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Rapture (silent anthem) captures a teenage crowd caught in a slow-motion expression of quasi-religious fervour at a rock concert. Both a celebration of life and a look at the darker aspects of this zeal, the video takes a contemporary look at the human need for transcendence and communal ritual in unlikely places.

Angelica Mesiti was born in Sydney and studied at the College of Fine Arts, University of NSW. She works within the traditions of video, performance and installation and generates material through a range of approaches including staged situations, site specific performative acts, re-enactment and documentation. Her videos operate within a cinematic framework to offer fractured narratives that negotiate between primary experience and historical retelling. She uses performance as a way to embrace the present moment and several of her works focus on the dynamics of group activity as a form of social exchange.

Situé à Broken Hill, une ville de la brousse australienne, « The Line of Lode and Death of Charlie Day » est une histoire d'histoires. En réfléchissant sur la façon dont les différentes connaissances d?un lieu se croisent et se chevauchent, l'artiste emploie la vidéo pour jouer avec les conventions du cinéma et du conte folklorique. Trois histoires entrecroisées de la région constituent l'épine dorsale de l'?uvre : la compréhension indigène de la terre, le développement de l'exploitation minière dans la région, notamment son lien avec la fondation de Broken Hill, et l'histoire d'une attraction locale, Mario?s Palace Hotel. Ces images notent comment les histoires sont portées par les personnes de générations en générations, et ne sont pas tant des histoires du passé, mais un ensemble durable de relations entre la terre et le peuple.

Angelica Mesiti est née en 1976 à Sydney (Australie). Elle vit et travaille actuellement à Paris et à Sydney. Ses médiums de prédilection sont la vidéo, la performance et l'installation. Ses ?uvres explorent souvent la notion d'histoires alternatives, recherchées par le biais d?histoires stratifiées et à mi-mots, intégrées dans des paysages et environnements urbains. Montrée régulièrement depuis 2000, l??uvre de Mesiti a fait l?objet d?expositions individuelles et collectives dans toute l'Australie et à l'étranger. Depuis 2001, l?artiste a été invitée régulièrement par le College of Fine Arts en tant que conférencière occasionnelle au Time Based Art Department.

Future Perfect Continuous is an invitation to meditate, to listen closely, and to consider the greater meaning of small gestures. In this work, Angelica Mesiti creates a crease in time and in memory, while offering an anchor to a transcendent idea of community. Future Perfect Continuous is based on a game usually taught to children in a classroom setting as a community building or drama-warm-up exercise. It involves a simple series hands gesture like rubbing, snapping, clapping, slapping that when repeated by the group generate a sound performance that convincingly mimics the sound of a rainstorm. For this video the ‘rain-storm’ activity is performed by a diverse group of young adults in their 20s, at the start of their adult life. 'We can imagine them leaving home and entering society, forming new communities'(1). ‘In my work I often explore the idea of the individual and the collective and how gesture and sound can be used to express a cultural experience or moment. I am interested in how this innocent game of imitating nature could also represent a turbulence that is part of the present. The performers become the weather’(2). 1 Kathleen Ritter 2 Angelica Mesiti

Angelica Mesiti is a multi-disciplinary artist based between Paris & Sydney. Her practice combines performance with video, sound and spatial installation to create immersive environments of absorption and contemplation. Mesiti has long been fascinated by performance: as a mode of storytelling and a means to express social ideas in physical form. In recent years she has been making videos that reveal how culture is manifested through non-linguistic forms of communication, and especially through vocabularies of sound and gesture.There is a focus in her work on the unquantifiable social role played by music — and, by extension, sound in general — in our relationship with the world. Mesiti’s work is regularly shown in museums and biennales internationally. Her work ASSEMBLY was the official Australian presentation at the 58th Venice Biennale (2019).