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The Promise of Moving Things Commissaire : CHRIS SHARP Centre d’art contemporai

The Promise of Moving Things Commissaire : CHRIS SHARP Centre d’art contemporain d’Ivry - le Crédac du 12 septembre au 21 décembre 2014. Vernissage le jeudi 11 septembre 2014 de 17 heures à 21 heures. Avec Nina Canell, Alexander Gutke, Michael E. Smith, Antoine Nessi, Mandla Reuter et Hans Schabus. Mandla Reuter, The Agreement (2011) The Registry Of Promise 1. 2. 3. 4. at Fondazione Giuliani, Rome (IT) of Melancholy and Ecology The Promise 1 at Parc Saint Léger, Pougues-les-Eaux (FR) of Multiple Temporalities The Promise 2 at Le Crédac, Ivry-sur-Seine (FR) of Moving Things The Promise 3 at De Vleeshal, Middelburg (NL) of Literature, Soothsaying and Speaking in Tongues The Promise 4 O F P R O M I S E T H E R E G I S T R Y 12.09 * 21.12 2014 “The Registry of Promise” is a series of exhibi- tions that reflect on our increasingly fraught re- lationship with what the future may or may not hold in store for us. These exhibitions engage and play upon the various readings of promise as something that simultaneously anticipates a future, its fulfillment or lack thereof, as well as a kind of inevitability, both positive or negative. Such polyvalence assumes a particular poi- gnance in the current historical moment. Given that the technological and scientific notions of progress inaugurated by the enlightenment no longer have the same purchase they once did, we have long since abandoned the linear vi- sion of the future the enlightenment once beto- kened. Meanwhile, what is coming to substitute our former conception would hardly seem to be a substitute at all: the looming specter of glo- bal ecological catastrophe. From the anthropo- centric promise of modernity, it would seem, we have turned to a negative faith in the post-hu- man. And yet the future is not necessarily a closed book. Far from fatalistic, “The Registry of Promise” takes into consideration these var- ying modes of the future while trying to con- ceive of others. In doing so, it seeks to valorize the potential polyvalence and mutability at the heart of the word promise. Taking place over the course of approxima- tely one year, “The Registry of Promise” consists of four autonomous, inter-related exhibitions, which can be read as individual chapters in a book. It was inaugurated by “The Promise of Melancholy and Ecology” at the Fondazione Giuliani, Rome, in May which is followed by “The Promise of Multiple Temporalities” at Centre Parc Saint Léger, Pougues-Les-Eaux, then “The Promise of Moving Things” at le Credac, Ivry, and will conclude with “The Promise of Literature, Soothsaying and Speaking in Tongues” at De Vleeshal, Middelburg. The third part of “The Registry of Promise”, “The Promise of Moving Things” deals with the so-called life of objects in our current pre- post-apocalyptic paradigm. Influenced in equal measure by animism, the much-discussed philosophical movement Object Oriented On- tology, the surrealism of Alberto Giacometti’s early masterpiece The Palace at 4 am (1932) and even the theoretical reflections of the Nou- veau Roman novelist, theorist and editor Alain Robbe-Grillet (an OOOer, so to speak, well avant la lettre), “The Promise of Moving Things” seeks to address just that– the very idea that there exists some promise within objects in a world in which humans no longer roam the earth. Neither a critical rejection nor an en- dorsement of these ideas, the exhibition em- braces the ambiguity at the very heart of the word promise. It questions to what extent this negative faith in the cultural and animistic leg- acy of objects is a genuine rupture with the « The Registry of Promise » est une série de quatre expositions–réflexions sur ce que l’ave- nir pourrait nous réserver ou pas. Ces exposi- tions abordent et jouent sur de multiples et si- multanées lectures du concept de promesse : anticipation du futur, maintien ou rupture de la promesse, ainsi qu’un sentiment d’inéluctabili- té, positif et négatif. Une telle polyvalence re- vêt, en ce moment historique, un caractère par- ticulièrement poignant. Les notions de progrès technologique et scientifique inaugurées par le Siècle des Lumières n’ont plus la cote d’antan, et nous avons abandonné depuis longtemps la vision linéaire de l’avenir qui leur était associée. Cette ancienne vision a entre-temps été rem- placée – si l’on peut parler de remplacement – par le spectre menaçant d’une catastrophe écologique globale. De la promesse anthro- pocentrique de la modernité, nous sommes ap- paremment passés à une foi négative dans le post-humain. Et pourtant, l’avenir n’est pas né- cessairement un livre clos. Loin d’être fataliste, « The Registry of Promise » prend en considé- ration les différents modes du futur tout en es- sayant d’en concevoir de nouveaux. Tout cela dans une tentative de valoriser le potentiel de polyvalence et muabilité au cœur du mot « promesse ». Ayant lieu sur une période de près d’un an, « The Registry of Promise » consiste en quatre expositions autonomes mais tout de même étroitement liées, pouvant être lues comme différents chapitres d’un livre. Le projet inau- guré à la Fondazione Giuliani avec « The Pro- mise of Melancholy and Ecology », suivi de « The Promise of Multiple Temporalities » au Parc Saint Léger, centre d’art contemporain, puis par « The Promise of Moving Things » au Centre d’art contemporain d’Ivry - le Crédac et trouvera sa conclusion avec « The Promise of Literature, Soothsaying and Speaking in Ton- gues » au SBKM/De Vleeshal. Troisième volet du cycle « The Registry of Promise , The Promise of Moving Things » s’in- téresse à la vie présumée des objets dans notre modèle pré-post-apocalyptique actuel. En s’inspirant à parts égales de l’animisme, de l’ontologie « Orientée Objet » fort débattue ac- tuellement, du surréalisme illustré par le chef- d’œuvre de jeunesse d’Alberto Giacometti Le Palais à quatre heures du matin (1932) et même des réflexions théoriques du chef de file du nouveau roman Alain Robbe-Grillet (un ontolo- giste objectuel bien avant la lettre, pourrait-on dire), « The Promise of Moving Things » veut traiter précisément de cela : l’idée même qu’au sein des objets réside une promesse, dans un monde où l’homme n’est plus le vagabond de la terre. Sans récuser ni entériner ces idées, l’ex- position revendique au contraire l’ambiguïté qui est au cœur de la notion de promesse. Elle pose la question de savoir dans quelle mesure The Registry of Promise 3. The Promise of Moving Things The Registry of Promise 3. The Promise of Moving Things anthropocentric tradition of humanism and to what extent it is merely a perpetuation of it. Thus does the exhibition consists of works that features objects or processes which seem to possess some form of human subjectivity. For instance, the Austrian, Vienna-based artist Hans Schabus’ sprawling sculptural installa- tion, Konstruktion des Himmels (1994), could merely be a random collection of variously seized wax balls and an elaborate light fixture or the most human forms of celestial organiza- tion: a constellation (which it is: a recreation of Apparatus Sculptoris [Sculptor’s Studio], identi- fied and named in the 18th century by Louis de Lacaille). Almost but not entirely by associ- ation, German, Berlin-based Mandla Reuter’s sculpture installation, The Agreement (Vienna) 2011, which has been paired with Schabus’ work and is comprised of an armoire hanging from the ceiling, assumes a quasi, supernatu- ral and animistic quality. The transference of so-called human subjectivity is unmistakable in Swedish, Malmö-based Alexander Gutke’s work, Autoscope (2012). This 16mm film instal- lation portrays the trajectory of a piece of film passing through the interior of a projector, exi- ting into a snowy, tree-dotted landscape, ascen- ding upward into the sky before plunging back down to earth and looping back into the pro- jector, and repeating the process, all as if in an allegory of reincarnation. The US, New Hamp- shire-based artist Michael E. Smith’s slight sculptural interventions, which often consist of recycled textiles, materials from the auto- motive industry, animal parts, and a variety of toxic plastics, are known to possess qualities hauntingly evocative of the human body, as if the spirit of one had entered the other. Draw- ing his formal vocabulary from machines and tools, French, Dijon-based artist Antoine Nessi creates sculpture, which can perhaps be best described as post-industrial, in which the in- animate seems to take on an organic quality, assuming a life of their own. Finally, the prac- tice of the Swedish, Berlin-based artist Nina Canell is no stranger to the kinetic and to a certain, if specious sense of animism. Some- thing of a case in point, Treetops, Hillsides & Ditches (2011) is a multi-part sculpture com- prised of four shafts of wood over the top of which a clump of Iranian pistachio gum has been spread (like the top of a match) and which slowly crawls down the sides of the wood, en- veloping it, like living a skin. Thus is the reception of each work com- plicated and vexed through issues of subjec- tivity, projection, necessity, and desire. Now uploads/s3/ exemplo-de-portfolio.pdf