Ismaïl Bahri’s work cultivates slowness. It is based on a close exploration of simple elements and the often tenuous reactions that occur when those elements are brought into contact. Bahri runs through series of small gestures, repeating them assiduously – he activates things, sets them in motion, transforms them, ties things in knots, crumples them – and he welcomes the unforeseen developments that ensue.
The exhibition Films is conceived as a set of observations, of “note-takings” or “pick-ups” and focuses essentially on a series of sculptures. These objects are a kind of recordings as they capture the essence of spaces and durations. Beyond this central body of work, the presentation installed at Grey Noise touches upon the idea of a document and a transfer of loss or gain of matter, which makes a distant echo of Bahri’s interest in moving images and photosensitive surfaces.
