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[ Excerpt of text by Christof Migone, from the booklet of the exhibition]

This Quiet: A Misguided Ambulation

[...] in Diane Morin’s Effondrements (translatable as ‘collapses’ or ‘breakdowns’) we also face issues of control, and of things. With Effondrements, we are tempted to fill-in the bare narrative threads of the video and imagine acts of terrorism on domestic objects or the repeated staging of the magic of appearance. Both scenarios can coexist for the piece shares Trinh T. Minh-Ha‘s eschatological bent:

SILENCES are holes in the sound wall/SOUNDS are bubbles on the surface of silence. Sound like silence is both opening and filling/concave and convex/life and death. Sound like silence may freeze or free the image. In many civilizations, definitions of music and silence are interchangeable. Music is life. But entering into LIFE is also entering into the DEATH process.[12]

The sudden animation of these quotidian objects, thanks to the whimsy of explosions which falter and fail, enables the objects to emerge out of a “shadow darker than the shadow of night.”[13] The stark contrast provides the intertwine that Min-Ha alludes to, the fuses whistle through the dichotomies and unearths the inherent paradoxes. Each object is the host to an event which sounds the silence and illuminates the pitch blackness. Each becomes moments, momentous and momentary.


Christof Migone, guest curator
12. Trinh T. Minh-Ha, “Holes in the Sound Wall” in When the Moon Waxes Red, Routledge, 1995, 203.
13. Joseph Conrad, Heart of Darkness, New York: Norton, 1971, 75

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