Erika Roux

Born in 1991, Paris,
graduated from the Gerrit Rietveld Academie in 2014,
and the Master of Fine Arts of the Piet Zwart Institute in 2017,
lives and works in Rotterdam.

erikarvb@gmail.com
+31 6 16 32 80 06

They will be fine

2017
HD video looping

In the mountains, three travellers are trying to move on. The characters are caught in the loop of the video, gazing at the horizon instead of taking actions.

Floor 11

2018
HD video loop

Two office workers are trying to make sense of their business.
Their dialogue full of clichés fails to communicate any solutions.

Three Days Ago

2018
HD video loop

Two roommates in their house.
A narrating voice evokes a menacing outside force that remains a mystery, a complicated relationship, a story that can’t be told.

A Couple Things

2017
HD video, two channel installation, 10’32”

I asked two teenagers to act through improvisation a couple in crises in the décor of a middle class British living room. The actors being at an age that struggles between childhood and becoming adult, the scene they are meant to interpret brings them into a reality that they haven't experienced yet. We are wondering what are the parameters influencing their acting and the way they interact.

At the window, on the bed, behind the door

2017
HD video, 10’00”

While filming my bedroom with my camera, I am gradually improvising stories that the space could contain. I am here playing with the idea of creating intuitive scripts by considering an intimate space as a place for experimenting with fiction.

You’ll find a way to relate

2017
HD video, looping and silent, 9’22”

This situation is composed of different silent moving portraits of young teenagers who seem to invade a space for a party. It is here unclear if the situation is staged or a documentation of an event.

Risk Game

2017
HD video, 6’30”

This video is an observation of a moment of leisure between friends, playing a board game called Risk.

It’s been a long time, a long time now

2017
HD video, 24’31”

Interacting alone for the camera, I set for myself the ambition to make interesting images with the restraint space of my bedroom and the visual material of my daily habits. I let the camera be the intruder of my intimacy, throughout out a sort of choreography between the tool and me.

Triptych

2017
HD video, three-channels, 11’45”

In a three-channel video installation, different characters are being portrayed in domestic spaces. Each of them performing casual activities; rehearsing music, playing, getting ready for the day.
The set of the house and its inhabitant worked for me as a frame for improvisation and fictionalization. With my camera, I entered a private setting in order to portray, interrogate how the inhabitant of the room can enter the realm of video.
Edited together through the different screens, a sense of narrativity and connection between the different characters emerges giving space to the viewer to create relationships, to construct its own understanding of the editing.

Roommates

2016
looping installation, 10'02"

The work Roomates is a video installation composed of 5 looping videos. The main video is placed in the centre, showing a conversation between two roommates, Alice and Vikki. They are lying on a bed, talking about daily life banalities. This video is surrounded by 4 vignettes that are continuously looping, displaying Vikki enacting daily routines.

Pourquoi Tu Cours

2016
HD video, 31’40”

Oscillating between documentary and fiction film, in Pourquoi Tu Cours, Erika Roux is featuring a group of men living in the suburbs of Paris. They are performing their own characters in front of the camera, improvising scenes that are mirroring (or dramatising?) their daily life. Pourquoi Tu Cours is a small story, a mix of banalities and big adventures.

Yo Lo Conozco

2015
HD video, 28’

Wandering around in the streets of Belalcázar, a small town in Spain, Erika Roux took pictures of strangers encountered on the road. Asking the inhabitants to react on these pictures in front of the camera, she is collecting stories and expressions, depicting the way people relate to each other in a small village and how they share this with a stranger.

Celui qui

2014
HD video, 2’58”

I filmed my friends having a casual lunch together. Without being aware of it they embody characters from a novel I have read from Françoise Sagan, named Dans un mois, dans un an. The melancholy from the characters of Françoise Sagan interferes with the atmosphere of the situation and the perception of the persons being filmed, changing the moment into a fictional story.

Playing the Father, the Son

2014
HD video, 9’32”

I asked my father to re-enact with me the theatre play of Marcel Pagnol called Marius. In the story of Pagnol, Marius is the son of Cesar, I play Marius, and my father plays Cesar. By trying to embody these fictional characters, the enactment insinuates parallels between the fictional story and the relation I have with my father.

Psyche and Cupid

2013
HD video, 5’15”

These two hands are from Cupid and Psyche, detail of a marble sculpture from Antonio Canova I saw for the first time in the Hermitage museum. My father and his girlfriend seemed the perfect couple to re-enact the image of Psyche offering her soul to love. The aim of the artist, the understanding of its model and the final result of the work never succeeded to join into a satisfying outcome. In this video, I wanted to show the constant frustration in the attempt of representation.

Diesmal kannst du mich erkennen

2013
HD video, 6’00”

My family is bilingual: we speak both French and German. By filming the moments before, during and after a diner I wanted to observe the different interactions between people. Families are specific in their formal aspect of relationship, where everyone is supposed to have his own position. By re-enacting all the voices from the different family members I found a way to appropriate all the different identities.

Confessions

2012
HD video, 6’20”

In the tradition of autobiographies, The Confessions of Jean Jacques Rousseau is considered to be one of the first. Rousseau opens the book with few important words. This text is a statement described as an autobiographical pact. Rousseau claims his project; making a work as the first one in its kind, the most honest and the most sincere. Here Rousseau makes a statement in his act of writing. In this video, I try to remember this statement by heart in order to appropriate the words as an attempt to identify and reincarnate the writer. However, the more I repeat the sentences the words lose their meanings and the discourse becomes less and less powerful.