Moaï, 2015, range-CD, impression lenticulaire, mousqueton, 20x40x148cm
Tipp-Ex, 2015, éponge, moulure polystyrène, tube de dentifrice, 20x 207cm
I’m glad that we worked together and i’m sure that we will again, 2015, pochette vinyl, disque, marbre, étagère, 90x54cm
Soupline, 2015, rideau, tringle, equerre, boîte de trois pellicules photo, 14x150x65cm
S.T.E.A.M, 2015. Corrugated PVC, flat screen, video 29mn on loop, sound, 90 x 200 x 10 cm, courtesy XPO gallery.
After eight, 2015. Modelling clay, music stand, perspex, spray paint, carpet, iphone wrap, 170 x 120 x 115 cm, courtesy XPO gallery.
Sometimes it is interesting to think that the objects that populate the space of our home environment undoubtedly extend beyond their mere physical presence. We know (according to Baudrillard), an object is determined more by the sign and the symbolic value it represents rather than the concrete and material aspect of his existence. In this sense, desire or lack of interest that is felt for an object is more a matter of assumed idealism that blind materialism.
I take interest in this or that object because this object reminds me a particular memory to a particular meaning, a vector of a particular ideal.
It is in these degrees of value we attach to them, we transform these objects into receptacles and witnesses of our usages, our customs, our small daily rituals. Thereby loading the memory of our lives, we add to their inherently ordinary characters, successive layers of our personal histories, making them unique and singular.
By the mere presence of our desires, any cheap trinket becomes a kind of memory card from the owner and by extension the potential marker of it in a given time in a given culture. And even after the death of its owner or by the abandonment of the latter.
Although orphaned, the object remains in charge, at least until its own destruction.
Thus, we could imagine that in 20 or 30,000 years if humanity still exists, probably she will continue to scratch the ground in search of a past too distant to be understood.
Maybe in this hypothetical future archeology it will still make sense and our objects, so stupid as they are, will then become the only witnesses of our existence.
Maybe geologists will conduct these ancient times coring in famous Ikea fossilized career and cryptographers generations try in vain to understand the motives of our plastic flower-patterns table placemats.
Maybe on markets and flea markets of the year 24 236 will sell for gold few lol-cats video yet ready to be viewed, that companies with a good quotation at this time will be those able to adapt to the scarcity of plastic packaging stock after the 20 and 21th century (The latter previously becoming fossil fuel in fashion) and that we will build temples in memory of a disappeared Prophet named "Internet".
Perhaps, finally, that of a newly updated block of ice, we discover an unusual assemblage of strange and colorful objects or as a untouched hard disk discovered at the bottom of a radioactive waste mine, updating others curious pictures
So in the spirit of our distant descendants will come a time of great reason and interpretations.
And despite the consistent assumptions and Answers built on the existence of these objects, only remain Doubt ... doubt that memory left there, doubt of lost sense, doubt of an art of a world engulfed in abyss of time.
kianamaiart
kaledo-art
theartofmadeline
tangentwithtanner