MAC/VAL

MAC/VAL is opened every day of the week, except on mondays:
tuesday to friday, 10 h to 18 h
week-ends and holidays, 12 h to 19 h.

Closed on january 1st, may 1st and december 25th.

phone: 01 43 91 64 20
fax: 01 79 86 16 57

Access map

Place de la Libération
94400 Vitry-sur-Seine

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Presentation

Working from within, Claude Closky arranges, classifies, inventories, orders, disorders and disorganises the representational and organisational systems of the world, pushing their logic to their point of collapse.
A decoder of slogans, signs and messages, he utilises the modes of structuring reality (mathematical, alphabetical and temporal, among others). Superimposing them, he produces a vacuum within mechanised organisation, within interpretational and analytical frameworks. The veracity and efficacy of terms are thrown into disarray (What happens when the first ten numbers are classified in alphabetical order? When the same operation is carried out in a foreign language?).

These disruptions of information systems centre on the question of enunciation and usage. Closky works in a post-structuralist tradition and language is his preferred instrument. He is an heir to Oulipo, Magritte and Conceptual Art; his raw material is the economics of the sign (designation, signified and signifier). The underlying aim of this first retrospective is to highlight, above and beyond the formal diversity of Claude Closky’s works, the main leitmotifs, to throw into relief the thematic links and recurring processes of this teeming and polymorphic universe, which embraces painting, the Internet, collage, drawing, photographs, slide shows, videos and various publications. ‘8002-9891’ proposes a rereading of the artist’s works, retracing twenty years of endeavour.

The raw materials of the project are sound works and texts. Using as a starting point the essential capacity of a text to exist both in written and spoken form, ‘8002-9891’ proposes a rereading of the artist’s works, which are interpreted in the manner of musical scores. In the process, it calls into question the very definition of the work, producing a displacement that is highly paradoxical. Spoken and heard, the text changes, becoming the texture of the voices of others. Yet in spite of its dematerialisation, it remains the same object.
The audio equipment required for such a project must be carefully tailored to purpose. In this respect, we have made some radical choices. The exhibition space is empty and is bathed in semidarkness. The playing of each work in the headsets is guided by a system of infrared equipment positioned overhead. Alone in the midst of others, the visitor is confronted with texts and voices.

A few sound events emitted at various points throughout the space punctuate the day. The works are grouped together without any respect for chronological logic, following on from each other and responding to each other spatially. Sound replaces the visible. The visitor, who has become listener, his body and his movements are simultaneously placed at the centre of the installation and yet are governed by a form of authority. Everyone is confronted with the awareness of being a visitor. Everyone must create their own place and their own approach to the exhibition and the work.

Frank Lamy

Working from within, Claude Closky arranges, classifies, inventories, orders, disorders and disorganises the representational and organisational systems of the world, pushing their logic to their point of collapse.
A decoder of slogans, signs and messages, he utilises the modes of structuring reality (mathematical, alphabetical and temporal, among others). Superimposing them, he produces a vacuum within mechanised organisation, within interpretational and analytical frameworks. The veracity and efficacy of terms are thrown into disarray (What happens when the first ten numbers are classified in alphabetical order? When the same operation is carried out in a foreign language?).

These disruptions of information systems centre on the question of enunciation and usage. Closky works in a post-structuralist tradition and language is his preferred instrument. He is an heir to Oulipo, Magritte and Conceptual Art; his raw material is the economics of the sign (designation, signified and signifier). The underlying aim of this first retrospective is to highlight, above and beyond the formal diversity of Claude Closky’s works, the main leitmotifs, to throw into relief the thematic links and recurring processes of this teeming and polymorphic universe, which embraces painting, the Internet, collage, drawing, photographs, slide shows, videos and various publications. ‘8002-9891’ proposes a rereading of the artist’s works, retracing twenty years of endeavour.

The raw materials of the project are sound works and texts. Using as a starting point the essential capacity of a text to exist both in written and spoken form, ‘8002-9891’ proposes a rereading of the artist’s works, which are interpreted in the manner of musical scores. In the process, it calls into question the very definition of the work, producing a displacement that is highly paradoxical. Spoken and heard, the text changes, becoming the texture of the voices of others. Yet in spite of its dematerialisation, it remains the same object.
The audio equipment required for such a project must be carefully tailored to purpose. In this respect, we have made some radical choices. The exhibition space is empty and is bathed in semidarkness. The playing of each work in the headsets is guided by a system of infrared equipment positioned overhead. Alone in the midst of others, the visitor is confronted with texts and voices.

A few sound events emitted at various points throughout the space punctuate the day. The works are grouped together without any respect for chronological logic, following on from each other and responding to each other spatially. Sound replaces the visible. The visitor, who has become listener, his body and his movements are simultaneously placed at the centre of the installation and yet are governed by a form of authority. Everyone is confronted with the awareness of being a visitor. Everyone must create their own place and their own approach to the exhibition and the work.

Frank Lamy