Starting from an analysis of ends and means in art, Claude Closky has been examining for over twenty years now, world-systems for information, representation and organization. Pushing their internal logic to their individual collapse and annihilation, he organizes, classifieds, files aways, aligns, disaligns, and disorganizes the inside. He genuinely implements a subjective theory of information and medias which obey to two apparently contradictory movements – rhetoric and accumulation. This navigation beween two objects, the signs and the images which codify and inform our universe hold communication techniques hostage by infiltration. The clichés and other key words thus promoted are distracted and reversed to reflect upon the building of both individual and collective identity.
In a Post-Structuralist tradition, language is his favorite instrument. An heir of Oulipian, Magritte and conceptual arts, sparing signs was one of his raw materials (nomination, significant and signified …). Claude Closky even uses the strategy of systems which he questions by testing and in subtle and unrelenting descontrusction of their internal logic. He works on the descriptive and constructive potentials that language contains in a concurrent movement, exactly where the word is the subject.
Decoder of signs and messages, he grabs universal organization methods (mathematics, alphabet, temporal and others) from capitalist connections between being, having and wanting, the key words voiced by the consumer society where wealth, beauty and youth are the conditions for happiness, phrases too often repeated in the world …By superposing them, he produces a void in mechanical organization, the frameworks for interpretation and analysis. Veracity and efficacy of terms are thrown into confusion (What happens when the first 10 numbers are classed in alphabetical order?). These disturbances of information systems highlight the question of enunciation and usage (cf. Michel de Certeau). This first retrospective calls the visitor to stop and observe the art, placing themed and procedural relevancies in the forefront of this disparate universe. If Claude Closky’s work has adopted several styles from painting on the Internet to drawing, collage, photography, video or slides … his question focus has always remained the same. With this essential ability that a text has in both its written and spoken form, certain works of art, true partitions, will be transposed. From the visible to listening, the visitor becomes the listener in the heart of a display ranging from 1989-2008.