JUMP — Exposition inaugurale — CAC Brétigny — Exhibition — Slash Paris

Past: November 19, 2016 → January 22, 2017

Jump — CAC brétigny Pour la première exposition de sa nouvelle directrice, le Cac Brétigny déploie avec Jump, une proposition radicale et convaincante ... 2 - Bien Critique

The CAC Brétigny, reopens its doors in a restored space with the inaugural exhibition JUMP

——— CAC BRETIGNY WILL BE CLOSED FROM DECEMBER 24 TO JANUARY 2 INCLUDED

“To jump” (as in the title of the show) is to pass from one place to another, from one subjectivity to another, from an object to its possible use (or not).

Vue de l’ exposition inaugurale « Jump » Photo © Aurélien Mole

JUMP, a spatial presentation-installation devised by the artist Jean-Pascal Flavien, aims to connect the two sides of a single entity — the galleries of the art center and its digital space, offering both of them a reciprocal yet uncertain translation. There are as many kinds of jumps as there are combinations of possible elements.

The works of the featured artists invited to populate Flavien’s installation play on the ambiguity of their status, be they objects of connection or conflict, personal or utilitarian artifacts, ambivalent forms, or passages between different realities. JUMP experiments with the way pieces of art function, work in the day-to-day world, seek to redefine traditional categories and uses, and radically or surreptitiously sow confusion in “common sense.” Mutating throughout its run, JUMP reflects the use of the space while putting the shifting identity of the venue in perspective.

Vue de l’ exposition inaugurale « Jump » Photo © Aurélien Mole

JUMP is the opening movement of “Chants de distorsion” (Distortion Songs).¹

The expression “reality distortion field” came to be applied to the charismatic power of Steve Jobs, the cofounder of Apple, who was able to influence the most reluctant and grudging of his colleagues. A magnetic field seems to deform the perception of anyone who comes within its bounds, a modification of reality that is always in the interest of its transmitter. If the function of the work of art is similar to that effect, some pieces are peculiar in that their languages are not restricted to transmission, and their songs are built around the very relationship that connects them to their receptors, to the other.

¹ The French title “Chants de distorsion” is a play on words on the French for “distortion field” (champ de distorsion), thanks to the homophony of chants (songs) and champ (field).

Vue de l’ exposition inaugurale « Jump » Photo © Aurélien Mole