Cristian Chironi, Cutter, 2011, performance, Fondation Cartier pour l'art contemporain, foto: Olivier Ouadah
The show Cutter will be based on the performance by Cristian Chironi did on the occasion of the show’s opening.
Cutter is a device for viewing; the set, composed of a table, a tripod, a videocamera, a stereo system, a collection of books and a cutter, is the place in which cuts out and re-signifies under our eyes a selection of particular naturalistic images taken from the pages of specialized volumes. Cristian Chironi, with the support of a series of acoustic and visual devices as wellas olfactory and tactile suggestions, cuts out and reanimates elements of the plant andanimal world (in some cases endangered or already extinct species), outlining anarration that is able to play in a novel way with antithetical pairs such asreal/imaginary, presence/absence and nature/artifice. The forms that are cut out lose their two-dimensional character to return to a sensorialcomplexity that leads to manifold imagery.The artist redefines the character of the images that appear both familiar and strangeat the same time, tapping into a potential for the “unsettling”. Flowers, glaciers,details of plants and animals, become part of a story that, instead of linearity, preferscontamination, accumulation, removal or juxtaposition, turning them intoperformance mechanisms capable of presenting unexpected interpretations. The figurethat is removed, rejected, becomes a void immediately filled and reworked with theunderlying representation.The act of performance for Cristian Chironi becomes the dimension in whichlanguage and diverse materials are made to cohabit, in a poetics of crossbreeding andintersecting that characterizes all of the artist’s work.
Completing the show is a selection of works from the series: Data, Folder and Cover.
In Data a series of cutouts from the pages of books are reorganized onto transparentsheets to form a constellation of signs. Scrupulously classified, the cutouts areorganized in the space by preserving the memory of their layout inside the book andthe emptiness in which they float appears as the punctual visual counterpoint to thefullness that generated them.
In the works of the Folder series, the book-as-object acquires a sculptural dimensionand slippage of meaning by the simple means of folding one of more pages. Theartist’s gesture abandons the sequentiality of reading in favor of a simultaneity ofvisual relationships that reveal new horizons of meaning.
Cover is a reflection on the ideas of original and copy, as well as on the nature ofimages and on the consumption of artistic goods. Chironi looks at a series of famousbuildings, the facades of which on a closer look are life-size blow-ups of a part of orof the entire building. The photographs do not reproduce anything but thereproduction itself in a perceptual short circuit that explores the nature ofrepresentation. If in the performance Cutter loss is the instrument with which to returnto a complex and polysemous reality, in Cover it is reality that is flattened out untilbecoming frame and image.
February 26 - April 3, 2015
text by Emmanuel Lambion