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Heterotopic ENTROPY?
















Emma Laine, untitled ("cocktail effect"), 2010
Photo: André Morin
Courtesy Triple V, Paris.



An empty room, empty of furniture ... Against the walls, only a few shelves, rare documents, placed on the ground, pinned. By land, residues different ... In the middle of the room stands a sculpture, mixture of organic materials, plant, resinous, forming strata ....
strange feeling, between abandonment, waiting ... and latency


Emma Laine in "cocktail effect" introduces us to his workshop, rather, photos of his workplace.
"cocktail effect" is part of a long tradition. Indeed, many representations of workshops in the history of Western art. These performances often took workshops obvious value, came to testify of joining their time, or less likely to report the progress of his time, and this engraving by Alberti, where the study of anatomy evokes medicine and its challenges. Emma Laine is not so far from this approach.




Alberti "academy painters"


documents lying around, scattered, a book of Goethe, phrenology board, photographs of a case of hysteria made by Charcot, an ancestor of computer and another photograph reproducing the fourth state of matter: the Plasma ... In this, Emma Laine joined this tradition of representation workshop but by establishing a chronology of the Enlightenment that would lead to today.

These documents obviously part of an archeology of creation, and remains, the remains of ancient exhibits that live in the studio ... work in progress, already exploited, or even like this sculpture, intended to be ephemeral ...

Show a workshop directed to participate in what is, the mental landscape of the artist.




Emma Laine, untitled ("cocktail effect"), 2010
Photo: André Morin
Courtesy Triple V, Paris.



To do this, Emmanuelle Lainé choses to put ourselves at the center of this workshop, it is presented in the form of panoramic photographs are enlarged to human scale to cover a large part of the exhibition space. It puts us in the center of the mental landscape, an effect reinforced by the fact that the sculpture in the center of the workshop. Space perception is reversed. We do look more around the sculpture, it surrounds us, surrounds us with his presence, stares at us ...

Would it not about world revolution, already disappeared?

Emma Laine appears to establish a similarity between an artist's studio and laboratory science: a place for study, research, speculation, too, think the world at present and also to the future ...








Many of his artistic works have to do with the scientific world, with works like "Goldfingia," inspired by a worm water, siponcle dating back to the Cambrian or even as "Extraballe" sphere polyurethane elastomer virtues bouncing, n ' at'elle not patented a work "The Discoplan" as the first Frisbee removable?

These speculations have brought some scientists to "fiction" to understand the world ... Emma Laine asks in his work, this part of Utopia, which houses the science ... It was a time when science claimed to satisfy or express the wildest dreams ... The positivist ideology, faith in science irrigating a Western thought, faith in the future, progress ... Just think of the first books to advance, Jules Verne, for example ... Then quickly came the disillusionment, the Nazi extermination camps, "Hiroshima" confidence in the big modernist idealism gradually became extinct, confidence in the future as a consequence ...





Emma Laine, untitled ("cocktail effect"), 2010
Photo: Andre Morin
Courtesy Triple V, Paris.



"cocktail effect" reflects the years of utopias where avant-garde artists like science, thought change lives, change the world.
The workshop would it then this place is just the latest utopian refuge, a place of refuge where they could still consider a heterotopia? Far less is safer. Emma Laine testify - also the disappearance of this specific inherited a classic design increasingly replaced by a nomadic practice, to "workshop exploded" as Peter would say Buraglio.

"cocktail effect" leaves us with a wasteland where nothing sensible would last, like this sculpture ephemeral.





Emma Laine
Effect cocktail
January 07, 2011-February 5, 2011 at

Triple V
24 rue Louise Weiss
75013 Paris France
info@triple-v.fr
www.triple-v.fr
Tel: +33 (0) 1 45 84

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Trans (es) machinic


















"Between the Lines" Mounir Fatmi ... An invitation to read between the lines, capture, interrogate Between the two, beyond dualities, binary principles ...


The cultural interpenetration feed the work of Mounir Fatmi. It continues to mix, to compare, mix, dialogue between cultures, his first, the Maghreb, by extension, the Muslim world and the Western world .... Mounir Fatmi: everywhere and nowhere ...





"And yet it moves! Revolution # 1" @ gallery courtesy
Hussenot





relations between cultures, often cause friction, antagonisms, misunderstandings are usually sealed under the seal of the conflict. Mounir Fatmi and could just play these antagonisms, just the face, pointing a finger, but his work is beyond dualism as binary west / east, north / south ...
This work proposes a real hybrid in which each culture blending, interpenetrating. Work which, to borrow the main idea of Edouard Glissant, where the mixing would take programmatic value, where you can talk ryzhome identity, an identity-relation who comes here to oppose identity root. The in-between Mounir Fatmi not the result of an attitude of withdrawal but introduces a polysemy where each piece is made responsible for a multiplicity of meaning. "Falls" cash reversed, which are spread on the ground metal letters of the Arabic alphabet, we should at the assembly, the reconstruction is constantly updated. This piece is emblematic of the approach of Mounir Fatmi. Invitation to rewrite Mounir Fatmi which provides us the tools.

"The Falls"

courtesy @ Gallery Hussenot



projections Mounir Fatmi as " Technologia " or " Modern Times History of the machine have a lot to do with" Rotoreliefs "or" The chocolate grinder "Marcel Duchamp,

They also refer to Sufism, the whirling dervishes, whose body dances, connecting earth and sky, become intercessors between the divine and the profane, the cantillations heady verses from the Koran, the mills Tibetan prayer to the haunting "Dream Machine " by Brion Gysin.

"Dream Machine"


These two works and to a lesser degree "Mixology " we seek our involvement in retinal mesmerizing experience as with the "Dream Machine . Impossibility of fixing the eye, with the focal point as the line of sight based perspective. Entering
impossible synchronic and diachronic, which refers to instability, lack of reference, the whirl of images, information, we constantly seek. Recall also our multiplicity.

" Modern Times A History of the Machine "... The Chaplin film in which it narrowly escaped the great mechanical shredders ... Of times gone? That of modernism and the avant-garde now classified as historic and outdated notions which Mounir Fatmi take note?
Cogs who gradually escape the hand worker. These workings, these mechanical symbols and incarnations of capitalist rationality leading to Fordism ... Time of industrial modernism that fades to give way at a less palpable ...

Cogs becoming virtual now until the evacuation of idea of the proletariat, of class struggle in our societies, machinery and mechanical but who find themselves relocated, Asia, North Africa ... "Modern Times, History of the machine, machinery, virtual engine that idles for himself, which produces nothing.

Although he denies it, try hard not to read here, including an art critic on a political dimension to an uncontrolled runaway of a new form of capitalism ... which post-modernism would emanate?



" Kissing Circle # 3"

@ gallery courtesy Hussenot

The use of coaxial antenna cable, VHS tapes, materials of choice among Mounir Fatmi to form his paintings and installations, reinforcing the idea of permanent flux, continuous irrigating our contemporary, our relationships with other.
The recurrence of formal vocabulary, makes a circle of rosettes, calligraphy, recurrence of material just dig the idea of repetition, movement, passage. Critical stance Mounir Fatmi also noting the loss of reference of the human lost in this maze of communication he has lost control. This facility

entitled "Licht Merhi! "makes photocopiers which are placed on the neon flash which attempts to capture the neon light of these plays on the repetition, copying, on the idea of reproducibility. But also plays light against light, grab a light from another light, thereby causing an aporia. Mounir Fatmi looks and plays the disturbance.
As in "mixology", the disc pack on the mixing deck are covered with Arabic calligraphy and are constantly rotated from left to right and from right to left, impairing the meaning of the reading of these characters ... visual disturbance and reflection on travel, friction, cultural interactions ... Query on music, culture industry by global excellence and its relation to Islam. Again, Mounir Fatmi has slipped in-between, just play the polysemy.

Mounir Fatmi lives in a world in motion, unstable due to displacement, slip, friction, a world which is not easy reading, his work shows.

Mounir Fatmi

"Between the Lines"

January 8 to 24 February

gallery Hussenot

5a Street Haudriettes

75003 Paris

Phone: 01 48 87 60 81

Fax: 01 48 87 05 01

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toé ...

toé Yeah. S't'encore moe. Must be done. J'te said. Ben as well as being there, listening to the video.

D.

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We wish you .. nanana And the Happy New year. "

7, .6, .5, .4, .3, .2, .1, .. HAPPY NEW YEAR!


Welcome Home 2011. You, the slut, or health or prosperity, happiness & peace for us all. (Should we really think a little too feminine.) May this new year just beginning is excellent. If not more exciting and better than the last.

2011 is synonymous with success for some of us. I feel that for me it will be. A wind of change comes you turn in my favor and I will do everything I can and more to achieve my goals in the new year.

My show in March, my enrollment in school, stay and keep fit. (And I do not mean to keep my circle shape.) Write, write & write again. Spending time with choice I like those bad ones that I do not like, well, too bad for you. :)

I know that 2011 will be my year, I feel it. And for all of you too. We all have the right to share a bit of happiness.

Shine, sing, play, taste, smell, try, laugh & have fun.
Happy New Year.

D.