Our words return in patterns
our words return in patterns
galeriepcp
8 rue saint-claude,
75003 paris.
31.03.17 - 07.05.17
vernissage 30.03 19-21hrs
organisé par NOVEL
www.novelnovelnovel.org
Patricia L. Boyd Le Bourgeois French & Mediterranean 2017 Silver gelatin photogram 257.5 × 156cm
Cameron Rowland Untitled 2013
, Awning, bird spike 35.56 × 72.39 × 27.94cm
Bien souvent lets petites enterprises ne sont pas propriétaires de leurs biens propres. Une boutique liste au travers des ses ventes et de son identité, et non en tant qu’entité physique. Un des seuls aspects architecturaux d’une boutique qui lui appartienne est l’auvent. Il est á la fois un élement de protection mais aussi un réprésentation symbolique du commerce. Les auvents sont a usage unique. Untitled, a été offert, dans son état actuel, á Rowland par un fabricant de stores qui s’en est débarrasse après dé monté du fronton d’une boutique.
Yvgen Holen Butterfly 2016, Aluminium Security Fence 263 × 152 × 88cm
Martine Syms Life Is Better When I’m Cruel 2017 Acrylic on wall dimensions variable
Studio for Propositional Cinema Redundant as eyelids in the absence of light. And this, seen: within an inventory of some strictly visible things;... 2017, reflective copper vinyl text on wall dimensions variable
Ben Sansbury, Untitled, 2017 Resin and dye 33cm x 48cm
KP Brehmer Development of Political Parties 1868 - 1972 (USA), 1977 mixed media technique on graph paper, 59 × 80 cm; signed and dated by KP Brehmer on the front
Emily Wardill Sea Oak 2007 B&W 16mm with Sound 51 mins
And it's painless
Sitting in Subterranea
Ancient reference to Mesopotamia
And it's quiet again
Hidden figments, surface now
Repetition history
One more time for the record
Rebellious mistakes
Occur again
Everything moving
In a circular fashion
And it's quiet again
Hidden figments, surface now
Repetition history
One more time for the record
Our words return in pattern
Our minds encapsulating time
And it's quiet again
Hidden figments surface now
Repetition history
One more time for the record
One more time for the record
- Hôtel Bloedel written by Brix Smith
And this, seen; within an inventory of some strictly visible things; The Lens-grinder; having coaxed glass, with sandgrains, into convex forms; to intensify, compound, and focus light (if found) to image (when possible**); tracking; tracing fragments of blueprints of optical laws; and (lightly) heard:
Studio for Propositional Cinema
L'exposition collective NOVEL réunit des écrits d'artistes, des textes et poèmes oscillants entre la fiction et la critique. Une cacophonie d'opinions - condition première de l'écriture - cherchant à briser les modes de représentation traditionnels et de production de subjectivité.
Sans avoir aucun lien thématique, ces textes ont en commun d’être l’expression d’une même démarche, d’artistes ayant recours à l’écriture pour explorer le langage et la fiction.
Cette fiction agit comme une force spéculative, qui n'est plus définie par ce qui est dit, encore moins comme signifiant, mais peut être comme un système qui existe parallèlement au visible.
Dans le cas présent, l'écriture devient un véritable outil épistémologique, nourri par la théorie, le cinéma, la politique et la narration. L'écriture comme pratique parallèle, alternative, tangentielle ; l'écriture comme fiction politique ; l'écriture vécue comme une autre aventure à fleur de peau, renégociant des débuts inassouvis ou des projets inachevés – qui pourraient devenir un nouveau départ. Au cœur des narrations insinuées et des visions matérialisées, une préoccupation pour la pratique de l'écriture et l'impossibilité de la fiction est en jeu.
L'exposition NOVEL nous invite à nous interroger sur l'écriture en tant qu'élément distinct de l'information, ou, en tous les cas, comme un champ de la production culturelle exempt de l'obligation globale de communiquer.
Patricia L. Boyd’s photographic faded retail facades and Yngve Holen’s sculptural appropriation of fencing for a gated community reveal that the most straightforward designs often hide political realities. Acts of transaction are manifest in Cameron Rowland’s store awning, which is at once an architectural facet of a store and symbolic protection. At the same time, Martine Syms’ wall text suggests the mutability of language as both form of communication and method of control. The lower space of the exhibition displays two historical precedents via KP Brehmer’s diagrammatic emergence of political parties in the US; and Emily Wardill’s Sea Oak which shares recordings from the Rockridge Institute, a Californian think-tank researching political rhetoric. The exhibition shows that what matters is not the production of new content but its retrieval in intelligible patterns through acts of reframing, recapturing and reiterating - where the work’s power lies in its staging of a performative mode of looking through which the single image and the network are visible at once.
Martine Syms Life Is Better When I’m Cruel 2017
‘Our words return in patterns’, manifests particular forms of contemporary art that negotiate speculation, risk, precipitous capital, and cognitive labour. The exhibition reveals that these mechanisms, structured into daily life are also embedded into artworks as aesthetic frameworks. Here, what is displayed contends that there are tendencies in contemporary art practice that places value on art’s transitivity, immateriality, ephemerality and dispersion - the very values fostered by our social, economic and cultural climate. And within this context we ask whether artists produce contradictions when art claims to be radically circulated or distributed through a politics of ‘dissensus’ - claiming to escape possession and its containers. Do artist stage this paradox? Or are they avatars producing content that says for commons, and forms that says for market? The curatorial method developed for the exhibition utilized a specific stagecraft to establish a field of expectation - the anticipation of interpretation, the palpable sense of fixing in place a measured or measurable relationship, however transitory, between subjects and objects. The exhibition ranges from commissions responsive to the layered dynamics of the gallery and the constellation of specific works.
Cameron Rowland, Untitled, 2013, Awning, brid spike, 35.56 x 72.39 x 27.94 cm
courtesy Carl Kostyal
Small businesses often don’t own their own property. A store is transactions and identity but not the physical property. One of the only architectural facets of a store which belongs to the store is the awning. It is a protective barrier but also a symbolic presentation of the store. Awnings cannot be reused. Untitled was offered to Rowland in its current after state from an awning fabricator who disposed of it after taking it down from a storefront.
Studio for Propositional Cinema, Redundant as eyelids in the absence of light. And this, seen: within an inventory of some strictly visible things;... 2017, reflective copper vinyl text on wall dimensions variable
Patricia L. Boyd, Le Bourgeois French & Mediterranean 2017 Silver gelatin photogram 257.5 × 156cm
‘Each new work is executed according to a formula conceived in response to a sociopolitical situation. Nothing, however, is reducible to any obvious logic … evidence of the work’s making appears as creases in the four large-scale photograms mounted on the gallery walls. They were made by briefly exposing large sheets of photographic paper while pressing them up against the gallery’s shop-front windows, onto which short phrases— Le Bourgeois French & Mediterranean, both 2017—have been applied in a vintage font and highlighted by a scalloped pattern. The results, cut up and reassembled, suggest an old black-and-white credits sequence. Blurring and tonal modulation caused by the movements of the unwieldy sheets and their varied exposure to the outside streetlight heighten their resemblance to stills from a cheap, murky exploitation film. The fragments of text play with the name of the gallery, formerly a restaurant also called Le Bourgeois. The restaurant lost its license after neighbors accused the regulars of fighting, fucking, and defecating on the pavement outside.’(Patrick Price, Artforum)
Emily Wardill, Sea Oak, 2007
B&W 16mm with sound, 51 mins
Emily Wardill’s Sea Oak was developed from a series of interviews conducted with the The Rockridge Institute, a left- orientated think tank located in Berkeley, California. From 2001 until its closure in April 2008, the Institute researched contemporary political rhetoric with special emphasis on the employment of metaphor and framing. The strict absence of images throughout the film is introduced by institute member Eric Haas. He describes how, in everyone’s imagination, the word “bird” evokes a similar imagined creature. This prototypical bird exists only in common thought (“We don’t think of an ostrich or a penguin…”) and provides the idea of an image to begin a film consisting only of black leader and sound. Sea Oak puts trust in rationality, enlightened thinking and the frames of reference in which facts are made to appear transparent and for discussion.
KP Brehmer, Development of political parties 1868 - 1972 (USA), 1977
mixed media on graph paper, 59 x 80 cm
Et c'est indolore
De s'asseoir dans un souterrain
Référence ancienne
à la Mésopotamie
Et le calme règne à nouveau
Des fragments cachés remontent à la surface
L'histoire qui se répète
Encore une fois pour mémoire
2013 les tombes des confédérés de Philippsburg
Sont révélées, jetant une lumière nouvelle sur
Ce conflit du 19ème siècle, déclenchant une répétition
Ces spectres sudistes étaient malades, poussiéreux, organiques
Et psychiques
Les erreurs rebelles
Se produisent à nouveau
Tout bouge
De manière circulaire
Nos mots se repetent en boucle
Nos esprits, encapsulant le temps
Gregoror, rassasié marche à travers la capitale
Tombe sur deux milles moines thaïlandais morts en uniforme SS
Puis fuit à l'Hôtel Bloedel, en périphérie de Nuremberg
Loin au sud, là où l'odeur de la mort est acceptable
Et le calme règne à nouveau
Des inventions cachées remontent à la surface
L'histoire qui se répète
Encore une fois pour mémoire
- Hôtel Bloedel écrit par Brix Smith
Yvgen Holen Butterfly 2016, Aluminium Security Fence 263 × 152 × 88cm
Ben Sansbury, Untitled, 2017 Resin and dye 33cm x 48cm
NOVEL is an editorial and curatorial project, publishing artists writing and texts that oscillates between modes of fiction and poetry. NOVEL acts in-between the potential performance of a script, and the indeterminate transcript of the event. The journal hosts a cacophony of voices that coalesce around writing as a core material of a number of artists exploring language and the speculative force of fiction. Here, art writing is an apparatus for knowledge capture, writing as parallel practice, writing as political fiction, writing as another adventure, renegotiating unfulfilled beginnings or incomplete projects.
