In relation with the fifth hanging of the works in the permanent collection, titled ‘Vivement demain’ [’Waiting on Tomorrow’], which explores the myth of the visionary artist, ‘Émoi & moi’ [Emote To Me] continues along the lines laid down by the group show ‘Situation(s) [48°47’34’’N/2°23’14’’E]’, which articulated a meditation around a way of ‘being in the world’ that is resistant and active, oriented toward the Other.
‘Émoi & moi’ reverses the perspective and brings together works in which introspection is the driving force. The artists assembled here use metaphor to develop expressive strategies for dwelling in the world.
Absalon’s Cells unfold a meditation around the inscription of a generic body in a space, a bachelor living space, somewhere between confinement and protection, withdrawal into the self (capsule-like, monastic, carceral, foetal). The models presented here play fully on the projective dimension of any artwork and function as ‘propositions for dwellings.’
Pierre Buraglio grounds his probing of the resources of painting in an autobiographical approach, imbued with memories. In Mémento caviardé, the starting point for the visual composition is the activity of
a whole year. Twelve months of one man’s life are both exhibited
and hidden in one and the same movement.
In Chambre de sommeil Pascal Convert continues his probing of representation and the production of images and offers a formalisation a putting in place – of his cerebral and physiological activity over one night in 1991, a graphic inventory of an unknown space, an unthinkable interior.
In his drawings Simon English puts down a kind of mental map, in search of lost memories and fleeting moments. Fantasies, irritations, joys, Freudian slips, botches, associations and obsessions combine ad infinitum in a shifting territory, a shadow theatre where nothing is certain.
In Nocturnal Alexandre Gérard seeks out the fault lines in the real and tries to understand his somniloquy. Recordings and transcriptions/translations are the tools of this ‘idiotic’ and analytic enterprise in unveiling.
Pierre Joseph de/re-constructs the real and its representations based on diosyncratic practices. He throws into crisis the validity of the systems and tools used for imposing form on the world.
With Joris Lacoste it is all a matter of hypnosis and performativity.
His prepared dreams rest forever in the memory of their owners.
For her part, Laura Lamiel repeatedly combines and orders her Figures,
a veritable putting into play/reflective play on (exhibition of) mental spaces in which a whole poetical materiology that is singular and mysterious is developed.
In The Lovers, Dominik Lang continues his questioning of the idea of heritage, in an inter-generational dialogue that is both personal and artistic.
Robert Malaval’s Aliment Blanc acts as a metaphor for the dark, obsessive and neurotic forces that cover the world and cause the real to implode, between teeming and invasion.
With her collection of signatures and castles in the air, Annette Messager throws into crisis the uniqueness of the subject and shows it to be a social construct torn between different agencies.
Daniel Pommereulle’s Objets de prémonition oscillate between seduction and aggression, casting an acerbic, incisive gaze on artistic activity.
The Psycho-objets by Jean-Pierre Raynaud draw on personal and symbolic references which create a tension around their emotional and obsessional impact, their personal, psychic potential.
In all her works Tatiana Trouvé creates metaphors for cerebral mechanics in an approach that is at once psychoanalytic and energeticist, circulating in rhizomatic reconfigurations of space.
Mark Wallinger’s series of Self Portraits affirms the existence of the Subject, of a polymorphous and divided ‘I’, as the very material of art, thereby questioning 2013 performativity and utterance. Who is it that says I?
The starting point of the exhibition, the film Dancing by Patrick Mario Bernard, Xavier Brillat and Pierre Tridivic (shown on 7 April), articulates a meditation around the work of art, gauged by the irrational. Reality and fiction intertwine in this fantastic film built around the figure of the double.
Playing with and undercutting the idea that art is the expression of interiority, questioning the very idea of that interiority, this exhibition constructs a reflection on what could be called an ‘archaeology’ of the ‘I.’ How do you give shape to the impalpable, to the irrational, to the invisible, to the emotions, to the fleetingness of past moments? If elaborating mental spaces is one of the tasks of art, then how should they be represented? This difficulty, or even impossibility, is present as a productive dynamics in the works brought together here, allowing us to ask these essential questions: What is a Subject? How is it constructed? What work does art do? How do artists play on the interface between the self and the world?