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GALERIE CHANTAL CROUSEL: Claire Fontaine - Feux de d�tresse - 20 Dec 2008 to 14 Feb 2009 Current Exhibition |
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Claire Fontaine, PLEASE COME BACK (K.Font), 2008. 300x200x14000 cm.
White florescent tubes, steel mounted on scaffolding frame, movement detector Courtesy of the artist & Galerie Chantal Crousel. Photo: Florian Keinefenn |
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Claire Fontaine Feux de d�tresse December 20, 2008 � January 31, 2009 Hazard Lights = meditation on the world of work as a space of reclusion = hypothesis formulated through objects and signs that prison has gone outside of its walls = partial exploration of work as the inside of prison and of prison as the outside of work. Work as the reverse of the prison/ productive machine and the prison/ punishing machine as a consequence of the refusal of the logic of remunerated labour and of the economical logic in general. Incomplete inventory of the works presented PLEASE GOD MAKE TOMORROW BETTER, flashing neon sign that quotes an anonymous and generic statement of political impotency Untitled, tennis ball sculpture that refers to the habit of relatives of prisoners to throw objects that wouldn�t go through the security control, by hiding them inside tennis balls and launching them over the prison walls. PLEASE COME BACK, K font sign. The K font is made from fluorescent strip lights normally used to light up disciplinary places such as schools, factories, hospitals, etc. This system of assemblage represents the cheapest and most accessible way to fabricate a large luminous sign. This sign reacts to the movement of the bodies in the space and its meaning can be interpreted in different ways, from the parody of the message addressed to a consumer that is leaving a shop to the melancholic impression left by the irreparable loss of a state of grace or of the beloved being. IL FAUT TRAVAILLER PLUS POUR PENSER MOINS, the tricolour French flag is embroidered with an anonymous inscription originally made with a marker pen on an advertising panel in the Paris subway. J�AI D�SAPPRIS LA NUIT is a white flag with an embroidered quotation taken from Jean Marc Rouillan�s book Je hais les matins. Rouillan was recently sent back to prison after giving an interview to L�Express magazine published during October 2008 where commenting on the murder of Georges Besse, he affirmed: � the fact that I don�t express myself about it is not an answer. Because it is clear that if I spat on everything that we have done, then I could express myself. But by this obligation to silence, they stop us also making a critical point on our experience. � His elliptic declaration was judged by the court as a transgression of the silence that was imposed upon him during his provisional freedom. Untitled S.A.D. (Seasonal Adjustment Disorder) a work composed of anti-depressives lamps whose light has a frequency of optimal spring daylight that stimulates the brain to produce more melatonin during the cold and sombre months. Untitled, a moulded latex arm used for fist-fucking ornate with a Rolex watch is a portrait of the mutilated life that we all live in the regime of contemporary capitalism. This sculptural gesture, close to the formal vocabulary of Bruce Nauman, is also a quotation of the use of the mould in the history of sculpture. Untitled, (Mugs) ready-made inspired by the crawling micro-fascism in offices and in the workspace. Optic, two water fountains normally used in offices, filled with vodka and whisky evoke the necessity of entering a state of altered consciousness when one is attending tasks that are hierarchically imposed. Every interpretation of the artworks quoted in this text remains subjective; the artist is in no way owner of the meaning of her work. For the exhibition Feux de d�tresse we wish to suspend the ritual of the press release in order to communicate our intentions in the most basic way possible without coating them with supplementary information. Thank you for your understanding. Claire Fontaine, December 2008 Claire Fontaine Feux de d�tresse 20 d�cembre, 2008 � 31 janvier 2009 Feux de d�tresse = m�ditation sur le monde du travail comme espace d�enfermement = hypoth�se formul�e par des objets et des signes que la prison est sortie de ses murs = exploration partielle du travail comme dedans de la prison et de la prison comme dehors du travail. Le travail comme revers de la prison/machine productive et la prison/machine punitive comme cons�quence du refus de la logique salariale et �conomique au sens large. Inventaire non exhaustif des pi�ces pr�sent�es PLEASE GOD MAKE TOMORROW BETTER, enseigne lumineuse clignotante qui reprend un aveu d�impuissance politique g�n�rique et anonyme. Sans titre, balles de tennis, sculpture qui se r�f�re � la pratique des proches de prisonniers d�envoyer des objets, qui ne passeraient pas le contr�le des gardiens, en les lan�ant � l�int�rieur de balles de tennis au-dessus des murs d�enceinte de la prison. PLEASE COME BACK, enseigne en police de caract�re K, faite de tubes de n�ons fluorescents normalement utilis�s pour �clairer des lieux disciplinaires comme les �coles, les usines, les h�pitaux, etc. Ce syst�me d�assemblage repr�sente la mani�re la plus �conomique et accessible de se fabriquer une enseigne lumineuse. L�enseigne r�agit au mouvement des corps dans l�espace et son sens peut �tre interpr�t� de diff�rentes mani�res, de la parodie du message adress� au consommateur qui quitte un magasin au sentiment m�lancolique de perte irr�parable d�un moment de gr�ce ou de l��tre aim�. IL FAUT TRAVAILLER PLUS POUR PENSER MOINS, le drapeau tricolore fran�ais est brod� d�une inscription anonyme originairement faite au feutre sur une affiche publicitaire dans le m�tro de Paris. J�AI D�SAPPRIS LA NUIT, est un drapeau blanc o� est brod�e une citation tir�e de Je hais les matins de Jean-Marc Rouillan. Jean-Marc Rouillan r�cemment re-emprisonn� suite � l�interview donn�e � l�Express publi�e en octobre 2008 o� il affirmait notamment � propos du meurtre de Georges Besse : � le fait que je ne m'exprime pas est une r�ponse. Car il est �vident que si je crachais sur tout ce qu'on avait fait, je pourrais m'exprimer. Mais par cette obligation de silence, on emp�che aussi notre exp�rience de tirer son vrai bilan critique. � Sa d�claration elliptique a valu aux yeux de la justice comme une transgression du silence qui lui �tait impos� pendant la semilibert�. Untitled S.A.D. (Seasonal Adjustment Disorder) installation compos�e de lampes anti-d�pressives dont la fr�quence de la lumi�re permet au cerveau d�accro�tre sa production de m�latonine pendant les saisons froides et sombres. Sans titre, ce bras en latex utilis� couramment dans les pratiques de fist-fucking orn� d�une montre Rolex est un portrait de la vie mutil�e que nous vivons tous dans le r�gime capitaliste actuel. Ce geste plastique, proche du vocabulaire formel de Bruce Nauman, est aussi une mise en ab�me de la sculpture par moulage. Sans titre,(Mugs) ready-made inspir� par le micro-fascisme rampant dans les bureaux et les lieux de travail. Optic, deux fontaines � eau normalement utilis�es dans les bureaux, remplies de vodka et de whisky qui eloquent la n�cessit� de rentrer dans un �tat de conscience alt�r�e lorsqu�on vaque aux t�ches qui nous sont impos�es de mani�re hi�rarchique. Toute interpr�tation des oeuvres cit�es ci-dessus reste subjective, les artistes ne sont aucunement propri�taires du sens de leur travail. � l�occasion de l�exposition Feux de d�tresse nous souhaitons suspendre le rituel des communiqu�s de presse pour transmettre nos intentions de la mani�re la plus basique possible sans les enrober d�informations suppl�mentaires. Merci de votre compr�hension. Claire Fontaine, d�cembre 2008 |
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