Marie-Jo Lafontaine

Taormina Arte 1988

Uprooted from their original supporting structures, Marie-Jo Lafontaine’s video sculptures showed a certain weakness here, to use the artist’s own terminology. Yet in a distinctive way, these works again touched a sensitive cord of emotions even though they were reduced to fragments and multiple filmic units. Certain pieces, especially Le rêve d’Héphaistos (Hephaistos’ dream, 1982) and Le métronome de Babel (Metronome of Babel, 1984–85), suffered from their missing environments, and A las cinco de la tarde (At five in the afternoon, 1984) was less persuasive here than in its original form, which included a circular architectural structure that set the path for visual movements and swerves, proximities and distances. Still, the entire installation of the show (which also included Les larmes d’acier [Steel tears, 1985–86] and Victoria, 1987–88) maintained its edge to catch the viewer off

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