The eye passes through a studio, a dehumanised space, to the brutal rhythm of the steps of the subjective camera. It has a pace timed to a song that accelerates and intensifies to a cry, a deep chant, a sort of prayer. The view swings vertiginously, slows, and turns convulsively in the studio, which is inhabited by a few teddy bears set at the foot of its columns.
The bear is a fetish for Charlemagne Palestine, a symbolic Object reoccurring throughout his work (performances, installations, paintings, videos) and which seems to retain the innocent memory of childhood in a universe which appears all the more violent because of it. The close-up breathing of the cameraman, his visceral song, cast themselves desperately into the silence of the space.

Stéphanie Moisdon
Translated by Phoebe Green