Souvenir du vide

In Souvenir du vide, an animated film projected onto cubes made of tracing paper, Massinissa Sel-mani juxtaposes tragic pictures along with co-mic and, sometimes, indecipherable images. In what appears to be an arbitrary movement, the scenes are invited into one another, moving from absence of space to absence of time in order to configure the artist’s perception of reality: a wor-ld overwhelmed to such an extent by images and events that it is impossible to discern the purpose.