing body is at rest and the camera records it through a fixed point of view. The uniformity of the moving images happens both because of the stillness of the filmed context and because of the stillness of the camera. Water remains present as a founding element, as a sensitive mirror that approximates and integrates body and space. These images come from reflections on water and elements from nature. The purpose is to subtly highlight affinities in the view of macro and micro situations, in the perception of space as a body and vice versa. The audio tracks are built electronically from the mix of sounds captured during filming, with compositions using only one musical note, and their octaves. They are like the voices of these dynamic photographs with their variations, according to the momentary state in which they find themselves.


INTIMATE LANDSCAPES
Video installation What is a house for if there is no one to live in it? A poem only makes sense if someone appreciates it. Immersive spaces are built to be experienced. The meaning of these occurs through experience, enjoyment and dialogue with the public. The body as a living instrument has a determining role in reading, interpreting and responding to the stimuli it receives. The video installation allows an expansion of the image, from the plane to the three-dimensional space. The goal is to expand the channels of sensory apprehension far beyond the eye. The images become basic elements of vocabulary, bricks for the construction of immersive environments, in which visual and auditory sensory stimuli are integrated to sensitize the body as a whole. Monique Allain's installations are structurally designed as organic meshes in constant adaptation. They consist of sets of modular units varying in shape and dimensions. Conversely to site specifics, the installations behave like organic structures that grow, spread and retract, adjust like plants to the space-time conditions where they will be accommodated. They are not occupations, since they do not involve aggressive or violent processes. These modular units constitute “habitations”. They reproduce the vital force of organic nature, overlapping the inanimate world in search of an existence. Following this principle, the Intimate Landscapes video installation was designed with a variable number of kinetic photographs from the Compositions series, simultaneously projected on the walls or transmitted on LCD screens. They are reflections of situations deformed by the ripple of the water surface that reveal the intimacy of small sensory universes. The images in this series were captured from a fixed point, with the camera still supported on a tripod, translating a contemplative look of a body at rest. The footage was edited and recorded individually in DVD format. Each digitally manipulated unit presents images with specific pictorial characteristics, with audio digital sound compositions typical of a single musical note, and a slowed wave motion. The set of these "cells" or unique micro landscapes composes a new organic and artificial system, a melody of sounds and images constantly renewed, as without any planning, the "loops" generate new combinations.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.


DYNAMIC PHOTOGRAPHS OF A RESTING ALIVE BODY
In this series, the “body-camera” is at rest. It does not move. There is no change of the spatial context. The resulting images reveal a pulsating and breathing space, in tune with the being that holds the camera and inhabits it. The absence of an event or linear narrative provides the experience of an expanded time. Water remains present as a founding base, and reflects elements of nature as a sensitive mirror that merge subject and space. It is intended to promote the perception of the body as space as well as of space as a body, to highlight similarities and correlations between the view of macro and micro situations.

View Image Details SOL

SOL
Duration: 00:04:43
Compositions Series, loop video, 4'43", 2011. This series of videos belong to the "Dynamic Photographs" project. They are alive images, between pause and motion, of a resting body.


The COMPOSITIONS series was designed for the Intimate Landscapes installation. Here, the performing body is at rest and the camera records it through a fixed point of view. The uniformity of the moving images happens both because of the stillness of the filmed context and because of the stillness of the camera. Water remains present as a founding element, as a sensitive mirror that approximates and integrates body and space. These images come from reflections on water and elements from nature. The purpose is to subtly highlight affinities in the view of macro and micro situations, in the perception of space as a body and vice versa. The audio tracks are built electronically from the mix of sounds captured during filming, with compositions using only one musical note, and their octaves. They are like the voices of these dynamic photographs with their variations, according to the momentary state in which they find themselves.


INTIMATE LANDSCAPES
Video installation What is a house for if there is no one to live in it? A poem only makes sense if someone appreciates it. Immersive spaces are built to be experienced. The meaning of these occurs through experience, enjoyment and dialogue with the public. The body as a living instrument has a determining role in reading, interpreting and responding to the stimuli it receives. The video installation allows an expansion of the image, from the plane to the three-dimensional space. The goal is to expand the channels of sensory apprehension far beyond the eye. The images become basic elements of vocabulary, bricks for the construction of immersive environments, in which visual and auditory sensory stimuli are integrated to sensitize the body as a whole. Monique Allain's installations are structurally designed as organic meshes in constant adaptation. They consist of sets of modular units varying in shape and dimensions. Conversely to site specifics, the installations behave like organic structures that grow, spread and retract, adjust like plants to the space-time conditions where they will be accommodated. They are not occupations, since they do not involve aggressive or violent processes. These modular units constitute “habitations”. They reproduce the vital force of organic nature, overlapping the inanimate world in search of an existence. Following this principle, the Intimate Landscapes video installation was designed with a variable number of kinetic photographs from the Compositions series, simultaneously projected on the walls or transmitted on LCD screens. They are reflections of situations deformed by the ripple of the water surface that reveal the intimacy of small sensory universes. The images in this series were captured from a fixed point, with the camera still supported on a tripod, translating a contemplative look of a body at rest. The footage was edited and recorded individually in DVD format. Each digitally manipulated unit presents images with specific pictorial characteristics, with audio digital sound compositions typical of a single musical note, and a slowed wave motion. The set of these "cells" or unique micro landscapes composes a new organic and artificial system, a melody of sounds and images constantly renewed, as without any planning, the "loops" generate new combinations.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.


DYNAMIC PHOTOGRAPHS OF A RESTING ALIVE BODY
In this series, the “body-camera” is at rest. It does not move. There is no change of the spatial context. The resulting images reveal a pulsating and breathing space, in tune with the being that holds the camera and inhabits it. The absence of an event or linear narrative provides the experience of an expanded time. Water remains present as a founding base, and reflects elements of nature as a sensitive mirror that merge subject and space. It is intended to promote the perception of the body as space as well as of space as a body, to highlight similarities and correlations between the view of macro and micro situations.

View Image Details SI

SI
Duration: 00:04:24
Compositions Series, loop video, 4'24", 2011. This series of videos belong to the "Dynamic Photographs" project. They are alive images, between pause and motion, of a resting body.


The COMPOSITIONS series was designed for the Intimate Landscapes installation. Here, the performing body is at rest and the camera records it through a fixed point of view. The uniformity of the moving images happens both because of the stillness of the filmed context and because of the stillness of the camera. Water remains present as a founding element, as a sensitive mirror that approximates and integrates body and space. These images come from reflections on water and elements from nature. The purpose is to subtly highlight affinities in the view of macro and micro situations, in the perception of space as a body and vice versa. The audio tracks are built electronically from the mix of sounds captured during filming, with compositions using only one musical note, and their octaves. They are like the voices of these dynamic photographs with their variations, according to the momentary state in which they find themselves.


INTIMATE LANDSCAPES
Video installation What is a house for if there is no one to live in it? A poem only makes sense if someone appreciates it. Immersive spaces are built to be experienced. The meaning of these occurs through experience, enjoyment and dialogue with the public. The body as a living instrument has a determining role in reading, interpreting and responding to the stimuli it receives. The video installation allows an expansion of the image, from the plane to the three-dimensional space. The goal is to expand the channels of sensory apprehension far beyond the eye. The images become basic elements of vocabulary, bricks for the construction of immersive environments, in which visual and auditory sensory stimuli are integrated to sensitize the body as a whole. Monique Allain's installations are structurally designed as organic meshes in constant adaptation. They consist of sets of modular units varying in shape and dimensions. Conversely to site specifics, the installations behave like organic structures that grow, spread and retract, adjust like plants to the space-time conditions where they will be accommodated. They are not occupations, since they do not involve aggressive or violent processes. These modular units constitute “habitations”. They reproduce the vital force of organic nature, overlapping the inanimate world in search of an existence. Following this principle, the Intimate Landscapes video installation was designed with a variable number of kinetic photographs from the Compositions series, simultaneously projected on the walls or transmitted on LCD screens. They are reflections of situations deformed by the ripple of the water surface that reveal the intimacy of small sensory universes. The images in this series were captured from a fixed point, with the camera still supported on a tripod, translating a contemplative look of a body at rest. The footage was edited and recorded individually in DVD format. Each digitally manipulated unit presents images with specific pictorial characteristics, with audio digital sound compositions typical of a single musical note, and a slowed wave motion. The set of these "cells" or unique micro landscapes composes a new organic and artificial system, a melody of sounds and images constantly renewed, as without any planning, the "loops" generate new combinations.


DYNAMIC PHOTOGRAPHS
The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body who carries it, and the videos created are alive memories of this body, experiencing space-time. The public is invited to take it’s perspective, and perceive through it, the surrounding.


DYNAMIC PHOTOGRAPHS OF A RESTING ALIVE BODY
In this series, the “body-camera” is at rest. It does not move. There is no change of the spatial context. The resulting images reveal a pulsating and breathing space, in tune with the being that holds the camera and inhabits it. The absence of an event or linear narrative provides the experience of an expanded time. Water remains present as a founding base, and reflects elements of nature as a sensitive mirror that merge subject and space. It is intended to promote the perception of the body as space as well as of space as a body, to highlight similarities and correlations between the view of macro and micro situations.

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Album Description
Images between pause and motion The term dynamic photograph has been adopted here to characterize a type of image of an intermediate nature, between video or film and photography. Dynamic photographs are moving images, but unlike videos or films, and similarly to single photographs, they neither have a narrative sequence, nor a space out. Those images constitute the basic elements for the construction of installation spaces. As organic modular units, according to the size and conditions of the place where they appear, they present themselves individually, or in multiple structures. The camera is an extension of the body that carries it, and the videos created are “alive” memories of this body, experiencing space-time. The public is invited to take the artist perspective, and perceive through it, the surrounding. In he DYNAMIC PHOTOGRAPHS OF AN ALIVE BODY IN ACTION series of videos, the experimentation of an expanded time also occurs due to the absence of a linear narrative. But in this case, the images captured by the moving camera are the reflection of the living body in action. In the series DYNAMIC PHOTOGRAPHS OF A RESTING ALIVE BODY the “body-camera” is at rest. It does not move. There is no change of the spatial context. The resulting images reveal a pulsating and breathing space, in tune with the being that holds the camera and inhabits it. The absence of an event or linear narrative provides the experience of an expanded time. Water remains present as a founding base, and reflects elements of nature as a sensitive mirror that merge subject and space. It is intended to promote the perception of the body as space as well as of space as a body, to highlight similarities and correlations between the view of macro and micro situations.

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