An exhibition that describes a highly eventful trip between fiction and reality, and questions the blurred borderline between the “true” and the “false”, the singular and the plural, and between the subjective and the objective. The works reveal the clichés which close in and partition our society, with reality functioning as a kind of composite fiction made up of a multiplicity of fragmented personal experiences, remote from all historical reality.
Attentive to the life experiences, to the question of memory and of fiction, Omer Fast rebuilds his histories around existing supports – film, television – that he analyses and shows the complex structures or the codes used. At Fri-Art, he presents CNN concatenated (2002), a assembly-disassembly of 10’000 words, denouncing the unipolar aspect of the televisual indoctrination. Then, interviewing the extras of “Schindler’s List” in Cracovie, Spielberg’s List (2003), the artist dismisses the spectator in the meanders of an art mixing the lived experiences and the imaginary of his interlocutors. As for the installation entitled A Tank Translated (2003), it tells the stories of four Israeli soldiers, confined in an armoured tank. Between image and sound, an invisible bond is woven to reveal a manipulation going until the absurd. By this intermediary, all the work of Omer Fast not only tends to restore the complexity and the paradoxes of the individual in its every day life, but also to underline its human condition.
The Cameroonian artist Goddy Leye presents for Fri-Art UCA, United Chiefferies of Africa (2003) which is an ensemble of projects exploring the question of identity and memory in a post-colony. The various facets of this project go from the creation of a flag, to a public procession, passing by an election and a polling station. Indeed, the work is to create a new State, where the leaders – of several horizons - would be as well personalities of the world of contemporary art, as well as from the politics and others, whereas the visitors of the exhibition would become the electors.
The transcontinental education of Senam Okudzeto has made of her a spectator and a participant of a variety of multicultural experiences. The cartography becomes for her a kind of metaphor of a whole research. In the urban space in Fribourg and the staircase of Fri-Art, she presents new works, for which the local cartography and the topography of the place are used as springboard for a polysemous and metaphorical speech on the relation of the individual with its social body. Using collages and writings, she reveals a world of multiple facets and fragmented and broken topography.