“Distinct Factures. A Return from Langsdorff” appoints the theoretical concept of transforming the gallery space into a Wunderkammer, a chamber of curiosity that fascinated many predecessors in the Renaissance. Maridet borrows this practice as a point of departure, adopting the form of an assemblage, to simultaneously explore the possibility of an re-enaction of a particular sensual engagement within a milieu of overlapping subsystems with the use of different modes of writings and signs – a development of an abstract but original signifier to synthesize an experience of firstness that was initially a mere potential; the significations and unavoidable limits in the translation of an existing physical reality to representation; and the gap between different perceived spatiotemporal worlds of different organisms in the same territory. Recently returned from residencies in the rainforest in Brazil and in Penang’s National Park, Maridet takes The Langsdorff Expedition (1826-1829) led by Baron von Langsdorff in Brazilian Amazon as an analogy to directly evoke the scientific and methodical undertone of the encyclopedic assortment of works in this exhibition.
The exhibition incorporates works on paper, video, installations and sound compositions. This miscellaneous collection of intricately fabricated works urges the audience to decode a stratum of signs and generate their own translation along the way through Maridet’s transposition in his oeuvres. Through a systematically organized perception experience and the act of recording, different samples of signs are constructed to become a possible descriptive form of a particular territory (a specific, subjective, spatiotemporal world); to represent nodes of opportunity and open pathways to new potentials of knowledge, representation, imagination and narratives; to create a new syntax of the world.Exhaustive sources of sensual experience and the overlapping yet different animalities within an intricate internal landscape are taken collectively as the keynote of this exhibition. Audience will find though, they remain largely absence; unseen and unheard. In this particular moment of time, Maridet has set himself off to the outlying perceptual territory,to exhaust the limitless representation possibilities and to seek to get out of oneself through a work of defamiliarisation in creating alternatively a distinct facture to delineate the world.
About the artist
CédricMaridet is an artist, theorist and researcher. He completed his Doctorate degree in Media Art in 2009 at the School of Creative Media, City University of Hong Kong. His solo and collaborative works have been presented internationally including New York (Art in General and Ramiken Crucible), Paris (Théatre de la Villette), Vienna (IG BildendeKunst), Cambridge (Kettle’s Yard), London (Turbine Hall, Tate Modern), Hong Kong (Para/Site, Osage Gallery, Hong Kong Museum of Art), and he was awarded Prize of Excellence in the Hong Kong Art Biennial 2005. Maridet has participated in several residencies and symposiums on field recording, listening theories and the aesthetics of sound, such as the Pierre Schaeffer symposium 2010 co-organised by GRM and in the EMF-EMS 2011 conference in New York University. His writings have been published in two books: Around (soundpocket, 2010), and Who Cares? 16 essays on curating in Asia, (Para/Site, 2010). Since 2007, Maridet has been contributing to the French-based research lab in audio art Locus Sonus, and is currently a member of NMSAT Scientific Committee. He is also advisor for soundpocket, a non-profit organisation promoting sound art and culture. His works have been published as CD and book releases on monème (www.moneme.com), a platform founded by Maridet.