These are the words of Geert Goiris, curator of the exhibition.

This silent and monochrome video, filmed in Ostend, was the starting point for the collection presentation. The image is greyish and somewhat blurred. But the simplicity of this artwork belies its radicality. It was shot in one long, uninterrupted take. It is an austere film: Dujourie does not indulge in virtuoso camera angles or movements. The work’s power stems from the calculated position of the video camera and, above all, how Dujourie handles the device as artist/model/spectator. The work conveys her fascination with imminence. Character development is almost non-existent. Time slips by while nothing essential changes. I am captivated by the video’s elegance and how the artist evokes such a rich range of emotions using just her body, a room and a static video camera. Her appearance is unaffected: we witness a self-aware body in a calm and balanced state. This is a non-performative body, one that is not pressurized to produce or consume. It is an idle body, perhaps a bored one, but it is inherently active and unruly, sensual and above all autonomous. ‘Passion de l’été pour l’hiver’ hints at a longing for the unattainable. We are drawn to the latter: there are no insurmountable obstacles in love stories. The body might seem passive, but the title suggests passionate desire. Outward appearances betray no hint of the inner storm.