Non-stop paysage

lnitially questioning the codes and social conventions born of a popular or mythical culture, Boris Achour and Angel Vergara both construct their work around mechanisms linked either to mass or autocratie production. In these two exhibitions, Non-stop paysage and Comment libérer les artistes libres?, they use imaginary accounts to recreate fiction, building a universe which mixes interpretative modes based on reality or tradition, causing the viewer to doubt his common sense, to play with reality and shift the primary function of an object or means of action.

In his luminous inscription Je ne veux tout (2000), Boris Achour questions our identitary statute in a ever consuming society  prisoner of his habituations. As for the Sommes (1999), they are photographs with the ambiguous title whose subject sleeps upright, the head resting on the well cut hedges of the properties of Los Angeles. Cosmos (2001), an automatic door out of glass whose mechanism does not react to displacements of the visitor, but to the simple random impulses of the programmer. Lastly, non-stop landscape (2003) is a world, a playful landscape, in which the spectator recreates and distances himself from the scenarios of which he is a prisoner.