• NOV 17 to JAN 12
    Solo Exhibition
    Learning with errors

    Category

    • Solo Exhibition
    • Contemporary
    • Emerging Artists

    Dates and Opening hours

    NOV 17, 2012 to JAN 12, 2013

    Event Location

    Galerie Crèvecoeur

    4 rue Jouye-Rouve 75020 Paris
    Paris
    France

    View website

    Artists

    Information

    The word is derived from Latin error error, erroris, properly "Action wander here and there" and face "uncertainty, ignorance" where "mistake", "illusion", "fault", and in Latin Christian "heresy." It is a derivative of errare figuratively to "cheat".

    Xavier Antin does not seem to be interested in the history of the production and reproduction of objects when it has a tear, an accident. It sets up production environments in which accidents occur, as evidence of a larger narrative supporting the work processes. Sometimes it takes the production chain in reverse, as in Five Conversations, where, while dismantling orally with the responsible production of highly specialized business processes that lead to the production of an object such as a chair or pool table, it supervises the execution of its substitute, a cube synthesizing all its intrinsic qualities, but lacks any functionality, tended towards abstraction: a cube of conversation, time for a diversion tool of industrial production .
    When it creates its own supply chain, and it is related to four printers from different eras, each becoming a "responsible" one of the four basic colors full color component, it proposes a new temporality Printing images produced are built through four layers of time. The book is called Just in Time, or a Short History of Production. A brief history of production, we could design as well as a brief history of diversion. Used office printers, it has also developed a publication as a manual of hacking inkjet printer called Printing at Home (second edition published by Ditto Press, London), which is part of this attempt takeover by the individual means of production globalized.

    The artist presents five cubes / conversations made in connection with a series of impressions office. More than the result of a diversion, they are the result of an attempt to go beyond ordinary means he likes (here a laser printer A4). Research initiated during a residency last spring at Parc Saint Léger, which leads to the production of a variety of formats A1, eight times larger than A4 imposed by the printer, including the physical traces of a mechanical errors - may be understood as "wandering" or "uncertainty". Emerges when a series of objects hybrids between painting and instant replay and serial; having a surface structured by its manufacturing constraints, the gate of a production process. A grid that can be directly evokes the grid layout designer or more symbolic emblem of modernist ambition if one follows Rosalind Krauss (the grid is the structure that allows contradictions between scientific values ??and values ??of faith to remain in the consciousness of modernity). Or the laborious search for a reason, a function perhaps.

    The syntax of cubes and impressions deployed in space examines how an object or surface is drawn, "designated", its history, its process and production context. Plane on this device as the tutelary figure of William Morris, artist of the nineteenth century, who inspired the Arts & Crafts movement, publisher, printer, master of decorative art (known for its textiles and tapestry patterns) but also a writer and political thinker . A proto-designer remains a fundamental figure in the construction of social utopia design having crossed the century of modern fervent advocate of democratization of art and its know-how, so that everyone can become an artist applied in the making of everyday objects for his own use. A design concept strangely detached from that underlying liberal economy in the new century.

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