Dimitri Mallet (France) faced with the flood of images to which we are subjected, in the era of speed and zapping, Dimitri Mallet, in counterpoint, invites the viewer to take time.
Through the painted or filmed Landscapes (2017) series, the artist transcribes the light spots that can be observed with closed eyes. In painting and video, he expresses an inner necessity in the sense in which Vassily Kandinsky understood it in Du spirituel dans l’Art and in painting in particular (1911). Two elements were decisive in Kandinsky’s journey towards a painting without a subject: in 1896, the vision of Monet’s Millstones in an exhibition of French art in Moscow, then, in 1908, the sight of one of his paintings at the towards. This is precisely what interests Mallet in these abstract images. Michel Henry’s analysis in Voir l’invisible (1988) shows that painting “economizes on language. This is what abstract painting teaches us and this is what gives it its capacity for expression. If indeed the color does not relate to the feelings of our soul by an external relation but finds in them its true being – which it is as a pure sensation, as a pure experience – then it does not have even in translating, like a means, this abstract content of our invisible life, it coincides with it, it is its pathos, its suffering, its boredom, its dereliction or its joy. “. The artist also invests the exhibition space with short sentences, hidden and scattered throughout the exhibition. He thus offers us, in the Infinite Village, to slowly appropriate our own visions.