David Claerbout, Moments réflexifs - Valérie Lamontagne, David Claerbout : le spectre du temps

[Spring 2005]

This article was originally published only in French. You can read it by switching over to the French version of this page.

David Claerbout, Untitled (Carl and Julie), 2000, vues ﬁxes tirées d’une projection en noir et blanc, courtoisie Hauser & Wirth et Yvon Lambert. © David Claerbout
David Claerbout, Untitled (Carl and Julie), 2000, vues ﬁxes tirées d’une projection en noir et blanc, courtoisie Hauser & Wirth et Yvon Lambert. © David Claerbout
David Claerbout, Vietnam, 1967, near Duc Pho (Reconstruction after Hiromishi Mine), 2001, série de vues ﬁxes extraites d’une projection vidéo couleur, courtoisie Hauser & Wirth et Yvon Lambert. © David Claerbout
David Claerbout, Vietnam, 1967, near Duc Pho (Reconstruction after Hiromishi Mine), 2001, série de vues ﬁxes extraites d’une projection vidéo couleur, courtoisie Hauser & Wirth et Yvon Lambert. © David Claerbout
David Claerbout, Vietnam, 1967, near Duc Pho (Reconstruction after Hiromishi Mine), 2001, série de vues ﬁxes extraites d’une projection vidéo couleur, courtoisie Hauser & Wirth et Yvon Lambert. © David Claerbout
David Claerbout, Man under arches, 2000, quatre vues ﬁxes tirées d’une projection en noir et blanc, courtoisie de Hauser & Wirth et Yvon Lambert. © David Claerbout
David Claerbout, Man under arches, 2000, quatre vues ﬁxes tirées d’une projection en noir et blanc, courtoisie de Hauser & Wirth et Yvon Lambert. © David Claerbout
David Claerbout, Man under arches, 2000, quatre vues ﬁxes tirées d’une projection en noir et blanc, courtoisie de Hauser & Wirth et Yvon Lambert. © David Claerbout
David Claerbout, Man under arches, 2000, quatre vues ﬁxes tirées d’une projection en noir et blanc, courtoisie de Hauser & Wirth et Yvon Lambert. © David Claerbout
David Claerbout, Kindergarten Antonio Sant’Elia, 1932, vues ﬁxes extraites de projection vidéo, 1998-2000, courtoisie Hauser & Wirth et Yvon Lambert. © David Claerbout
David Claerbout, Untitled (Single channel view), vues ﬁxes extraites de projection vidéo, 1998-2000, courtoisie Hauser & Wirth et Yvon Lambert. © David Claerbout

Abstract
The author considers David Claerbout’s work in relation to the overlapping histories of cinema and photography and suggests that the etymological and perceptive frictions that have developed between these media form the crux of the artistry of is installations. Indeed it is this dialogic relationship between photographic and cinematic language, with their past and present temporal logics, and different material qualities, that are seen at play in these video installation works.