Raymond Bellour

It is the outstanding characteristic of the works of David Claerbout to be situated in an essentially ambivalent place between cinema and photography. Both practices are used – either individually or in combination – in a very individual way. The series of projections of installations, which is mapped out from Sections of a Happy Moment onwards (followed by Arena and The Algiers’ Sections of a Happy Moment), drives the confusion of motion and rest to the extreme of an undecidability, which is the result of the new imaging techniques that Claerbout uses.