Antoine Catala, Jan Kopp, Gustavo Speridião
Exhibition from November 28, 2019 to January 11, 2020
[ Opening on Thursday 28 November 2019 ]
(Interruption from December 24 to January 3, 2020)
« The drawing of a line cuts the paper in two parts. The drawing of maps and borders turns neighbors into strangers.» Marlène Dumas, 2010
« Chronique du trouble » is deliberately optimistic. Each of the three protagonists makes something of another poetry, a silent way of screaming shapes and not letting it be said …
The exhibition brings together three artists of the same generation. One, German, works in France, the other, French, works in the United States, the third, Brazilian, when he is not at the end of the world, works in Rio. Everything in their work brings them together, nothing in their form is alike.
The exhibition works on the premises of the trouble, the small forewarning disorders, those who, from a butterfly scale, causes at the end of the chain, the distant catastrophes that one can not imagine yet. It’s a way of antidote!
Jan Kopp is interested in what is missing from an image, a place of incompleteness, what the words hide and unveil, what in repetition is endowed with irreducible singularity, and the strangeness of time that crosses, passes and escapes while at the quantum scale, it probably does not exist. Jan Kopp alternates between studio work and collective work, films, drawings, performances, installations. He creates for the exhibition an installation in situ in which the cycle of time and its motionless trace will be the modest heroes.
Antoine Catala tinkers with extremely serious gadgets and low-cost technologies: crawling logos, pneumatic aphorisms or sinuous rebus. The words crumble to say something of the world. The paintings breathe. Humor comes out between two or three potential tragedies. A profiler of empathic technologies, he reconciles, on the assumption that they are angry, the two sides of absurdity and efficiency.
Gustavo Speridião interferes between history and art history by appropriating famous images of tragic events, to make scenes signed Picasso or Fontana. His sources of inspiration, when they are not simply taken in everyday life, are on the side of Courbet, Malevitch, Chris Marker or simply in the corners of graffiti walls of cities. Filmmaker, painter, photographer, orator, he believes that action can change the world and that painting is action. Both image and message, canvas, sign and banner, the work has the effectiveness of a sharp blade and evidence of success. By turns poet and politician, his form wanders in the light of the time of debates and convictions. Gigantic formats or tiny collages, the poetics of words and the richness of the colors found there, claim the strength of the present. And the message, literal or metaphorical, recalls, and appeals, to the time of convergences.
The three Solos of the exhibition, all three, trace a path through the multiple expanses that are works, which emanate, as always, an inexhaustible quantity of causes. What interests us here are less «inexhaustible causes» than the multiple consequences of their association, that is, the nature of the path and the poetics of the moment. Everything begins with the primitive arrangement of images and words, and it begins for us in the Neolithic, and ends at the end of the chains of interpretation to magical simultaneities and combinatorics recomposable at will. What about the Anthropocene?
The work as a search engine. Exhibition as a sympathizing disorder.