Céleste RogosinSelected Texts

Serpentine and layered, Céleste Rogosin’s practice reflects her years of training. The artist first devoted herself to dance and theatre before opting for training at the crossroads of the moving image and installation. It is nothing less than one of the blind spots in current representation that the Franco-American is trying to unravel. How do we treat the individual and collective body, at the very moment when the image becomes suspect of commodification? How can we show without capturing, say without reducing, invent without escaping? The artist doesn’t pretend to solve anything, and she tirelessly sets about multiplying the angles of approach. Since there is no single truth, we’re going to have to weave together the disciplines and rely on collective creative methodologies: today’s complexity demands it.(…)

“As the tenth artist invited to the Pinault Collection’s residency programme in Lens, Céleste Rogosin is developing a new project from October 2023 to August 2024 that involves an exploration of the landscapes of France’s Nord region (…)”

“On the shore of Calais, that’s it, Iʼm there, with others too, all riveted on the opposite coast, waiting, and they pull up the bonnet of the jumper to hide from the spider drones that weave webs of fire aimed at our migrant heads, they nestle us in images crammed into their files by dating our exiles, and on the beach they prepare a fire, and I wander in my thoughts (…)” Text by Daniel Danis based on the images “Echo des rivages” from the series “Des corps liminaux” by Céleste Rogosin.

“Camera movements are generally used in cinema to make the viewer identify with the shot and, in a way, cross the threshold of the image. (…)”