Uncomfortable is an exhibition of the collective model
116/lieu Power in Creation, in Le Havre from November 2 to 17
2010. Jean-Philippe Bretin, Vanessa Dziuba, and Julien Kedryna
Nicolas Nadé have installed their designs on the chair rail from the bottom
saturated and the rest of the space of a construction is both fragile and
ingenious, made of plywood, rope
and pebbles. Conceived to highlight the discomfort conditions
exposure (space, with its large window, is quite inappropriate
for the attachment of graphic works), set design seems to
turn against the visitor whose ambulation is widely
constraint, even dangerous.
At that physical discomfort is further increased by that of
vision. No possible decline: the viewer is deprived of his privilege
distancing. He does not even try to make a
any update on the gray areas of a watercolor
or pencil dimmed, the swarm of details designed to
ballpoint pen or on the juxtaposition of strokes
felts kept tight against each other. He
will be equally vain to struggle to fix the unit that is hiding behind
diversity of what is given to see. The collective model
Power seems to have exhausted all of his remarks
rationalist illusion would be to flush out the repetition
in difference. Model if there is, it is not prescriptive, but
draws instead in a moving and powerful dynamics.
Their artistic community is not based on the principle of
same or likeness, but on that of the strangeness and
the contingency of the encounter. Random, a collection of drawings
self-published in 2009, proceeded by such associations
random between the work of four artists who had foiled
the organization of the printer to produce 100 copies
single of the same book.
A similar paradox is played in the drawings that Nicolas
Nadé realizes the carbon sheet as it passes in those
and returns in the copier until a quality
black satisfactory. The artist turns in both cases
function duplication tool for creating original; of
mundane tools and reproduction become media
graphic experiments. Julien and Jean-Philippe Kedryna
Bretin are in turn special attention to potential
more traditional techniques. The first
works including the confrontation between the properties of
capillary watercolor, paint thickness and accuracy
felt, sometimes hampered by the failure of the mechanical rule
trait that makes drool. The second one associates with his characters,
Serpan, forms (abstract or suggestive nature dummy
zoos), whose format is much more to the nature
tool (pen , Brush) and accidents of course, only a
science developed at the prospect. In a more premeditated
the graphic and plastic Vanessa Dziuba
maintain a confusion between drawings mimicking
volumes and sculptures pretending flatness (Idea of passage
materializing elsewhere in the flow of network motifs
and flows). The facility designed for the occasion collectively
is also an attempt comparable conversion
line and surface in three dimensional space.
This game translation is also behind the title of
exposure. Having previously called "My Monkey" a
exposure to space My Monkey to Nancy or "Paradise
Total "another at Total Heaven in Bordeaux, the collective
tested the limits of his method, and is thereby introduced
somewhat arbitrary, when he was confronted with a name as
figures. Thus "116" is, by sliding sound
become "without ease" before being converted into uncomfortable.
Cécilia Le Metayer
