Taotie is an automated installation project – a machine producing moving images by projecting shadows from a modular model based on automated factories and distribution centers.
The project draws its influences from pre-cinema, notably 18th century phantasmagoria, of which it is a contemporary and technological reinterpretation.
The night has always been the spacetime of rest and sleep, but this model seems to be disrupted today. The instant connectivity of the world through highspeed internet, the decentralisation of the economy, the speed of distribution centers and their delivery in less than 24 hours, the adoption of teleworking in times of the pandemic, are pushing towards a model oriented towards a fragmentation of activity time, a desynchronisation of the body with society and with what it produces.
The spatial outcome of this logic of continuous activity is the ‘Dark Factory’, an automated factory in which natural and artificial light is superfluous, as no one works there.
Taotie questions the social and environmental implications of this new productivist paradigm by offering a continuous and immersive automatic performance in the bowels of one of these hermetic spaces.
Partagez cet événement sur les réseaux sociaux
Thomas Garnier is a contemporary artist who originally trained as an architect and graduated from Le Fresnoy, Studio National des Arts Contemporains. His work has since been presented in exhibitions, festivals and international biennials.
His practice is that of an artist but also of a researcher or heterotopologist, as defined by Foucault in his text «les espaces autres». This search for and construction of meaning in the «liminal» or «in-between» leads him to produce automated and collapsing sculptures. The critical nature of the works is developed through wandering, and the observation of real spaces. In Thomas Garnier’s work, we seem to be witnessing the archaeology of a drifting and derived world, caught up in the congregation of multiple temporalities and techniques, derived from a primitive futurism, from multi-brutalism, from supra-romanticism or any anachronistic accumulation you could conjure up.
In partnership with the Vasarely Foundation Vasarely Foundation Prize – CHRONICLES 2020