Josefina Anjou
InĂšs Di Folco
Garance FrĂŒh
Youri Johnson
Nastassia Kotava
Konstantinos Kyriakopoulos
[FR] â scroll for english
(1) Le fragile jardin que jâentretenais autrefois si fiĂšrement mâest tombĂ© des mains et sâest vu recouvrir par une dalle de ciment. Les nombreux Ă©lĂ©ments sĂ©parĂ©s ne font plus sens ensemble ; la cohĂ©sion a disparu et je me retrouve face Ă des fragments Ă©tiquetĂ©s de peau, dâair, de souffle, de son, de gestes, de paysage⊠Je nâai certainement jamais fait que faire passer des fragments, des Ă©clats et des graines au crible de mes doigts â parfois Ă©gratignĂ©s, parfois apprĂ©ciant la sensation ou le poids surprenant des matĂ©riaux. La possibilitĂ© du fragment, câest dâĂȘtre et non plus de reprĂ©senter, dans une forme qui, Ă©tant toutes formes, ne rĂ©alise pas le tout, mais se manifeste dans la discontinuitĂ©, voire dans la dispersion.
(2) On peut difficilement affirmer quâil existe un Jardin. Il existe des similitudes dans ce quâon nomme « jardin », mais il sâagit plus de rĂ©pĂ©titions, dâajouts dâhĂ©tĂ©rogĂ©nĂ©itĂ© dans lâunivers du jardinage. En ce sens, le witzgarden est simplement une occurrence, une rĂ©pĂ©tition, simple singularitĂ©, pure volontĂ©, dĂ©sorganisation, organe de la pensĂ©e collective...
(3) Peut-ĂȘtre que je nâaurais jamais dĂ» dĂ©tourner le regard du jardin. Jâai rompu son charme. Mais dâautres choses se sont interposĂ©es entre nous, ont distrait mon attention et tout espoir dâharmonisation sâest Ă©vanoui. Le temps est maintenant prĂ©cipitĂ© dans lâattente enivrante de la fin, hors de tout, parce quâĂ cĂŽtĂ© des formes de langage oĂč se construit le tout, sâactive une autre parole dĂ©livrant la pensĂ©e dâĂȘtre seulement pensĂ©e comme totalitĂ©. Jâessaie de remettre les mains dans la terre, mais les Ă©tourneaux poussent des babils discordants depuis les arbres environnants. Je me demande comment je peux me reconnecter au jardin. Je regarde de plus prĂšs les diffĂ©rentes parties et je me rends compte quâelles sâĂ©panouissent dans de nombreuses directions. Câest une discontinuitĂ© essentielle qui mâexcite et me dĂ©courage Ă la fois.
(4) Comme modĂšle relationnel, le witzgarden rejette lâĂtre et se veut entiĂšrement Devenir. Lieu de singularitĂ©s qui se refuse Ă la transcendance, on ne peut que sây promener. Ni « à la Française » ni « à lâAnglaise », câest un espace qui ne reconnaĂźt pas lâEssence comme le parangon de la vĂ©ritĂ©, et qui ne sâintĂ©resse quâaux diffĂ©rences.
(5) Ici, les mots sont posĂ©s en attente. Car Ă©crire, câest rendre possible une parole qui nâa pas pour but de dire les choses, mais de faire en (se) laissant faire, sans faire dâelle-mĂȘme le nouvel objet de ce langage sans objet. Je mâĂ©loigne et les mots me sautent dessus de maniĂšre inattendue. Des mots inattendus me sautent dessus. Deux mots accolĂ©s, Witz Garden : un contenant fragile et dĂ©coratif qui navigue en haute mer, je ne vois plus que lâĂźle alors que je devrais voir lâarchipel. Le fragmentaire encore indĂ©terminĂ©, le neutre comme dans « ni lâun ni lâautre » semblent communiquer « entre » les parties, pour former lâassemblage. Un jardin interstitiel, fractal et paradoxal, qui suppose une relation Ă lâautre, ne relevant ni des conditions objectives ni des dispositions subjectives, tendant Ă lâaffirmation dâun rapport nouveau, celui-lĂ qui est peut-ĂȘtre en jeu dans la juxtaposition qui donne son titre Ă lâexposition.
(1) The fragile garden I once proudly nurtured fell out of my hands and found itself covered with a concrete slab. The many separate elements do not make sense together anymore; the cohesion has disappeared and I find myself faced with labelled fragments of skin, of air, of breath, of sound, of gestures, of landscape⊠I have certainly never done other than pass along fragments, splinters and seeds sieved through my fingers â sometimes scratched, sometimes appreciating the sensation or the surprising weight of materials. The possibility of a fragment is to be and no longer to represent, in a shape that, being all shapes, does not realize the whole, but manifests itself in discontinuity, perhaps in dispersion.
(2) One can hardly say that Garden exists. There are analogies we refer to as âgardenâ, but they are more repetitions, added heterogeneity in the field of gardening. In this sense, witzgarden is simply an instance, a repetition, a simple singularity, pure will, disorganization, an organ of collective thoughtâŠ
(3) Maybe I should never have turned my eyes away from the garden. I broke off the charm. But other things have interposed themselves between us, have distracted my attention and all hopes of harmonisation have faded. Time is now precipitated in the exhilarating wait of the end, beyond everything, because next to the kinds of language where the whole constructs itself, another speech is activated delivering the thought of being only thought as a totality. I try to put my hands back in the earth, but the starlings warble discordantly from the trees nearby. I ask myself how I can reconnect myself to the garden. I look closer to the different parts and realize they are fulfilling themselves in many directions. It is an essential discontinuity that excites me and discourages me at once.
(4) As a relational model, witzgarden rejects Being and seeks to affirm itself as pure Becoming. This is a land of singularities that refuses any transcendence, one can only wander around. Neither âĂ la Françaiseâ nor âĂ lâAnglaiseâ, it is a place where essence is not recognized as the paragon of truth and where differences are the only thing that matters.
(5) Here, the words have been put on hold. Because writing is to allow a speech that does not aim to say things, but to do by letting itself be, without making itself the new object of this language with no object. I pull away from the words that jump on me unexpectedly. Unexpected words jump on me. Two contiguous words, Witz Garden: a fragile and decorative container that navigates in high seas, I only see the island now when I should see the archipelago. The fragmentary yet to be determined, the neutral as in âneither nor the otherâ seem to be communicating âbetweenâ the parts, to make an assembly. An interstitial garden, fractal and paradoxal, that supposes a relationship to the other, revealing neither objective discontinuities nor subjective dispositions, reaching towards the affirmation of a new relation, the one that could be at stake in the juxtaposition that gives its name to the exhibition.Â
Iéna Situation: note of intent
photos: Konstantinos Kyriakopoulos
from 11 to 18 September 2021 @ Iveco Nu·e, 49 Avenue de Strasbourg, 93130, NOISY-LE-SEC.