{"id":9301,"date":"2022-02-15T17:07:57","date_gmt":"2022-02-15T16:07:57","guid":{"rendered":"https:\/\/chroniques-biennale.org\/?post_type=oeuvre&#038;p=9301"},"modified":"2022-03-18T11:17:42","modified_gmt":"2022-03-18T10:17:42","slug":"trackpad-us-drone-strikes","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/trackpad-us-drone-strikes\/","title":{"rendered":"Trackpad, US drone strikes"},"content":{"rendered":"\n<div class=\"wp-block-group oeuvreTopRow is-layout-flow wp-block-group-is-layout-flow\">\n<h1 class=\"is-style-edge wp-block-heading\">Trackpad, US drone strikes<\/h1>\n\n\n\n<h2 class=\"caps is-style-noMarginBottom wp-block-heading\"><meta charset=\"utf-8\">Jean-Benoit Lallemant<\/h2>\n<\/div>\n\n\n\n<div class=\"wp-block-group oeuvreTopRow is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\">\n<h4 class=\"wp-block-heading\">Installation<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<p class=\"is-style-default\"><strong><em>Trackpad<\/em>&nbsp;is made of raw linen stretched on a frame. Behind the canvas a mechanism marks the impact points of a remote war : the distortion of the canvas shows U.S. drone strikes in Wasiristan and Yemen. <\/strong><\/p>\n\n\n\n<p class=\"is-style-default\">At times of surgical war, history painting reviews its technique and mode of appearance: no more brush, no image remains on the surface, while behind an event happens fleeting and monstrous \u2013 which distorts the two-dimensionality of the picture \u2013 and leaves no trace. (Julie Portier).<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"684\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/2018_ZINC_Chroniques_Les-Oeuvres-Marseille_CREDIT_Pierre-Gondard_-26-1024x684.jpg\" alt=\"\" class=\"wp-image-10904\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/2018_ZINC_Chroniques_Les-Oeuvres-Marseille_CREDIT_Pierre-Gondard_-26-1024x684.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/2018_ZINC_Chroniques_Les-Oeuvres-Marseille_CREDIT_Pierre-Gondard_-26-300x200.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/2018_ZINC_Chroniques_Les-Oeuvres-Marseille_CREDIT_Pierre-Gondard_-26-768x513.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/2018_ZINC_Chroniques_Les-Oeuvres-Marseille_CREDIT_Pierre-Gondard_-26-1536x1025.jpg 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/2018_ZINC_Chroniques_Les-Oeuvres-Marseille_CREDIT_Pierre-Gondard_-26-2048x1367.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption><meta charset=\"utf-8\"><em>Trackpad, Us drone strike<\/em>s, Jean-Benoit Lallemant, Biennale of Digital Imagination 2018 \u00a9 Pierre Gondard<\/figcaption><\/figure>\n\n\n\n<p class=\"is-style-default\">Share this event on social networks<\/p>\n\n\n<div class=\"socialLinks socialShare\"><ul><li><script>function fbs_click() {u=location.href;t=document.title;window.open('http:\/\/www.facebook.com\/sharer.php?u=https:\/\/chroniques-biennale.org\/en\/trackpad-us-drone-strikes\/&t='+encodeURIComponent(t),'sharer','toolbar=0,status=0,width=626,height=436'); return false; }<\/script><a rel=\"nofollow\" href=\"http:\/\/www.facebook.com\/share.php?u=<;url>\" onclick=\"return fbs_click()\" target=\"_blank\" class=\"facebookLink\"><i class=\"fab fa-facebook-f\"><\/i><\/a><\/li><li><a href=\"https:\/\/www.linkedin.com\/shareArticle?mini=true&url=https:\/\/chroniques-biennale.org\/en\/trackpad-us-drone-strikes\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=Trackpad%2C+US+drone+strikes&amp;url=https:\/\/chroniques-biennale.org\/en\/trackpad-us-drone-strikes\/\" target=\"_blank\" class=\"twitterLink\"><i class=\"fab fa-twitter\"><\/i><\/a><\/li><\/ul><\/div>\n<\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\">Artist<\/h4>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><\/div><div class=\"artisteBlockRight\"><h2>Jean-Benoit Lallemant <sup>(FRA)<\/sup><\/h2><div class=\"artistContactLine\"><a href=\"http:\/\/www.jeanbenoitlallemant.com\/\" target=\"_blank\">http:\/\/www.jeanbenoitlallemant.com\/<\/a><\/div><div class=\"artisteContent\"><p>Born in Melun in 1981, Jean-Beno\u00eet Lallemant now lives and works in Paris, after a childhood spent in the Amazonian rainforest in Brazil. By applying cartographic technology and military imaging devices in a critical way, and by striving to rework symbols of power, Jean-Beno\u00eet Lallemant\u2019s works put governance strategies under the microscope.<\/p>\n<\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:40%\">\n<h4 class=\"wp-block-heading\">Credits &amp; mentions<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:60%\">\n<p class=\"is-style-default\"><em>Trackpad, US drone strikes<\/em>, raw canvas, electronic device.<br>With <a href=\"http:\/\/dnrsys.fr\/\">David Vandenberghe \u2013 DnR\u2019Sys<\/a>, mechatronics engineer<br>Sources : <a href=\"https:\/\/www.newamerica.org\/in-depth\/americas-counterterrorism-wars\/us-targeted-killing-program-yemen\/\">https:\/\/www.newamerica.org\/in-depth\/americas-counterterrorism-wars\/us-targeted-killing-program-yemen\/<\/a><\/p>\n<\/div>\n<\/div>\n\n\n\n<p class=\"is-style-noMarginBottom\"><\/p>\n<\/div>\n\n\n\n<p><!-- \/wp:post-content --><\/p>","protected":false},"featured_media":9300,"menu_order":0,"template":"","edition":[19],"type_oeuvre":[29],"class_list":["post-9301","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/9301","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/9300"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=9301"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=9301"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=9301"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}