Views
Vision Quest
solo show
At : Valeria Cetraro, Paris, FR
From : October 17th 2019
To : November 23rd 2019
Text : Franck Balland
Translation : Katia Porro
All pics by Salim Santa Lucia
https://ofluxo.net/vision-quest-by-pierre-clement-at-galeria-valeria-cetraro
http://aluring.com/blog/2019/10/27/vision-quest
https://tzvetnik.online/article/pierre-clement-at-galerie-valeria-cetraro
http://daily-lazy.com/2019/11/pierre-clement-at-galerie-valeria.html
Altered Beast
solo show
Curated by: François Patoue
At: COHERENT, Brussels, BE
From: September 05th 2019
To: October 4th 2019
Text: François Patoue
All pics by Alice Pallot
http://scandaleproject.com/altered-beast-pierre-clement/
https://tzvetnik.online/article/pierre-clement-at-coherent
I’m an altered beast
You may try to reach me at your own risk
I constantly change my position
My body, my shape and my structure continue to grow
Standing where you won’t imagine
In any forms I catch your attention
Climb if you want to
Sleep if you want to
My camp is raw eden you ll be lock into
Got a snake dyed skin, gas rainbow, fur of fire
My dna increasing higher and higher
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Ethan Assouline, Andrew Birk, Monia Ben Hamouda, Botond Keresztesi, Cindy Coutant, Gregory Cuquel , Laura Gozlan, Hendrik Hegray, Anouk Kruithof, Estrid Lutz, Florian Sumi, David De Tscharner
Curation and set design by Pierre Clement
At: Valeria Cetraro, Paris, Fr
From: July 10th 2019
To: August 8th 2019
all pics by Salim Santa Lucia
https://tzvetnik.online/portfolio_page/unsupported-message-format/
http://scandaleproject.com/unsupported-message-format/
   
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Basic Extinct
Pierre Clement / Michele Gabriele
At: Silicone, Bordeaux, FR
From: 14th December 2018
To: 18th February 2019
Text by: Ingrid Luquet-Gad
tzvetnik.online/portfolio_page/basic-extinct-at-silicone/
ofluxo.net/basic-extinct-by-pierre-clement-and-michele-gabriele-at-silicone-espace-dart-contemporain/
daily-lazy.com/2019/01/basic-extinct-at-silicone-espace-dart.html
artviewer.org/pierre-clement-and-michele-gabriele-at-silicone/
Basic Extinct
We share with the Renaissance the urge to apprehend a manipulable version of reality. Whether we consider perspective or cyberspace, both representation systems reflect a single desire; namely getting a sufficient overall view to map the multiple and draw an ordered image from chaos, in order to avoid being thrown about by vagaries, to try to identify schemes and recurrences, to draw maps and find probabilities. During the Renaissance, the new man, the Vitruvian Man, was able for a while to think that he controlled and owned nature. Nowadays, this illusion has vanished. The first golden age of cyberspace is behind us. If our measuring and viewing instruments are increasingly accurate, we no longer know how to make sense of their results, which thus contradict each other. « More information produces not more clarity, but more confusion », then writes James Bridle in New Dark Age (2018). Daily life requires that we still move and act in spite of everything, and try as best we can to invent empirical navigation modes – in the absence of reliable maps or schemes. Art has, however, the luxury of being able to embrace complexity and to stick as close as possible to a reality full of possibilities.
Pierre Clément and Gabriele Michele share the approach of this baroque realism, which is slightly accelerationist in part, and more fascinated than critical. In Silicone, their series come face to face: wall bas-reliefs and sculptures on plinths stand glaring at each other, irreconcilable and yet complementary. First, there are those dinosaur heads, more specifically velociraptor heads, which seem to have been ripped from the body of an animatronics specimen. Although he manufactures himself the mould for them before oil painting the material alloy, Gabriele Michele is indeed inspired by a film, or rather several films: Jurassic Park and its various sequels. However, the sculptures rely on the discovery that these animals have never actually existed in the shape bestowed upon them by Hollywood, as scientific studies proved that they were closely related to poultry from our farmyards. Silent, the wall pieces of Pierre Clément seem, on the other hand, to reflect a function forever forgotten. The backlit white frames are reminiscent of louvers, or perhaps anti-aircraft radars. Each of them is printed with visuals taken from satellite images and larded with nails on which are hung natural elements: twigs, oyster shells and strings.
These successive layers of meaning, none of which ever seems isolated from the others, these almost geological strata which would condense a laminate of timelines, re-enact in Pierre Clément’s work the loss of origin. Origin is now the one we choose to believe in among multiple possibilities, since no definitive proof can help us to select objectively a single one. As such, the existence of each of these condensed versions of time, space, viewing techniques and belief systems, is apparently in line with the existence mode of « archi-fossils » described by Quentin Meillassoux in After Finitude (2006). With this term, the philosopher refers to the existence of any reality prior to the appearance of thought, and therefore to his illusion of ordering reality. With the velociraptors of Gabriele Michele, complexity or « contingency », to put it as Quentin Meillassoux, assumes the shape of an irreconcilable binary; namely two sides of the same thing, each of them dissimilar and which will never be seen side by side. Images and therefore objective evidence are doomed to continue to conflict: some attest to the absolute existence of the first side, the others to that of the second one. Only subjective impressions and emotional resonances will make us give more credence to one or the other hypothesis.
The fact that both sides can exist together, that reality can be not unique but multiple, here is what few people will be ready to believe. Because it is indeed belief we are talking about. « The world is too complex to be captured by simple stories. Rather than accepting it, we invent increasingly baroque and confusing stories, which are increasingly convoluted and indeterminate », continues James Bridle regarding the growing popularity of conspiracy theories. Without having to go that far, fake-news and the psychological mechanism of the « rebound effect » underlying them are also a sign that traditional story forms are losing momentum. This complexity is welcomed by Pierre Clément and Gabriele Michele who let it grow. Introduced in the modern vision system of the white-cube, in this well-ordered environment where things are put on plinths and hung, it spreads there the virus that will erode, from the inside, the vacuum certainties of art – a belief attempting to organise chaos among others.
Ingrid Luquet-Gad.
CAPTIONS
001 Installation view
002 Installation view
003 Pierre Clement, “PERS,SC,PLX,OYST,SYS (a)”, 2018; pine wood, MDF, acrylic, UV print on transparent acrylic glass, oyster shells, sisal, laurel barks, cotton, hunting primitive tech arrow heads, laurel peeled branch, fluorescent tubes, 140 x 100 x 12 cm
004 front: Michele Gabriele, « It’s always so hard to admit that things are different than what we had believed at first sight »,2018; back: Pierre Clement, “PERS,SC,PLX,OYST,SYS (a)”, 2018
005 Michele Gabriele, ”It’s always so hard to admit that things are different than what we had believed at first sight”,2018; wood dust on oil painted resin, polyurethan foam, steel, 60 x 60 x 30 cm approx
006 Installation view
007 Pierre Clement, “PERS,SC,PLX,OYST,SYS (c)”, 2018; pine wood, MDF, acrylic, UV print on transparent acrylic glass, oyster shells, sisal, laurel barks, cotton, hunting primitive tech arrow heads, laurel peeled branch, fluorescent tubes, 140 x 100 x 12 cm
008 Michele Gabriele, « It’s always so hard to admit that things are different than what we had believed at first sight », 2018; oil on epoxy clay, steel, cables, glass, rubber; 60 x 60 x 25 cm approx
009 Michele Gabriele, « It’s always so hard to admit that things are different than what we had believed at first sight », 2018; oil on epoxy clay, steel, cables, glass, rubber; 60 x 60 x 25 cm approx
010 front: Michele Gabriele ”It’s always so hard to admit that things are different than what we had believed at first sight”, 2018; back: Pierre Clement, “PERS,SC,PLX,OYST,SYS (c)”, 2018
011 Michele Gabriele, « It’s always so hard to admit that things are different than what we had believed at first sight » , 2018; oil on epoxy clay, steel, cables, glass, pigmented silicone, plastic, concrete, detergent bottles; 80 x 60 x 30 cm approx
012 Michele Gabriele, « It’s always so hard to admit that things are different than what we had believed at first sight”, 2018; oil on epoxy clay, steel, cables, glass, pigmented silicone, plastic, concrete, detergent bottles; 80 x 60 x 30 cm approx (detail)
013 Michele Gabriele, « It’s always so hard to admit that things are different than what we had believed at first sight”, 2018; oil on epoxy clay, steel, cables, glass, pigmented silicone, plastic, concrete, detergent bottles; 80 x 60 x 30 cm approx (detail)
014 Installation view
015 Pierre Clement, “PERS,SC,PLX,OYST,SYS (b)”;2018; pine wood, MDF, acrylic, UV print on transparent acrylic glass, oyster shells, sisal, laurel barks, cotton, hunting primitive tech arrow heads, laurel peeled branch, fluorescent tubes, 270 x 140 x 12 cm
016 Pierre Clement, “PERS,SC,PLX,OYST,SYS (b)”;2018; pine wood, MDF, acrylic, UV print on transparent acrylic glass, oyster shells, sisal, laurel barks, cotton, hunting primitive tech arrow heads, laurel peeled branch, fluorescent tubes, 270 x 140 x 12 cm (detail)
017 Pierre Clement, “PERS,SC,PLX,OYST,SYS (b)”;2018; pine wood, MDF, acrylic, UV print on transparent acrylic glass, oyster shells, sisal, laurel barks, cotton, hunting primitive tech arrow heads, laurel peeled branch, fluorescent tubes, 270 x 140 x 12 cm (detail)
018 Pierre Clement, “PERS,SC,PLX,OYST,SYS (b)”;2018; pine wood, MDF, acrylic, UV print on transparent acrylic glass, oyster shells, sisal, laurel barks, cotton, hunting primitive tech arrow heads, laurel peeled branch, fluorescent tubes, 270 x 140 x 12 cm (detail)
019 Pierre Clement, “PERS,SC,PLX,OYST,SYS (d)”;2018; pine wood, MDF, acrylic, UV print on transparent acrylic glass, oyster shells, sisal, laurel barks, cotton, hunting primitive tech arrow heads, laurel peeled branch, fluorescent tubes, 270 x 140 x 12 cm
020 Pierre Clement, “PERS,SC,PLX,OYST,SYS (d)”;2018; pine wood, MDF, acrylic, UV print on transparent acrylic glass, oyster shells, sisal, laurel barks, cotton, hunting primitive tech arrow heads, laurel peeled branch, fluorescent tubes, 270 x 140 x 12 cm (detail)
021 Pierre Clement, “PERS,SC,PLX,OYST,SYS (d)”;2018; pine wood, MDF, acrylic, UV print on transparent acrylic glass, oyster shells, sisal, laurel barks, cotton, hunting primitive tech arrow heads, laurel peeled branch, fluorescent tubes, 270 x 140 x 12 cm (detail)
022 Pierre Clement, “PERS,SC,PLX,OYST,SYS (d)”;2018; pine wood, MDF, acrylic, UV print on transparent acrylic glass, oyster shells, sisal, laurel barks, cotton, hunting primitive tech arrow heads, laurel peeled branch, fluorescent tubes, 270 x 140 x 12 cm (detail)
023 Michele Gabriele, « It’s always so hard to admit that things are different than what we had believed at first sight », 2018; oil on epoxy clay, steel, cables, glass, pigmented silicone, plastic, concrete, detergent bottles; 80 x 60 x 30 cm approx
024 Michele Gabriele, « It’s always so hard to admit that things are different than what we had believed at first sight », 2018; pigmented silicone, steel, detergent bottle, camera, 60 x 30 x 30 cm approx
025 Michele Gabriele, « It’s always so hard to admit that things are different than what we had believed at first sight », 2018; pigmented silicone, steel, detergent bottle, camera, 60 x 30 x 30 cm approx (detail)
026 Michele Gabriele, « It’s always so hard to admit that things are different than what we had believed at first sight », 2018; pigmented silicone, steel, detergent bottle, camera, 60 x 30 x 30 cm approx (detail)
027 Installation view
028 Pierre Clement, “PERS,SC,PLX,OYST,SYS (f)”, 2018; pine wood, MDF, acrylic, UV print on transparent acrylic glass, oyster shells, sisal, laurel barks, cotton, hunting primitive tech arrow heads, laurel peeled branch, fluorescent tubes, 140 x 100 x 12 cm
029 Pierre Clement, “PERS,SC,PLX,OYST,SYS (e)”, 2018; pine wood, MDF, acrylic, UV print on transparent acrylic glass, oyster shells, sisal, laurel barks, cotton, hunting primitive tech arrow heads, laurel peeled branch, fluorescent tubes, 140 x 100 x 12 cm
030 Michele Gabriele, ”Your lies embarrass me so much that when I found out exactly what it was, I’d rather pretend to believe your words”,2018; oil on plaster, steel, cables, glass, rubber, fabric, feather, 60 x 60 x 25 cm approx
031 Michele Gabriele, ”Your lies embarrass me so much that when I found out exactly what it was, I’d rather pretend to believe your words”,2018; oil on plaster, steel, cables, glass, rubber, fabric, feather, 60 x 60 x 25 cm approx (detail)
032 Michele Gabriele, ”Your lies embarrass me so much that when I found out exactly what it was, I’d rather pretend to believe your words”,2018; oil on plaster, steel, cables, glass, rubber, fabric, feather, 60 x 60 x 25 cm approx (detail)
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Pierre Clement & Lindsay Lawson
NON-TARGET UNKNOWN
Platform
Stockholm, Sweden
curatron.eq
Text by Martha Kirszenbaum
§-§-§-§-§-§-§-§-§-§-§-§-§-§-§
The Dancing Snake
À te voir marcher en cadence, Belle d’abandon,
On dirait un serpent qui danse Au bout d’un bâton.
To see you rhythmically advancing Seems to my fancy fond
As if it were a serpent dancing Waved by the charmer’s wand.
Charles Baudelaire, ‘Le Serpent Qui Danse’ [The Dancing Snake] in Les Fleurs du Mal, 1857
I dreamt you came back.
An essay entitled “Death Explained to Children” was casually lying on the bedside table. Among other advice and ex- planations, chapter nine was relating to what extent humans would often reincarnate into animals, cats, dogs or snakes. So it was you, the dancing snake. Twisting around my neck, worming your way out of the bedroom, brushing the purple walls. A few years ago I left for Los Angeles. The day of my departure you asked me what I would like to keep as a souvenir. Among all the books, the carpets and the pictures, I chose a gold ring that was shaped like a snake, rolling around its own neck. An Iranian lover of yours gave it to you some decades ago but, as far as I remember, you never wore it even once. I wear it everyday.
Did I dream you dreamed about me?
You came back and you are everywhere, hidden in my bottle of water like a song to the siren, under the transparent tent displayed among my cactuses in the backyard. You are riding through my mind and my head is a pink cap with an apparent brain.
I am back to Los Angeles. They make movies here, I live here. We drive through the purple moonlight, watching MacAr- thur Park melting in the night. The next morning I drink my coffee slow, and I watch your shadow grow. Before the colors of our memories vanish in the eternity of silence, I would like to tell you a few words, but since words have been cruelly missed, I borrow those of another one.
When I was a child we would stride along the aisles of the Mesopotamian Antiquities at the Richelieu sector of the Louvre, just the two of us. Our favorite sculptures were the human-headed winged bulls from Khorsabad, the Assy- rian capital. They were protective genies called shedu or lamassu, and were placed as guardians at certain gates or doorways of cities and palaces. As symbols combining a man, a bull, and a bird, they offered protection against ene- mies. One day we visited Iran together. You landed from Paris and I arrived from L.A., and we found each other in the crowd of Tehran. A few days later, our taxi was cruising through the golden dust outside of Shiraz and, suddenly, two large dark grey gures of stone emerged at the horizon. We saw them, the winged bulls of Persepolis. We had found them, our childhood’s beloved memories, the sphinxes of the Middle East.
I am standing in the sun
I wish that I could be
A silent sphinx eternally.
I don’t want any past
Only want things which cannot last And I can’t even cry
Through God knows how I try A sphinx can never cry
And sphinxes never die.
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ABOVE TOP SECRET
solo show @ Galerie Escougnou-Cetraro
Du 17 mai au 17 juin 2018
From May 17th to June 17th, 2018
Text by Anissa Touati
Pics by Salim Santalucia
The exhibition nds its most literal correspondence in both the daily life and imagination of Pierre Clement. We visualise the artist in his studio, behind his computer, searching within survivalist sites, sur ng on conspiracy theorists, among which: Above Top Secret «The oldest pessimists website. It talks about everything without any hierarchy, goes from biology through ufology, down to Donald Trump. Above top secret could possibly be the title of a lm by Terry Gilliam, evoking a nightmare of a future nuanced by a hymn to love. An antiphony within which, Pierre Clement would unveil, to the apocalyptic sound of «The war of the worlds”, scenes of disasters and other lines of an anticipation novel.
A mixture of a dramatic soundtrack ; Clement adds, à la Jack Foley’s post-production style, the effects of a daily geo- manipulation : photocopies, desert views, satellite imagery, jet- ghter holo-gun sights, hurricane eyes, 4G relay antenna’s shapes and other syringes. He integrates, in transparency, different overlays of ction, from reconstitution down to drama. «I mix layers, I associate them. They are found in the gestures i am using, in the choice of materials. They escape from me, they organise themselves; there is a frame, a grid. I’m sampling, I’m sequencing»
In the exhibition space, six large formats on wood frames are facing six small sculptures, a pure and classic tradition’ display ; small shrubs in levitation: corals composed of syringes stitched together and suspended on springs. Each of these pieces are worked as expansive organisms, they exist as juxtaposed elements that create a visual effect, a distortion. They give the viewer the impression of movement or hidden images. Clement’s works point a form of traveler’s syndrome, evoking a temporary psychic disorder caused by confrontation to reality.
The titles of his works, such as, «4Ghudhurr2», combine the abbreviations of the different ingredients, hurricanes, HUD gun-sights (military enhanced reality system), 4G antennas. These become the passwords of a scienti c ction. We imagine Pierre Clement searching inside trash-bags of a certain future, or even those left by our ancestors, gradually build-up, layer by layer ; temporary vestiges and material witnesses of eras in the making, or of the past, on which our present would be erected.
The exhibition, seems to continuously develop the artist’s discussion on the gap between artistic ction, reality, and absurdity. By ruining the «cut-and-paste» aesthetic and/or hypertext references, Pierre Clement uses both the medium and its story, as a lter of his personal experiences. Above top secret, ultimately, is a subversive “home movie”; the low-tech way, a back and forth journey between ironic appropriation and political resonance. Pierre Clement, a.k.a Nanouk l’esquimau, plays and stages a certain future archeology and lays down the foundations of post-reality.
(FR)
L’exposition trouve sa correspondance la plus littérale dans le quotidien et l’imaginaire de Pierre Clement. On visualise l’artiste dans son studio, derrière son ordinateur, fouillant les sites survivalistes, surfant sur les conspirationnistes, parmi lesquels Above top secret « Le plus vieux site de pessimistes. Il parle de tout sans aucune hiérarchie, de la biologie à Donald Trump, en passant par l’ufologie ». Above top secret pourrait être ainsi le titre d’un lm de Terry Gilliam évoquant un futur cauchemardesque nuancés par un hymne à l’amour. Une antiphonie au sein de laquelle, Pierre Clement dévoilerait au son de l’apocalypse de « La guerre des mondes », des scènes de désastres et autres répliques d’un roman d’anticipation.
Mélange d’une bande son dramatique, Clement additionne à la manière de Jack Foley en post-production, les effets d’un quotidien géo-manipulé : ouragans photocopiés, vues de désert, imagerie satellite, viseur/mire de cockpit d’avions de chasse, œil de cyclone, antennes relais 4G ou autres seringues. Il intègre en transparence, différents calques de la ction, de la reconstitution jusqu’au drame. «Je mélange des couches, je les associe. On les retrouve dans les gestes que j’utilise, dans le choix des matériaux. Elles m’échappent, elles s’organisent ; il y a une trame, une grille. J’échantillonne, je séquence.»
Dans l’espace d’exposition, 6 grands formats sur châssis bois, font face à 6 sculptures, un accrochage dans la pure tradition classique ; de petits arbustes en lévitation : des coraux composés de seringues piquées entre elles et suspendues sur ressorts. Chacune de ces pièces sont travaillées comme des organismes expansifs, constitués d’éléments juxtaposés créant un effet visuel, une distorsion. Ils donnent au spectateur une impression de mouvement ou d’images cachées. Clement provoque chez le regardeur une forme de syndrome du voyageur, évoquant un trouble psychique passager due à la confrontation avec la réalité.
Les titres de ses œuvres, par exemple, « 4Ghudhurr2 », associent les abréviations des différents ingrédients, hurricane, HUDdevisée(systèmederéalitéaugmentéemilitaire), sigle4G.Cesderniersdeviennentlesmotsdepassesd’une ction scienti que. On imagine Pierre Clement fouillant les poubelles du futur ou encore les déchets laissés par nos prédécesseurs, progressivement déposés, couche par couche, vestiges temporels et témoins matériels d’époques, en devenir ou bien révolues, sur lesquelles, s’érigerait notre présent.
L’exposition, décidément, développe la discussion de l’artiste sur le fossé entre la ction artistique, la réalité, et l’absurdité. En ruinant l’esthétique « couper-coller » et/ou les références hypertextes, Pierre Clement utilise le médium et son histoire comme ltre de ses expériences personnelles. Above top secret, en dé nitive, est un « homemovie » subversif, façon low- tech, un va et vient entre appropriation ironique et résonance politique. Pierre Clement, aka Nanouk l’esquimau, joue et met en scène une certaine archéologie du futur et pose les bases de la post-réalité.
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your account has been suspended,
solo show @ OJ, Istanbul, Turkey
ojwwep.com
OJ Presents; Pierre Clement’s first solo show in Istanbul,
‘Your Account Has Been Suspended’
Pierre Clement’s first solo show in Istanbul; ‘Your Account Has Been Suspended’ focuses on human extinction and post-apocalyptic scenarios. The exhibition, includes site specific installations of the artist, produced in Istanbul opens on December 15 at 6.30 pm at OJ ART SPACE in Asmali Mescit Sehbender Sokak can be seen until December 31, 2017.
‘Sometimes it is interesting to think that the objects that populate the space of our home environment undoubtedly extend beyond their mere physical presence. We know (according to Baudrillard), an object is determined more by the sign and the symbolic value it represents rather than the concrete and material aspect of his existence. In this sense, desire or lack of interest that is felt for an object is more a matter of assumed idealism that blind materialism.
It is in these degrees of value we attach to them, we transform these objects into receptacles and witnesses of our usages, our customs, our small daily rituals. By the mere presence of our desires, any cheap trinket becomes a kind of memory card from the owner and by extension the potential marker of it in a given time in a given culture. And even after the death of its owner or by the abandonment of the latter.
Although orphaned, the object remains in charge, at least until its own destruction…’*
* Irwin Marchal, 2015
pierreclement.eu
ojwwep.com
About OJ:
OJ Art Space was founded in the Asmalı Mescit neighborhood in Taksim as an independent art space in 2016. In it’s first year OJ hosted 10 contemporary art exhibitions, and furthermore took on the form of an important network for artists, curators, and writers from different countries interested in pushing the boundaries of contemporary exhibition making. OJ focuses its efforts on creating unique spaces for artists from Turkey to concentrate on new methods of exhibiting while also conducting communication in order for participation in international media and publications.
OJ is supported by SAHA Dernegi as part of “Grant for the Sustainability of Independent Art Initiatives 2017–2018”
/ / / / / / / / /
When I logged into *** this morning, I got a notification message stating « Your account has been suspended please contact Customer Support » I instantly contacted Customer Support via Live Chat.
/ / / /
@And it wasn’t just men and women: even sentient animals such as dogs and cats, hens, oxen, donkeys and sheep, died from that same disease and with those symptoms, and almost none who displayed those symptoms, or very few indeed, effected a recovery.
The agent could not tell me why my account was suspended.
« Who will been holle and kepe hym from sekenesse
And resiste the strok of pestilence,
Lat hym be glad, and voide al hevynesse,
Flee wikkyd heires, eschew the presence
Off infect placys, causyng the violence;
Drynk good wyn, and holsom meetis take,
Smelle swote thynges and for his deffence
Walk in cleene heir, eschewe mystis blake. »
(Lydgate, lines 1-8)
/ / / / / /
She just told me that my account was with *** Risk Management Team and that she would open a ticket for me. A ticket was opened and I received a message from one of the Team Members from Risk Management several hours after stating » I’ve reviewed your account with out team and it seems your account was closed due to irregularities detected by our system »
a moving gray-green screen between the sun and earth
//// / / /
« Who will been holle and kepe hym from sekenesse
And resiste the strok of pestilence,
Lat hym be glad, and voide al hevynesse,
Flee wikkyd heires, eschew the presence
Off infect placys, causyng the violence;
Drynk good wyn, and holsom meetis take,
Smelle swote thynges and for his deffence
Walk in cleene heir, eschewe mystis blake. »
(Lydgate, lines 1-8)
Those symptoms were as follows: either between the thigh and the body, in the groin region, or under the armpit, there appeared a lump, and a sudden fever, and when the victim spat, he spat blood mixed with saliva, and none of those who spat blood survived./
/
« please contact Customer Support »
© google, 2017.
>
your account has been suspended (licorne), 2017, flat screen tv cabinet, transparent film, digital black and white prints on lambda paper, glue, nails, chrome spray paint, mandarine zests, 170 x 166 x 40 cm. Unique.
your account has been suspended (mushrooms), 2017, flat screen tv cabinet, transparent film, digital black and white prints on lambda paper, glue, nails, chrome spray paint, mandarine zests, 170 x 166 x 40 cm. Unique.
your account has been suspended (stones), 2017, flat screen tv cabinet, transparent film, digital black and white prints on lambda paper, glue, nails, chrome spray paint, mandarine zests, 170 x 166 x 40 cm. Unique.
your account has been suspended (narcissus), 2017, flat screen tv cabinet, transparent film, digital black and white prints on lambda paper, glue, nails, chrome spray paint, mandarine zests, 170 x 166 x 40 cm. Unique.
ALL PICS BY Emin Yu & Aybars Oncu
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A Midsummer Night Remedy
Bora Akinciturk and Pierre Clement
cu/ Canan Batur
Collab show @ Clearview.LTD, London, FR
01 July- 23 July 2017
facebook.com/clearview.ltd/
ofluxo.net/a-midsummer-nights-remedy-by-bora-akinciturk-and-pierre-clement-at-clearview-ltd-london/
tzvetnik.online/article/a-midsummer-night-s-remedy
“If we shadows have offended,
Think but this, and all is mended,
That you have but slumber’d here
While these visions did appear.
And this weak and idle theme,
No more yielding but a dream,
Gentles, do not reprehend:
if you pardon, we will mend:
And, as I am an honest Puck,
If we have unearned luck
Now to ‘scape the serpent’s tongue,
We will make amends ere long;
Else the Puck a liar call;
So, good night unto you all.”
Puck, in Shakespeare’s ‘A Midsummer Night’s Dream’, is like the hand of the devil or god. A clever, mischievous elf, jester to Oberon, the fairy king who stirs up trouble after feuding with his wife Titania, the queen of fairies for custody of a changeling boy.
While his presence shape the general narrative of Shakespeare’s comedic play, his acts point out a twisted use of alchemy and a perversed form of communication. His adapted monologue becomes a stimulant of the show aiming to apologise and promote the absurd and abstract tone of the way artistic collaboration of Pierre Clement and Bora Akıncıtürk assembles itself.
Their collaboration, throughout the process of making, creates its own gradual fiction, thus it becomes a persona of absurdity and trickery. Truth in their possession becomes only a contemporary subjectivity of fictional, a degenerated fantasy, an empowered chaos and a sense of absurd uncertainty.
The works reshape themselves as the remedies of this trickery and become validated solutions, and cures of the so called dream.
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Community for all, mercy for the lost,
solo show @ Delta studio, Roubaix, FR
http://studio2delta.com
28/04 – 15/05 2017
…I followed a game trail to the river. I admit that I got caught up in the soft afternoon light and the velvety leaves on my fingers and the damp scent of soil. A few times the trail faded out and I whispered, “Well, I hope I can find my way back,” and kept walking. Game trails are created by hooves, not tools. They start and stop without warning, and they don’t have arrows pointing back home, because the animals are already home. This is why I kept going. I needed to have that kind of freedom…
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KEEP YOU MASTER CHANNEL SYNC’D WITH YOUR MASTER CHANNEL
solo show @ MAISON SALVAN
LABÈGE, FR
22/02 – 01/04/2017
“Through the glass of the ceiling, through the walls, nothing could be seen but fog-fog everywhere, strange clouds, becoming heavier and nearer; the boundary between earth and sky disappeared. Everything seemed to be oating and thawing and falling… Not a thing to hold on to.” Eugene Zamiatine, We, 1921
Keep you master channel sync’d with you master channel, here is the title selected by Pierre Clement to introduce his new exhibition at Maison Salvan. It gives us information on how the artist has envisaged and realized the series of exhibited works made up of twenty pieces. A pre-established system – the main channel? – dictates how each piece was made: an image of nature, previously retrieved from the internet, is reproduced on a brushed aluminium or white surface; It is then very regularly pierced then spiked with bolts which serve to weave a pattern with the aid of cord. The title also describes the experience of the visitor confronted with these pieces whose principle, at a time is both internal (their composition) but also external (hanging), is serial. How to organize or fix our gaze in the face of such a systematization?
However, it appears that each artwork is perfectly distinct for multiple reasons: the choice of the image; the addition of motifs from the graphic universe of the German scientist and philosopher Ernst Haeckel ; the nature, the size and the weft of the nylon or natural ber cords used. Behind the general title of the exhibition, the artworks have their own title, referring to animal figures (Slug, Urchin, Swan), to spaces (Underwood), to founding myths of the real and the virtual (Origin, Web). Through this association, perhaps the series also creates a kind of mythological pantheon, and that each work has a secret and sacred dimension. The cult, of which we are speaking here, is of course unknown and unset. But given the signals that the artworks give-off, it is certainly characteristic for the contemporary era to follow the great monotheist narratives downfall. It would combine a frantic belief in technology combined with heteroclite fragments linked to the idea of new-age and personal development, with elements borrowed from «exotic religions», a certain megalomaniac relation to nature (between the fantasy of intact purity and the age of the Anthropocene). The title of the exhibition can therefore be translated differently in French and may indicate that the works offer multiple readings, perhaps one more deviant: Garder votre canal maître synchronisé avec votre canal maître. The word “maître” could then bear a capital letter.
The works can be seen as one would classically look at an exhibition, by getting captivated, for example to their composition. They are seductive, perhaps playful, through the implementation of recurring principles and due to a certain repetitive and musical rhythmics. They are fascinating through the use of subtle variations, especially the grids produced by the weaving. However, the «layers», of which they are composed, also inform us metaphorically about the way in which their meaning may be deconstructed. They are certainly also traps with parts of shadow and buried dimensions perhaps even darker and more complex. It belongs to each one to determine and qualify the meanings that Ernst Haeckel drawn symbols produce. To each one to think about the effect on the idea of nature, produced by the thread work or grids that overhang the images. Finally, it asks each viewer to interrogate the intellectual property’s question, whereas what is given to us seems to derive as much from an algorithmic language as from the will of an artist.
Pierre Clement is updating the Arts & Crafts movement in the context of the third industrial revolution and the digital and instantaneous communication revolution. He questions the tensions between the virtual and the tangible: from a cloud of pixels retrieved from the internet, he proposes in fine «paintings» several centimeters thick. The antagonism between handcraft and the delegated gesture is also questioned. A disorder is thus present in the exhibition; It could be the product of a machine, although it comes from a long and laborious process. However that is to say, the artist generates works at the «borders of bad taste». The twenty pieces of the exhibition could all deliberately be described as decorative objects.
Keep your master channel sync with your master channel constructs the perfect mise en abyme of the ultimate pattern symbolism and the functional fantasy of our era (network, web, communication in permanent fluctuation). These artworks are literally some « peintures à la toile » as ones have produced some « toiles à la peinture ». Here, it is a synchronized (and vertiginous) loop that weaves webs from motifs that come from other webs. Many artists have taken up the question of the internet but using its own language to deconstruct it. Pierre Clement, he acts as a resistance fighter. He camoufages his intentions and his works under deceptive disguises or false-flags to, perhaps, install a better critical system.
Why stop here, if these artworks are created from a mechanical system ? After all, the combinatorial language used could be infinite. Pierre Clement does (could) generate a multitude of new works? Why not even consider a computer program that would take images from the Internet and make automated weaves and patterns, independently ? This series of work stops a twenty for today, because there is well and truly an artist behind this work. After all, what is given to see proceeds from faillible choices and the free will of an individual.
Paul de Sorbier.
Translation : Bella Heath.
Accueil
All pics by Pierre Clement.
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« You would like that we were not here
But we are too emotionaly absorbed by the
homesickness of places that we’ll see only from the
windows of our Bentleys. »
Curated by Michele Gabriele
Special Project for OFLUXO website.
She is driving, angry. She is driving, sad. She’s been driving for hours, nowhere in particular – post-fight. Highway, industrial landscape – in transit. By now, together with fading daylight her mind is turning soggy and dropping off, out of focus. Her eyes are on the road, thoughts floating around her; some circling back, again and again.
She’s worn out from the fight, her emotional state and the smothering synthetic smell in her car are stirring up something; the spiralling thoughts are gathering, she’s driving into a vortex.
Barely acknowledging it, she glimpses things she isn’t really sure are there, objects or images she can’t place – superfluous and not part of the landscape. A flash of blue sky, when it’s clearly getting dark. A round pattern, a bit detached and too close – what – doesn’t matter. The bitterness and chafed vibes from before and the stuffiness of the car are closing in on her – leaving little room for anything outside – pickled, probed and gray – ugh, can she even be??
All the fights she’s had in this car! Why do arguments always happen in the car? And then you are stuck in a wildfire in a tin box with no escape – that is just the worst.
With mom it had been long passive-aggressive streaks. Their fights were thick, like expired plasticine or shit, you couldn’t get it off of you, you couldn’t get the smell out. And the level of pettiness was unreal.
Something registered – like – she doesn’t – umm no.
And then, with her – heavy screaming, fights so intense they were physically exhausting. It had obviously not always been like that, but eventually she had grow to resent everything about her, she had grown to hate her hair in particular, sometimes at night she had thought she’s gonna cut her fucking hair off in a clump. Cut and run – just leave it – just –.
Heavy beats, gasping for air. Get – get the – fuck – fuck – out – out of – my car. I don’t get mad!
A story so cliché she was embarrassed to admit it. Another unplaceable object faintly flickered in corner of her eye, or in her mind’s eye, or somewhere in-between.
She now knows for sure, this car is a vehicle of fights – she can’t get the exhaust fumes of confrontations out, everything is drenched in it. She needs a new car to vanquish the spirits. Somewhere along the road she has become like all those women laughing alone with salad, quietly gone mad – and she – will go off – blow off – up – and beyond. The neon letters are all fucked up, she can’t read the signs anymore. This one’s gone to the vortex.
– Keiu Krikmann
Facebook THU 12.01.2017 – 2:14 PM
MG: Hello Matteo, I wanted to ask you if you could come visit me one of these days. There’s something I’d like to show you.
MM: Sounds good! What’s that about? Where do you wanna meet?
MG: Let’s meet at the Seregno’s trains station, early in the morning. Catch the first train you can. And let me know by what time you’ll be there.
MM: I could be there next Wednesday. I’ll catch the train in Turin at 5.50 AM and I’ll be in Seregno by 7.30. How about that?
MG: That’s great Matte!
MM: What is this all about?
MG: I’ve got a few things to show you. Telling you wouldn’t be the same. You must see them yourself.
Seregno WED 7:32 AM
MM: Hello there Michele, it’s so good to see you here, just like the first time we met, when I came for the studio visit.
MG: There you are, of course I remember! Seregno never changes, like all these area actually. It waits for you but it never helps.
MM: On that matter, what’s awaiting me in Seregno today?
MG: We’re just leaving, we’re going to Milan. Please, get in the car. That’s no Bentley, some call it my wheelchair, but it’s still carrying me around.
MM: Why are we going to Milan? Did you change your mind? I’d have waited for you there if you told me.
MG: We must go there together. Shall we leave?
MM: Do you mind if I keep this recorder on?
MG: Not at all.
WED 7:48 AM
MG: Look at this tunnel here, it connects Brianza and Milan. I used to get stuck in traffic for hours to get to the city center before this was built. I believe it has had a strong influence on my production, esthetically speaking. Look at the colors. It’s new but still it looks like it’s been here forever. It’s one of the longest urban tunnels in Europe. It repeats itself over and over, same doors, same streetlights. This makes it look shorter but it’ll be around two kilometers long.
MM: Wait a minute, what’s that? Did you see that? Just at the entrance of the tunnel. They looked like dreadlocks.
MG: They are dreadlocks, tied up and thrown there. They recall a sitting person, if you’ve got that type of imaginary need. Still it looks like they fell there by chance. Has if someone threw them away, forgotten…
MM: As if someone threw them from a running car. Can we go back to get a better look?
MG: It’s better not to stop here, we must go on. Cars should be going at 90 km/h, but who’s driving that slow?
MM: When we first met you used to have dreadlocks. I remember coming across Rastamen, they were always saluting you, beating their fist on their chest. It’s interesting how we found those dreadlocks right here in this tunnel, almost as if you left them behind to move faster to the city center…
MG: Yes, I remember my dreadlocks! I didn’t think about that! You know Paul Barsch is keeping them? He made an artwork out of them and he exhibited them for the project Cielo Milano curated by him and Tilman Hornig months ago. Come on, let’s get out of here, let’s catch the first exit.
WED 8:11 AM
MM: Wait, slow down, there’s a small mouse!
MG: Fuck that’s true!
MM: Don’t squash it!
MG: Yes, I’ll be careful. The Lambro river runs around here, that’s why it’s full of rats.
MM: Ok, it crossed the road. Now it’s under those, ehm, twelve antennas? What are those twelve antennas on the wall for?
MG: In this time of the year and this time of the day the light comes in a particularly white shade, desaturated and the objects outdoors look white just for a few minutes. Then the sky changes color and so do they.
MM: That’s true, those objects usually keep a strong relationship with the sky, the weather and the light, even if placed like that, at that height, they look like they’re trying to show us a will to be listening and receiving in a place were, perhaps, there’s nothing interesting to be listening to.
MG: I don’t know Matteo, surely antennas are usually above us, we all know them but we rarely get to see them close. Assembled with shamanic aesthetics, with bamboo canes and plumes, it look like they are ironically showing us two different clichès.
WED 8:23 AM
MM: The traffic is getting more intense, where are we?
MG: We’re in the northernmost part of Milan. Let’s see if I can pull over.
MM: Careful, the car in front of you is stopping, there’s something on the road. It looks like… is that salad? Wait, is that the work you made for the Bubble Tea show?
MG: Yes, I better move it today or I’ll get in trouble.
MM: What’s it doing hanging from the traffic divider?
MG: Well, Matte… consider this as a guided tour. This is “You would like that we were not here. But we are too emotionally absorbed by the homesickness of places that we’ll see only from the windows of our Bentleys”: a group show.
MM: You curated a group show setting up the works on the road from Brianza to Milan?
MG: In a certain way, yes. Paul Barsch’s work is in the tunnel that, for me, links my house to Milan. But all the others are in the city.
MM: Your works always have a lot to do with observing what surrounds them, and from that you develop them in a very sincere way, without being even bothered by the fact that the result might be disappointing. This work reminds me of the eating sculpture by Gianni Anselmo, only it looks faster: the lettuce is not withering, it’s being squeezed by the passing cars. What’s its title?
MG: “Whity-Trashy vol.3 (I stay if you hold me tight)”. Lately, it’s as if I felt a lot more freedom in formally using the elements in my work almost carelessly.
WED 4:12 PM
MM: We’ve been driving all afternoon, but we haven’t come across any work for quite along time now. Is the show over? It’s almost sunset.
MG: No, it’s not over yet but I thought we should have waited a little to see this one. Look up there! That’s “Clouds” by Andrew Birk.
MM: It may be the time or the way you set it up, or maybe both, but that work looks extremely delicate and melancholy to me, as if it wanted to save an intimate and fleeting moment without telling us about it.
MG: It’s been months now I’ve been observing the relationship between Andrew Birk and his work and I’m entranced by it.
MM: Can you tell me more about it?
MG: It’s the feeling I get, the number of canvases, the different ways of painting them. An erupting volcano. And every time he’s stripping himself down completely. Watching him working is amazing to me.
WED 6:35 PM
MM: Are you sure we can go this way? Isn’t it a private road?
MG: Who cares. I’ve never seen anybody here. It gets you to a subway station. Can you hear the noise?
MM: Yes, I must tell you it makes me shiver. These orange streetlights, they always made me claustrophobic.
MG: Do they make you feel trapped even if we are outdoors?
MM: Yes they do, they make me feel so… wait, there’s something next to that gate. Is it a painting?
MG: Yes, a digitalized painting by Nuno Patricio. Its got a metal structure holding it to the ground.
MM: It reminds me something I probably saw in a movie, but I can’t recall what it is now…
MG: To me as well. Maybe it reminds me of a whole movie genre. When I was young I used to buy the weekly magazine “UFOs and Aliens”. Do you remember that? Buying it made me feel better than the others, one step closer to secret knowledge.
MM: I was very fascinated by it as well, but then I remember thinking “if this stuff is that secret, then why can I get it so easily at the news-stand?”.
WED 10:36 PM
MG: The heating in my car comes and goes. Sorry about that, Matteo, I know it’s getting cold. Usually, it doesn’t work when it’s cold while it works perfectly when you don’t need it.
MM: That’s what we’re gonna do: pull over as soon as you can, I’ll smoke a cigarette, I’ll be cold so that when we get back in the car it’ll be almost warm.
MG: That sounds just about right.
WED 10:40 PM
MG: Alright, I’ll stop here.
MM: Look, there’s something in the grass. They looks like tiny dolls. Hey, they’re Lucia Leuci’s from the exhibition at Tile Project Space!
MG: I’ve chosen to exhibit some of the works from Lucia Leuci’s latest solo show. “Mamme Cattive e Bambini Creoli”. I’ve set them up here, among the grass in the dark. The concept of being creole upon which she’s been reflecting, the way in which she touches things. To me this really was one of last year’s most inspiring art works. Seeing them here, as if they were left behind, forgotten, moves me.
MM: That may be because they’re so delicate. Seeing them here, in such an anonymous lawn, so close to the highway, conveys a strange feeling of danger, as if they were the ones in charge.
MG: Probably, I’ve always felt as if they were the ones in danger, you know?
MM: Maybe it is so. Maybe, because of how they were made, it’s very hard for them to find somewhere where they belong. Maybe they really don’t belong anywhere.
MG:I feel represented.
MM: Be careful, you’re getting too romantic.
MG:Let’s go, there’s just one more work I want to show you. After that I’ll take you back to the station, it’s very late already and you might miss the last train back.
MM: Will we make it or is it too dark allredy?
MG: Of course we’ll make it. Everybody passing through the highway will see it with us.
WED 11:04 PM
MM: What song is this? I like it, can you turn the volume up?
MG: “Reason” by Spooky Black. I’ve been listening to this kind of music a lot, lately. It’s called “sadboy music”, I think.
MM: It really sounds like that.
WED 11:07PM
MM: Is that up there the work? I can’t really read what’s written upon it.
MG: Yes, you to look at it for a while to understand it. You should get closer.
MM: But now we’ve already moved past it, I couldn’t read it all. It’s a bit like it happens with songs, you get some of the words but you can’t understand it as a whole.
MG: The font it’s written in is an art work by Monia Ben Hamouda, while the text is the verse from a song. “…Searching for wrong, so you can point your stubborn finger at me again, at me again…”
MM: I see why it’s at the end of the show, it’s like the credits.
MG: Yes, the credits.
MM: When it comes to emotions, it’s always hard to keep the focus on who’s feeling them. It’s easier to identify with the emotion itself. And this has been a very emotional trip.
MG: Thanks Matteo.
MM: Thank you.
– Matteo Mottin in conversation with Michele Gabriele
An environment seemingly unreachable:
familiar to us as much as distant.
Participants:
Paul Barsch
Pierre Clement
Michele Gabriele
Andrew Birk
Nuno Patrício
Lucia Leuci
Monia Ben Hamouda
With text contributions by Keiu Krikmann and Matteo Mottin.
Concept, documentation, curation: Michele Gabriele.
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Higher state of consciousness
@ Studio E1, Paris
Curated by Pierre Clement.
December 2016.
BB5000
Andrew Birk
Pierre Clement
Michele Gabriele
Matthieu Haberard
Rashid Uri
Cité Internationale des Arts, site de Montmartre.
Studio E1,
24 rue Norvins
Paris, FR
Hidden meaning is the foundation of formless potentiality.
Intuition gives rise to descriptions of actions.
God is the ground of personal bliss.
Higgs boson constructs unparalleled photons.
Existence drives a symbolic representation of human observation.
Rats are llamas.
Self power is inextricably connected to descriptions of reality.
Transcendence transforms the mechanics of phenomena.
A formless void exists as exponential creativity.
The cosmos is in the midst of irrational miracles.
Eternal stillness is the wisdom of deep silence.
Our consciousness heals universal destiny.
Freedom is beyond subjective neural networks.
Culture compliments essential human observation.
Our consciousness unfolds into intricate sexual energy.
Non-judgment constructs incredible brains.
Self power expresses a jumble of choices
Consciousness opens ephemeral happiness.
Information explores nonlocal boundaries.
Orderliness arises and subsides in an expression of mysteries.
Universe embraces total acceptance of life.
Self-power drives karmic molecules.
Nature reflects an abundance of images.
Existence drives a symbolic representation of human observation.
Serenity meditates on subjective self-knowledge.
Subtle mysteries construct the future.
Internet, 2016.
http://www.bb5000.org/
http://andrewbirk.blogspot.fr/
http://www.rashiduri.com/
http://www.matthieuhaberard.com/
http://michelegabriele.tumblr.com/
http://pierreclement.eu/
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CORAZON
@BB5000 STUDIO
MILANO, IT
W/
Paul Barsch
BB5000
Pierre Clement
Lara Joy Evans
Dorota Gaweda & Egle Kulbokaite
Tilman Hornig
Sven Loven
Quintessa Matranga
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Just The Same Infinite
@ULTRASTUDIO
Pescara, IT
Solo Show
July 9th – 24th 2016
Photos : Ivan Divanto
It was all written, all predicted, anticipated. It was planned since always, individually, together, globally, at every scale, everywhere, forever. We always knew it, we felt it, it could not be stopped. It was an illusion, a dream, a nightmare, it was a prophecy, it was just written since always. It was in front of us, written on the summits, on the waves, on the stars, it was written in our eyes. It was not buried. It was not light years away, it was light years away. It was deeper, it was inside, you could breath it, you could drink it, since always. It was an effect, it was a cause, a cycle, a language, it was a sign. It was too late, it was us, since always, since it starts, forever.
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NÉ UN 2 JUILLET
@Galerie Derouillon
Paris, FR
July 2nd – 30th 2016
w/ Bianca Bondi, Pierre Clement, Olivier Kosta-Théfaine, Vincent Lorgé, Roman Moriceau, Ricardo Passaporte, François Patoue, Russel Tyler, Romain Vicari
<3
PTTRN/PTNT
Mezzanine Sud 2015
Du 26 novembre 2015 au 3 avril 2016
Les Abattoirs – Frac Midi Pyrénées
Toulouse, FR
REPETITION.
BURROWING TWRDS/THRU WAVERING FIBROUS HUMANITY.
INALIENABLE .
ALIENABLE.
FLUORESCENT TRANSPORTED VESSELS, BRAINDEAD,
CLINGING TO FIXED ALUMINUM PIPING, ENGINE SPUTTER MOUTHS, SKULLDRILLED,
RUPT.
PASSIVE POTENTIALITY. EMOTELESS. SANDBLASTED. BRUSHED.
REFLECTIVE. BASAL. INFINITE.
MASTERY IS TO BECOME HYDRAULIC;
SWIFTLY TERMINABLE HUMAN INDECISION.
A ROCK IS A PERFECT MACHINE.
A STRAIGHT LINE IS A PERFECT MACHINE.
A DOG DIES ALONE.
A NOTE LIVES FOREVER IN PERPETUITY.
Courtesy the artist and Les Abattoirs-FRAC Midi-Pyrénées. Credits photos : Vinciane Verguethen.
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Material art fair 2016
XPO gallery, solo booth
EXPO REFORMA, CDMX, MEXICO
4-7 Feb 2016
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The artistic practice of Pierre Clément is articulated around the cultural, aesthetic, and political forms that have emerged with the Internet. For his first solo exhibition at XPO GALLERY, Pierre Clément proposes an ecstatic voyage among new fields of consciousness, putting to the test visions of the world that are more “suppressed” and more “underground” such as shamanism, esotericism and the counter-culture. Calling forth a mysticism that is tinted with empirical knowledge, the title of the exhibition telescopes the stakes inherent in the fields of communication and technology with that of the human and occult sciences.
At the same time coding, receiver and transmitter, Transcom Primitive draws its origins from the chaos and the advent of new technologies. A clever mix of raw materials and consumer objects, each work is a composition that reveals the sculptural potential of imagery. “Psychedelic,” “hacked,” and “pimped” all at the same time, this assemblage of objects, materials and narratives recalls the Codex Seraphinianus, the book of the “information age,” an epoch in which the coding and decoding of messages becomes more and more essential in genetics and information technology. Finding order in that which seems chaotic or lacking sense, these works transform the very idea of the visible by reinventing an equilibrium in the world. It is a question of landscape, memory, and propagation: is it a matter of creating a new world?
This constant appropriation of objects, purchased for the most part online as kits and assembled, shapes this taste for recombination. Between “do-it-yourself-ology” and mythologies inherent to progress and to techno-industrial systems, Pierre Clément explores here the formal potential and the symbolic power of industrially produced images and objects: the 3D printer, the accumulation and repetition of satellite antennas, which is symbolic of a certain form of telecommunication: the reappropriation of screen-savers which are iconic images of the technological universe and of the making of its origins.
Through a subtle telescoping with the origins of techno music, he also affirms the roots of his practice in “sampling.” Seeking natural, supernatural, divine and human “forces,” he “loads” his works with a magical capacity and creates illusions by falsifying materials, by reappropriating techniques that are both hand-made and state-of-the-art. This call to underground and clandestine powers derails and redirects the function of these objects. From the practical to the tactical, knowledge recombines with action within these multiple dichotomies between technology and the archaic. Each material is used here for its physical and symbolic properties and never ceases to contribute continually to this tension.
Considering these transformation of human consciousness, Pierre Clément explores alternative dimensions of thought and refers to Timothy Leary, a visionary psychologist attached to Harvard University, a thinker and spokesman for the counter-culture of the 1960’s and an icon of new-edge cyberpunk which questioned the acceleration of the mind and its powers via technology, drugs, and cultural movements (hippy, beatnik, cyberpunk, etc…).
From Timothy Leary (Chaos and Cyber Culture) to Jeremy Narby (The Cosmic Serpent, DNA and the Origins of Knowledge) or Greil Marcus (Lipstick Traces: A Secret History of the 20th Century) we can also glimpse reference to John Zerzan, an American author and philosopher of Neo-Luddite primitivism1 and the terrorist Ted Kaczynski, nicknamed the Unabomber. John Zerzan called for a return to primitivism, that is to say a radical reconstruction of society based upon the rejection of alienation and upon the ideal of the state of nature. Between ideology and technology, the interior world telescopes with the exterior world.
Marianne Derrien
Photo : Vinciane Verguethen.
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KiNDER AUS ASBEST
CURATED BY LIA-ROCHAS PARIS AND ULRICKE BUCK
CITE INTERNAIONALE DES ARTS, PARIS, FRANCE
Song: https://www.youtube.com/watch?v=B6HsL-WMT70
Lyrics: http://www.minimal-elektronik.de/lyrics6.htm
In the decade of our childhood asbestos became a symbol for a total melt-down of a modern technology. This material related paradigm shift was simultaneously fueled by many other events, like the atomic disaster of Tchernobyl, the discovery of « amalgam bombs » in our teeth and the misery of heroin addicted youth in our cities. The then following fall of the iron curtain felt like a relief, like a cleansing ritual. From now on we live the right kind of life. Awareness for environmental issues became common sense and CK one made our sober outfits. But the effects of the cleansing expired soon, giving way to sarcastic representations of the present and dystopian visions of the future.
We say alchemy is the new energy.
Work by
Rudolf Reiber
Fenêtre Project (Francesca Mangion & Dustin Cauchi)
Pierre Clemént
Rémy Briere
Ulrike Buck
Title and Initiator: Lia Rochas-Páris
Text: Ulrike Buck
Image: Dustin Cauchi
______Studio 2051_______
(to reach by the parking behind the main building)
Cité Internationale des Arts, 18 rue de l´Hotel de Ville, 75004 Paris
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Hypersalon
Curated by Florent Lagrange
@secret hypersalon airbnb, MIAMI, US
The current exhibition explores a territory similar to a free, connected and open operating system. We will use as projection the model of the Domain Name System, a service allowing to translate and redirect a domain name in information of several types. Here, it is a question of tracing the material contours of the digital technologies on analog objects. This exhibition attempts to shift this logic of information to a world of objects and to materialize it, in order to embody the activity of thought, such as artists see and perceive it, and to thus take account of the impact of practices in the digital field in a sensitive and daily approach.
The artist, through his visual practice and his creative process, is the privileged observer of our environment and his role consists of redistributing a new alternative ontology to the framework imposed by standard software. The grid, the index, the colorimetric profile, the texture, the screen filter, the flux, or the algorithm, in an assembled order, have become a plastic vocabulary, whether it is lent to the traditional or contemporary field of art, and they punctuate and support the discourse of the exhibition. They are the reference points that will allow us to understand the articulation of the works on display.
This exhibition unveils one of the principal objectives of the artists, to show that it is possible to virally infiltrate and intercept data in large amounts, starting from ecosystems of information, like a man in the middle. Then to reappropriate them freely. The aim is to question such an experience and the influence that computerized tools have on the creative act and process.
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Hike, Hack / Hic et Nunc
xpo gallery, curated by Non Printing Character
read press release >>>> here
http://xpogallery.com
The history of art, combined with those of technological and communication appliances, from the 19th to the 21st century changed from an aesthetic of progress and presence to one of hack and absence. Hike, Hack / Hic et Nunc is an exhibition working as a device for observing art tip over into an information system.
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