Adriane-Morard_2_1340_c_exhibView2.png

Free Circulation*, 2018
(*Original tite: Libre Circulation)
HD, 09’05’’, color video projection (loop), cinema screen, 4 x 3 m, stereo
Exhibition view: Plattform18, Kunsthaus Langenthal, CH, 2018

Adriane-Morard_2_1340_c_exhibView3.png

Free Circulation*, 2018
(*Original tite: Libre Circulation)
HD, 07’43’’, single channel color video (loop), four LCD screens, stereo
Exhibition view: Plattform18, Kunsthaus Langenthal, CH, 2018

"Adriane Morard interrogates individual experiences within global societal systems. In Free Circulation (Libre Circulation), she takes interest in forgotten places of the map of economical metropolises. The images have been shot in several regions within the European Union, which have been left behind by the ever-accelerating process of circulation and accumulation of capital - the missed out spatial previsions or potentials that never materialised.

The way Adriane Morard is grasping political questions is far from being didactic or explanatory. The viewer will not find any account in her video works but instead will be asked to engage with the created spaces through a perceptive and associative montage. Refraining from intellectually treating questions of power, capital flows and usage of natural resources, she succeeds to let the subject talk by themselves.

In the first room, the artist confronts the viewer to an oversized and overwhelming canvas. In the adjacent room, the starting thematic point of her work - the corner stones of the EU (free circulation of people, goods, services and capital) - find a formal echo. Four monitors are unified on the wall in the style of a monolith, each of them recreating a visual pattern, repetitively alternating, allowing the viewer to dissolve in an illusionary reality.

The seemingly free circulation of the viewer in Adriane Morard's installation is in fact widely regulated by the soundtrack that it comes with: a blues ballad or the metallic thunder of a disused lime kiln factory."

Text: Linda Lämmle, 2018

Free Circulation*, 2018, excerpt