The Parisian gallery Jocelyn Wolff hosts “Replique de la chose absente,” the solo exhibition of Guillaume Leblon. The operative logic giving life to the works, realized for the occasion, consists in creating a “space-time box” of latent energy. This energy, at the same time distinct from reality and linked to the memory of it, reveals the strength and ambiguity of the objects that inhabit the place. The objects — as a trace — resist. This drag force structures a space and a time that belong to the realm of art. | ||||
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The artist uses again and again the same objects and materials (see glass tablets, extremely important for Leblon, in works like September and Reversibilité), and through repetition these elements create a feeling of the uncanny — a feeling also noted in a text on Leblon by Luca Cerizza. At the same time, Leblon conceives his entire work as a unique body and inserts his compositions in a vital cycle — life-death-rebirth — antithetical to the “trivial” objects composing the pieces. Theseobjects, in their warm but distant concreteness, through reappearing as an evocation of swimthe world — the “illusion of the real” — gain an aura. Four gongs (16h, Frévent) beat the time once every hour, reminding us once again that inside this “other” space we are surrounded by a totality, an ensemble in which the single works converse with each other. The place is imbued by the presence of the world; the participation of the spectator, moving around a living environment, puts it into focus again. A certain mysterious “ghost” of the history of art, from modernism to minimalism, previously colonized in a system of objects, comes to life again. Far from a postmodern dimension, the palpable body takes possession of its soul. “Things acquire sense when they get to the end: then history starts.” |
http://guillaumeleblon.com/works.php
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