Topography of the unspeakable « Un coup de dés

Un coup de dés

Topography of the unspeakable

The Chapelle Saint-Jacques, located south-west of Toulouse, is halfway between the rural and urban worlds. From this in-between, two inclinations arise: to observe and to question. The intersecting perspectives of Valérie Mréjen, Géraldine Lay and François Deladerrière emphasise the radiant and the burning; warm breath, biting cold. Their images and words, placed on fragments of territory, give pride of place to that interstice where doubts and questions reside. The story thus exhibited follows the fragile contours of a wait favourable to experimentation. The centre d’art seen as a fiction at the heart of a reality, that of a changing territory.


Between 8 and 11

He had hurried to get there, hoping that the electrician would be on time and would stop by at the beginning of the indicated time slot. It seemed quite appropriate to him that, on the list of accommodations he had to visit on this long autumn morning, the employee working that particular morning on the connecting of electricity meters should start at his address. If things followed in the order he had predicted, he would have time to go shopping at the do-it-yourself department as soon as the man got into his car and started to drive away. He expected to arrive for the opening of the department store to avoid waiting, then come back with his purchases and start working. It seemed necessary to fix a few things before settling in this place that hadn’t been lived in for several weeks. He had been on the spot for half an hour, the time, he thought, for the man at the wheel of his vehicle to cross over a little forest following the winding road whose course looked like the body of a snake, and at the moment he looked at his watch, he had thought of particular place along the way, near the end of the road, where there was an abandoned sawmill: the man had surely gone passed it, and in a minute or so the sound of tyres on gravel would be heard. An employee of the electricity company surely knew all the ways around and would soon be there.
In the entrance to the flat, also entirely empty, he hadn’t found a nail to hang the key and had kept the bunch of keys in his pocket, which reinforced his impression of being ready to leave. Straight after coming through the door, he realized that in the haste of his departure he had forgotten to bring something to read. He went out into the garden after ringing the bell once or twice to be sure it could heard from the outside. He thought that for such a short time it wouldn’t be worth opening the parasol or sitting on a chair. The sky did not indeed incite one to relax, and without the slightest document to consult, even absent-mindedly, such as a free newspaper or a brochure that could have been left there since a month to fill up a hole somewhere, he couldn’t even devote himself to the absurd occupation of studying ads in detail or flyers for take-away restaurants, simply in order to have something to do. In front of the dirty wall, he said to himself that it would have to be painted.
Some children must have been helped by adults to make a cabin, but the objects and toys they had disposed there to imitate domestic life had also disappeared, and there were no more faded baby dolls or buckets half-filled with water, or balls of sponge to knead or bounce: he started to foresee the possibility of waiting a bit longer, or even spending part of the morning wandering from one room to the other just to see that nothing had changed, while overly studying the few signs left by the precedent occupants. He had difficulty in imagining the parties that must have been held there and the evenings by the fire, the groups of people assembled together, friends, undoubtedly, parents, and colleagues. Someone warmed up by alcohol had forgotten his jacket: it had remained hanging far from anyone’s view while its owner kept on asking himself, and this thought must have come across him like a sudden high temperature, where it could very well be. Only the disco ball could have recorded what had happened and remembered the vision of faces that were more or less shining with sweat, the enflamed looks and the last bursts of energy of a little group that kept on dancing in a circle while the other guests had already started to go home. The object posed on the ground seemed to look at him, wondering if it could be used again, once the electricity was put back on. The man didn’t really know what to do with the disco ball. He could have hung it on the ceiling, but he already knew someone who had one at his place and he could imagine the little smile that it would provoke during the first visits of their mutual friends.
But what was that technician doing. It was always the same thing. They indicate a time slot and only arrive at the last minute, when people have lost their patience.

Valérie Mréjen. May 2013
Traduction by Emmelene Landon


Click on the image to launch the slide show


Further reading:
La Chapelle Saint-Jacques
Valérie Mréjen
Géraldine Lay
François Deladerrière





, and lies listen to,, at the she said as a form of, while he said ? . a , .

 For the summer edition of uncoupdedé magazine, I have let myself be inspired by Mallarme´s dice play to shift away from a regular textual introduction. In favor of the actual produced material and the heterogonous spirit I found in the magazine, I limited myself to use what is already existing – titles and content – to produce a minimal intervention: , and lies listen to,, at the, she said, as a for of, while he said ? . a , . The economy of words deploys a visual and musical dimension of the assemblage, flames the collective effort, fulfills magical strategies, provokes memorization or, perhaps, simply incorporates the fundamental action given by this invitation: ORGANIZING UN COUP DE DÉS.

Manuela Moscoso



Architecture fantôme, 2011, Berdaguer & Péjus



Poinçon, Nicolas Floc’h, exposition à la verrerie de la Rochère, 2012. Production : centre d’art Le Pavé Dans La Mare. Mécénat : verrerie de La Rochère




Keith Sonnier, Saule pleureur de la série : Blatt, 1999 FNAC 03-044. Dépôt du Cnap - EAC, Donation Albers-Honegger © Yves Chenot pour Adagp

The Innocents © Dora Garcia

Power No Power, by Claudio Zulian, Aulnay-sous-Bois, France, 2013


La couleur ne brûle pas Elisa Pône & Stéphane Thidet film Super 8 / 2'20 / 2012 co-produit par le Centre d'Art Bastille, Grenoble. Photographie: Stéphane Thidet

vue de l'exposition The Die is Cast, Ryan Gander, 26/06 - 18/10/2009 - J. Brasille/Villa Arson

David Evrard, Spirit of Ecstasy, BLACKJACK éditions et KOMPLOT, 2012



Alain Bernardini, 'L’origine. Recadrée. Porte-Image, Guillaume, Chantier Giraud BTP, Borderouge Nord, Toulouse 2013', production BBB centre d’art /  commande publique photographique – CNAP

'Bonjour tristesse, désir, ennui, appétit, plaisir' Vue de l’exposition à La Galerie, Centre d’art contemporain de Noisy-le-Sec, Photo © Cédrick Eymenier, 2013



Bolstered by its success and visibility, uncoupdedé is restarting and subjecting existing content to new voices. In 2014 and 2015, several personalities from outside France will be asked to become our editorial writers for one season. Their task will be to place the contents of the whole magazine in perspective, presenting them differently through the prism of their subjectivity and their own work contexts. Catalina Lozano (Colombia), Zasha Colah (India), Moe Satt (Myanmar) and Manuela Moscoso (Brazil): each guest editor will reformulate the actions of the centres d’art, various aspects of which they will have been able to perceive through the magazine. Each editor-in-chief will “roll off” a cross-cutting text, presenting an original re-examination of the resolutely fluid geography of the centres d’art. uncoupdedé repeats the challenge from the poet Mallarmé, resurrected in the cinematographic art of Jean-Marie Straub and Danièle Huillet (Every Revolution is a Roll of the Dice, 1977). The guest editors, coming from a variety of disciplines, will widen the circle of expression even more. Choral and fragmentary, uncoupdedé takes just as much after puzzles as it does after memories, and naturally calls for cut-outs of every kind…



(Sao Paulo, Brazil)

Manuela Moscoso is a Brazil-based curator. Recently she has curated 12 Bienal de Cuenca, Ecuador; Yael Davis in the Museo de Arte do Rio Brazil; Fisicisimos, Universidad Torcuato di Tella,The Queens Biennale in the Queens Museum New York; or Before Everything in CA2M (Madrid). Together with Sarah Demeuse is Rivet, a curatorial office investigating notions of deployment, circulation, exercise, and resonance. Their research has materialized in projects in Spain, Norway, Lebanon and the US. Manuela Moscoso holds an MA from Center for Curatorial Studies at Bard College.