ArtSlant - Recently added en-us 40 Marie Angeletti, Camille Blatrix, Jean-Alain Corre, Audrey Cottin, Hendrik Hegray, Melanie Matranga - FONDATION RICARD - September 10th - October 31st <h4 style="text-align: justify;">Exhibition for the 16th Prize Fondation d'entreprise Ricard</h4> <p style="text-align: justify;">" A press release usually greets the viewer with the wrong hand. By immediately setting the exhibition in an artificial landscape of references, concepts and analysis, it awkwardly takes its distance from it. Most of the time it euphemizes the conditions of the exhibition&rsquo;s making and neutralizes the discussions and questions which sparked during its conception, in order to offer an image of self-evidence.&nbsp;</p> <p style="text-align: justify;">Nothing, however, can be taken for granted in this exhibition in particular, as the guidelines of the prize awarded by the Fondation d&rsquo;entreprise Ricard can seem to overdetermine the choice of artists taking part in it, not to mention the way they are perceived. What matters then is to set the exhibition in motion, to think of it as an investigation about the present. This consists, firstly, in articulating several positions, aesthetics and personal aspirations with one another, and in identifying certain sensibilities, which are at least temporarily shared: those of a generation or, let&rsquo;s say, of the times. But it is best not to go too far too fast and outpace everyone (including ourselves). As we write these words, this exhibition is a scaffolding of unstable, living and anxious intentions, collectively elaborated, a circumstantial dialogue between a many-facetted group of curators whose activity in Paris gravitates around the exhibition venue castillo/corrales, and six artists, barely in their thirties, intrigued by the situation: Marie Angeletti, Camille Blatrix, Jean-Alain Corre, Audrey Cottin, Hendrik Hegray, and M&eacute;lanie Matranga.</p> <p style="text-align: justify;">Choosing a title for the show that calls to mind another, Baudelairian, one &ndash; &ldquo;The Times, Fashion, Morality, Passion&rdquo; &ndash; is a way of thinking out loud. These notions probably still play a large part in the appreciation of an artist&rsquo;s works. But fashion, morality and passion are asserted in the manner of the decree, and convey maybe less well today the sensibility that informs our relation to things. In these times, everything seems to be moving all the time, over time, under changing conditions that are affecting behaviors at once fleetingly and profoundly. This is not to say that the &ldquo;generation&rdquo; which incarnates this sensibility is devoid of more lasting and resistant values than the volatile set of moods to which people often want to reduce it. Allegedly lacking in concentration, it nevertheless knows that attention is, it just so happens, the only power at hand to counter the tensions affecting it. Nothing is simple; but these artists are moving forward, tossed about between a feeling of powerlessness and extreme lucidity. "</p> <p>castillo/corrales, July 2014.</p> <p>_____________________________________________</p> <p style="text-align: justify;">&laquo; Un communiqu&eacute; de presse tend souvent la mauvaise main au visiteur. En situant d&rsquo;embl&eacute;e l&rsquo;exposition dans un paysage artificiel de r&eacute;f&eacute;rences, de concepts ou d&rsquo;analyses, il prend maladroitement ses distances avec elle. Il euph&eacute;mise la plupart du temps les conditions de son &eacute;laboration et neutralise les discussions et les questionnements qui ont accompagn&eacute; sa conception, pour donner &agrave; bon compte l&rsquo;image trompeuse de l&rsquo;&eacute;vidence.</p> <p style="text-align: justify;">Rien ne va pourtant de soi dans cette exposition en particulier, les attendus du prix de la Fondation d&rsquo;entreprise Ricard pouvant sembler surd&eacute;terminer le choix des artistes qui y participent, ainsi que leur perception. Ce qui importe alors, c&rsquo;est de mettre l&rsquo;exposition en mouvement, en la pensant comme une enqu&ecirc;te sur le pr&eacute;sent. Cela consiste d&rsquo;abord &agrave; articuler entre elles des positions, des esth&eacute;tiques, des aspirations individuelles, et d&rsquo;identifier certaines sensibilit&eacute;s, au moins temporairement communes ; celles d&rsquo;une g&eacute;n&eacute;ration, ou, disons, d&rsquo;une &eacute;poque. Mais mieux vaut ne pas chercher &agrave; &ecirc;tre l&agrave; o&ugrave; nous ne sommes pas encore, &agrave; prendre tout le monde (&agrave; commencer par nous-m&ecirc;mes) de vitesse. Cette exposition est, &agrave; l&rsquo;heure o&ugrave; nous &eacute;crivons ces lignes, un &eacute;chafaudage d&rsquo;intentions instables, vivantes et anxieuses, &eacute;labor&eacute;es collectivement, un dialogue circonstanciel entre un groupe polymorphe de curateurs dont l&rsquo;activit&eacute; &agrave; Paris s&rsquo;est constitu&eacute;e autour de l&rsquo;espace d&rsquo;exposition castillo/corrales, et six artistes &agrave; peine trentenaires intrigu&eacute;s par la situation : Marie Angeletti, Camille Blatrix, Jean-Alain Corre, Audrey Cottin, Hendrik Hegray et M&eacute;lanie Matranga.</p> <p style="text-align: justify;">Choisir un titre pour l&rsquo;exposition qui en rappelle un autre, baudelairien, &laquo; L&rsquo;&eacute;poque, la mode, la morale, la passion &raquo;, est une fa&ccedil;on de penser &agrave; voix haute. Sans doute ces notions continuent-elles de jouer &agrave; plein dans l&rsquo;appr&eacute;ciation des &oelig;uvres d&rsquo;un artiste. Mais la mode, la morale, la passion s&rsquo;affirment sur le mode du d&eacute;cret, et traduisent sans doute moins bien aujourd&rsquo;hui la sensibilit&eacute; qui caract&eacute;rise notre rapport aux choses. Dans cette &eacute;poque, tout semble se mouvoir &agrave; chaque instant, au fil du temps, un temps changeant, influant sur les comportements de mani&egrave;re &agrave; la fois passag&egrave;re et profonde. Cela ne revient pas &agrave; dire que la &laquo; g&eacute;n&eacute;ration &raquo; qui incarne cette sensibilit&eacute; soit d&eacute;nu&eacute;e de valeurs plus durables, r&eacute;sistantes, que le r&eacute;gime volatil des humeurs auquel on veut souvent la r&eacute;duire. Pr&eacute;tendument en d&eacute;faut de concentration, elle sait pourtant que l&rsquo;attention, justement, est la seule force dont elle dispose pour contrer les tensions qui l&rsquo;affectent. Rien n&rsquo;est simple ; mais ces artistes avancent, dans l&rsquo;entre-deux du sentiment d&rsquo;impuissance et de l&rsquo;hyper-lucidit&eacute;. &raquo;</p> <p>castillo/corrales, juillet 2014.</p> Mon, 15 Sep 2014 12:59:04 +0000