Preceding The Bridge's Outer Ear performance, there will be an opening for Bridge member Jean-Luc Guionnet's pop-up exhibition informatique de soi-même in Audible Gallery. The exhibition will feature original video works on view the weekend of May 12-14 only.
Artist Statement for informatique de soi-même
dedicated to François Lagarde
That which is seen stems from the passage through a set of decisions one could call blind because they’re blindly followed: as logic would suggest, the detour through a machine-less machination, a self-computation that leads secretly – and insidiously – to what is exhibited. It’s not about breaking the secret of a procedure by making it visible – an open secret! – but about surprising oneself by grappling with the endpoint of a work carried out, with the relationship and the gap maintained in the shape of the detour and the resulting form. A drawing can also be made at different times in one stroke: piecemeal, that’s a rhythm which, between evidence of what happened and proof on results, tends to eat images in favor of a speck of time, graphite, and ink dust, which one can neither decide whether it masks or unveils, nor decide what it would mask or unveil if it did. Drawing blind? Blindly following a line that is being made, the conditions that make it pass here rather than there.
About Jean-Luc Guionnet
My musical and visual artwork subdivides itself into as many ways as occasions arise for me to think and act with sound and images. Those occasions have always to do with a strong meeting with an outside element: an instrument (saxophone or pipe organ), a theoretical idea (what is the "rumour"?), and mainly a collaborating friend (André Almuro, Éric Cordier, Éric La Casa, Pascal Battus, … Seijiro Murayama) ... Then follows a collection of themes which, in turn, influence the evolution of the work and define the direction of meetings to come: the thickness of the air; the pidgin (language with neither grammar nor vocabulary; tools considered as affective automatons; the perception of darkness unto itself; the algebra of and in hearing and vision, sound as a signature of space, a signature of objects, a signature of what it is not... The image between the proofs; the fact that French uses the same word – le temps – for time and weather; the propagation and spreading of forms in time, etc. Music and drawings are, then, a way to test reality.
Conversely, it’s a test whose experience defines a new distribution of the whole body by artificially localizing it in an unknown and purely physical environment, all the while being able to think, count, draw relationships or understand places, and so forth. The emotion I look for in music & drawing is made of all these strata and the shift of one over the other during the act of listening and seeing.