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01 Oct Fouad Bouchoucha

Du 01-10-2015 au 31-10-2015

Fouad Bouchoucha
Nouvel Ordre Mondial

The Web is the shifting sand of all the possibles for the human mind. It is our new encyclopaedia and it is even able to shape our reflexive method. It conditions our culture. It is also the space where all the irresolutions and scepticisms are expressed and intensified. This space of questioning is moreover healthy for establishing a democratic debate.
Indeed, the Web is the new space of journalistic work, no longer top-down and professional but horizontal and popular. The Web has become a fabulous global sounding box of rumour and doubt. It pushes to paroxysm the functioning of rumour by viral dissemination. It was the 11 September that set the World Wide Web on fire with the almost immediate and very widely shared appearance of conspiracy theories. They caused the resurgence of Freemasons and Zionists, and the emergence of the new world order to the awareness of a larger section of the Western populations. Conspiracy theories are one side of the coin; propaganda is the other. Conspiracies do in fact exist. Moreover, the Bush administration hatched some of them.

Pareidolia is a word that is also becoming widespread. It describes a cognitive function that enables us to recognise faces, elephants or flying saucers in clouds, Rorschach tests or photos of Mars. It could be the major cognitive tool of conspiracy theory enthusiasts, who enjoy recognising errors or hidden shapes in images. “Appearances are therefore always deceptive. (…) Everything is linked but in an occult manner. The interpreter therefore needs to force himself or herself to “de-occult” relations between obscure forces. The invisible links must be unveiled or decrypted. (…) The wider the conspiracy, the closer it gets to the “global conspiracy”, the more the symptomological work assumes importance.” Images are at the heart of anti-conspiracy research, which dissects them, stretches them, turns them around and colours them in order to reveal what they were meant to keep hidden. When doubt slides into paranoia, the image brings stability through the evidence.

Our world is known through Google, constructed by the Adobe suite and presented in Word. These conceptual tools dominate creation and shape it at the global level. The images that are produced through them convey a part of this origin and present uniformisation. Nevertheless, the disparity in the aesthetic requirements of logos and forms of communication does nothing to conceal the shared imperative to cause people to follow the movement. If images are created in order to manipulate, then unveiling the masked signs frees us.

Signs and images, software interfaces, detours are the terrain of the drawings by Bouchoucha. Through them, the twofold quest of the “pros” and “cons” is on display. Quests of persuasion and faith.
When the artist asks himself questions on the information technology tools that he uses, it is this information that emerges. Conspiracy theory enthusiasts use this same software which they denounce and incidentally prove the recurring presence of the number of the devil in their logos.
Bouchoucha’s works involve reflecting on their conceptual and technical origins, on their artistic and above all popular references. They therefore demand that we deconstruct our beliefs in order and chaos, for these latter are not what they appear to be.

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