{"id":95663,"date":"2021-04-28T09:51:25","date_gmt":"2021-04-28T07:51:25","guid":{"rendered":"https:\/\/www.centredelagravure.be\/?post_type=extra&p=95663"},"modified":"2021-04-28T09:51:26","modified_gmt":"2021-04-28T07:51:26","slug":"b26","status":"publish","type":"extra","link":"https:\/\/www.centredelagravure.be\/en\/extra\/b26\/","title":{"rendered":"Val\u00e9rian Goalec"},"content":{"rendered":"\n

Dans sa pratique, Val\u00e9rian Goalec utilise des formes et objets existants issus de la vie quotidienne qu\u2019il emprunte <\/span>et modifie, en les apportant vers une lecture ou une appr\u00e9hension diff\u00e9rente. Ces emprunts d\u2019objets \u00e0 dimension utilitaire voient souvent leur fonctionnalit\u00e9 entrav\u00e9e voire a contrario <\/em>exacerb\u00e9e et, par l\u00e0\u2011m\u00eame, \u00e9galement inactiv\u00e9e, <\/span>dans un geste d\u2019une dialectique po\u00e9tique qui pose des questions existentielles fondamentales. C\u2019est ainsi que les concepts de vide et de trop plein, les modulations et variations s\u00e9rielles par rapport aux id\u00e9es de mesure et de rapports occupent une place s\u00e9minale dans ses propositions. En l\u2019occurrence, les propositions de Goalec, plac\u00e9es en fin de parcours d\u2019exposition, tout pr\u00e8s de l\u2019invitation \u00e0 l\u2019exposition en 2947 de Shuzo Azuchi Gulliver, prennent \u00e0 rebours les fonctionnements de l\u2019activit\u00e9 d\u2019exposition du Centre. Un texte d\u2019annonce qui pourrait \u00eatre le texte de cette ou son exposition est ici mis en \u00e9vidence. \u00c0 y regarder de plus pr\u00eat on r\u00e9alise qu\u2019il s\u2019agit a priori <\/em>d\u2019un texte automatique du type lorem ipsum<\/em>,<\/span> id est une suite de mots sans signification que l\u2019on utilise g\u00e9n\u00e9ralement \u00e0 titre provisoire pour calibrer une mise en page, le texte d\u00e9finitif venant remplacer le faux\u2011texte d\u00e8s qu\u2019il est pr\u00eat ou que la mise en page est achev\u00e9e. En l\u2019occurrence, ce texte latin tir\u00e9 originellement de Cic\u00e9ron a \u00e9t\u00e9 manipul\u00e9 par Goalec en le faisant passer par un traducteur automatique bien connu, ce qui, de fa\u00e7on surprenante, fait appara\u00eetre des mots fran\u00e7ais en total d\u00e9calage et anachronisme par rapport au texte d\u2019origine. <\/span>Ce texte est brandi de fa\u00e7on \u00e0 la fois revendicative et interrogative (les bras en Y) par l\u2019artiste : d\u00e9barrass\u00e9 de sa fonction de texte transitoire, manipul\u00e9 et d\u00e9form\u00e9, il acquiert plut\u00f4t le statut de signe m\u00e9taphorique de la fa\u00e7on dont le verbe, le langage et ses signifi\u00e9s peuvent nous \u00e9chapper, tant par la communication, \u00e9lectronique ou incarn\u00e9e, que par notre propre m\u00e9connaissance de nos racines et de ses racines. Trophy of an Exhibition<\/em> met en sc\u00e8ne une \u00e9dition de 90 chips d\u2019une marque anglaise directement identifiable, reproduits en r\u00e9sine.<\/span> Le nombre correspond \u00e0 la quantit\u00e9 que chaque paquet contient en moyenne, tandis que leur assemblage sculptural, tout en s\u2019inspirant directement d\u2019une campagne promotionnelle de la marque, sugg\u00e8re, tout en les d\u00e9tournant de leur fonction alimentaire premi\u00e8re, la cristallisation voire le gel d\u2019\u00e9v\u00e9nements festifs et c\u00e9l\u00e9bratoires. Enfin Tumulus<\/em>, invisible aux spectateurs car activ\u00e9 dans le secr\u00e9tariat du Centre, correspond \u00e0 l\u2019activation protocolaire par le CGII et pendant la dur\u00e9e de l\u2019exposition d\u2019un broyeur de documents programm\u00e9 de fa\u00e7on \u00e0 transformer le papier broy\u00e9 en confettis. <\/span>A l\u2019encontre de la fonctionnalit\u00e9 festive que ces derniers peuvent avoir, ces derniers serviront au rembourrage d\u2019une \u00e9dition de coussins, instruments servant au repos des travailleurs ayant contribu\u00e9 \u00e0 les produire par le fruit de leur labeur.<\/p>\n\n\n\n

English<\/h2>\n\n\n\n

In his practice, Val\u00e9rian Goalec uses and assembles existing forms and objects from everyday life that he borrows and modifies, in a way that renders them susceptible to a different reading or understanding.<\/span> These objects with a utilitarian dimension that are thus borrowed often see their functionality hampered or, conversely, exacerbated and, by the same token, also inactivated, in a gesture of a poetic dialectic that raises fundamental existential questions. Thus, the concepts of emptiness and overflow, serial modulations and variations in relation to ideas of measurement and relationships occupy a seminal place in his works. In the case, Goalec’s pieces are placed at the end of the exhibition route, very close to the invitation to Shuzo Azuchi Gulliver’s exhibition in 2947, and move in the opposite direction to an Art Centre’s exhibition activities. An announcement text that could be the text of this exhibition or his own is highlighted here. On closer inspection, it becomes clear that it is an automatic text of the lorem ipsum<\/em> type<\/span> (that is, a series of meaningless words that is usually used as dummy text to calibrate a layout, with the definitive text replacing the dummy text as soon as it is ready or the layout is completed). In this case, the Latin text originally taken from Cicero was manipulated by Goalec by passing it through a well-known automatic translator, which, surprisingly, makes French words and expressions appear that are totally out of sync and anachronistic with the original text.<\/span> This text is brandished by the artist in a way that is both declarative and interrogative (arms in the form of a Y): freed of its function as a transitory, manipulated and distorted text, it instead acquires the status of a metaphorical sign of how the word, language and its meanings can escape us, both through communication, electronic or embodied, and through our own ignorance of where we come from or where language comes from. Trophy of an Exhibition<\/em> features an edition of 90 potato chips from an immediately identifiable English brand, <\/span>reproduced in resin. The number corresponds to the quantity that each pack contains on average, while their sculptural assembly, although directly inspired by a promotional campaign of the brand, suggests, while diverting them from their primary food function, the crystallization or even the freezing of festive and celebratory events. Finally, invisible to the visitors of the exhibition, Tumulus<\/em> corresponds to the ceremonial activation by the CGII for the duration of the exhibition of a document shredder programmed so as to transform the shredded paper into confetti.<\/span> Contrary to confetti\u2019s traditionally festive functionality, it will be used to stuff of a series of cushions, instruments used for the rest of the workers who have contributed to producing them through their labour. <\/p>\n","protected":false},"featured_media":0,"template":"","class_list":["post-95663","extra","type-extra","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/extra\/95663","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/extra"}],"about":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/types\/extra"}],"wp:attachment":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/media?parent=95663"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}