Antoine Donzeaud, A l’endroit et à l’envers du temps

A l’endroit et à l’envers du temps, 2020
Georg Kargl, Vienna

Antoine Donzeaud, Chandelier, dans le genre, 2020
MDF, stainless steel, glass, spray paint, hardware
Dimensions variable
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A l’endroit et à l’envers du temps, 2020
Georg Kargl, Vienna

Antoine Donzeaud, Le chemin du pèlerin, 2008
DV cam, sound
5’19’’
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Antoine Donzeaud, Fenêtre sur l’aube ou le crépuscule, 2020
Oak, glass, spray paint, brass
86 x 65 cm
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Antoine Donzeaud, Résistances affectives forever, 2020
Postcard collage, vintage frame
22 x 15 cm
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Antoine Donzeaud, The house that was, 2020
Spatial cut-out, cotton, wood
Dimensions variable

À l’endroit et à l’envers du temps
we’ve got time

All works of art are like a window open to creation; a kind of transparent screen is mounted in the window frame; through this screen, objects appear more or less distorted, as they undergo greater or smaller changes in their lines and colors. These changes depend on the nature of the screen; thus, creation is no longer credible or realistic, as creation is transformed by the medium through which the image passes¹.

In Salinger’s Teen Novel, Zooey² looks out the window and watches a little girl playing with her dog. He says: „There are nice things in this world, we are all such morons to get so sidetracked”. The window appears as a vantage point to gaze into other people’s (beautiful) lives.

In Emma’s³ house, the window is tantamount to a screen, where she can project her fantasies (which shall never turn into reality); a dissociation; a tie between the external space and the interior space; two sides; two perspectives; a facial expression reflects in the window glass, while a view outside turns into an expectation; „There it was before her – life”.

To the Lighthouse⁴; a family observes as the days pass and their lives develop through a window; outside the window; a distant object – apparently unobtainable, reveals yearnings, frustrations and desires; the sun sets; days go by; images, impressions and sentiments remain as fragments of the past and sometimes the present.

There is no window without a story; for the window is an architectural work of art, that stores memories and tells different sides of one particular story.
There is no window without a screen; a certain gaze or a plain glass is always in between; a created separation; as time passes, the window becomes a symbol for contemporary longings and memories of past days; a cracked screen; a broken window; capable to reveal one’s inner feelings; sometimes hidden behind a bunch of curtains, that once belonged to a (familiar) home.

A-M T

1. Naomi Schor (1969): Zola: from window to window
2. J.D Salinger (1961): Franny and Zooey
3. Gustave Flaubert (1856): Madame Bovary
4. Virginia Woolf (1927): To the Lighthouse