[spectre] Quayola - Vestiges - Galerie Charlot Paris

[Valentina Peri]

VESTIGES
<https://www.dropbox.com/s/om840emqcb6iok8/DP%20Quayola_en.pdf?dl=0>
Quayola's solo show at Galerie Charlot Paris

Opening : March 22 /// Exhibition from March 23 to May 12, 2018.
Galerie Charlot, 47 rue Charlot 75003 Paris, France

Quayola’s first solo show in France features a series of photographic
prints from 3D scans, «Remains», and the video «Jardins d’ été #2», which
pays homage to French Impressionism. Both works have the gardens of the
Château de Chaumont-sur-Loire (France) as their main subject.

Quayola develops a new practice in the tradition of the representation of
landscape, which brings the artist’s sensibility in dialogue with the
disinterested and objective gaze of the machine.
The digital matter with which the spectator is confronted, it is the
astonishing result of the impossible encounter between a very complex
natural geometry and the inability of the machine to record this
incommensurability.
What does this imperfection reveal about the relationship of the subject
with the nature ? What about the sublime at the time of the Anthropocene?

Press kit
<https://www.dropbox.com/sh/ke9xt7lt1yzyprt/AAALAygC18nLTjt_YTjbAWEFa?dl=0>
More info <http://www.galeriecharlot.com/en/expo/149/Quayola-Vestiges>

////

The prints in Quayola's "Remains" series and his video "Jardins d’été #2"
explore a new way of representing the natural landscape along the lines of
the pictorial tradition of the late 19th century to early 20th century
avant-garde.

Through his 3D scans of trees and plants, flowers and leaves, acquired in
the gardens of the Château de Chaumont-sur-Loire, the artist explores a new
practice of landscape representation in which individual sensibility
confronts the neutral and objective gaze of the machine.

This interdependence between the artist and his technological equipment is
played out in several stages: like an outdoor painter, the artist moves
through places of natural interest, equipped with highly sophisticated
tools that capture a maximum of data. Data collection on the spot is
followed by a phase of photographic work in the studio: an exploration and
selection of the digital raw matter that the artist has captured at the
source. The often imperfect material with which the spectator is confronted
is the astonishing outcome of an impossible encounter between a very
complex natural geometry and the inability of the machine to capture this
incommensurability.

Quayola's research inhabits this interstice: it’s all about the challenge
represented by the limits of the machines that are used to record data. A
far cry from the hyperrealism of contemporary visual culture, based on
simulacra, Quayola's images gravitate towards abstraction through their
internal flaws. What does this aesthetic of dysfunction reveal about the
subject's relationship with nature and the world?

In "Parallel I-IV" the German artist Harun Farocki has suggested that
reality will soon cease to be the standard by which we judge the supposedly
imperfect image. Instead, the virtual image will become the standard by
which we measure the imperfections of reality.

If the painters of modern gardens, from Monet to Kandinsky, from Matisse to
Dufy, have used nature and its peaceful and disinterested observation as a
means towards the expression of subjective states, this detachment is now
compromised by the new paradigm of Anthropocene. In this alternative
history of the Earth, marked by the advent of the human species as a
geological force that has brought about irreversible changes, "nature is no
longer what is embraced from a far away point of view, where the observer
could ideally jump to see things “as a whole”, but the assemblage of
contradictory entities that have to be composed together " (Bruno Latour,
Waiting for Gaia, 2011).

For centuries literature and philosophy have insisted on the ontological
divide between the poles of human and non-human, nature and the subject who
is trying to know and dominate it: this insurmountable distance has made
possible the feeling of the sublime.

What happens to the sublime in the age of Anthropocene? How can we
represent a nature that is no longer incommensurable if, as Hans Blumenberg
has suggested, this shipwreck in which life on earth seems to be at stake
has “no spectator”?

In the preliminary stage, Quayola's digital equipment only records 3D
points. Later, in the studio, the artist explores and selects different
aggregates of the recorded spatial coordinates. It is precisely from this
idea of assemblage that we must think, understand and represent the world:
as an original and hybrid composition of nature, culture, subjects and
objects, human and non-human.

To adapt to this new world, we will need new ideas, new myths, a new
conceptual grasp of reality, and therefore a new way of representing it.

This "collaborative survival", will require a world where "science fact and
speculative fabulation need each other" (Donna Haraway, Staying with the
trouble, 2016), a world in which data will only make sense through the
filter of art and human sensitivity, and new aesthetics will help us to
define reality.

Valentina Peri, 2018
Press kit
<https://www.dropbox.com/sh/ke9xt7lt1yzyprt/AAALAygC18nLTjt_YTjbAWEFa?dl=0>
More info <http://www.galeriecharlot.com/en/expo/149/Quayola-Vestiges>

-- 
Valentina Peri
+33 6 33 95 56 93 <+33%206%2033%2095%2056%2093>
---
Galerie Charlot
47 rue Charlot 75003 Paris
valentina at galeriecharlot.com
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