Last October I participated in Festival des Libertés. This is a very interesting festival really committed to the current problems in our society. The central theme was the economic crisis. I’ve seen some of the documentaries of the festival program (Bitter seeds, A people uncounted, Solo Andat, il viaggio di un Tuareg, The argentine experiment … ) and they really had an impact on my conscience: I’ve felt a lot of anger for many injustices of today’s society. Documentaries have become a potent weapon to express many injustices.
My humble contribution to the exhibition were several photographs and installations.
I want to express my gratitude to Beatrice, Olivia and Fabrice, and to everyone who has helped me in some way.
“The worst illiterate is the political illiterate, he doesn’t hear, doesn’t speak, nor participates in the political events. He doesn’t know the cost of life, the price of the bean, of the fish, of the flour, of the rent, of the shoes and of the medicine, all depends on political decisions. The political illiterate is so stupid that he is proud and swells his chest saying that he hates politics. The imbecile doesn’t know that, from his political ignorance is born the prostitute, the abandoned child, and the worst thieves of all, the bad politician, corrupted and flunky of the national and multinational companies.” Bertolt Brecht
Through the simple fact of miniaturised and well-thought-out placement, Isaac Cordal magically expands the horizons of the passers-by who come across his sculptures in the street. His exhibit Cement Eclipses proposes a critical definition of our behaviour as a social mass. Our relationship with nature is severely called into question, though some installations also let us see a ray of hope.
His statuettes present fragments of our daily routine, depicting men and women suspended in their movement. The precariousness of these anonymous silhouettes, at shoe height, is like a nomadic relic from a society in the throes of illness. The figurines contemplate the destruction / reconstruction of all that surrounds us. They draw attention to the absurdity of our existence.
The city is both playing field and decor, where Isaac enacts, in a surprising manner, with poetry, humour or irony, the banal or more tragic moments of life that grab our attention as we walk along the street.
Du simple fait d’un placement miniaturisé et bien pensé, Isaac Cordal élargit par magie l’imagination des passants qui croisent ses sculptures dans la rue. Cement Eclipses propose une définition critique de notre comportement comme masse sociale. Ces statuettes présentent des fragments de la routine quotidienne, des hommes et des femmes suspendus dans leur mouvement. Notre relation dévaluée à la nature y est sévèrement interrogée tout en affirmant des symptômes d’espoir. La précarité de ces silhouettes anonymes, à hauteur de semelle des passants, représente les reliquats nomades de la reconstruction de tout ce qui nous entoure et attirent l’attention sur l’absurdité de notre existence dans des scènes présentant les tâches routinières et les moments parfois tragiques de notre existence. Par la touche magistrale d’un metteur en scène, les sculptures sont disposées de manière à ouvrir rapidement les portes d’autres mondes.