{"id":1083,"date":"2014-08-20T10:40:51","date_gmt":"2014-08-20T08:40:51","guid":{"rendered":"http:\/\/pierreclement.eu\/?p=1083"},"modified":"2020-04-25T17:51:13","modified_gmt":"2020-04-25T15:51:13","slug":"views","status":"publish","type":"post","link":"https:\/\/pierreclement.eu\/?p=1083","title":{"rendered":"Views"},"content":{"rendered":"
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Vision Quest<\/em><\/div>\n
solo show<\/div>\n
At : Valeria Cetraro<\/strong>, Paris, FR<\/div>\n
From : October 17th 2019<\/div>\n
To : November 23rd 2019<\/div>\n
Text : Franck Balland<\/strong><\/div>\n
Translation : Katia Porro<\/div>\n
All pics by Salim Santa Lucia<\/div>\n<\/div>\n
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https:\/\/ofluxo.net\/vision-quest-by-pierre-clement-at-galeria-valeria-cetraro<\/div>\n
http:\/\/aluring.com\/blog\/2019\/10\/27\/vision-quest<\/div>\n
https:\/\/tzvetnik.online\/article\/pierre-clement-at-galerie-valeria-cetraro<\/div>\n
http:\/\/daily-lazy.com\/2019\/11\/pierre-clement-at-galerie-valeria.html<\/div>\n
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\u201cVision Quest\u201d is therefore the title that Pierre Clement has chosen to reunite the ensemble of works produced for his exhibition at Galerie Valeria Cetraro. The expression, which could be translated to a \u201crite of passage,\u201d is a reference to a succession of ceremonies and hardships that accompany the various steps of a person\u2019s life, particularly in American Indian cultures. More precisely, \u201cvision quest\u201d evokes the passage from childhood to adulthood. Some rites consist in sending a young man to a sacred site for four days and four nights without food and water. Through prayer, summoning and the shedding of tears, the teenager\u2019s exhausted body and soul welcomes the appearance of spirits who reveal the meaning of his presence on earth, while also dictating his role in society and the best way to fulfil it.<\/p>\n

Transposed in the exhibition space, this story serves as the starting point for a technological epic, a seemingly new founding myth formulated by the artist. By replacing the boy with a machine reminiscent of that invented by the mathematician John von Neumann, who developed the concept of the self-replicating probe, Pierre Clement imagines a form of interplanetary colonisation made possible by this autonomous mechanism. The machine, moving from planet to planet, gleaning what it finds to feed on raw materials, is capable of constructing an identical double of itself, building different hubs to settle in before continuing its space exploration. From there, and in an extended form of syncretism combining artificial intelligence, DNA manipulation and the creation of life, the artist develops a formal language that hypothesises a world populated by machines, where the human is absent, perhaps even before the machine could rewrite the code that would trigger its return.<\/p>\n

Just as the question of a living artificial generation through the insertion of a technological and extra-terrestrial entity spanned speculative fiction for decades (one can think of Philip K. Dick, his VALIS trilogy in particular), it serves here as the conceptual matrix for the works installed within the gallery space. The almost bone-like white hue dominates each of the works that the artist wishes to present in a classical manner, without attempting to produce an environment that would become the d\u00e9cor. He also expresses a particular form of affectation on the surface of various pieces that have the appearance of necrotic flesh whose paleness, almost anaemic, accentuates the discomfort of degenerative proliferations. Their connection does not constitute a potential situation of visibility, but rather allows us to enter this fiction based on Pierre Clement\u2019s research on possible collisions between the technological and the organic. The exhibition space thus takes on the appearance of a headquarters, or a clinical presentation, where the instruments and various proofs of this machinal colonisation unfold. A sculpture evoking a tumbleweed recalls the uncertainty of migration, while a summary map extends to the wall seeming to record the roughness of the territories delineated by the machine. As for the plexiglass frames, their transparency reveals the motifs of images of blighted and depleted lands and unequivocal satellites representing empty, sterile planets of all kinds.<\/p>\n

With this project, Pierre Clement indirectly seizes the human responsibility for the depletion of resources. The self-replicating probe, whose artificial intelligence calls for perpetual expansion, appears as the harmful continuation of a humanity in constant search of growth. Nourished by scientific and ethnological research and in a considerable temporal ellipse, his practice combines so-called primitive rituals with the exponential intrusion of technology in our conception of reality. The return to myths and inner visions implied by the title reflects the hallucinated predictions of a world surpassed by its own entropy.<\/p>\n

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Altered Beast<\/em><\/div>\n
solo show<\/div>\n
Curated by: Fran\u00e7ois Patoue<\/strong><\/div>\n
At: COHERENT<\/strong>, Brussels, BE<\/div>\n
From: September 05th 2019<\/div>\n
To: October 4th 2019<\/div>\n
Text: Fran\u00e7ois Patoue<\/strong><\/div>\n
All pics by Alice Pallot<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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http:\/\/scandaleproject.com\/altered-beast-pierre-clement\/<\/div>\n
https:\/\/tzvetnik.online\/article\/pierre-clement-at-coherent<\/div>\n
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I\u2019m an altered beast<\/em><\/p>\n

You may try to reach me at your own risk<\/em><\/p>\n

I constantly change my position<\/em><\/p>\n

My body, my shape and my structure continue to grow<\/em><\/p>\n

Standing where you won\u2019t imagine<\/em><\/p>\n

In any forms I catch your attention<\/em><\/p>\n

Climb if you want to<\/em><\/p>\n

Sleep if you want to<\/em><\/p>\n

My camp is raw eden you ll be lock into<\/em><\/p>\n

Got a snake dyed skin, gas rainbow, fur of fire<\/em><\/p>\n

My dna increasing higher and higher<\/em><\/p>\n

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Unsupported message format<\/em><\/div>\n<\/div>\n
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<\/strong><\/div>\n
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Curation and set design by Pierre Clement<\/strong><\/div>\n
At: Valeria Cetraro<\/strong>, Paris, Fr<\/div>\n
From: July 10th 2019<\/div>\n
To: August 8th 2019<\/div>\n<\/div>\n
all pics by Salim Santa Lucia<\/div>\n
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https:\/\/tzvetnik.online\/portfolio_page\/unsupported-message-format\/<\/div>\n
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Basic Extinct<\/div>\n
Pierre Clement \/ Michele Gabriele<\/strong><\/div>\n
At: Silicone<\/strong>, Bordeaux, FR<\/div>\n
From: 14th December 2018<\/div>\n
To: 18th February 2019\n
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Text by: Ingrid Luquet-Gad<\/strong><\/p>\n

tzvetnik.online\/portfolio_page\/basic-extinct-at-silicone\/<\/p>\n

ofluxo.net\/basic-extinct-by-pierre-clement-and-michele-gabriele-at-silicone-espace-dart-contemporain\/<\/p>\n

daily-lazy.com\/2019\/01\/basic-extinct-at-silicone-espace-dart.html<\/p>\n

artviewer.org\/pierre-clement-and-michele-gabriele-at-silicone\/<\/p>\n

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Basic Extinct<\/strong><\/em><\/p>\n

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. \u00ab\u00a0More information produces not more clarity, but more confusion\u00a0\u00bb, 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 \u2013 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.<\/p>\n

Pierre Cl\u00e9ment 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 Cl\u00e9ment 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.<\/p>\n

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 Cl\u00e9ment’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 \u00ab\u00a0archi-fossils\u00a0\u00bb 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 \u00ab\u00a0contingency\u00a0\u00bb, 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.<\/p>\n

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. \u00ab\u00a0The 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\u00a0\u00bb, continues James Bridle regarding the growing popularity of conspiracy theories. Without having to go that far, fake-news and the psychological mechanism of the \u00ab\u00a0rebound effect\u00a0\u00bb underlying them are also a sign that traditional story forms are losing momentum. This complexity is welcomed by Pierre Cl\u00e9ment 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 \u2013 a belief attempting to organise chaos among others.<\/p>\n

Ingrid Luquet-Gad.<\/p>\n

CAPTIONS<\/strong><\/em>
001 Installation view
002 Installation view
003 Pierre Clement, \u201cPERS,SC,PLX,OYST,SYS (a)\u201d, 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, \u00ab\u00a0It’s always so hard to admit that things are different than what we had believed at first sight\u00a0\u00bb,2018; back: Pierre Clement, \u201cPERS,SC,PLX,OYST,SYS (a)\u201d, 2018
005 Michele Gabriele, \u201dIt’s always so hard to admit that things are different than what we had believed at first sight\u201d,2018; wood dust on oil painted resin, polyurethan foam, steel, 60 x 60 x 30 cm approx
006 Installation view
007 Pierre Clement, \u201cPERS,SC,PLX,OYST,SYS (c)\u201d, 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, \u00ab\u00a0It’s always so hard to admit that things are different than what we had believed at first sight\u00a0\u00bb, 2018; oil on epoxy clay, steel, cables, glass, rubber; 60 x 60 x 25 cm approx
009 Michele Gabriele, \u00ab\u00a0It’s always so hard to admit that things are different than what we had believed at first sight\u00a0\u00bb, 2018; oil on epoxy clay, steel, cables, glass, rubber; 60 x 60 x 25 cm approx
010 front: Michele Gabriele \u201dIt’s always so hard to admit that things are different than what we had believed at first sight\u201d, 2018; back: Pierre Clement, \u201cPERS,SC,PLX,OYST,SYS (c)\u201d, 2018
011 Michele Gabriele, \u00ab\u00a0It’s always so hard to admit that things are different than what we had believed at first sight\u00a0\u00bb , 2018; oil on epoxy clay, steel, cables, glass, pigmented silicone, plastic, concrete, detergent bottles; 80 x 60 x 30 cm approx
012 Michele Gabriele, \u00ab\u00a0It’s always so hard to admit that things are different than what we had believed at first sight\u201d, 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, \u00ab\u00a0It’s always so hard to admit that things are different than what we had believed at first sight\u201d, 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, \u201cPERS,SC,PLX,OYST,SYS (b)\u201d;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, \u201cPERS,SC,PLX,OYST,SYS (b)\u201d;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, \u201cPERS,SC,PLX,OYST,SYS (b)\u201d;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, \u201cPERS,SC,PLX,OYST,SYS (b)\u201d;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, \u201cPERS,SC,PLX,OYST,SYS (d)\u201d;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, \u201cPERS,SC,PLX,OYST,SYS (d)\u201d;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, \u201cPERS,SC,PLX,OYST,SYS (d)\u201d;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, \u201cPERS,SC,PLX,OYST,SYS (d)\u201d;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, \u00ab\u00a0It’s always so hard to admit that things are different than what we had believed at first sight\u00a0\u00bb, 2018; oil on epoxy clay, steel, cables, glass, pigmented silicone, plastic, concrete, detergent bottles; 80 x 60 x 30 cm approx
024 Michele Gabriele, \u00ab\u00a0It’s always so hard to admit that things are different than what we had believed at first sight\u00a0\u00bb, 2018; pigmented silicone, steel, detergent bottle, camera, 60 x 30 x 30 cm approx
025 Michele Gabriele, \u00ab\u00a0It’s always so hard to admit that things are different than what we had believed at first sight\u00a0\u00bb, 2018; pigmented silicone, steel, detergent bottle, camera, 60 x 30 x 30 cm approx (detail)
026 Michele Gabriele, \u00ab\u00a0It’s always so hard to admit that things are different than what we had believed at first sight\u00a0\u00bb, 2018; pigmented silicone, steel, detergent bottle, camera, 60 x 30 x 30 cm approx (detail)
027 Installation view
028 Pierre Clement, \u201cPERS,SC,PLX,OYST,SYS (f)\u201d, 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, \u201cPERS,SC,PLX,OYST,SYS (e)\u201d, 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, \u201dYour lies embarrass me so much that when I found out exactly what it was, I’d rather pretend to believe your words\u201d,2018; oil on plaster, steel, cables, glass, rubber, fabric, feather, 60 x 60 x 25 cm approx
031 Michele Gabriele, \u201dYour lies embarrass me so much that when I found out exactly what it was, I’d rather pretend to believe your words\u201d,2018; oil on plaster, steel, cables, glass, rubber, fabric, feather, 60 x 60 x 25 cm approx (detail)
032 Michele Gabriele, \u201dYour lies embarrass me so much that when I found out exactly what it was, I’d rather pretend to believe your words\u201d,2018; oil on plaster, steel, cables, glass, rubber, fabric, feather, 60 x 60 x 25 cm approx (detail)<\/p>\n<\/div>\n<\/div>\n

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Pierre Clement & Lindsay Lawson<\/p>\n

NON-TARGET UNKNOWN<\/strong><\/em><\/p>\n

Platform
Stockholm, Sweden<\/p>\n

curatron.eq
Text by <\/em>Martha Kirszenbaum<\/strong><\/p>\n

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The Dancing Snake<\/p>\n

A\u0300 te voir marcher en cadence, Belle d\u2019abandon,
On dirait un serpent qui danse Au bout d\u2019un ba\u0302ton.<\/p>\n

To see you rhythmically advancing Seems to my fancy fond
As if it were a serpent dancing Waved by the charmer\u2019s wand.<\/p>\n

Charles Baudelaire, \u2018Le Serpent Qui Danse\u2019 [The Dancing Snake] in Les Fleurs du Mal, 1857<\/p>\n

I dreamt you came back.<\/p>\n

An essay entitled \u201cDeath Explained to Children\u201d 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.<\/p>\n

Did I dream you dreamed about me?<\/p>\n

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.<\/p>\n

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\u2019s beloved memories, the sphinxes of the Middle East.<\/p>\n

I am standing in the sun
I wish that I could be
A silent sphinx eternally.
I don\u2019t want any past
Only want things which cannot last And I can\u2019t even cry<\/p>\n

Through God knows how I try A sphinx can never cry<\/p>\n

And sphinxes never die.<\/p>\n

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ABOVE TOP SECRET<\/em><\/strong><\/p>\n

solo show @ Galerie Escougnou-Cetraro<\/p>\n

Du 17 mai au 17 juin 2018<\/p>\n

From May 17th to June 17th, 2018<\/p>\n

Text by Anissa Touati<\/p>\n

Pics by Salim Santalucia<\/p>\n

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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 \u00abThe 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 \u00abThe war of the worlds\u201d, scenes of disasters and other lines of an anticipation novel.<\/p>\n

A mixture of a dramatic soundtrack ; Clement adds, a\u0300 la Jack Foley\u2019s 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\u2019s shapes and other syringes. He integrates, in transparency, different overlays of ction, from reconstitution down to drama. \u00abI 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\u2019m sampling, I\u2019m sequencing\u00bb<\/p>\n

In the exhibition space, six large formats on wood frames are facing six small sculptures, a pure and classic tradition\u2019 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\u2019s works point a form of traveler\u2019s syndrome, evoking a temporary psychic disorder caused by confrontation to reality.<\/p>\n

The titles of his works, such as, \u00ab4Ghudhurr2\u00bb, 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.<\/p>\n

The exhibition, seems to continuously develop the artist\u2019s discussion on the gap between artistic ction, reality, and absurdity. By ruining the \u00abcut-and-paste\u00bb 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 \u201chome movie\u201d; the low-tech way, a back and forth journey between ironic appropriation and political resonance. Pierre Clement, a.k.a Nanouk l\u2019esquimau, plays and stages a certain future archeology and lays down the foundations of post-reality.<\/p>\n<\/div>\n<\/div>\n

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L\u2019exposition trouve sa correspondance la plus litte\u0301rale dans le quotidien et l\u2019imaginaire de Pierre Clement. On visualise l\u2019artiste dans son studio, derrie\u0300re son ordinateur, fouillant les sites survivalistes, surfant sur les conspirationnistes, parmi lesquels Above top secret \u00ab Le plus vieux site de pessimistes. Il parle de tout sans aucune hie\u0301rarchie, de la biologie a\u0300 Donald Trump, en passant par l\u2019ufologie \u00bb. Above top secret pourrait e\u0302tre ainsi le titre d\u2019un lm de Terry Gilliam e\u0301voquant un futur cauchemardesque nuance\u0301s par un hymne a\u0300 l\u2019amour. Une antiphonie au sein de laquelle, Pierre Clement de\u0301voilerait au son de l\u2019apocalypse de \u00ab La guerre des mondes \u00bb, des sce\u0300nes de de\u0301sastres et autres re\u0301pliques d\u2019un roman d\u2019anticipation.<\/p>\n

Me\u0301lange d\u2019une bande son dramatique, Clement additionne a\u0300 la manie\u0300re de Jack Foley en post-production, les effets d\u2019un quotidien ge\u0301o-manipule\u0301 : ouragans photocopie\u0301s, vues de de\u0301sert, imagerie satellite, viseur\/mire de cockpit d\u2019avions de chasse, \u0153il de cyclone, antennes relais 4G ou autres seringues. Il inte\u0300gre en transparence, diffe\u0301rents calques de la ction, de la reconstitution jusqu\u2019au drame. \u00abJe me\u0301lange des couches, je les associe. On les retrouve dans les gestes que j\u2019utilise, dans le choix des mate\u0301riaux. Elles m\u2019e\u0301chappent, elles s\u2019organisent ; il y a une trame, une grille. J\u2019e\u0301chantillonne, je se\u0301quence.\u00bb<\/p>\n

Dans l\u2019espace d\u2019exposition, 6 grands formats sur cha\u0302ssis bois, font face a\u0300 6 sculptures, un accrochage dans la pure tradition classique ; de petits arbustes en le\u0301vitation : des coraux compose\u0301s de seringues pique\u0301es entre elles et suspendues sur ressorts. Chacune de ces pie\u0300ces sont travaille\u0301es comme des organismes expansifs, constitue\u0301s d\u2019e\u0301le\u0301ments juxtapose\u0301s cre\u0301ant un effet visuel, une distorsion. Ils donnent au spectateur une impression de mouvement ou d\u2019images cache\u0301es. Clement provoque chez le regardeur une forme de syndrome du voyageur, e\u0301voquant un trouble psychique passager due a\u0300 la confrontation avec la re\u0301alite\u0301.<\/p>\n

Les titres de ses \u0153uvres, par exemple, \u00ab 4Ghudhurr2 \u00bb, associent les abre\u0301viations des diffe\u0301rents ingre\u0301dients, hurricane, HUDdevise\u0301e(syste\u0300medere\u0301alite\u0301augmente\u0301emilitaire), sigle4G.Cesderniersdeviennentlesmotsdepassesd\u2019une ction scienti que. On imagine Pierre Clement fouillant les poubelles du futur ou encore les de\u0301chets laisse\u0301s par nos pre\u0301de\u0301cesseurs, progressivement de\u0301pose\u0301s, couche par couche, vestiges temporels et te\u0301moins mate\u0301riels d\u2019e\u0301poques, en devenir ou bien re\u0301volues, sur lesquelles, s\u2019e\u0301rigerait notre pre\u0301sent.<\/p>\n

L\u2019exposition, de\u0301cide\u0301ment, de\u0301veloppe la discussion de l\u2019artiste sur le fosse\u0301 entre la ction artistique, la re\u0301alite\u0301, et l\u2019absurdite\u0301. En ruinant l\u2019esthe\u0301tique \u00ab couper-coller \u00bb et\/ou les re\u0301fe\u0301rences hypertextes, Pierre Clement utilise le me\u0301dium et son histoire comme ltre de ses expe\u0301riences personnelles. Above top secret, en de\u0301 nitive, est un \u00ab homemovie \u00bb subversif, fac\u0327on low- tech, un va et vient entre appropriation ironique et re\u0301sonance politique. Pierre Clement, aka Nanouk l\u2019esquimau, joue et met en sce\u0300ne une certaine arche\u0301ologie du futur et pose les bases de la post-re\u0301alite\u0301.<\/p>\n

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your account has been suspended,<\/strong><\/p>\n

solo show @ OJ, Istanbul, Turkey<\/p>\n

ojwwep.com<\/p>\n

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OJ Presents; Pierre Clement\u2019s first solo show in Istanbul,<\/p>\n

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\u2018Your Account Has Been Suspended\u2019<\/p>\n

Pierre Clement\u2019s first solo show in Istanbul; \u2018Your Account Has Been Suspended\u2019 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.<\/p>\n

\u2018Sometimes 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.<\/p>\n

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…\u2019*
* Irwin Marchal, 2015<\/p>\n

pierreclement.eu
ojwwep.com<\/p>\n

About OJ:<\/p>\n

OJ Art Space was founded in the Asmal\u0131 Mescit neighborhood in Taksim as an independent art space in 2016. In it\u2019s 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.<\/p>\n

OJ is supported by SAHA Dernegi as part of \u201cGrant for the Sustainability of Independent Art Initiatives 2017\u20132018\u201d<\/p>\n

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When I logged into *** this morning, I got a notification message stating \u00ab\u00a0Your account has been suspended please contact Customer Support\u00a0\u00bb I instantly contacted Customer Support via Live Chat.<\/p>\n

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@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.<\/p>\n

The agent could not tell me why my account was suspended.<\/p>\n

\u00ab\u00a0Who 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.\u00a0\u00bb
(Lydgate, lines 1-8)<\/p>\n

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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 \u00a0\u00bb I’ve reviewed your account with out team and it seems your account was closed due to irregularities detected by our system\u00a0\u00bb<\/p>\n

a moving gray-green screen between the sun and earth<\/p>\n

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\u00ab\u00a0Who 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.\u00a0\u00bb
(Lydgate, lines 1-8)<\/p>\n

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.\/<\/p>\n

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\u00ab please contact Customer Support\u00a0\u00bb<\/p>\n

\u00a9 google, 2017.<\/p>\n<\/div>\n

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your account has been suspended (licorne)<\/strong><\/em>, 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.<\/p>\n

your account has been suspended (mushrooms)<\/strong><\/em>, 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.<\/p>\n

your account has been suspended (stones)<\/strong><\/em>, 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.<\/p>\n

your account has been suspended (narcissus)<\/strong><\/em>, 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.<\/p>\n

ALL PICS BY Emin Yu & Aybars Oncu<\/span><\/p>\n

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A Midsummer Night Remedy<\/strong><\/p>\n

Bora Akinciturk and Pierre Clement<\/p>\n

cu\/ Canan Batur<\/p>\n

Collab show @ Clearview.LTD, London, FR<\/p>\n

01 July- 23 July 2017<\/span><\/p>\n

facebook.com\/clearview.ltd\/<\/p>\n

ofluxo.net\/a-midsummer-nights-remedy-by-bora-akinciturk-and-pierre-clement-at-clearview-ltd-london\/<\/p>\n

tzvetnik.online\/article\/a-midsummer-night-s-remedy<\/p>\n

\u201cIf we shadows have offended,
Think but this, and all is mended,
That you have but slumber\u2019d 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 \u2018scape the serpent\u2019s tongue,
We will make amends ere long;
Else the Puck a liar call;
So, good night unto you all.\u201d<\/p>\n

Puck, in Shakespeare\u2019s \u2018A Midsummer Night\u2019s Dream\u2019, 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.<\/p>\n

While his presence shape the general narrative of Shakespeare\u2019s 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 Ak\u0131nc\u0131t\u00fcrk assembles itself.<\/p>\n

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.<\/p>\n

The works reshape themselves as the remedies of this trickery and become validated solutions, and cures of the so called dream.<\/p>\n

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Community for all, mercy for the lost,<\/strong><\/span><\/p>\n

solo show @ Delta studio, Roubaix, FR<\/span><\/p>\n

http:\/\/studio2delta.com<\/p>\n

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28\/04 – 15\/05 2017<\/strong><\/p>\n

\u2026I 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, \u201cWell, I hope I can find my way back,\u201d and kept walking. Game trails are created by hooves, not tools. They start and stop without warning, and they don\u2019t 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\u2026<\/em><\/p>\n

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KEEP YOU MASTER CHANNEL SYNC\u2019D WITH YOUR MASTER CHANNEL<\/strong>
solo show @ MAISON SALVAN
LABE\u0300GE, FR<\/p>\n

22\/02 – 01\/04\/2017<\/p>\n

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\u00a0\u201cThrough 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.<\/em>\u201d Eugene Zamiatine, We, 1921<\/p>\n

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Keep you master channel sync\u2019d with you master channel<\/em>, 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?<\/p>\n

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<\/em>), to spaces (Underwood<\/em>), to founding myths of the real and the virtual (Origin, Web<\/em>). 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 \u00abexotic religions\u00bb, 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 mai\u0302tre synchronise\u0301 avec votre canal mai\u0302tre. The word \u201cmai\u0302tre\u201d could then bear a capital letter.<\/p>\n

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 \u00ablayers\u00bb, 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\u2019s question, whereas what is given to us seems to derive as much from an algorithmic language as from the will of an artist.<\/p>\n

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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 \u00abpaintings\u00bb 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 \u00abborders of bad taste\u00bb. The twenty pieces of the exhibition could all deliberately be described as decorative objects.<\/p>\n

Keep your master channel sync with your master channel<\/em> 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 \u00ab peintures a\u0300 la toile \u00bb as ones have produced some \u00ab toiles a\u0300 la peinture \u00bb. 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.<\/p>\n

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.<\/p>\n

Paul de Sorbier.<\/p>\n

Translation : Bella Heath.<\/p>\n<\/div>\n

Accueil<\/a><\/blockquote>