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gb agency: "Where water comes together with other water" - 16 Oct 2009 to 7 Nov 2009 Current Exhibition |
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Chlo� Quenum
Vues de l'exposition "Tropes", 2009 22 - 24 octobre 2009, gb agency, Paris |
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"Where water comes together with other water" October 16 - November 7, 2009 Chapter 1: October 16 - 24 Chlo� Quenum, "Tropes" Chapter 2: October 29 - 31 Marie Cool Fabio Balducci Chapter 3: November 4 - 7 Ryan Gander, Mark Geffriaud, Jiri Kovanda, Mark Manders, Bruno Persat, Yann S�randour http://wherewater.blogspot.com/ "L� o� les eaux se m�lent" est une exposition au titre emprunt� � un recueil de po�sies de Raymond Carver, con�ue en trois chapitres, du 16 octobre au 7 novembre 2009, � gb agency, Paris. Compos�s de deux expositions personnelles et d'une exposition collective, ces trois chapitres souligneront la nature non-fig�e des objets et des discours qui les accompagnent � travers des gestes et des sculptures �ph�m�res et des compositions temporaires li�es aux pratiques des artistes invit�s. The exhibition "Where water comes together with other water" borrows its title from a book of poetry by Raymond Carver. The exhibition will unfold three chapters, from October 16 to November 7 at gb agency, Paris. Made of two solo exhibitions and one group exhibition, these three chapters will underline the non-fixed nature of objects and of the speeches that accompany them, through ephemeral gestures and sculptures and temporary displays linked to the practices of the invited artists. Chapitre 1: "Tropes", Chlo� Quenum 16 - 24 octobre 2009 Vernissage le vendredi 16 octobre, de 16h � 20h Ici et L� sont sur un bateau : L� dit : "je vois un trois m�ts au loin..." Ici : "Un trois-m�ts ? Ne prendrais-tu pas la partie pour le tout ?" L� : "Non, du moins oui, tout au plus, cela est possible." L�, pris au d�pourvu, fixe Ici en d�clamant la phrase suivante : "Ici, Tes yeux sont des lacs dans lesquels je me noie !" Ici : " Mes yeux ne sont pas des lacs, et il me para�t d'ailleurs peu probable -ou fort risqu�- de se noyer dans un oeil." L� : "C'est leur forme ronde, leur profondeur et leur couleur qui me rappellent un lac, ou peut-�tre est-ce la mer du Nord?" Ici : "L� , Tu d�places le sujet de ton objet. La mer n'est pas le lac, et le lac n'est pas mon oeil. Simplement, quelque part ils peuvent �tre assembl�s. Si on les pousse l'un vers l'autre. Le trois est pour le un, et le un reste le un, sauf qu'il est d�crit sous l'angle du trois. Ce qui nous donne ton premier �nonc�. Quant � ton lac, c'est le lac commun que l'on ram�nerait � un oeil. Mais pour pouvoir dire le lac � ton oeil, il faut pouvoir continuer � dire ton oeil." L� : "Que veux-tu dire ? Les choses resteraient-elles toujours comme elles sont sans bouger ?" A force de scruter Ici, L� tombe � la mer, et les flots l'emportent on ne sait o�. Que reste-t-il ? Une image certainement improbable d'objets pos�s ici qui font appel � d'autres qui sont pos�s l�. Entre les deux, ce serait une s�rie d'op�rations dissimul�es derri�re l' �cran du display /de l'accrochage. Des tropes? Chapitre 2: Marie Cool Fabio Balducci 29 - 31 octobre 2009 Vernissage le 29 octobre, de 14h � 20h Canto LXV WITH USURA - Ezra Pound With usura hath no man a house of good stone each block cut smooth and well fitting that delight might cover their face, with usura hath no man a painted paradise on his church wall harpes et luthes or where virgin receiveth message and halo projects from incision, with usura seeth no man Gonzaga his heirs and his concubines no picture is made to endure nor to live with but it is made to sell and sell quickly with usura, sin against nature, is thy bread ever more of stale rags is thy bread dry as paper, with no mountain wheat, no strong flour with usura the line grows thick with usura is no clear demarcation and no man can find site for his dwelling Stone cutter is kept from his stone weaver is kept from his loom WITH USURA wool comes not to market sheep bringeth no gain with usura Usura is a murrain, usura blunteth the needle in the the maid's hand and stoppeth the spinner's cunning. Pietro Lombardo came not by usura Duccio came not by usura nor Pier della Francesca; Zuan Bellin' not by usura nor was "La Callunia" painted. Came not by usura Angelico; came not Ambrogio Praedis, No church of cut stone signed: Adamo me fecit. Not by usura St. Trophime Not by usura St. Hilaire, Usura rusteth the chisel It rusteth the craft and the craftsman It gnaweth the thread in the loom None learneth to weave gold in her pattern; Azure hath a canker by usura; cramoisi is unbroidered Emerald findeth no Memling Usura slayeth the child in the womb It stayeth the young man's courting It hath brought palsey to bed, lyeth between the young bride and her bridegroom CONTRA NATURAM They have brought whores for Eleusis Corpses are set to banquet at behest of usura Where does copper come from ? Where does copper come from ? Where do copper wire and its braiding come from ? Where copper comes from is what this work is all about. Where copper wire comes from is a precious problem, I mean working with copper is precious to the extent that the question, where does copper come from ? is precious. Anyway and above all copper comes from the earth and respects the earth because it is an internal product of the earth. Man has given the investigation and discovery of copper the brevity of space and the depth of time. The art of copper wire rediscovers the brevity of space and the depth of time. Copper follows all the discoveries of man. It reproposes, whole and brief, the life that he lives in space and in the complex of reality. The brevity and intensity of copper discovered in historic time by means of wire is conversion, and conversion in this case is art. In historic time wood was discovered through art. Stone, iron, and gold were found, discovered the second time by art and only in art. Art in reality is the discovery of stone, wood, and gold, and so art requires today that copper and its wire again be brought into the light. Thus the child of the earth is restored to light. Because art is cosmic in being art of restoring, rediscovering, a second trial of matter. Copper stretched to a wire, that is matter stretched to a wire, is the disposition of copper, that is, of matter, in time. Copper wire is the historic time of copper. First there was copper, today copper wire is its historic time. Spider-floss on human and heavy everyday reality. The ability to fit into everyday reality. The everyday dimension is saved through art. Art does not rear up against the unknown except through daily events. The unknown is the child of the earth, the will of the planet. Wire is the will of historic time, humanized by man, then placed in the heaven of daily events. Daily events work like a support for time because daily life compels us to a daily relation with matter and its logic is our own. This means connectiong the art of copper to the historic time of wire. To its absolute poetry of the present the past and the near future. Art is born in the birth of copper, everyday reality is reborn in the form of copper wire. It is reborn in its own child. We will never be able to become wire because we are not primary elements, whereas copper is a primary element and it has its wire. Thus art, which is excitement, leaves the art of excitement for the art of birth. All the birth of wire through its development and its braiding in pure visibility. How is it possible to give the wire a home. Is it the home of the wire ? Is it the vivisection of the home through the wire ? Or is it the wire that fits linearly into the world of the new ? Through its will to be in time the child of the earth, that is, copper. Time running along the wire presents itself to us. Matter running alone the wire brings to light the quality of being its own child, thus winning the immaterial domination of the earth ! Marisa Merz Chapitre 3 5 -7 novembre 2009 Vernissage le 5 novembre Ryan Gander, Mark Geffriaud, Jiri Kovanda, Mark Manders, Bruno Persat, Yann S�randour |
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