Founded on a belief in the liberating power of culture, Le Pavé Dans La Mare in Besançon is presenting a political interpretation of the world, taking a critical, transversal approach. What makes this centre d’art unique is the link developed over the years between companies and artists (artwork production, artist residencies in companies, the sharing of know-how, mediation directed at new sections of the public). Laurent Devèze delivers a personal, critical vision of a work Nicolas Floc’h created in the context of a partnership with the company Mantion and the glass factory in La Rochère.read
The centre d’art Le Pavé Dans La Mare has established privileged connections with the corporate world, thanks to initiatives leading to the production of art works such as patronage and the establishing of artist residencies.
Nicolas Floch’s “Module Réf. 9030”, living sculpture is an amazing piece of artistic creation ; it combines in its primary form the living aspect of vegetation with a conveyor mechanism. The artist willingly entered in the spirit of the game of creation, using materials, products and processes of the Mantion company. The art work was shown in 2010 at the Besançon Citadelle and was then transformed in 2012 at the glass factory of La Rochère. Nicolas Floc’h adapted “Module Réf. 9030” to the new environment offered by the space and especially by the workshop in the glass factory in which the sculpture blends until becoming one of its constituents. The artist worked with the glassblowers to produce 80 white blown glass bubbles, in the initial shapes before any manual transformation. These bubbles were hung up to the overhead circuit and follow circular figures in space due to two levels of tracks.
The art work “Module Réf. 9030” has been realized thanks to the Mantion company (industrial production of fittings for sliding doors) and to the support of the oldest active art glass factory in France, La Rochère.
Being an art centre is to assume being a nerve centre. Both a sensitive place where forms and concepts are invented and a starting point from which flow various, multiple pieces of information that are as paradoxical as needed. More so, the receptacle of the world strains, even sometimes convulses and the melting pot of a universe which is never an environment since it will not play the role of being simply decorative. However, it is doubtless because of this double flow, because of this almost organic breathing, that an art “centre” is never a centre as defined by conventional geometry: a fixed determination aiming to be considered as a fixed reference, the so terribly called “blind spot”. The Pavé Dans La Mare, as its eloquent name implies, cannot elude this thought: a stone thrown into the water creates waves which not only skim the surface of the pond to its farthest edges but also makes ripples forever possible. In short, a mere stone thrown into water makes us forever unable to believe in any perennial stillness of things. Creating turbulence and ripples and welcoming them in return, should be the mission of the art centre. It should not unilaterally spread the aesthetic good word, nor should it give birth to ready-made preset works; it should rather fit into an “élan vital”, a vital drive which the author of Matter and Memory would not have denied. While elsewhere the temples distil to a public necessarily chosen from among the faithful more and more elaborate preconceived selections, the art centre remains irreplaceable because of its rhizome-based mission which cannot be separated from a constant exchange of sap with as many as possible. Yet at the heart of this impulse prompting the art centre lays the relationship it enjoys with the artist and the territory.
First, with creators: an essential relationship so intimate that sometimes one cannot recognise who claims the origin of the work: the desire expressed by the artist, the constraints cleverly turned by the centre into a negotiated strategy…
Technical and aesthetical exchange, established complicity, trust, all of these factors contribute to a plural production which is as distant as possible from the antique bourgeois conception of the art work as a solo work born only from the mind and the wretched hands of the inevitably cursed creator.
But this dialogue, in which the high complexity and intimacy should one day be described, can reveal its truth only if it occurs somewhere. This topology of invention is in no way commonplace, contrary to what the above might suggest.
Once more, the place is not a mere localization.
Because of the very nature of its mission, an art centre maintains with its territory the same relations that a grand cru maintains with its soil.
People have made hundreds of attempts to plant the same grape varieties in identically composed soils located poles apart from their original soils; hundreds of times all over the planet, they have been disappointed by the results.
It is probably because such an origin cannot be reduced into an inorganic chemistry equation or into the most advanced pedological analyses. The secret of the process probably owes more to the variations in micro-climatic sun exposure due to the different orientation of the various slopes and also to a human chain of know-how and knowledge involved from grape-harvesting to the wine-making process.
A very good wine will never be tasted only on the basis of its organic composition.
This metaphor will disturb both those who only drink water and those who defend the supremacy of the “court” in a small so-called capital. The latter still seriously believe that grounding goes together with seclusion, while, on the contrary, as Edouard Glissant professed, coming from somewhere is the essential condition to be a real citizen of the “Tout-Monde”; “ crossroads people ” never consider themselves as outside the rules of gravity
In other words, if the heart of the art centre can beat to the rhythm of the world, it is because its permanent invention throbs and organizes itself within it and moreover because the perpetuum mobile which drives it ensures its grounding.
The story of the art centre is written year after year by these bonds woven with craftsmen, businesses, territorial authorities and sometimes neighbours whom it has been able to both listen to and enrich by its experience.
An art centre makes creation exist by localizing it and this embodiment is all the more relevant when it gives to the artist not only the means to create but also the means to surpass himself.
Considering this aspect, Nicolas Floch’s example is the most eloquent. Firstly, the work was born because of the dialog with the Mantion Company made possible by the Pavé Dans La Mare. Nowadays, this company sees an artist’s request as an opportunity to demonstrate its exceptional technical capacities beyond the usual boundaries of business, and well beyond its present or potential clients. Through the demands of the artist, the company is able to publicly show its know-how. But the mystery of this all defining relationship between the artist and the art centre is made even clearer when the work is given a second life thanks to a second presentation linked to a new partnership. Indeed, the traditional techniques of the glassblowers in La Rochère will follow the mechanical structures made by Mantion, thus allowing the artist to play with this new opportunity. The plants which swirled as in a robotized assembly-line at the Hangar aux Manoeuvres of the Besançon Citadelle have now mutated into tears or translucent water drops at the glass factory of La Rochère.
Nowadays the artist is like a composer who knows how to orchestrate his score depending on the various instruments available. Moreover, the work seems to include all the others, almost implicitly, and that is what makes its importance.
Indeed, who would grant Bach less genius just because his concerti make the brass or the strings resonate with the same power and subtlety as the great organ pipes?
Nicolas Floc’h is an author in the full meaning of the word: he has succeeded in giving birth to an Ovidian creation able to change according to the various partnerships, revealing its deep essence and its amazing plasticity, without diminishing its integrity in any way. The work is precisely the whole collection of its potential transformations, a rare creation which includes in itself all its future transformations. The artist – who is more than ever deep in the heart of his subject – has succeeded, through this dialogue with the art centre and its territorial partners, in creating a monadologic, living work, challenging more than others the question of nature since it can evolve internally in reaction to the extreme variety of external demands.
However, the success of such an adventure finds its complete meaning in this attempt to define what an art centre such as the Pavé Dans La Mare is today: both a collection of projects and melting pot of their transformations.
To exceed the artist’s fundamental desires in order to help him determine to which extent he may push his initial concept. To help him create and not only to reify, which means to assist him in becoming aware of the way his original concept may lead his ambition to the extreme. A little like the test pilots who demonstrate to the engineers or inventors how their inventions may fly farther, higher, faster than they had themselves expected.
This transcendence is necessary to a creation which attempts to stay alive and which does not want to be enclosed in a mere production of a fixed object; but it could not be done without a deep territorial understanding which is the only way to give rise to complicities and to manage the effects of a work, including the responses which it deserves and which it calls for.
Finally, the Pavé Dans La Mare as an art centre is not synonymous for “to put one’s foot in it”; it rather cultivates with the science of its self-produced swirls, as the organ player knows how to play, after years and years of efforts and complicities, with echoes from the pillars of the cathedral in which his instrument is enshrined, benefitting the work which joins together the most diaphanous of prayer with the most imposing architecture to better lose them
Laurent Devèze, philosopher
Director of the fine arts Institute of Besançon France-Comté
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
“Doors open 45 minutes before start”
“Opening hours and entrance fees”
“De martes a domingo de 10:15 a 17:30”
(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)
Bolstered by its success and visibility, uncoupdedés.net 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. uncoupdedés.net 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, uncoupdedés.net takes just as much after puzzles as it does after memories, and naturally calls for cut-outs of every kind…
Moe Satt is an artist who lives and works in Yangon, Myanmar. After graduating in 2005, he is part of a new generation of Burmese artists to emerge after 2000 with a different approach to conception and embodiment. In 2008, he founded and organized Beyond Pressure, an international festival of performance art in Myanmar. As a performance artist, Moe Satt has performed in galleries and also on the streets of Yangon. He has actively participated in live art festival in Southeast and South Asia, and occasionally in the West.