COUP DE BARRE
________ COUP DE BARRE, INTO THE WINE CUBE
Rooted in their time, Trapier-Duporté observe and model a generational uneasiness, like an immense tiredness: this moment when the spirit wanders, ready to begin the fall, with all the resignation of a day that is about to begin. Their first gesture, which consists in changing the white cube into a wine cube, soaking the walls of the Glassbox with bad wine, is the point of fall of this cycle, a fermentation that is the perfect way to start our trajectory in the night of the revelers. Not far from the effervescence of the party, Trapier-Duporté see indeed the finitude, this definitive after party. Beyond the irony of the wine cube, their anguish is reflected in each of the works presented. It is in the Limbo, an overheated metal bar evoking ancestral funeral ceremonies. She is in the artist’s gaze, projected in video, witness of fatigue and abandoned by transcendence. She is in this kitsch appearance of a page from the myth of Sisyphus, stuck in the neck of the last beer that will not be drunk. She is, finally, on this vellum leaf, a reminder of man’s immemorial attempt to survive, to reach eternity through art, when the duo monkeys this gesture by revealing it with Viagra. An ironic celebration of a humanity that no longer even has the life force to live Priape.
THE LAST PART OF A CYCLE ABOUT CELEBRATION
It’s time for the after-party. This is how we come to the end of our season dedicated to partying. Predrinks, warm up, party & after; all these stages script, and ritualize, the celebration. If consciousness grasps reality through this segmentation, the party object spins and distorts itself, seeming to escape reasoning. Paradox of the party: neither a means nor an end. As if reflecting on the party evaporates it. Can the party be lived and thought simultaneously? For the collective, the choice of the party as a curatorial object was expressed as the claim of an intimate link between creation and the epoch in which it is embedded. In phase with the contemporary, attentive to its slightest rustles, the art that we were defending is a vehicle of sensations as well as of meanings, without one ever having to take precedence over the other. The same is true of the party, sometimes collective imagination, sometimes individual experience. By making subject and object converge, we wanted to bring about new modalities of reception through the festival, to think of the exhibition as a thin membrane between art and the world. Replace the work in its century.