{"id":2724,"date":"2015-05-29T00:00:58","date_gmt":"2015-05-28T22:00:58","guid":{"rendered":"http:\/\/www.davidmichaelclarke.com\/?p=2724"},"modified":"2017-05-06T16:36:47","modified_gmt":"2017-05-06T14:36:47","slug":"hulaut-clarke-vide-poches","status":"publish","type":"post","link":"http:\/\/www.davidmichaelclarke.com\/?p=2724&lang=en","title":{"rendered":"Hulaut & Clarke : Vide Poches"},"content":{"rendered":"
Conversation between Anabelle Hulaut & David Michael Clarke about the exhibition, Vide Poches.<\/strong>
\nM\u00e9diath\u00e8que, Ch\u00e2teau-Gontier, France.
\n30th May to 30th August 2015.<\/div>\n
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Exhibition: Vide Poches. M\u00e9diath\u00e8que de Ch\u00e2teau-Gontier. 2015. Photo: David Michael Clarke.<\/figcaption><\/figure>\n
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DMC : A year ago, a new \u00abm\u00e9diath\u00e8que\u00bb was inaugurated in Ch\u00e2teau-Gontier. It is situated in a great tree-lined avenue. Each time we look at it we think of the Guggenheim Museum in New York\u2019s 5th avenue.<\/p>\n

AH : We\u2019ve gone from the 19th century idea of a library with its dense shelving to a modern open space punctuated with furniture by Ron Arad and Verner Panton. There is also a dedicated exhibition space.<\/p>\n

DMC : As for our proposition, it seemed evident for us to base the project on artists\u2019 books, editions and multiples. Personally, we have already accumulated a considerable quantity of this type of object. We have also collected some \u00abstuff\u00bb that doesn\u2019t necessarily have the status of art, but is related to an art practice. Process objects that should have disappeared.<\/p>\n

AH : It was important for us to link up and share the objects that we had amassed through encounters on our artistic journey. For me it seemed essential to show the work of my father, because it\u2019s through him that I came to art. As a totally free spirit, he likes to shake the salad bowl of cultural conventions. Alongside his big installations, like the flying saucer that was shown in the Chapelle du Gen\u00eateil in 2012, he has always cultivated and disseminated his \u00abEpidemik\u00bb writing on all types of support. Among the objects and editions that we have chosen to present is a little box, quite intimate, entitled, \u00abBird-Fish-Man\u00bb, made in 1989 whilst artist-in-residence in Barcelona.<\/p>\n

DMC : As a child, I didn\u2019t come face-to-face with radical ideas about art. I came to art in a rather conventional way. I liked drawing. I like painting. It was only when I started to study at Glasgow School of art that I started to discover an enquiry into the nature of art itself, that art wasn\u2019t necessarily a noble thing, like oil on canvas, that it could also be something relatively poor like a box of matches. With fellow students like Jonathan Monk, Ross Sinclair and David Bellingham, and under the influence of teachers like Pavel B\u00fcchler, I could witness a never-ending experiment concerning these \u00ablittle forms\u00bb, both conceptual and pop.<\/p>\n

AH : After my studies at Cergy-Pontoise, I worked for the Galerie du Jour Agn\u00e8s b, and I learned how the art market functioned. However for me, what counted the most, was being able to meet so many artists. That\u2019s how I met Roberto Martinez, an artist who rarely works alone. He created \u00abAllotopie\u00bb, a proposition for a n interventionist network that attaches itself to the body of our society (public space, internet\u2026). He utilises codes from propaganda (posters, fanzines, stickers) with an approach that is petit and humorous to highlight the ambiguities of power, social unfairness, and the rules of the artistic game.<\/p>\n

DMC : Through my project \u00abPost Gods\u00bb, I had the chance to work with Pierre Belo\u00fcin and Optical Sound. Pierre is a visual artist, a curator, he runs his own record label, he publishes a magazine and the rest \u2026 He doesn\u2019t do all that beside his art practice. More it is his art practice, experimental and generous. Pierre is clearly the \u00abhead and the heart\u00bb of Optical Sound, and many are the artists, musicians and designers who have contributed to this collective project. Here he proposes a version of the \u00abCirculating Library\u00bb that was first made in 2008 in collaboration with Claire Moreux & Olivier Huz. Inspired by the sketches of Buckminster Fuller, and borrowing the form of a complex molecule, this work is in effect an attempt to render visible some of the possible relations that exist within Optical Sound. The work contains all the edition produced by Optical Sound since 1997 and will grow with the years with each release. If you wanted to listen to the records, you would have to take the work down, destroy the composition, deconstruct the relations.<\/p>\n

AH : Also present are \u00abEcart Production\u00bb et les \u00abEditions Cactus\u00bb, projects by artists Philippe Lepeut et Thierry Weyd respectively. These are also generous initiatives that can be compared to Optical Sound. We met Philippe Lepeut while we were students on the post-graduate programme in Nantes. He has always worked in constant dialogue with all sorts of creative people, and he thought that lots of video works were getting overlooked. That\u2019s why he set up Ecart, to publish DVDs. Thierry Weyd also works essentially in collaboration with other creators, often in groups. Facing up to the great machine of art, Editions Cactus are for him a way to establish a certain autonomy, even at a small scale. With his friends, through music, performance, writing, design or DIY, his projects are often discreet and intimate. His most recent project \u00abThe Container\u00bb is a way of supporting and transmitting the work of other artists towards a new public, much in the same way as a travelling salesman.<\/p>\n

DMC : We mustn\u2019t give the impression that all these works come from our personal collection. In order to produce an exhibition at the level of our ambitions, we borrowed a lot of work from the artists themselves and from collectors, both public and private, such as your parents, Robert Fleck, Bertrand Gadenne or Elsa Tomkowiak. In the end there are more or less sixty artists in this exhibition. The FRAC Pays de la Loire and the FRAC Bretagne lent us their archives of the project NCDGQAD, an art school by correspondence set up by Gilles Mah\u00e9 & Jean-Philippe Lem\u00e9e. There is quite a lot to see so we gave the dedicated exhibition space over to this relational work.<\/p>\n

AH : This piece by Gilles Mah\u00e9 and Jean-Philippe Lem\u00e9e is really situated on the halfway on the path that leads from Robert Filliou to ourselves. We really wanted to share this work that touches on the absurd, that is process-based, and allows the public to intervene. It really was a long-distance teaching practice. They thought up and created a real art school to address all types of representation. They even established evaluation criteria. The school existed from 1994 to 1997. Here we are showing a selection of posters that were produced at the end of each pedagogic session. There are also vitrines containing archives that reveal the procedures and life of the school, postal correspondence, drawings, tools and \u00abartistic recipes\u00bb.<\/p>\n

Anabelle Hulaut & David Michael Clarke<\/strong>
\nTranslation : David Michael Clarke<\/p>\n<\/div>\n

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Also see:<\/strong>
\nExhibition views : Marc Domage & David Michael Clarke<\/a><\/div>\n
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Links:<\/strong>
\nEcart Production<\/a>
\nEditions Cactus<\/a>
\nOptical Sound<\/a>
\nM\u00e9diath\u00e8que de Ch\u00e2teau-Gontier<\/a>
\nLe Carr\u00e9, Sc\u00e8ne nationale – Centre d\u2019art contemporain<\/a><\/div>\n
 <\/div>\n
 <\/div>\n","protected":false},"excerpt":{"rendered":"

Conversation between Anabelle Hulaut & David Michael Clarke about the exhibition, Vide Poches. M\u00e9diath\u00e8que, Ch\u00e2teau-Gontier, France. 30th May to 30th August 2015.     DMC : A year ago, a new… <\/p>\n","protected":false},"author":1,"featured_media":2729,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[35],"tags":[179,303,135,63,171,187,177,195],"_links":{"self":[{"href":"http:\/\/www.davidmichaelclarke.com\/index.php?rest_route=\/wp\/v2\/posts\/2724"}],"collection":[{"href":"http:\/\/www.davidmichaelclarke.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.davidmichaelclarke.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.davidmichaelclarke.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.davidmichaelclarke.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2724"}],"version-history":[{"count":9,"href":"http:\/\/www.davidmichaelclarke.com\/index.php?rest_route=\/wp\/v2\/posts\/2724\/revisions"}],"predecessor-version":[{"id":2882,"href":"http:\/\/www.davidmichaelclarke.com\/index.php?rest_route=\/wp\/v2\/posts\/2724\/revisions\/2882"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.davidmichaelclarke.com\/index.php?rest_route=\/wp\/v2\/media\/2729"}],"wp:attachment":[{"href":"http:\/\/www.davidmichaelclarke.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2724"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.davidmichaelclarke.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2724"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.davidmichaelclarke.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2724"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}