During my first visit to the museum, I was captivated by the impressive architecture, the labyrinthine interior and the diversity of its exhibitions - which I memorized/documented extensively with my phone. In contrast, in the adjacent building, the view from the windows of our future exhibition space and all these elements implanted in the landscape long after the construction of the museum, seemed at first glance muted, almost bland. I cautiously observed the space, then the view and then the space again. I closed my eyes, wondering if I could remember all the elements from the view - I remembered only four, maybe five. I opened my eyes to an unexpected density, an urban landscape full of clues.

It all started with
a perfect moment
so perfect
that I closed my eyes
in the hope of making it last forever 

That’s when
my absurd desire
to freeze time
was born

When I opened my eyes,
this perfect moment
was gone
and every hope
to catch it again
was vain

GEM Kunstmuseum, The Hague, Netherlands
February 2020
Friction in Plain Sight is composed of three interdependent works articulated around simple and subtly perceivable experiences. Their relationship stimulates our attention ability.

(1)
Friction in Plain Sight I, 2020
Ambient light and air stream, 2 layers textile (2 layers of 12 x 4,20 m each), metallic rope and plastic tube (diam 4 mm). Variable dimensions.
(2)
Friction in Plain Sight II, 2020
Ambient light and satin photography print mounted on glass (35 x 53 cm). Variable dimensions.
(3)
Friction in Plain Sight III, 2020
Ambient light, glass (35 x 53 cm), varnish and nails. Variable dimensions.

Friction in Plain Sight I is a site-specific intervention onto the windows mentioned above. By using textile at the scale of the architecture, I intend to blur the boundaries between the foreground and background and between the work of art and its environment. Thin veils overlapping one another create an interference between their wefts - a «moiré». The subtle evanescence of this vibration varies according to the viewing angle, the intensity of the light and the movements induced by the stream of hot air coming from the heater. It only requires a glance, but on longer inspection it gives endless poetic alterations. It can also escape distracted minds. Friction in Plain Sight II is a photo of this installation, support of an indirect approach to this texture in space, always identical and never the same. Thus this fleeting and constantly changing experience coexists with a snapshot offering a trace of a different temporality. Friction in Plain Sight III suggests a mental approach; a text linked to this experience - which can manifest itself even with closed eyes. The frosted letters reveal themselves progressively, blending in with the reflections and transparency of the glass.

Photos : Nicolas Kengen