Avant même d’entrer  dans in.plano, notre regard se confronte à un rideau gris transparent sur lequel sont gravés en marge des annotations de corrections de fautes d’orthographe. Tel un filtre numérique apposé sur l’exposition, la surface plastifiée modifie notre perception de l’espace, tandis que le texte qui en perce la couche de-vient une ouverture sur la réalité. Cette première œuvre de Tania Gheerbrant amorce un thème central de son installation vidéo : la coquille. À  travers la figure d’un âne anthropomorphique photocopiant inlassablement des pages, cette fable filmique à l’humour grinçant montre l’influence préjudiciable de la faute d’orthographe sur nos systèmes de communication. Un bras de métal sert de support physique à la fiction dont le script est diffusé via un imposant haut-parleur, créant ainsi une disproportion entre le texte oral et l’image. Ce dispositif sculptural suggère un obscur circuit derrière le mur semblable à celui d’une machine. La narration anomale se poursuit avec I think it was you2, (Tables basses fontaines), deux tables-miroir inondées qui transcendent un objet domestique. La qualité réflexive de ce mobilier-écran surréaliste noie notre image dans un environnement submergé devenu lui-même signe.

Even Before getting in the exhibition space, our gaze is stuck by a transparent grey curtain, on which misprint’s annotations are engraved. Like a digital filter pasted on the exhibition, the plasticized surface reshapes our space’s perception.
It seems that die-cut annotations become windows to reality. This first work by Tania Gheerbrant initiates a central theme of her video installation: the misprint. Through the figure of an anthropomorphic donkey who is endlessly photocopying pages, this absurd filmic fable shows the influence of misprint on our communication systems. A little device hanging from a metal arm is screening a short video. The video’s script is broadcasted by a huge loudspeaker, which establishes an imbalance relationship between voice over and motion pictures. This sculptural display suggests an obscure circuit behind the wall, as if we were inside an electronical device. The strange narration continues with I think it was you 2, two flooded mirror tables that transcend ordinary furniture. The reflexive quality of those surreal screens-furniture swamps our image in a submerged environment that has become in it-self a sign.

For prologue, Gheerbrant presented a new video installation that looks at the connection between real time, recorded time, and the relationships between video and performance. Conceived as a collection of filmed performances, the video works of Tania Gheerbrant are always realized between a group of friends who open the door to their intimate world. In this work, the protocol invites the protagonists to restage words already written and recorded. Through this exchange in monologues, where performers are no more than incarnations of voice, Gheerbrant questions our relationship to each other and to ourselves in a contemporary world where the smartphone reigns supreme. This concern is highlighted in the set filled   with foam, a soft space in which this group of individuals is sprawled around two sculptural table-fountains – drinking from their continuous and infinite flows. Referencing the idea of political nonchalance, ease and stagnation within commonplace, the pulmonary quality of the foam, evokes as well the contrasting, infinite plurality of universes rather than a single one – asking us to approach the universe on an atomic level. From the singular to the universal, Tania Gheerbrant attempts to dissect our ways of being and surviving in the world – including how to find one’s place – considering liquidity, multiplicity, and revelation in political, social or psychological terms.