(Mes) Equivalence(S) Curative(S)

Exhibition

Installation, photography, sculpture, sound - music

(Mes) Equivalence(S) Curative(S)

Past: June 6 → July 18, 2015

(My) Curating equivalencie(S)

A proposal by Grégoire Monsaingeon with Michel Aubry, Stéphane Bérard, Werner Büttner, Olivier Dollinger, Juliette Goiffon & Charles Beauté, Séverine Hubard, Jan Kopp, Rainier Lericolais.

What is the furniture equivalent of a body, an accident, a number, a dance, a mountain, a speech?

With a starting point. Between what tells things apart and what there is in common. A working equivalency, as one speaks of a working hypothesis. With a dual starting point I say; on one hand in perspective of any possible vanishing point that there is no possible equivalency in terms of art, and on the other, in perspective of any possible vanishing point that the equivalency be the very foundation in terms of art: how can an equivalency be proposed? Of a piece? Of a work partially or globally?

Here, the curatorial challenge is not to exhibit singularities, but to observe the bridges taken in common or avoided.

As concerns equivalency, mathematical analysis puts forward that it links two functions or two series that have the same behavior around a point or infinity. Logic tells us that equivalency is the relationship between two proposals or the assertion that both of them have the same truth value.

A certain Robert Filliou proposed, in his Recherche sur l’origine, that “in terms of permanent creations, a work — a thought, a concept, a birth, a growth, etc. — that is well done, badly done, not done” is equivalent.

The occurrences are numerous…

So I will say again: What is the furniture equivalent of a body, an accident, a number, a dance, a mountain, a speech?

Grégoire Monsaingeon

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Grégoire Monsaingeon was born in 1973 and lives and works in Paris. An actor, director, playwright and musician, he takes part in and/or creates projects always linked to the theater. For the last 15 years, he has closely accompanied the work of Gwénaël Morin, Fanny de Chaillé and Joris Lacoste. His view today on the work of artists of the Eva Meyer gallery is part of his determination to exercise a transversal practice of the arts.

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