Annik Leroy, Tremor, 2017, 92’
Es ist immer Krieg: haunting words borrowed from poet and writer Ingeborg Bachmann provide the subtitle for Annik Leroy’s newest film, TREMOR (2017). But the sentence also brings to bear a sentiment that runs through all of the work of this Brussels-based photographer and filmmaker: a sense of non-reconciliation, of refusing to resign oneself to the violences that permeate our daily lives. Leroy’s films remind us how histories of oppression and injustice keep on haunting the present, how their presence can not only be perceived in the scars ingrained in the physical landscapes that traverse contemporary Europe, but also reverberates in innumerable instances of violence and destruction that slip by with impunity. It’s those barely perceptible, brooding tremors that continually penetrate our everyday lives and interpersonal relationships, which can be felt throughout the films, videos and installations that Leroy has made since 1980; a variety of works that each in their own singular way encapsulate the words of Bachmann: “Here, in this society, there is always war, there’s no war and peace, there is only war.”

followed by a talk with the artist and curator Stefano Miraglia