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ATLAS gathers all the recent works of Antoine d&rsquo\;Agata . This exhibition is the fruit of a cinematographic and artistic project st arted in 2013 with the release of the movie entitled ATLAS. White noise \, an installation conceived after the movie is currently on show at L aBanque as part of the exhibition entitled Dé\;penses[1] (curated by Lea Bismuth). From this project\, Antoine d&rsquo\;Agata published a book of the same nam e to be released next October by Editions Textuel. The series featured at t he gallery is his last one entitled &ldquo\;Paradigmes&rdquo\;. It reveals a new formal approach at the crossroad between photographic and cinematogra phic practice.

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Before anything\, ATLAS is a journey. It is the reco rding of the obsessions and sensitive experiences of the artist. Going from one continent to another\, Antoine d&rsquo\;Agata tells us a troubling and murky story about prostitutes he met and places he visited. His nights lef t him with bits and pieces of &ldquo\;dark realities&rdquo\; and the &ldquo \;destructive satisfaction of desire&rdquo\;. \;

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 \;&ldquo\ ;Inside the different chronologies and accumulations that constitute At las and Paradigmes\, certainty collapses and reality dissolve s into fragmented sequences of life. The dark and hidden face of the world appeals to me\, the cursed or taboo side of it. Under the conscious influen ce of sexual disorders and narcotics\, I compromise myself both physically and mentally. Addiction to chemical substances is key to my capacity to con stantly reinvent my own destiny through photography\, the way I look at the world as well as my actions.&rdquo\;

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 \;Even though experience seems to take over concepts in Antoine d&rsquo\;Agata&rsquo\;s work\, here a formal intention shows through the choice of a shattered imagery and a d eliberately fragmented composition. Out of chaos\, Antoine d&rsquo\;Agata c reates a neat and sequential system. The existential anarchy of places and subjects therefore becomes like a &ldquo\;grid&rdquo\;\, a set of lines and columns which seemingly simple shape confuses our senses through their obs essional repetition. Considered a necessity by the artist\, the visual satu ration and excess of his work imbues it with an obvious aesthetic insolence . His resort to accumulation cannot but refer to the scientific studies of Muybridge. However\, galloping horses are replaced by a masturbating woman\ , a sort of &ldquo\;chronopornography&rdquo\; justified by his compulsion t o &ldquo\;capture the intensity of events\, of moments of life.&rdquo\; Pla ces too become repeated patterns opening to a world of darkness\, like a du ll forest (Selva)\, or the ghostly and ravaged buildings of Fu kushima.

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Through this continuous flow of images\, d&rsquo\;Aga ta suggests a new language based on a strategy of accumulation that consist s in gathering fragments of his own experience. The dynamism of the composi tion\, which feels as intense as the real moment captured on camera\, is on ly formalized by the artist afterwards\, image after image. This way\, he f ully enjoys the present experience. This extreme use of repetition pushes m otifs towards abstraction while also providing viewers with some visual dis tance. The process the artist goes through to reach his final images starts with a conscious decision not to control the action:

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&ldquo\;I los e myself and I lose control. I even lose my mind. However this is what I am looking for\, since this fragile state brings me closer than ever to what I consider to be a legitimate artistic practice. The put in practice of wha t could remain a mere ideological belief allows me to reach a unique perspe ctive. As chemicals sink in\, from my blood to my flesh and brain\, they sh ape new gestures\, emotions and thoughts and erase my doubts and fears. The y emphasize my consciousness of the environment up to madness. I let life c rush me. I constantly act from the theoretical belief that every action ope ns up a new future\, a new feeling to explore. Each new situation\, conceiv ed\, provoked and experienced\, gets me further away from the temptation of a comfortable life\, and in the impossible battle I am fighting against my self\, against the inevitable decay of my body.&rdquo\;

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&ldquo\;Aga inst himself&rdquo\;. Indeed Antoine d&rsquo\;Agata does not try to show th e world as it is. He intends to reveal his own vision of it\, his own exper imentations. The title of this series (Paradigmes)\, which is part of the bigger body of work that constitutes Atlas\, is a testimon y of the different worlds he explored and reinvented. His images are an att empt at a new type of representation\, in which the artist tries to free hi mself from a set of photographic rules and preconceived ideas (compositions \, layout etc.). In this sense\, his photographs are truly paradigmatic.

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&ldquo\;In my most recent works\, I try to forge a secret and illicit language based on aesthetic deconstruction. My intention is to pervert and destroy the preconceived ideas that inhibit the norms of photographic lang uage.&rdquo\;

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This exhibition is supported by Picto and Cadre en Se ine.

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Sé\;bastien Borderie

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[1] Exhibition held from Oc tober 8th to February 26th\, 2017 at LaBanque (B&eacu te\;thune). \;

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DTEND:20161126 DTSTAMP:20160927T030750 DTSTART:20161028 GEO:48.86282;2.3660338 LOCATION:Galerie Les Filles du Calvaire\,17 rue des Filles du Calvaire \nPa ris\, 75003 SEQUENCE:0 SUMMARY:ATLAS : Antoine d'Agata\, Antoine D'Agata UID:428677 END:VEVENT BEGIN:VEVENT DTEND:20161027T200000 DTSTAMP:20160927T030750 DTSTART:20161027T180000 GEO:48.86282;2.3660338 LOCATION:Galerie Les Filles du Calvaire\,17 rue des Filles du Calvaire \nPa ris\, 75003 SEQUENCE:0 SUMMARY:ATLAS : Antoine d'Agata\, Antoine D'Agata UID:428678 END:VEVENT END:VCALENDAR