Aurae brings together eleven works by Canadian artist Sabrina Ratté in large-scale immersive installations, combining videos, sculptures, prints and architecture. In her work Ratté explores the fine line between the physical and the virtual, utopia and dystopia, the architectural and the organic. Her work defies classification. Some of her works are reminiscent of the covers of 60s and 70s science fiction novels while others recall the work of Ricardo Bofill.
One of the highlights of the exhibition is Floralia (2021), presented here on four large screens, which is probably best described as a futuristic ecosystem consisting of a kaleidoscope of computer generated abstract and organic shapes. Each video represents a virtual archive room in some distant future where samples of then extinct plant species are preserved and displayed. Every now and then the archive room is disrupted due to interference caused by the memory emanating from the plants, which reveal traces of a past that continues to haunt the place.
Another highlight is Distributed Memories (2021), a large installation consisting of multiple large and small screens in which the sequence of images and sounds is influenced by the presence of visitors.
I had walked into the exhibition out of curiosity and spent much longer inside than I had planned. Indeed I lost track of time and would love to see Floralia and Distributed Memories again, both of which I found mesmerizing.
Sabrina Ratté: Aurae is at the Gaîté Lyrique, Paris until 10 July 2022.