What we see, feel, read, hear intermediates the world outside us and lends outline to the world within each of us, our universe. Mobile telephone screens and the devices behind them function as an extension of such modes of knowledge, and they are able to construct around us multiple versions of the world. We touch screens in order to interact socially and to see the world. The haptic gestures animate our interaction with these devices, and something of our gaze and our thoughts passes to the other side of the transparent LCD screen. Life, soul, memory animate a screen-object, and the data from the mobile telephone is concretised, it coagulates into a digital body that follows us everywhere.
The installation represents a circle traced using fragments of mobile telephones embedded in the wall. This incision hybridises the everyday, the present time of the screens, intersects with another time and another haptic gesture, evoking the ritual touching of the cave wall in the Palaeolithic. The painting of the negative image of hands on the wall or the embedding of bone fragments in the rock was meant to invoke the presence of the dead, of previous generations, but it was also a way of saying, we were here, of depicting a living presence. The intention of communicating with the past, evoked by parietal reminiscences, also speaks to us, to those from the future, even if we do not understand their meaning and wonder what they wanted to convey to our fellow humans from that time. The invocation inscribed in the wall of the white cube stems precisely from the idea of not seeing, of not understanding what we are looking at. What we are used to seeing via the screen becomes invisible once the screen is embedded in the wall of the gallery (the device that guides our gaze).
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