Sur la mauvaise pente — De Roussan Gallery — Exhibition — Slash Paris

Past: June 22 → July 27, 2013

Nouvelles Vagues, organized by the Palais de Tokyo, enlights a new scene of curators by questionning the future of exhibiting. For this occasion, the gallery — among 30 galleries in Paris selected for the event — invites the curator Nabila Mokrani to take possession of the space to rethink the fact of exhibiting and shake the spatial marks. «On the skids» is part of fifty projects that will liven up the parisian artistic life this summer.

“Being on the skids indicates a change that does not meet the expectations of a moral society. The idea of slope suggests a perilous and decisive passage. This will determine the type of behavior that may be deemed as appropriate or on contrary non-standard.”

Source : L’internaute

“It came to me so obvious that the question of rethinking the traditional format of the show, finally allowed to exorcise from white cube rules — W.C sounded cheap anyway — and take into account the architecture of the gallery, to revisit the time element and consider the environment that sublime it, a point of falling. From a space in unique shape, eye and body are now engaged in an open and multiples directory of territories: wall, floor, ceiling, window, stair, door, brick, Indoor, Outdoor, times, opening days, closing days, private appointments.

If the interior of the gallery gives the most stable image plans and net hosting some headroom, revealing noble beams or steel arc … roaring gallery description proud of his hideouts …but what about to rethink it from the outside? Belleville, its sidewalks, ropy high and low? From an unstable point of view in sum, outside but inside, not from the outside but at the interior, you’ll understand, for destabilizing works too.

Thus, rethinking the traditional format of the exhibition through a scenography, is to start from a ground point of view — the relevant place to consider a hanging — to allow the effect of vertigo and to climb in a defined time the immobility of the flesh. In this exchange of greetings in good ways and in tensions, the views are reversed to indicate to the viewer that plays a redistribution of reports to the image, writing jumps, backpacks, legs crossed, and fingers in the nose. In short, slippery slope keeps us on stage and offers literally to the act of seeing an off field manifest.

My dear friends, you do not need to consult your ophthalmologist, or clean your glasses or find a seat … each work bears its degree of irregularity, a balance effect, its imbalance strength. Welcome to the slippery slope! The slope is a slippery ascending and descending at the same time, which articulates the space in visibility and mobility channels, in a grip logical of the slides, equip yourself as you can.

Even if, be reassured, quiet moments are planned. Consider for example, this straight ground extends right there, even if from a trap springs wood. The ground was it not known to host works without hooks? Sculptures, installations and other contemporary materials will then, find their mark so traditionally. And, for humans, I do not doubt of his capacity to be there.

Ooh, Ah, Rrrr, ffffff, with the body bent, head extended — I imagine myself on the slope.

Oh, I do not have — enough — said it my dear friends, you’re on the skids, so I invite you to rely on stable elements: the gallery and the curator — yes, stable — will be there to assist you. Space and time are recomposed; the delay is now more tolerated because it doesn’t exist in this exhibition frame. And if sharing such a mess could sometimes be a good side?

You might say — I guess — let’s experiment with them!"

— Nabila Mokrani