All that remains is a territory of tales : texts on Dimitri Robert Rimsky's work

Dimitri Robert-Rimsky is a visual artist; his work primarily concentrates on the mediums of video and installation. He studied at the Institut Supérieur des Arts de Toulouse and in Germany at the Hochschule für Bildende Künste, Brunswick in the studio of Candice Breitz. Throughout his training, which was mainly orientated towards a reflexion on the use and dissemination of images and rich in written production, he developed a significant interest in media related images, their mythologies and evolutions. In 2013, after receiving his MFA, he moved to Paris, while maintaining close contact with the Toulouse city network. In 2015, he co-founded the studios Rotolux, situated in an old printing factory in Bagnolet, Paris, welcoming designers and visual artists. Later in 2016, he was awarded a place on the Experimental Programme in Political Arts (SPEAP), directed by Bruno Latour at Sciences Po, Paris. He continues to work on various current projects, both collaborative and independent. 

Since 2015 Aurélie Vandewynckele has collaborated various times with Dimitri Robert-Rimsky.





Dimitri Robert-Rimsky conceives a dialogue in which videos, images and texts make us question the production, distribution and reception of images within media cartography. The following corpus of works creates a dialectical resonation in the minute fractures of the memory and experience, the material and the immaterial.

The constructions of contemporary mythologies are at the heart of his work, as he creates perspective through their underground structures, and the way we understand it. Putting forward their fictional aspects, DRR evades the collective vision, which is often amnesiac, if not opaque. Exploring the semantic differences, he deconstructs the narrative strata that form the virtual network. In this sediment, like cracks, his pieces expose another landscape, sweeping the common towards the sublime. They operate like sequences, the pictures switching into the scenery of a fictional and spectacular society.


Somehow, the images can be used to foresee approaching times[1].


Multiple realities are engraved into the work of DRR, they work together on different levels of temporality, fusing together with poesy. Bringing to light the mass use of images in today’s society, his pieces are conceptualized by the evolution of new representations and in the construction of the knowledge of these. In highlighting the subliminal political structures, his compositions put into perspective the body of collective imagination like an incontestable truth and question our capacity to speculate over our new legends.


What is a landscape if not a text?
All that remains is a territory of tales.


[1] Georges Didi-Huberman, Sentir le grisou, Les Éditions de Minuit, Paris, 2014.