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Hanging

HANGING 2018-ARCHIPELAGOS

A collection is made up of an ensemble of singular works which are nonetheless linked in several ways. Making a selection from within a collection is thus an act that renders these singularities and correspondences visible.

The concept of the archipelago is suited to the appearance of our worlds. From it, we borrow the ambiguous, the fragile, the derivative. It is in keeping with the practice of circumlocution, which is neither flight, nor renunciation. [...] We perceive what there is of the continental, the substantial, which weighs upon us within the grand thoughts of a system which, until now, has presided over the history of humanities, but is no longer adequate for our outbursts, our stories, or even our no less magnificent wanderings. The thought of the archipelago, of archipelagoes, opens up these seas to us. *

Among the possible routes, echoing the exhibition Un Désir d’Archéologie, is a reexamination of certain works that can be outlined along the notions of traces, vestiges, fragility, with the works of Giuseppe Penone, Gabriel Orozco or Jean-Luc Moulène. Danh Vo’s work, We the People, made up of fragments of the Statue of Liberty, is both a ruin but also the perfect image of an archipelago that is laid out along the route of expositions in the Tout Monde so dear to Edouard Glissant.

This hanging of works reveals the acquisitions and recent loans of Omer Fast, Lawrence Abu Hamdam, Suzanne Lafont, Patrick Saytour and Suzanne Treister.

Patrick Saytour’s work completes the important ensemble around the Supports/Surfaces movement. In Continuity, whose subject is a soldier’s return from the Iraq War, Fast pursues his questioning of the production of media images, even as he analyzes the “spectacularization” of information that creates our fragmented rapport with the world. Lafont, like Abu Hamdam or Suzanne Treister, reveals the invisible networks and information that currently control political and social spaces. Lafont’s installation was realized using the book of the great architect Rem Koolhaas, in which the commercial flow and new spaces linked to our consumer society are analyzed. Abu Hamdam seeks to examine the manner in which the displacement of populations is controlled, with particular focus upon the way African migrants are managed by Western countries. In her series of diagrams, Treister visualizes the dematerialization of financial flows and the irrationality of the algorithms that rule the capitalist world.

* Edouard Glissant, Traité du tout monde, Gallimard, 1997, 31.