In-situ version at the Singapore Art Museum.
« I understood that I would need to decipher differently the thousand and one mysteries contained in Emmanuel Guillaud’s proposals.
Secret, suspended, heretical proposals—in the sense Pasolini gave to the word “heretical,” as a breach that opens onto a wider field…
I entered a bath of images that sliced through the darkness, unfolding at different rhythms, abandoning me to the excesses of a journey at times deserted by humanity, at others intensely inhabited—some visions striking with the force of a slap.
The silence of this soundtrack chattered like teeth. Fever recited places as it did bodies.
In these installations prepared like rituals, Emmanuel Guillaud escapes the constraints of traditional narrative duration…
The shifting worlds he creates are not there to reassure. Night is a territory where everything seems allowed, yet where nothing ever quite reaches resolution.
Emmanuel Guillaud leaves us the sole judges of this singular journey—an orchestrator of expectations, amoral.
Infinitely mortal. Feverishly alive. »
Excerpt from a text by Pierre Giquel, written for the version at School Gallery, Paris
Outdoor version, in the gardens of the former French embassy in Tokyo.
« In the labyrinth of ropes, screens, and images floating in the dark, the tension is palpable—even in the suspensions used to hold the screens.
By disorienting the viewer and placing them at the center of the setup, Guillaud activates those sensations of tension and excitement we feel when entering abandoned places, making tangible that altered state that marks the rise of desire.
The installation is a permanent work in progress—the artist continuously adds new images gathered during his wanderings and adapts the presentation to each exhibition space, so Until the sun rises is never shown the same way twice. »
Guillaume Lasserre, Mediapart
« A kind of sprawling slideshow, Until the sun rises is a project that constantly renews itself, shaped by the place where it is presented. Yet the projected images always originate from the same source: photographs taken in Japan during long nocturnal wanderings—through parking lots, abandoned spaces, or along concrete roads. »
Manon Klein
Version at Galerie Olivier Castaing / School Gallery, Paris (solo exhibition)
« Immersed in the installation, viewers gradually become actors in a shadow theater, and the artist becomes a “master of phantasmagorias”. »
Manon Klein
Robertson’s phantasmagoria in the Cour des Capucines, 1797 — Engraving by Lejeune
Installation view of the in-situ version at Noorderlicht Gallery, Netherlands
Preparatory sketch and installation views of the in-situ version at Noorderlicht Gallery, Netherlands
« The visitor I am, despite myself, accepts the pact that now binds me to these ghosts—these floating figures who cross the screen like fugitives clinging to my dream, or my nightmare… »
Pierre Giquel, on the occasion of the solo exhibition at School Gallery, Paris
In-situ version at the Pavillon Vendôme, Contemporary Art Center of Clichy
Version at Singapore Art Museum
Outdoor version, in the gardens of the former French embassy in Tokyo
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