:: julien maire ::
 "high voltage"
"pieces de monnaie"
"double face" + "ordonner"
 "diapositives" + "demi pas"
 "exploding camera", "digit", "low res cinema"

"Diapositives" 1995-1998

By directly projecting a three dimensional object, mechanism in order to obtain a picture, this work (mechanisms in slide-form, or "Diapositives"), is experimenting with a different kind of cinema.
The presence of objects and elements in the slide creates its own live action. The spectator shuttles constantly between his view of the projected object and his supposition of what is really contained in the projector.
The image projected is by definition weightless. By introducing real elements I am attempting to give it a particular physical consistency.
This first work with slides is presented during a thirty minutes projection-performance which includes about twenty devices. Each "Slide" describe a very short story and the projection (with an adapted slide projector) juxtaposing them in an experimental production.
The following work "Demi-pas" is more recent and develop the concept of " inverted camera ": a computer assisted slide projector which is able to produce a "film".


Demi-pas ( Half-step) Projection-perfomance, 20 min, 2002

"Half-Step" is a 20 min film consisting only of three dimensional projected objects : a collection of "Diapositives" or "projection modules" . They are constructed with laser cut ektachromes, motors, electrics and electronics devises, in order to animate the pictures directly inside the projectors , or to produce the movements by adjusting the depth of field (the focus is made on different layers of the slide).
"Demi-pas" is a projection using only still pictures, animated in a ameliorated magic lantern process and synchronized with sound.

Based on this experimental form of projection, the film narrates a tale that has an extremely simple storyline: one man's daily routine. "Demi-Pas" is a short film that constructs an everyday reality, thus highlighting simultaneously both the simplicity and the complexity of this reality.

Julien Maire's performances using proto-cinematic micro-machines both evoke and outdistance the illusions of the phantasmagoric projectionists of the pre-cinema. His intricate archaeology though seems not primarily concerned with retrieving the effect-ploys of optical illusion, but of reimagining the apparatus as itself as illusory, one in which the image and its operation are meticulously intertwined. In this sense, rather than allegorizing the image, Maire allegorizes the machine.
The scaled-up projections in his performances mimic those of the illusionists of the 19th century, but the images are less anecdotal than episodic, they provoke deliberation rather than sentiment, reflection rather than mere sensation. Rather than simply enlivening the image with transitory effects, Maire summons not the apparitions of ghosts, but the "ghosts in the machine", coaxing them into operation with minute mechanisms that donÕt render representations of illusion, but lay bare illusions. This subtle shift comes as a welcomed corrective to many so-called media archaeologists content to replay media rather than reinvent it.
Maire's Demi-Pas (Half-Step) transforms the image machine into a time machine by evoking both mechanical and physical movements. The adapted projector of his earlier work becomes a computer-assisted one in this work. The "stepper motors" and the "half steps" of human motion are linked as the projected images establish a dynamic relationship between image and movement, sensation and narrative. By layering image and performed interventions into the projected scenes, the images and operations differentiate themselves spatially with perceived realities weaving in and out of perceptibility. Maire's performances play in the interstices between machine and image and provoke a serious reconsideration of the "cinemaginary" interface.

Timothy Druckrey M.I.T press / Z.K.M
(extract of the catalogue "Future Cinéma")

© 2004