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You have seen it a thousand times in films or photographs and have read all sorts of descriptions of it, but nothing prepares you for the visual climax of Las Vegas. There’s also its familiar name – always pronounced with a sort of awe by the endless streams of visitors, coming and going: “VEGAS”!

For François Paolini, Las Vegas is neither a dream nor a reality. From the beginning, this utopia existed as if it were an established fact, pushing it forward into a hyper-reality. Everything here is real and pragmatic; everything fills your mind with dreams. Las Vegas exorcises the very issue of origin. As it has not undergone the primitive accumulation of time, it lives perpetually in the moment. As it has not undergone the slow and secular accumulation of the principle of truth, it lives in perpetual simulation, in the perpetual contemporariness of signs. By doing so, Las Vegas is no longer the anathema or antichrist of America. Within its fantastic constructions lie the ingredients of our lives to come. The city no longer represents the decadence of a civilization, but rather its evolution and mutation towards a new configuration of society. Of course, the city of entertainment and gambling does everything on a huge scale, but this is simply a different viewpoint, not a difference in fundamental form. So, even at a distance from the south of Nevada, we all live in Las Vegas.

This preamble calls for a sincere vision of the signs, images, faces and ritual acts that make up this power of attraction that is unmatched worldwide. Condemned to continuously reinvent its destiny as a mirage city, it has turned to excess. François Paolini puts three parameters into perspective: nominal identity, holographic principle and intense visual stimuli. These elements give rise to the Las VegARTS 65 exhibition concept, based on the artistic vision and the artist’s design of his own images through a three-sided prism.

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