Jean-Michel Rolland

A part of "Body Limits II," a series of video works that use dance video recordings selected from the Internet. The multiplication of bodies and the transformations made to colors and speed turn these recordings into video art works that question the boundary between figuration and abstraction. The original soundtracks have been preserved. Slowed down to the same speed as the image and enriched with various effects, they contribute to the aesthetics of these détournements (appropriations). The body, pushed to its limits, transcends itself to give life to new representations of physical activity.

A part of "Body Limits II," a series of video works that use dance video recordings selected from the Internet. The multiplication of bodies and the transformations made to colors and speed turn these recordings into video art works that question the boundary between figuration and abstraction. The original soundtracks have been preserved. Slowed down to the same speed as the image and enriched with various effects, they contribute to the aesthetics of these détournements. The body, pushed to its limits, transcends itself to give life to new representations of physical activity.

A part of "Body Limits," a series of 12 works that use performative videos found on the Internet. The multiplication of bodies and the transformations made to colors and speed turn these videos into works of video art that question the boundary between figuration and abstraction. The original soundtracks have been preserved. Slowed down to the same speed as the image and enriched with various effects, they contribute to the aesthetics of these détournements (appropriations). The body, pushed to its limits, transcends itself to give life to new representations of physical activity.

Presence follows the tradition of self-portraiture but only the shadow of the artist is present. The world around him undergoes transformations that do not seem to affect him, questioning the reality of his existence.

A part of "Body Limits," a series of 12 works that use performance videos found on the Internet. The multiplication of bodies and the transformations made to colors and speed turn these videos into works of video art that question the boundary between figuration and abstraction. The original soundtracks have been preserved. Slowed down to the same speed as the image and enriched with various effects, they contribute to the aesthetics of these détournements (appropriations). The body, pushed to its limits, transcends itself to give life to new representations of physical activity.

"Beijing Bicycles" is the poetic memory left on the artist by the thousands of bicycles that circulate in Beijing. The endless round of images is transformed, slowly passing from an indefinite form to that - constructed - of cyclists, without ever dwelling on the original shot

A part of "Body Limits II," a series of video works that use dance video recordings selected from the Internet. The multiplication of bodies and the transformations made to colors and speed turn these recordings into video art works that question the boundary between figuration and abstraction. The original soundtracks have been preserved. Slowed down to the same speed as the image and enriched with various effects, they contribute to the aesthetics of these détournements (appropriations). The body, pushed to its limits, transcends itself to give life to new representations of physical activity.

A part of "Body Limits II," a series of video works that use dance video recordings selected from the Internet. The multiplication of bodies and the transformations made to colors and speed turn these recordings into video art works that question the boundary between figuration and abstraction. The original soundtracks have been preserved. Slowed down to the same speed as the image and enriched with various effects, they contribute to the aesthetics of these détournements. The body, pushed to its limits, transcends itself to give life to new representations of physical activity.

A part of "Body Limits," a series of 12 works that use performative videos found on the Internet. The multiplication of bodies and the transformations made to colors and speed turn these videos into works of video art that question the boundary between figuration and abstraction. The original soundtracks have been preserved. Slowed down to the same speed as the image and enriched with various effects, they contribute to the aesthetics of these détournements (appropriations). The body, pushed to its limits, transcends itself to give life to new representations of physical activity.

Presence follows the tradition of self-portraiture but only the shadow of the artist is present. The world around him undergoes transformations that do not seem to affect him, questioning the reality of his existence.

Presence follows the tradition of self-portraiture but only the shadow of the artist is present. The world around him undergoes transformations that do not seem to affect him, questioning the reality of his existence.

A part of "Body Limits," a series of 12 works that use performance videos found on the Internet. The multiplication of bodies and the transformations made to colors and speed turn these videos into works of video art that question the boundary between figuration and abstraction. The original soundtracks have been preserved. Slowed down to the same speed as the image and enriched with various effects, they contribute to the aesthetics of these détournements (appropriations). The body, pushed to its limits, transcends itself to give life to new representations of physical activity.

"Beijing Bicycles" is the poetic memory left on the artist by the thousands of bicycles that circulate in Beijing. The endless round of images is transformed, slowly passing from an indefinite form to that - constructed - of cyclists, without ever dwelling on the original shot

"Beijing Bicycles" is the poetic memory left on the artist by the thousands of bicycles that circulate in Beijing. The endless round of images is transformed, slowly passing from an indefinite form to that - constructed - of cyclists, without ever dwelling on the original shot

A critical analysis of a scene of relaxation on the beach. The genre of photovideography uses the dislocation and decomposition of the static image to transform the idyll into a series of unsettling ruptures, shifts and movements that decompose the well-being into a grid of sunlit colours and crumbling surfaces.

17 photographs found on the internet are reworked into a photovideography to deliver a personal vision of bullfighting. This artistic documentary where the red color, the color of blood, is omnipresent deliberately ignores the presumed beauty of the gesture to focus on the barbarism of this outdated practice.

17 photographs found on the internet are reworked into a photovideography to deliver a personal vision of bullfighting. This artistic documentary where the red color, the color of blood, is omnipresent deliberately ignores the presumed beauty of the gesture to focus on the barbarism of this outdated practice.

The final installment in the five-part Cows series is a remarkable example of photo-videography as an art form. Photographs, which over time transform pixel by pixel, pose inconvenient questions about our relationship with animals: Are they merely objects for our consumption? Organic matter we've become disconnected with? Or…?

Nature, to be commanded, must be obeyed », Francis Bacon. Around a low tree with twisted branches, a man seeks to rest. He doubles up. One lifts its paw, clings to a branch, the other sits on an uncomfortable curve, like a monkey trying to make its nest. There are three now, then four to explore the possibilities for action offered by the plant. This tree was waiting for him. The character stretches, hangs, lengthens. He becomes one with the tree and settles there, promising to visit it without hurting it. Of course, the tree is instrumentalized by becoming a chair or a bed, but no one cuts off its branches or assembles them to make them useful. The tree remains a tree, it becomes a temporary shelter, the act is reversible and, once the visitor has left, it will resume the course of its peaceful life, living being among the living.

Nature, to be commanded, must be obeyed », Francis Bacon. Around a low tree with twisted branches, a man seeks to rest. He doubles up. One lifts its paw, clings to a branch, the other sits on an uncomfortable curve, like a monkey trying to make its nest. There are three now, then four to explore the possibilities for action offered by the plant. This tree was waiting for him. The character stretches, hangs, lengthens. He becomes one with the tree and settles there, promising to visit it without hurting it. Of course, the tree is instrumentalized by becoming a chair or a bed, but no one cuts off its branches or assembles them to make them useful. The tree remains a tree, it becomes a temporary shelter, the act is reversible and, once the visitor has left, it will resume the course of its peaceful life, living being among the living.

Chironomies is an ongoing series of videos that reveal the aesthetics of music conductors' gestures. The recordings of the musical works used are edited to retain only the relevant parts. The bodies, stripped of the superfluous and multiplied, leave traces that create patterns specific to each conductor. The result is visual and musical recompositions that navigate between figuration and abstraction.