Carmen Perrin Irréversibles
Irréversibles are the universe expanding or the shifts of life that develop and envelop us, both inside us and outside us. Like the extremely precise and random lines that criss-cross the palms of our hands or the trajectories given rise to by the collision of particles crashing into one another at high speed, for each particular thing, animal, mineral or vegetable, the time taken shapes and improvises a specific cartography. A superimposition of rays consisting of straight and curved lines, born of a multitude of moving points that have become targets in motion.
In this exhibition, the spring is a mechanical element whose linear presence in tension is repeated along a medium to form a membrane that takes on its shape. The word displayed in the material by the spreading of the spirals refers to the irremediable action that distorts, transforms and lets through light.
Vers cibles, 2015
The use of pistol shooting targets was dictated by the simplicity of the design and the colour of the medium. This work, which explores the change in perception of a design according to the way it is organised in a volume, also works on the paradox between the intensity of this industrial colour, the vibrations produced by the superimposition of the design which is not the same if you look at it from a distance or from close up and the sensation of almost instinctive softness of the whole thing.
Entrepiches, 2015 are montages of lenticular images, formed by superimposing 2 different images, juxtaposed on the same laminated medium. The stratification of the images, surrounded by colourful sequins coming from a sheet of foam rubber slipped between each layer, reveals a hybrid object. This object links the mechanical dimension of an image in motion that takes the place of another image as you move around, with the kitsch and enigmatic appearance of an object that evokes in my early childhood memory objects made by the Aymara Indians in Bolivia for religious festivals through which they subtly laid claim to and juxtaposed the pagan and the sacred.
Dessus/dessous et Dessous/dessus, 2015, are wall sculptures made with cut-out lenticular images whose linear fragments have been mixed up and arranged haphazardly. The matter of the image is put in the background so as to work more directly with the light and chromatic intensity present in the composition of the material. The braiding technique allows a surface to be created that is more or less taut and bulging which opens the sensation towards the association of an illuminated screen with the depth of an organic membrane.
Densités are perforations on thin sheets of paper, industrially printed with decorative designs that overrun and overflow the medium. To make these works, the printed designs were chosen in relation to the way in which the system of perforation deconstructs and distorts them, to end with assembling a block of 31 layers whose thickness produces the sensation of a substance or material more than the presence of an image.
La petite fille aux canards, 2015
This fossil is a structure of 31 pieces of plastic sheeting, hanging a few millimetres apart. Before being perforated, these media have been printed with the same image, based on a montage of two photographs taken a few seconds apart from one another in 1957 by my father Alberto on the banks of Lake Titicaca in Bolivia.
This sculpture consists of a montage of life-size plastic animal bodies and polystyrene balls. There are two geese, a cormorant, a pink flamingo and two herons. These birds, which can be found in hunting and fishing stores, are usually used as hunting lures or decoys, for example to deter herons from coming to eat the fish from a fish-farmer’s pools. A target and a trap.
Glisse, contourne et perce, 2015
The idea was to pull sculpture towards drawing whilst retaining the gesture of perforation that becomes a point connec-ting the route of a line on the sheet of paper. The perforation is a stopping point, the line advances and passes around the holes to become a multiplying course, progressing rhizomatically through the medium. Whether the line is curved or straight, the colour floods over the sheet spreading its lines in a consistent way, as though to become a layer superim-posed on a preceding layer and which will in its turn be partially covered by the next one. Each drawing is the cartogra-phy of a period of a time and the moment of a weakening of the paper which causes the dimensions of the drawing to glide progressively towards that of a palimpsest.
Carmen Perrin, October 2015 Translation : Gilla Evans
Luzia Hürzeler Knowing me
For her new installation April 1984 and 2014 (2015) Luzia Hürzeler has reconstructed a thirty-year-old slide. An off-screen voice informs us that it shows the artist as a child, next to her noticeably older sister. It is the photographer and father of the two sisters who describes the image and talks about how he took the earlier picture.
In the installation the two slides are successively projected on to a screen.
The old image slowly dissolves into the new one after the artist asks her father whether he could imagine taking the picture again today. The physical effect that the passage of time has on the location and the two individuals is visually surprising and leads to an oddly shifting effect. The formal similarity of the images all the more clearly emphasises the changed outward appearance of the women. Through the juxtaposition the clear-cut project of repeating a thirty-year-old photograph is invested with a strange aspect. The photographic gesture of recording is pursued to the point of absurdity, and photography’s deep-rooted temporality is simultaneously confirmed.
In April 1984 and 2014 Luzia Hürzeler establishes a comparative aspect that is characteristic of her work. In her videos and installations she juxtaposes things, people or animals in a way that brings about a shift of perspective with regard to existing conditions. This can, for example, be the encounter between a lion and his stuffed grandfather (Il Nonno, 2009/2010) or, on the other hand, that between a cat and a bust of the artist made of cat food (Selbstporträt für die Katz, 2006). As had already been the case in her previous installation – How to sleep among wolves (2013/14), for which she had a sculpture of herself made by a sculptor – Luzia Hürzeler has also supplemented her visual reattributions in her new installation with a reflection on artistic authorship. By confronting the two slides with one another, the artist invokes not only a motif from the past but also the photographic gesture of her father. As a form of performative appropriation – which is also underscored by the title of the exhibition, a quotation from her father’s commentary on the picture – Luzia Hürzeler uses her reconstruction to ask questions about the links between work, creator and model.
The special edition April 1984 will be released on the occasion of the exhibition at the Galerie Gisèle Linder. It shows an additional photo of the two sisters taken on the same day, shortly after the other picture. However, this time they are seen from behind, as they move away from the photographer.
Johanne Mohs, October 2015
Translation : Michael Wetzel