Le Printemps
2020
In her book "The Invisible Wall" (1963), Marlen Haushofer tells the story of a woman who finds herself inexplicably trapped behind a transparent and impassable wall. In the video game Assassin's Creed (2007), a white smoke screen marks out areas of the city that are not yet accessible to the player, while still showing what lies behind. These porous walls remind us of those who stood between us for several months. Like the membrane of a cell, they separated us to protect us from each other. The separation does not prevent the relationship, the already ubiquitous screens have taken over and act as links. Screens of controls, surveillance, hypnotization, non-biological and germ-free exchanges, have, more than ever, been the solitary windows of this gigantic collective prison. Without them, nothing would have been possible. What will remain of this experience? What sociological and ontological heritage will flow from this global social upheaval? What place and importance will these screens continue to have in our lives? What if it was them, the invisible walls?
