ABBAU, 2016

We wanted to get involved, to the best of our ability, and bring an external point of view to revitalize one of the establishment's showcases. It started work about ten months ago. It took this long for the thing to germinate and see the light of day. The collaboration of the two artists chosen to do this, Marie MATUSZ, a young graduate of the high school of art and design, and Edgard SOARES, older but from the same school, took place partly remotely. We are delighted to present ABBAU 2016.

A.Remor F.Taghavi

marie MATUSZ & edgard SOARES

opening Friday October 14

ABBAU, 2016 The relationship with the image is essential in ABBAU’s work. It is a painting in movement, a faceless portrait of a relationship with time. The stop is non-existent, the spectator will always observe the movement with his eye. The surfaces contain a depth of their own which attempts to distort the defined capture of the reflection that appears there.

 

ABBAU is an installation board. Space is questioned here through rhythms and internal and external movements playing with the perception of the spectator, of the street passer-by. The illusion of the image is a set of textured surfaces reflecting external and real objects. The challenge of the piece is to integrate into itself both a construction and a deconstruction of rhythms. The mirrored reflections refer to the cinematographic principle of the crystal image, when the actual image that appears is ultimately constructed from a temporary virtuality; Until the gaze finally finds itself off-camera. The interior architectures of this space unfold infinitely within a limited, pictorial framework.

 

The title, ABBAU, finds its origin in Husserlian and Heideggerian texts, which Derrida then took up by decontextualizing the meaning. ABBAU means the time of deconstruction. It is an internal circuit, which is nourished and disintegrated simultaneously. The mirror image is understood here in the sense that what it captures is never recorded in itself forever. The objects that prefigure in the work, belong to a bygone era of the specific place Remor, but still find a strong connection with the current activities carried out there. The temporality of objects juggles with their demonstration and their movement, an active and suddenly fixed time.

M.Matusz