• Repartir à zéro

    Musee des Beaux-Arts de Lyon

    IN A DARKENED AND CONFINING antechamber at Lyon’s Musée des Beaux-Arts, two videos set the tone for what was to come: On a screen to the left, a mushroom cloud silently unfurled over Nagasaki; on the right played an excerpt from Roberto Rossellini’s Germania anno zero (1948) in which a blond boy wanders in Berlin’s postwar rubble, picking up a piece of debris, distractedly pointing it like a pistol at his own head, and then throwing it like a grenade into the window of a neighboring ruin. Both clips ran as short loops (just a few minutes each) and without sound, producing a hypnotic repetitiveness

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