Artist, lives and works between Clermont-Ferrand and Paris.
" Manon Pretto uses images and digital technology to deconstruct and question the inherent identity of today’s society. Drawing her inspiration from the field, she is interested in the social relations between individuals, in particular the relations of authority, oppression and resistance. As a result, her work is multidisciplinary, uses a variety of mediums ranging from video to installation, image and performance.
Her futuristic-looking projects play with the codes of dystopia to draw us assertively into a world that seems familiar to us. Each of the present works have their own stories, but interconnected, they form an abstract space, an entity full of potentialities: a witness structure.
By penetrating this space, the spectator modulates and projects itself, in order to become the actor and creator of what he perceives. The works and the bodies mingle, blurring the boundaries between the images created by the artist and the film in which the spectator is enlisted in spite of himself. At the heart of this device, the space and the spectator open a dialogue that pushes him to question his perception of the images and the relationship he has with them. This accentuated proximity of the body and the image, which end up merging, does not leave us indifferent, provoking a multitude of questions about what shapes us today. Are we the creators of our perception or are we subject to it? "
The year 2020 has seen our planet come to a halt, our present shattered and our relationship to time disrupted. This sudden pause questions our perception of time.
Often defined as a boundary that naturally or conventionally determines an area, the border is seen as a dam, a dividing point and an obstacle that must not be crossed. Yet, as Edouard Glissant wrote, none has resisted the irrepressible will to cross them: "We frequent borders, not as signs and factors of the impossible, but as places of passage and transformation".
(Le Monde Diplomatique, October 2006, p.16 and 17).
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