La Plante (2013) | Tessa R. Groenewoud

  • La Plante (2013)
  • La Plante (2013)
  • La Plante (2013)
  • La Plante (2013)
  • La Plante (2013)
  • La Plante (2013)
  • La Plante (2013)

La Plante I

video installation (houseplant, theater light, tripod, videoprojection loop 28:35min)

Trajector Intermezzo Rematch!, Brussels (BE)
2013

The interest in the everyday ritual, objects and spaces that construct a common reality plays a central part in this work.

Point of departure was the space of the exhibition, a hotel room, with its strong notice of a coinciding of public and private. The ambiguous sence of use of this room, which for short periods of time is made into an intimate or personal space but at the same time remains an objective and blanc interior, and during the exhibition also gets a public function, was at the base of the installation.

A typical household object was brought into the darkened room, the house plant, which is so common that it is hardly ever consciously noticed in most livingroom interiors but here stands out against the context of the hotel room. A theaterlamp on a tripod lit brightly only a sliver of the plant.

A video projection above the bed shows 5 different livingroom interiors, filmed with a slowly rotating camera on a tripod. The first frame consists of the same houseplant that is also situated in the hotel room, and after making a 360° pan ends with the plant centered in the frame again. The distance towards the plant and the focus-depth determines what is made visible during the scanning of the room, the plant functions as a kind of measuring tool for the camera.

In the work I play with both the genre of the still life, as well as that of the domestic interior genre in 17th & 18th century Dutch painting. In still life painting the surrounding space is hardly identified, while evidently it is in the household interior paintings. The fact that the objects in the first can be a means to reflect on developments in society and the relation towards objects, it also presented a forming identity and selfawareness. The visualisation of the interiors that are lacking in the still lifes was mostly about a play with real and represented space. The absence of meaning in these paintings is seen as an important feature.

In working with these factors, a remake of La Chambre, an early work of artist/ filmmaker Chantal Akerman, presented itself. In the videoprojection a tension is present, between the absence of meaning and the possibility of narritive, between a voyeuristic view and an objectified image.

The installation chalenges the spectator/ visitor to position him- or herself towards the different elements: the object, the interior, and the image.