Archive for April, 2011

Je déballe ma bibliothèque…..

April 5, 2011

Je déballe ma bibliothèque

suggested by

Anne-Laure Chamboissier and  Christophe Daviet-Thery.

Je déballe ma bibliothèque, echoing the work of Walter Benjamin, uses the library as a meeting place, as a place for dialogue and transmission of knowledge.

The idea is not to substitute one library for another, but rather to fold or slip one into the other, thereby creating links and symmetry.

The inauguration of this concept in Brussels at an eclectic private library, will be a tribute to how the book is represented and defined via various artists’ books (Richard Prince, Martin Kippenberger, Jonathan Monk, Yann Sérandour, Wade Guyton…), and to the book as a compressed space of knowledge (Batia Suter, Hans-Peter Feldmann, Claire Morel…).

Je déballe ma bibilothèque is an interactive and moveable concept, that can be repeated in other contexts : in private or public libraries, or in museums that are interested in the book medium.

Following the example of Borgès, who imagined heaven as a library, Je déballe ma bibilothèque is ultimately a tribute to books.


Anne-Laure Chamboissier:

Tel: + 32 (0) 2 538 80 98 – Cell: + 32 (0) 479 35 38 28

Yves Chaudouët

April 1, 2011
Christophe Daviet-Thery invites you at the following exhibition:
Séparés, on est ensemble (cristallisation)
6 April – 7 May 2011
Opening show the 6 April from 6.00 to 9.00 pm

Raising sameness
What have we here? Anything noteworthy? Anything new? Not this time. On the contrary, Yves Chaudouët has elected to raise sameness to a higher plane. That is, to raise the issue of sameness, the stakes of sameness, and above all to raise, literally, physically yet almost imperceptibly, sameness per se. So what has he done? An “intervention” as artists say, but one so infinitesimal as to be well nigh invisible, refreshingly free of any vestiges of “creativity” or “expressiveness”. Everything that was already in the gallery — the minimalist plinth, the pared-down display case — is still there; and conversely, everything still in the gallery was already there, yet everything has somehow been slightly raised – in a sort of Hegelian moment of lifting perception to a higher plane without eliminating anything. The effect is not (merely) conceptual, but elegantly real. Chaudouët had artisan glassmakers produce a series of crystal stems for wineglasses, but without the drinking cup; gracefully robust little stems, designed to withstand the weight of the gallery furniture that the artist has placed upon them. Or more precisely, beneath which he has discretely tucked the stems. The levitation effect produced by the encounter of two highly different aesthetic contrivances – the wineglass stem and the Judd-like furnishings – raises, at least to my mind, the issue of the utterly unique ontological shift which art has undergone in recent times. A double ontological status whereby art can be both what it is – the self-same object or action – and a proposition (that is, an artistic proposition) of that same thing. And Chaudouët has done so without the mannerism of ostentatiously not-doing yet without further encumbering the world with art objects. The gallery becomes, irreversibly one might contend, and at any event inseparably, both what it is, and a proposition of same. A minimal augmentation within sameness.
Stephen Wright, 2011.
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