« Film is landscape and silence, while video is close-up and sound ».
In the rigour of the experimentation, Yasmina Benabderrahmane builds a work both sensitive and scientific that frustrates the significance junctions of the real. Her photographs and films form, more than a series, a genuine corpus acting from a research process. At eye-level, the view of the world and the bodies that inhabit it, fragments of nature, elements of architecture or bodies, which, from the micro to the macro, are identically recorded. Truly speaking it would be hard to talk about a subject, or even a pretext, as precisely these elements are not part of Yasmina Benabderrahmane’s work. Sensitive, photo-sensitive, these elements appear more as markers, world-recording structures. In this regard, the apprehension of the subject disappears to the benefit of the sensitive experience; to the benefit of these elements as to what they are as shapes, rather than as representations. A process that definitely sides with the tangible rather than with the projection, with the fantasies commonly associated. The body isn’t here an element of romanticism, but always cruelly down-to-earth. Hence a dichotomy body / landscape structuring the work of Yasmina Benabderrahmane, placing in this regard these fragments on the same ground, physical, phenomenological, of subjects which have become shapes; as to introduce slowly the sense of erosion suffered by the very confidence we have in but the visual experience as well as in our ever strong belief in a real signifier.