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GALERIE CHANTAL CROUSEL: Fabrice Gygi - 12 Sept 2009 to 24 Oct 2009 Current Exhibition |
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Fabrice Gygi
Exhibition view, 2009 GALERIE CHANTAL CROUSEL Photo credit: Florian Kleinefenn |
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English below Fabrice Gygi 12 septembre - 24 octobre 2009 En r�serve Les oeuvres de Fabrice Gygi n�ob�issent pas � un r�gime performatif et ne sont pas destin�es � des applications fonctionnelles : et pourtant, et comme signes et comme objets techniques, elles entretiennent de fortes relations d�implication � l�action et � l�utilisation. Les travaux expo s�s dans cette exposition pourront ainsi �tre rattach�s � trois classes : les bijoux, les machines (Fliessband et Star System) et les signaux (Strap-paints). En tant qu��l�ments relevant de ces trois classes, les relations � singuli�res � que ces oeuvres entretiennent � l�activit� et � la fonc tionnalit� s�op�rent selon un mode soustractif, dans une mani�re de mettre (action et fonction) en r�serve. Les objets, dans un sens auquel il faut accorder sa pleine litt�ralit�, sont �expos�s � : les machines ne marcheront pas ; les bijoux ne seront pas port�s et les signaux resteront align�s au mur : ce qui les classe en tant qu�oeuvres, accordant le primat au visible, les d�classe donc en tant que choses usuelles. Mais on ne saurait se contenter de ce lieu commun � objets d�arts inactifs, anim�s par le seul re gard �, car avec ce d�classement se r�alise pleinement la mise en fonction et la mise en action des objets con�us par Fabrice Gygi selon un mode potentiel. Si Fliessband et Star System, machines qui comportent des tapis roulants et des lames tranchantes en �toiles mont�es sur des axes ro tatifs � et dont les fragments peuvent �tre assembl�s, s�par�s ou r�unis, mont�s ou d�mont�s � ne disposent pas de fonction mat�rielle r�elle, on devra surtout souligner qu�elles n�ont pas � en avoir une, pr�cis�ment. Leur puissance virtuelle, qui ne s�inscrit dans aucune limite tangible, est li�e � leurs utilisations et � leurs configurations potentielles. Il en va de m�me pour les Strap-paints, dont la facture renvoie autant � la rigueur des r�alisations conceptuelles qu�au panneau signal�tique g�n�rique, ou des bijoux, dont les formes semblent vouloir contraindre certains corps mais aussi pouvoir en meurtrir d�autres. La mise en action de ces objets, dans sa mise en r�serve, est � l�origine de cet �trange �tat de latence et de tension qui les caract�rise, et leur permet d��changer leurs propri�t�s pour finale ment rejouer les classes qui les contraignent. Les machines Fliessband et Star System adressent certainement un signal terrifiant (acheminement, broyage et d�coupage des mati�res ou des corps), mais elles se pr�sentent aussi, silencieuses, comme un joyau rutilant. Les bijoux sont des signes aux lignes singuli�res dont les formes renvoient � celles d�objets techniques �trange ment fa�onn�s (des sortes de d�s � coudre, de poin�ons et de poings am�ricains�). Aux rails en aluminium qui dessinent le signal des Strap-paints on pourrait accrocher ou arrimer des �tres et des choses : ils tracent aussi en trois droites parall�les les marques d�un blason se d�tachant sur fond rouge� En cela, si tous les objets con�us par l�artiste font signe et s�adressent au spectateur en combi nant, selon, les qualit�s du technique et du symbolique (voire de l�all�gorique), de l�artisanal et de l�industriel, du concret et de l�abstrait, du f�tiche et du trivial� dans le suspens de leur activation et dans la potentialisation de leurs fonctions, ils lib�rent des affects de s�duction et de menace, qui viennent finalement semer le trouble dans les cat�gories morales de l�ordre et du d�sordre. Sans ambigu�t�, dans l�ambivalence. Christophe Kihm Fabrice Gygi September 12 - October 24, 2009 In reserve Fabrice Gygi�s works do not comply with a performative scheme and are not destined for func tional application. However, as both signs and technical objects, they maintain strong relations to implications of action and use. The works presented in this exhibition can thus be related to three categories: jewels, machines (Fliessband and Star System) and signs (Strap-paints). As elements of these three categories, the singular relation these works maintain to activity and functionality are facilitated by a subtractive method, by way of putting (action and function) in reserve. Objects, in the sense to which its full literality should be attached, are �exhibited�: the machines will not work, the jewels will not be worn and the signs will remain lined up on the wall: what classifies them as works of art by giving primacy to the visual, declassifies them as everyday things. However, one cannot gratify oneself with this commonplace � inactive art objects, animated solely by the eye of the beholder � since it is through this declassification that the objects Fab rice Gygi has devised fully achieve their function and are put into action in a potential mode. If Fliessband and Star System, machines consisting of conveyor belts and radial cutting blades mounted on rotating axes � whose fragments can be assembled, separated or combined, mounted or dismantled � do not have a real material function, it should be emphasised that they need not have one. Their virtual power, which does not fall within any tangible boundary, is related to their uses and their potential configurations. The same applies for Strap-paints whose rendering refers as much to the rigour of conceptual creations as to a generic signboard, and for the jewels whose shapes seem to want to constrain certain bodies but also seem able to bruise others. The putting into action of these objects, by setting them in reserve, is at the origin of this strange state of latency and tension which distinguishes them and allows them to exchange their properties so that ultimately they might reenter into play with the categories which constrain them. The Fliessband and Star System machines certainly address a terrifying signal (carriage, grinding and cutting up of materials or bodies), but they also stand silently like bright, spar kling gems. The jewels are symbols with singular lines whose shapes refer to those of strangely fashioned technical objects (kinds of thimbles, awls and knuckle-dusters�). At the aluminium rails which draw the Strap-paints� signal one could hang or stow beings and things: they also trace in three parallel lines the marks of a blazon standing out against a red background� If all the objects conceived by the artist beckon and address the visitor by combining the quali ties of the technical and the symbolic (even allegorical), the hand-crafted and the industrial, the concrete and the abstract, the fetish and the trivial� in suspense of their activation and the potential of their functions, they liberate affects of seduction and threat which sow confusion in the moral categories of order and disorder. Without ambiguity, in ambivalence. Christophe Kihm |
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