Placed on the floor, the screens are turned upside down and return us to the aesthetics of the portrait. These screens, which are nowadays as close as possible to what portraiture or history painting was a few centuries ago, are, in their image, our main interface to the world. It is through these screens that we apprehend the world. But just as the painter will direct the outcome of his painting, the screens do not offer us only an objective reality. So how can we be as close to reality as possible and bypass this peaceful censorship of everyday life? We know that many surveillance algorithms do not process data in the same way, but keep track of their creators. They analyse information through the stigma already embedded in our society and by its creator, so they are by no means as neutral as they are made out to be.
One can detect a presence without being able to know exactly what it is. This installation uses photos recovered from the internet which are images taken by citizens or by journalists. We see the police moving around, they are not in intervention but in moments of pause. Multiplied by three screens, we quickly feel caught by their presence but also by this red glow. The forces of law and order become illuminated and threatening spectres, all reinforced by an aesthetic specific to the army.
This installation reveals the digital threats we face, the image turns against those who use it as an absolute truth.