Paris, France July 1 - July 7, 2018
The MI*Galerie is pleased to present Dictionary of Rhymes July 1 through July 7 with an opening
The MI*Galerie is pleased to present Dictionary of Rhymes July 1 through July 7 with an opening
reception on Saturday, June 30 from 18:00 to 22:00.
The exhibition will feature the works of four young artists of different nationalities including Ochiai Motoyo (Japan), Nidgâté (China), and Hugo Servanin (France). In conversation with materials, forms, and processes of making, the artists are invited to reveal their personal perspectives for decoding the given reality which may subtly subvert one’s ordinary perceptions of everyday life.
The rhymes, acting as the main metaphor of the exhibition, are phonetic components of language generation, not directly referred to the composing of the poetry, but related to the poetics of presence, which catch our attention to the signifiers and redistributing the semantics. Literally, rhymes are the rejection to the silence. More like an activist manifesto, the dictionary refuses any paradigms. With special concerns on randomness and ephemerality, it generates new contexts constantly, which eliminates the given contents with graft and appropriation, creating a vibrant space of experimentation by varied media languages, aiming to provoke the sensorial engagement of the audience.
Currently Studying MA in the Global Art Practice Department of Tokyo Art University, Ochiai Motoyo’s cross-disciplinary practice associates with projects, installations, paintings, and videos. The artist is interested in examining the construction of individual subjectivity under the influence of the mass media. Being both political and aesthetic, public and private, Some Clear Voices is a multimedia installation that takes references from the Fukushima earthquake in 2011. Like a barrier, numerous colored threads travel across space with looping voices from news broadcasts in five languages. The paradox is the essence here. Audiences are invited to move, to cross, and to be immersed in a space of endless voices, without being able to see the screen sheltered from the strings in all directions.
Based in Paris, the Chinese artist duo Nidgâté (Qin Han & Yuyan Wang) will premiere their new works for this exhibition. On the mode of film appropriation, Nidgâté revisits horror cinema from/through the motif of the hands as a sequence of their previous work After all you've been through (2017). Hands are gripping organs intimately linked to actions: shaking, gripping or tearing,
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in an infinite round of expressive attitudes taken from their original contexts. This hypnotic breviary recalls in the hollow that the hands cannot remain inert and that they can act without the control of the one to whom they belong. The Devil in the Details is, therefore, a story of possession with multiple reversals.
Another highlight of the exhibition is At Night The Machines Sing In The Halls, which is a programmed automatic writing machine that continuously traces, on a mirror with absurd poems composed from the thousand words that are mostly used on the internet. In fact, this machine draws on a “dictionary” that transcribes the fluctuations of the largest international companies in the financial markets through words. The generated sentences are superimposed until illegibility as the expression of the incessant movement of capital. According to Franco Berardi, the financialization of the world is a “pure functionality without meaning”. And this abstract economy now owns its communication technology working here as a living organism.
Hugo Servanin's works appropriate the forms of classical sculptures and transform them into sensuous bodies. The three sculptures on display are from his series of works “Géant”, including his signature works: moist sculptures. He utilizes the physical pressure between the water pressure and the gypsum body to make the “dead” body “sweat”. The fluid endows life to the statues, shifting from iconography to pornography. As the time passes, the sweat gradually evaporates and finally, the Giants will be back to the lifeless world. The tension between the body and the liquid create an anti-utopian picture.
Additionally, Servanin transforms the gallery space into a conceptual store, in which he reminds the audience of the daily experiences of window shopping. Three high-definition inkjet prints not only appropriate the form of the religious triptych but also echo with the three pieces of giants’ garments. Actually, these garments are tailored for the giant series of sculptures. That is to say, a human being will never be able to wear these fashion products. His attitude towards the fashion industry system coincides with Nidgâté's criticism of global capitalism.
The exhibition is curated by MBA students from IESA Art&Culture: Zheng Huang, Yanran Wang, Oriana Llamas, and Tang Chen.
For further information, please contact Yanran Wang at yanran_wang@hotmail.com or +33 6 37 72 93 90.
