2012 - 2022
plan sequence of a day in the life of a Free Syrian Army fighter
screenshot of each minute of 24 hours,
Alep and Idlib provinces (Syria) August 2012.
(screenshots still in progress)
In the majority of societies, conflict is omnipresent: news, films, video games ... it is difficult not to see it, yet the image offered to us only presents an ideal fantasy detached from reality.
Even if the fantasy remains the same, the representation of war tends to change. While the reporter is asked to be closest to the event, since 2010 we have seen massively appearing images that are no longer made by the witnesses of the event, which are the reporters, but by the actors of the event themselves that are the fighters. The latter now produce the majority of war images using their smart phones, but are also becoming their broadcasters via social networks.
In this project, by fixing a camera on the torso of a Free Syrian Army fighter in the Aleppo and Idlib region, Emeric Lhuisset questions the contemporary place of the war reporter. But in this subjective camera video, he also chooses to produce a 24-hour sequence shot which will then be broadcasted in real time. He will revisit this video and systematically capture the unitary 1440 minutes of these 24 hours, thereby questioning our relationship to photography and the search for the decisive moment. Why still try to capture this decisive moment at the risk of missing it when you can succeed in filming in very high resolution and then all you have to do is capture the desired moment?
The artist invites us to question the representations and the use of the photographic medium, the multiplicity of the image today and the impossibility of seeing everything, but he also confronts us with the rawest reality, outside any fantasy, outside of the event, simply the banality of a daily life, that of a war.