EDITO

NOTE OF 1st APRIL

Yangon, 40°C → Paris, 10°C
Myanmar → French
three seasons (rainy, winter, summer) → four seasons (spring, summer, autumn, winter)

THERE IS A DOOR BETWEEN LOVE AND HATE . . . (moe satt, 1st April)

“ I know this will be the last time
but I am not sad It was time
to leave you cause I love you
to leave you cause I hate you
to leave you cause I hate you
I know this will be the last . . . .”

* Emma Dusong, The Door, 2013

Opening doors…
“Doors open 45 minutes before start”
“Opening hours and entrance fees”
“De martes a domingo de 10:15 a 17:30”
“Free entry”
“Admission charge”
(if you don’t pay you aren’t free; if you’re not free you pay)

* Loreto Martínez Troncoso. “Entre” (meaning “enter” or “between”)

I NEVER SEE A GHOST BUT GHOST CAN SEE ME . . . (moe satt, 1st april)

a guest + a host = a ghost
(December 1953, Marcel Duchamp)

“the boundary between fantasy and reality is blurred”,
“we are faced with the reality of something that we have until now considered imaginary”

BLUR THE BOUNDAR BETWEEN SITE AND WORK . . . (moe satt, 1st april)

The Edge-Stones connect the Vière site, revealing the expansive force contained in the hamlet, which counters the invisible action of the mountains that set the village firmly in its own area.

* (Fabien Faure)

Élodie Royer: Could you talk about the inflatable you’ve made for the show?

Hans-Walter Müller: What’s very important in an art exhibition is that there’s a contact between the inside and the outside, a continuity. But without feeling that you’re outside. So the modular floor in the exhibition doesn’t touch the inflatable at all, it’s like an island.

*Abitacollection, interview with Hans-Walter Müller at La Ferté Allais, 30th august 2012

the exhibition space was my body, and talking to the public about my relationship with them was actually an analysis of my relationship with the table that was standing on my body…

* (Adva Zakai)

CAN OBJECTS TELL STORIES? (moe satt , 1st april)

These objects are evidence, revealing a social and economic environment.
A closer look allows us to obtain a more complex vision than just a wasteland.

My work is easily carried around and I react to situations, so residencies are a great context for it.

* (Pauline Bastard)

– They’re camouflage designs for boats, they used them to disguise warships in the First World War. Check it out,

* Olivier Bosson

“Power No Power is a work around power but also an act of empowerment of a group of youngsters who, because of their social destiny, have only very little power.”

* (Claudio Zulian)

“This object or this event might be anything and perhaps nothing”- with this I simply mean- art is not related to any specific object, material, or situation. It is profoundly true that anything can be art. Can. Potentially, anything can. Even nothing can.

* (Dora Garcia)

CONTENTS