philosophy is at the origin of numerous reflections on the nature of
our world as well as the existence of universes parallel to our reality.
These thoughts were “materialised” in the concept of infinity
- described by the indefinite and complex nature of the physical world
- as well as in the suggestion that a constant and eternel movement
pre-exists in all things.
The works presented in the exhibition address issues surrounding the spatiotemporal process, questioning our perception of things through varied mediums and materials as well as the idea that each piece is the comprehensive result of an experimental approach. Each work emphasizes the idea that movement is an intrinsic and permanant flux existing in all things, as well as being the sign and measure of space and time.
Grey Matters, 2009
A close, critical observation of what forms a vivid picture in our
everyday world is the starting point for all of Gwenaël
Bélanger’s projects. His approach, he says «
is characterized above all by a “bricoleur” attitude which
consists of playing with the limits of the perception we have of reality
and its grey areas, using graphic and photographic processes. I want
to exploit the interaction between what we see and what we imagine,
or what we recall, in the various human activities. » The video
“Le Tournis” embodies perfectly this exploratory vision
of our day-to-day; it is one of those “machinations of the gaze”
through which forgotten or inaccessible visual zones emerge.
Ori Gersht uses the medium of photography to develop specific environments in which the image explores personal and collective memory through geographies and metaphysical spaces – and also reflects on advanced technologies in photography such as freeze-framing actions. Through a filmic trilogy composed of a series of photographs, Gersht addresses what Walter Benjamin called “the optical unconscious”, and namely the moments exposed by photography which the eye cannot perceive. Inspired by the frozen aspect of a classical still-life, the series “Falling Bird”, evoking a particular painting by Chardin, shows the slow fall of a bird into a dark liquid surface. The long journey, orchestrated by gravity and given rhythm by the camera, underlines the tension created when a body passes from one state to another. Creating a multitude of micro-events, the slow motion and the decomposition of movements thereby intensify the action, triggering chain reactions reminiscent of a geological disaster.
Lori Hersberger’s world expresses a technical and sensorial plurality resulting from the experimental exploration of multiple medias and genres. In his spatial works and installations, composed mainly of different materials such as broken mirror and neon light, or other atypical objects such as old carpets or empty barrels, Hersberger addresses issues of the semantic double nature of phenomena. At the end of the 90’s, abstract painting appears in his practice, initiated by a free gestural movement and composed strictly of fluorescent day-glo colours, with various techniques such as spray, sponge, dripping or stencilling. This moment is a radical milestone for him whereby a subversive body of work is introduced into his practice. Hersberger uses the processes of construction and deconstruction to create a zone of hybrid forces of individual or personal feelings of freedom and intension, where irony and superfluity, flirtation and antagonism overlap. The presented works on canvas and collages express well this synesthesia of artificiality and authenticity which generates a permanent flux evoking notions of infinity, visibility and intrinsic dynamics.
(1) “The Hidden Land”
is the name of a sacred region, of extremely difficult access, situated
in the Himalayan mountains. It is considered to be one of the
most secret places in the world. Even the satellites are unable
to show details of this area, which is perpetually covered in
mist and shadowed by immense mountains. This area perfectly illustrates
the thin line separating reality and fiction and the idea that
a fictitious world is only so according to whether we believe
in it or not. It is typically the case for this place as the
legend says that one must believe in its existence and reach
a certain level of spirituality to be able to access it.
Bélanger was born in Rimouski, Quebec in 1975. He lives and works
in Montréal (Canada).
was born in Basel (Switzerland) in 1964. He lives and works in Zurich
(Switzerland) and Berlin (Germany).
© NETTIE HORN