From March 6th to 17th 2016 the French Institute of Afghanistan hosted the plastic art artist Pascal CONVERT for presenting several conferences and doing shootings of several major historical sites in Bamyan valley under the 15th anniversary of Boudha status destruction; these photographs carried out in association with Yves UBELMANN and Philippe BARTHÉLÈMY from ICONEM company will be exhibit at IFA during 2016.
On March 15th, Pascal CONVERT has presented a conference to propose the students and university lecturers to discuss the theme: what might be the artist’s position confronted to this period of the monuments destruction?
The press photographs of sculpture monuments made by wax, the Pieta of Kosovo (1990), The Madone of Bentalha (1997) inspired me in years 2000 were captured by film cameras which imply a different time between saving and diffusion time. In 2001 the almost simultaneous destruction of giant Boudha status in Bamyan and Twin Towers in New York let us know that the cultural, economic and especially religious conflicts will go on in pair with a politic used of the images power.
From 2003 we have assisted in acceleration toward total digitalization with the market supply of the first cell phone with a photo camera. The next year, on April 28th 2004, the prisoners cliché of Abou Gharib carried out in private mode by soldiers have opened the door to become sensational pigsty. Since this period the constant < intensive bombardment > of our conscience by the non-stop assaults of visual material overwhelms the hypnotized spectators and transforms the critical reflection in an acute form of “Presentism” that take it away from the history.
If the artist takes his motivation from a single relation, anachronistic, disorientate, asynchronous with his/her own time what might be his/her responsibility at the time of instantaneous images transmission, at the time of a hyper synchronization of libidos, and at the time of sensitive and memory’s destruction? Under my actual work my way to access to a form of an archeology.
The death of Mohamed Al dura, 2002 – 2003, waxes, 165x230x35cm. Mudam Luxembourg collection.
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