On a large screen suspended in space, an ongoing imaging process is visualized. A sudden burst of energy scrambles the visual coherency of an image, picture elements careening off into the far reaches of a three-dimensional virtual matrix. The pixel or “basic unit of programmable color” as Graham Harwood calls it, is for a brief moment freed from its representational burden, traversing space, becoming nothing but pure chromatic value and geometrical coordinate, caught up in a turbulent, expansive moment.
Over time, certain points from this bustling jumble slowly drift back, drawn once again toward the center of the screen. Pixels languorously position themselves in relation to one another, contiguous colors gradually forming small surfaces. Little by little a new image takes shape. Once the last pixel is in place, the operation repeats anew.
For media theorist Friedrich Kittler, the addressability of the pixel provides the conditions of possibility for what he calls the virtualization of optics. Where the physical camera lens once embodied the laws of optics in order to model and extend the human eye, software now simulates the camera and all other forms of optical hardware. The pixel's implied receptacle, the two-dimensional Cartesian grid, acts as an invisible placeholder, an organizing principle intimating neighbor relationships that provide affordances for all manner of filtering, processing and image recognition proper to computer vision and computer graphics, the analysis and synthesis of the technical image.
Addressability has two versions, the first of which uses the latest photographs of breaking news in real time. In the second version, for the exhibition Snap + Share at the SFMoma, Addressability used the most recent self portraits on social networks, also in real time.
Custom software (Java, Processing, GLGraphics, OpenGL, Nodejs, Shell scripts), MacMini, Full HD video projector, variable dimension large two-way screen
- Le Supermarché des Images, Red Brick Art Museum, Beijing, 2021, Curator - Peter Szendy, Associate curators - Emmanuel Alloa and Marta Ponsa
- Le Supermarché des Images, Jeu de Paume, Paris, 2020, Curator - Peter Szendy, Associate curators - Emmanuel Alloa and Marta Ponsa
- Snap + Share, San Francisco Museum of Modern Art, 2019, Curator - Clément Chéroux
- Hyperimaging! Images in and out of our screens, The “Gjon Mili” Biennial & Award, National Gallery of Kosovo, 2017, Curator - Alfredo Cramerotti
- Staring at you staring at me, Amado Art Space/Lab, Seoul, South Korea, 2016, Curators - Éric Maillet and Jinsang Yoo
- A-t-t-e-n-t-i-o-n, Bienniale International Design Saint-Étienne, 2015, Curators - David-Olivier Lartigaud and Samuel Vermeil
- (Mis)Understanding Photography - Works and Manifestos, Museum Folkwang, Essen, 2014, Curator - Florian Ebner
- Silicon Valley Contemporary, San Jose McEnery Convention Center, San Jose, 2014
- Show Off, Espace Pierre Cardin, Paris, 2013
- Ladies and Gentlemen We Are Floating in Space, Young Projects Gallery, Los Angeles, 2013
- La Criée Centre d'Art Contemporain, Rennes, France, 2011
- Snap+Share - Transmitting Photographs From Mail Art to Social Networks Richard B. Woodward, Wall Street Journal, April 13, 2019
- Tracing the Roots of Photo Sharing, From Mail Art to Instagram Jori Finkel, New York Times, April 4, 2019
- SFMOMA’s new photo exhibit worth a thousand views Charles Desmarais, San Francisco Chronicle, March 28, 2019
- Radio interview with Nadège Padellec for Radio Campus Rennes, 2011
- Par le chas d’une aiguille, Marc Lenot, Lunettes Rouges, 2011
- Jeff Guess à La Criée, Chloé Orveau, Zero Deux Online, 2011
- Le supermarché des images, Peter Szendy, Emmanuel Alloa and Marta Ponsa, Jeu de Paume, Paris, Gallimard, 2020
- Snap + Share, Clément Cheroux, SFMoma, San Francisco, Cernunnos, 2019
- (Mis)Understanding Photography - Works and Manifestos, Florian Ebner, Museum Folkwang, Essen, Steidl, 2014
- Centre national des arts plastiques, acquisition 2020
- Private collections