Without really intending it the Fire room installation came together over time with a succession of works depicting destruction by fire. A Constructed World investigate the fate of objects and ideas when they cease to function, raising questions about the impulse to obliterate objects, the operative needs of capitalism, and what remains after something is destroyed.
The installation comprises fourteen video works made between 2002 and 2010, including Mony Fire, Camera Fire, Le feu scrupuleux, 2008 (commissioned by Cneai, Chatou), Samuel Pepys in Bordeaux, 2008 (commissioned by CAPC Museum, Bordeaux) and set of small of sculptures, affects, resulting from the making of the works.
“Even as he (Freud) strived for psychoanalysis to attain a certain level of respectability, Sigmund Freud was struggling against his attraction to telepathy. Ernest Jones, his collaborator in London, warned him against this occult practice, as it could bring harm to psychoanalysis. To this Freud replied that his belief in telepathy, just as his taste for tobacco and his Jewishness, remained strictly personal business. As if the personal affairs of Freud had no relationship to psychoanalysis. Telepathy would help make immediate contact with the other without passing through language. Language being nevertheless the condition of analytic treatment and the guarantee of an intersubjective relationship, Freud took the risk of both contradicting himself and imagining a state of telepathic fusion between the subjects. It’s a situation where the Other (including the Other in its absolute difference: the animal), could stop being an other and become a self. Both paradoxes have in common that they reveal conflicting relationships between theoretical constructs and the repressed desires that are impeding them. They also highlight the constraints that oppose the need to recognise difference.”- Sébastien Pluot