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

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 decor of a middle class British living room. Their personification is challenging because of the difficulty to identify with the characters. The shooting brings them into a reality in contradiction with their body and their language and out of their personal experience. We are wondering what are the elements influencing their way of acting. What are the parameters that interfere with the way interactions function at an age that struggles between childhood and becoming an adult?

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 went to my father, who lives in France and asked him to play with me the theater 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. While I am narrating the story of the book with a voice-over, we can see my father and me trying to embody these characters. This creates parallels between the fictional story and the one we really have.

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.