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1976

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« Bon travai l »\, dit-il\, et

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il franchit la porte. Quel

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travail ? On ne l’avait jamais vu

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avant . Il n’y avait pas de porte. »

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Richard Brautigan\, Loading Mercury with a Pitchfork\, Simon and Schuster\, New York.

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Juin 2011

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La légende veut que l e Mont Fuji soit visible de n’importe quel endroit du Japon. A l’occasion d ’une résidence à la Villa Kujoyama de Kyoto\, nous avons à plusieurs repris es cherché à vérifier cette hypothèse. On nous avait dit qu’on pouvait l’ap ercevoir depuis la vitre du train pour aller à Tokyo. Que par temps clair\, il se dévoilait depuis les étages de certains immeubles de la ville. Que d ans la région des Cinq Lacs\, on ne pouvait pas le manquer. Qu’en prenant t el train\, tel bateau\, tel téléphérique\, nous étions assurés de le découv rir dans toute sa sereine et conique majesté. Nous n’avons pourtant rien vu du mont Fuji. L’expérience de sa contemplation disparaissant chaque fois d errière d’épaisses couches de brume. Remplacée par les couches plus épaisse s encore de sa représentation\, dessinée\, photographiée\, sculptée. Reprod uite sur des estampes\, des affiches et des cartes postales\, dans des jard ins zen\, sur des menus de restaurant et des billets de banque. En se subst ituant à son expérience\, sa présence permanente et symbolique est venue co nfirmer la légende : le Mont Fuji est visible de n’importe quel endroit du Japon. Partout et nulle part à la fois. Autant dire qu’il n’existe pas.

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~995 - 1005

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Choses qui ne font que passer

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Un bateau dont la voile est hissée.

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L’âge des ge ns.

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Le printemps\, l’été\, l’automne et l’hiver.

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Sei Shônag on\, Notes de Chevet\, 1966 pour la traduction française\, Gallimard

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Juin - juillet 2012

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Le Mont Fuji n’existe pas. Ce que nous y racontons\, nous le tenons de l’expérience : la nôtre o u celle qui nous a été rapportée. Ensemble elles épousent certaines des cou rbes de cette exposition\, réunissant des artistes qui privilégient un rapp ort à l’œuvre comme processus\, expérience vécue et partagée laissant place à une multitude d’appropriations et d’interprétations. Les gestes artistiq ues qu’elle rassemble se situent autant dans leur formalisation que dans le s étapes qui participent à leur réalisation et dans la situation qu’elles p euvent provoquer. Cette relation à l’art en mouvement constant\, en dehors des modes et de la nécessité de produire un objet qui soit « d’art »\, est au cœur de cette exposition. Un art discret\, échappant à toute ostentation ou spectacularisation\, au profit d’actions menées dans le quotidien\, au- delà de leur représentation\, voire de leur exposition. Sans finalité\, l’œ uvre y est alors partout et nulle part à la fois\, dans son objet\, son exp érience\, son souvenir.

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Les œuvres présentées oscillent a insi entre une dynamique collective basée sur des gestes échappant à toute nécessité de productivité\, une descente dans le quotidien sondant la natur e de l’existence et la substance des choses\, une lettre manuscrite qui vou s est adressée\, une recherche de la perfection\, éternelle et fugitive\, u n reflet sur une vitre\, une marche entamée il y a 43 ans\, une quête du vi de\, quelques grammes d’or extraits de tonnes de déchets\, un sol en morcea ux dont les fragments sont autant de courants d’air. Jouant de différentes temporalités d’apparition\, elles tentent de rendre compte de ce déplacemen t permanent entre ici et là : de l’évocation d’une exposition d’un jour de 1967 à une collection de livres\, d’une petite annonce parue dans un journa l quotidien à un ensemble de documents photographiques témoignant d’actions éphémères\, d’une composition musicale en train de s’écrire à une dérive s ur la Seine.

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Une œuvre d’art possède parfois ce caractère étonnant sur quoi le temps n’a pas de prise\, s’imposant d’autant plus dur ablement à la mémoire\, par la manière dont elle laisse à son destinataire\ , le soin de l’éclairer\, de l’approfondir à la lumière de son expérience p ropre. Chacun a donc le potentiel de devenir le dépositaire d’un précipité d'expérience\, que nous pouvons ainsi emporter\, conserver et faire surgir quand nous en ressentons le besoin.

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Elodie Royer et Yoann Gourmel

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1976

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"Good work\," he said\, and went out the door. What
work ?We never saw him
before. The re was no door.”

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Richard B rautigan\, Loading Mercury with a Pitchfork\, Simon and Schuster\, N ew York.

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June 2011

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Legend has it that wherever you are in Japan\, you can see Mount Fuji. While in residency at the Villa Kujoyama in Kyoto\, we tried to conf irm this hypothesis on several occasions. We had been told that it could be seen through the window of the train to Tokyo. That on a clear day\, it co uld be glimpsed from the higher storeys of the city’s buildings. That in th e Five Lakes region\, it could not be missed. That if we took such and such a train\, such and such a boat\, or such and such a cable car\, we would b e assured to witness it in all its serene and conical majesty. Yet we saw n othing of Mount Fuji. Each time\, the experience of its contemplation disap peared behind thick layers of mist. Which were in turn replaced by the even thicker layers of its representations – whether drawn\, photographed\, or sculpted. Reproduced on etchings\, posters and postcards\, in Zen gardens\, on restaurant menus and banknotes. By substituting itself for its own expe rience\, its permanent and symbolic presence has confirmed the legend: Moun t Fuji can be seen everywhere in Japan. Both everywhere and nowhere. We mig ht as well say that it doesn’t exist.

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~995 – 10 05

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Things that pass by rapidly

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A boat under full sail.

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Age.

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Spring\, summer\, fall\, winter.

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Sei Sh ônagon\, The Pillow Book

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June – July 201 2

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Mount Fuji doesn’t exist. “The stories we tell come from expe rience\, from our own or from a shared experience. And in turn\, we make it the experience of those who listen to our stories.” These few sentences bo rrowed from Walter Benjamin follow some of the lines of this second exhibit ion\, which brings together artists who favour an approach of artwork as a process\, as a shared and embraced experience that leaves room for many dif ferent appropriations and interpretations. The artistic gestures compiled h ere are defined both by their formalisation and by the stages of their real isation\, as well as by the type of situation they are liable to provoke. T his relationship to an art in constant movement\, beyond trends and the nec essity of producing an object coined as ‘art\,’ is at the heart of this exh ibition – a discreet art\, free from any ostentation or spectacular quality \, in favour of day-to-day actions\, reaching beyond its representation and its being shown. Having lost its purpose\, the work of art is then embodie d everywhere and nowhere at once\, within its object\, its experience\, and its memory.

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The works exhibited here fluctuate between: a collective dynamics based on gestures freed from any productive necessity \, an incursion into everyday life to scrutinize the nature of existence an d the substance of things\, a manuscript letter addressed to you\, the sear ch for eternal and fugitive perfection\, a reflection on a window pane\, a walk started 43 years ago\, the pursuit of emptiness\, a few grams of gold extracted from tons of waste\, and a fragmented floor with every piece repr esenting a draught. Playing on the different temporalities of their appeara nce\, the works try to account for the permanent shift between here and the re: from the evocation of an exhibition one day in 1967 to a collection of books\, from an ad in a daily paper to a set of photographic documents reco unting transient actions\, from a musical composition being written to a dr ift on the river Seine.

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A work of art sometimes possesses an amazing feature over which time has no hold\, and it impregnates the me mories of those to whom it is addressed even more enduringly\, in that it l ets them shed the light of their own personal experience on it. Each of us can thus become the potential repository of a body of experience\, which we can take with us\, hang onto\, and let out when we feel the need to.

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"Good work\," he said\, and
went out the door. What
work ?We ne ver saw him
before. There was no door.”
Richard Brautigan\, Loadi ng Mercury with a Pitchfork\, Simon and Schuster\, New York.


June 2011
Legend has it that Mount Fuji can be seen from anywhere i n Japan. On several occasions we tried to check this hypothesis. People had told us you could glimpse it from the train window going to Tokyo. That in clear weather it revealed itself from the upper floors of certain building s in the city. That in the Five Lakes region\, you could not miss it. That if you took such and such a train\, boat or cable car you were sure to disc over it in all its serene and conical majesty. Yet we saw nothing of Mount Fuji. The experience of contemplating it vanished every time behind thick l ayers of mist. Replaced by the even thicker layers of its representation\, drawn\, photographed\, sculpted. Reproduced on prints\, posters and post ca rds\, in Zen gardens\, on restaurant menus and bank notes. By standing in f or the experience of it\, its permanent and symbolic presence underpins the legend: Mount Fuji can be seen from anywhere in Japan. Everywhere and nowh ere\, at once. Tantamount to saying it does not exist.

∼995 – 10 05\,
Things that pass by rapidly
A boat under full sail.
Age .
Spring\, summer\, fall\, winter.
Sei Shônagon\, The Pillow Book

June-July 2012

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Mount Fuji Does Not Exist. What we tell\, we take it from experience\, our own or that reported by others. Together they marry some of the contours o f this exhibition\, bringing together artists with a preference for a relat ion to the work as process\, experience lived and shared\, making way for a host of appropriations and interpretations. The artistic gestures that it encompasses are situated as much in their formalization as in the stages\, which take part in their execution\, and in the situation\, which they may give rise to. This relation to art in constant motion\, beyond fashions and the need to produce an object that is “art”\, lies at the heart of this ex hibition. A discreet art\, sidestepping all ostentation and spectacularizat ion\, in favour of actions undertaken in the daily round over and above the ir representation. With no end purpose\, the work of art here is thus at on ce everywhere and nowhere\, in its object\, its experience\, and its memory .

The works on view therefore waver between a collective dynamic based on gestures dodging all need for productivity\, a descent into the e veryday probing the nature of existence and the substance of things\, a mys terious handwritten letter that is addressed to you\, a longing for perfect ion\, everlasting and furtive\, a reflection in a window pane\, a walk emba rked upon 43 years ago\, a quest for the void\, a few grams of gold mined f rom tons of electronic waste\, a ground in bits whose fragments are so many draughts. Appearing in different modes and time-frames\, they try to descr ibe this permanent displacement between here and there: from the evocation of a one day exhibition in 1967 to a collection of books\, from a small ad published in a daily newspaper to a set of photographic documents recording ephemeral actions\, from a musical composition in the making to a drift on the Seine.

Sometimes\, a work of art has that astonishing chara cter which time has no hold over\, imposing itself all the more lastingly o n the memory\, by the way it leaves its recipient\, the concern for sheddin g light on it\, creating more depth for it in the light of its own experien ce. So everyone has the potential to become the trustee of a precipitate of experience\, which we can thus take away\, conserve\, and bring forth when we feel the need.

Elodie Royer and Yoann Gourmel

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DTEND:20120729 DTSTAMP:20141025T014809 DTSTART:20120607 GEO:48.8773677;2.3866779 LOCATION:Frac Île-de-France\, le Plateau\,Place Hannah Arendt\, corner of t he rue des Alouettes and the rue Carducci \nParis\, 75019 SEQUENCE:0 SUMMARY:Le Mont Fuji n'existe pas (Mount Fuji does not exist)\, James Lee B yars\, Lenka Clayton & Michael Crowe\, Hamish Fulton\, Julien Gasc\, Mark G effriaud\, Chitti Kasemkitvatana\, Yuki Kimura\, Benoît Maire\, Bruno Persa t\, Pratchaya Phinthong\, The Play\, Chloé Quenum\, Shimabuku UID:217290 END:VEVENT BEGIN:VEVENT DTEND:20120606T210000 DTSTAMP:20141025T014809 DTSTART:20120606T180000 GEO:48.8773677;2.3866779 LOCATION:Frac Île-de-France\, le Plateau\,Place Hannah Arendt\, corner of t he rue des Alouettes and the rue Carducci \nParis\, 75019 SEQUENCE:0 SUMMARY:Le Mont Fuji n'existe pas (Mount Fuji does not exist)\, James Lee B yars\, Lenka Clayton & Michael Crowe\, Hamish Fulton\, Julien Gasc\, Mark G effriaud\, Chitti Kasemkitvatana\, Yuki Kimura\, Benoît Maire\, Bruno Persa t\, Pratchaya Phinthong\, The Play\, Chloé Quenum\, Shimabuku UID:217291 END:VEVENT END:VCALENDAR