Là où les eaux se mêlent

Where water comes together with other water

2010-09-01T05:48:00.000-07:00

"Là où les eaux se mêlent" est une exposition au titre emprunté à un recueil de poésies de Raymond Carver, conçue en trois chapitres, du 16 octobre au 7 novembre 2009, à gb agency, Paris. Composés de deux expositions personnelles et d'une exposition collective, ces trois chapitres souligneront la nature non-figée des objets et des discours qui les accompagnent à travers des gestes et des sculptures éphémères et des compositions temporaires liées aux pratiques des artistes invités.

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.

Raymond Carver, 1984

Chapitre 1: 16 - 24 octobre 2009
Chloé Quenum, "Tropes"

Chapitre 2: 29 - 31 octobre 2009
Marie Cool Fabio Balducci

Chapitre 3: 5 - 7 novembre 2009
Ryan Gander, Mark Geffriaud, Jiri Kovanda, Mark Manders, Bruno Persat, Chloé Quenum, Yann Sérandour

Chapitre 1: "Tropes", Chloé Quenum

2009-09-02T06:33:00.000-07:00

16 - 24 octobre 2009
Vernissage le vendredi 16 octobre, de 16h à 20h

Ici et Là sont sur un bateau :
Là dit : "je vois un trois mâts au loin..."
Ici : "Un trois-mâts ? Ne prendrais-tu pas la partie pour le tout ?"
Là : "Non, du moins oui, tout au plus, cela est possible."
Là, pris au dépourvu, fixe Ici en déclamant 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 paraît d'ailleurs peu probable -ou fort risqué- de se noyer dans un oeil."
Là : "C'est leur forme ronde, leur profondeur et leur couleur qui me rappellent un lac, ou peut-être est-ce la mer du Nord?"
Ici : "Là , Tu déplaces 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 être assemblés. 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 décrit sous l'angle du trois. Ce qui nous donne ton premier énoncé. Quant à ton lac, c'est le lac commun que l'on ramènerait à un oeil. Mais pour pouvoir dire le lac à ton oeil, il faut pouvoir continuer à dire ton oeil."
Là : "Que veux-tu dire ? Les choses resteraient-elles toujours comme elles sont sans bouger ?"
A force de scruter Ici, Là tombe à la mer, et les flots l'emportent on ne sait où.

Que reste-t-il ?
Une image certainement improbable d'objets posés ici qui font appel à d'autres qui sont posés là. Entre les deux, ce serait une série d'opérations dissimulées derrière l' écran du display /de l'accrochage.
Des tropes?

Chloé Quenum
Vues de l'exposition "Tropes", 2009
16 - 17 octobre 2009
gb agency, Paris

Chloé Quenum
Vues de l'exposition "Tropes", 2009
22 - 24 octobre 2009
gb agency, Paris

Chapitre 2: Marie Cool Fabio Balducci

2009-09-01T08:30:00.000-07:00

29 - 31 octobre 2009
Vernissage le 29 octobre, de 14h à 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.

Marie Cool Fabio Balducci
Sans titre, 2003
Sucre blanc, table

__

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

2009-09-01T08:25:00.000-07:00

5 -7 novembre 2009
Vernissage le 5 novembre, de 16h à 20h

Ryan Gander, Mark Geffriaud, Jiri Kovanda, Mark Manders, Bruno Persat, Chloé Quenum, Yann Sérandour

Vues partielles de l'exposition

Mark Manders

Floor with Fake Newspapers, 2005 - 2009

Impressions offset sur papier

Dimensions variables

Courtesy Mark Manders & Roma Publication

Yann Sérandour

La Création permanente (copie), 2009

Encre permanente noire sur mur

Dimensions variables

Bruno Persat

from now to there, 2009

Projection de diapositives, gants blancs

Dimensions variables

Chloé Quenum

Curiosité, 2009

Morceau de canne en bois dans cadre

34,5 x 30,5 cm

Ryan Gander

NOW SHOWING, 2009
Impression jet d'encre N/B
70 x 100 cm

Ryan Gander

Diversion (NOW SHOWING), 2009

Installation

Projection vidéo, corde en velours, miroir convexe, poster impression jet d'encre N&B dans cadre doré 70 x 100 cm

Dimensions variables