{"id":149825,"date":"2018-09-01T12:26:00","date_gmt":"2018-09-01T17:26:00","guid":{"rendered":"https:\/\/esse.ca\/?post_type=compte-rendu&p=149825"},"modified":"2023-03-01T20:22:41","modified_gmt":"2023-03-02T01:22:41","slug":"affinites-electives","status":"publish","type":"compte-rendu","link":"https:\/\/esse.ca\/en\/reviews\/affinites-electives\/","title":{"rendered":" Affinit\u00e9s \u00e9lectives <\/i>"},"content":{"rendered":"\n
\"\"
Dominique Sirois<\/strong>
Les choses modernes ou persistance,<\/em> d\u00e9tail, 2018.
Photo : Richard-Max Tremblay<\/figcaption><\/figure>\n\n\n\n
[In French]\n\nD\u00e9coulant d\u2019une invitation carte blanche \u00e0 la commissaire Aseman Sabet, l\u2019exposition Affinit\u00e9s \u00e9lectives<\/em> r\u00e9unit six artistes autour des rapports entre les sciences et les affects. Le projet explore la possibilit\u00e9 d\u2019une alchimie d\u00e9terminante entre les \u00eatres et les choses, un principe que d\u00e9ploie Goethe en 1809 dans son roman du m\u00eame titre. Par nature, les affinit\u00e9s peuvent transformer notre relation au pass\u00e9 en g\u00e9n\u00e9rant de nouvelles articulations. Parmi les \u0153uvres r\u00e9alis\u00e9es par Louis Bouvier, Grip<\/em>, une main en bronze, \u00e9voque par sa mati\u00e8re noble un vestige de sculpture antique. Elle repose contre la paroi en faux fini d\u2019une structure dont la forme sophistiqu\u00e9e tend vers un mobilier haut de gamme des ann\u00e9es 80, et dont les surfaces clinquantes d\u00e9gagent une allure pop. Les sculptures et dessins hyperr\u00e9alistes de Bouvier rompent avec les conventions classiques qui divisent l\u2019art, l\u2019artisanat et le design industriel, au profit d\u2019une libre association d\u2019objets issus de diff\u00e9rents contextes historiques et artistiques. Ce bousculement des hi\u00e9rarchies se manifeste aussi dans les \u0153uvres de Mathieu Latulippe, notamment Alpha Aura, pr\u00e9sentant une bouteille de parfum aux ph\u00e9romones dans un pr\u00e9sentoir vitr\u00e9, ou Mr. Newman, un assemblage de mod\u00e8les anatomiques d\u2019organes. L\u2019attention est ici port\u00e9e avec un humour grin\u00e7ant sur les progr\u00e8s \u2014 potentiellement nuisibles \u2014 de la science, et sur la commercialisation d\u2019une utopie fond\u00e9e sur les modifications g\u00e9n\u00e9tiques et les promesses illusoires des nouvelles technologies.<\/pre>\n\n\n\n

Les sculptures de Dominique Sirois, dont certains fragments en porcelaine \u00e9maill\u00e9e \u00e9voquent des disques durs qui semblent avoir fondu sur des surfaces rocheuses, embrassent parfaitement la tension entre science et sensibilit\u00e9. Les objets aux propri\u00e9t\u00e9s hybrides qui composent Les choses modernes ou persistance<\/em> et Sous verre sous terre<\/em>, semblables \u00e0 des ruines, ouvrent \u00e0 une r\u00e9flexion sur l\u2019utilisation de min\u00e9raux dans les appareils informatiques. Ce regard sur la mati\u00e8re et sa fragilit\u00e9 survient \u00e9galement dans le travail de Jean-Pierre Gauthier qui, comme Sirois, souligne l\u2019obsolescence de l\u2019objet technologique en s\u2019interrogeant sur sa r\u00e9sistance au temps : un moulage en savon us\u00e9, fl\u00e9tri, qui emprunte la forme de l\u2019ancien ordinateur de l\u2019artiste, est dispos\u00e9 sur un meuble de laboratoire. Par un dispositif automatique, Gauthier inflige \u00e0 cette masse, vieille de vingt ans, le supplice de la goutte, provoquant son autod\u00e9g\u00e9n\u00e9ration graduelle. La mati\u00e8re semble ainsi acqu\u00e9rir une m\u00e9moire, une sensibilit\u00e9 et une dimension anthropomorphique en contraste avec ce qu\u2019elle constitue. L\u2019\u0153uvre Tube<\/em> de Michel de Broin, un grand cylindre de pl\u00e2tre reposant sur une civi\u00e8re tel un corps malade, renforce un peu plus cette ambivalence entre l\u2019objet fonctionnel et le corps sensible.<\/p>\n\n\n\n

Cette ambig\u00fcit\u00e9 trouve un nouvel \u00e9cho dans les \u0153uvres de Gr\u00e9gory Chatonsky, posant ici la question d\u2019un possible \u00ab\u2009imaginaire artificiel\u2009\u00bb, \u00e0 travers le digital. La projection vid\u00e9o Neural Landscape Network<\/em> r\u00e9v\u00e8le les al\u00e9as de la m\u00e9moire d\u2019un logiciel qui tente de reproduire la surface de la Terre gr\u00e2ce \u00e0 des photos satellites. Une \u0153uvre sonore l\u2019accompagne, Terre Seconde<\/em>, par laquelle les chuchotements d\u2019une machine questionnant sa propre existence propagent une intimit\u00e9 singuli\u00e8re et sugg\u00e8rent l\u2019id\u00e9e d\u2019une subjectivit\u00e9 informatique autonome. La notion d\u2019\u00ab\u2009affinit\u00e9s\u2009\u00bb s\u2019\u00e9tend ainsi au-del\u00e0 du cadre de chaque proposition artistique pour tisser des liens in\u00e9dits entre des pratiques fort distinctes.
<\/p>\n
Dominique Sirois, Gr\u00e9gory Chatonsky, Isabelle Tondre, Louis Bouvier, Mathieu Latulippe, Michel de Broin<\/div>","protected":false},"excerpt":{"rendered":"Galerie Division,<\/strong> Montr\u00e9al, 
 <\/br>du 8 mars au 17 avril 2018<\/br>","protected":false},"author":15,"featured_media":159050,"template":"","categories":[884],"numeros":[6512],"disciplines":[],"statuts":[],"checklist":[],"auteurs":[1042],"artistes":[1908,2094,2148,2108,2098],"type_compte-rendu":[],"yoast_head":"\nAffinit\u00e9s \u00e9lectives  – Esse<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/esse.ca\/en\/reviews\/affinites-electives\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Affinit\u00e9s \u00e9lectives\" \/>\n<meta property=\"og:description\" content=\"Galerie Division, Montr\u00e9al,  du 8 mars au 17 avril 2018\" \/>\n<meta property=\"og:url\" content=\"https:\/\/esse.ca\/en\/reviews\/affinites-electives\/\" \/>\n<meta property=\"og:site_name\" content=\"Esse\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/fr-ca.facebook.com\/revue.esse\" \/>\n<meta property=\"article:modified_time\" content=\"2023-03-02T01:22:41+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/esse.ca\/wp-content\/uploads\/2022\/03\/94_CR14_Tondre_Affinites-Electives-scaled.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"1563\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@revue_esse\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"3 minutes\" \/>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Affinit\u00e9s \u00e9lectives  – Esse","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/esse.ca\/en\/reviews\/affinites-electives\/","og_locale":"en_US","og_type":"article","og_title":"Affinit\u00e9s \u00e9lectives","og_description":"Galerie Division, Montr\u00e9al,  du 8 mars au 17 avril 2018","og_url":"https:\/\/esse.ca\/en\/reviews\/affinites-electives\/","og_site_name":"Esse","article_publisher":"https:\/\/fr-ca.facebook.com\/revue.esse","article_modified_time":"2023-03-02T01:22:41+00:00","og_image":[{"width":2560,"height":1563,"url":"https:\/\/esse.ca\/wp-content\/uploads\/2022\/03\/94_CR14_Tondre_Affinites-Electives-scaled.jpg","type":"image\/jpeg"}],"twitter_card":"summary_large_image","twitter_site":"@revue_esse","twitter_misc":{"Est. reading time":"3 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/esse.ca\/en\/reviews\/affinites-electives\/","url":"https:\/\/esse.ca\/en\/reviews\/affinites-electives\/","name":"Affinit\u00e9s \u00e9lectives – Esse","isPartOf":{"@id":"https:\/\/esse.ca\/#website"},"primaryImageOfPage":{"@id":"https:\/\/esse.ca\/en\/reviews\/affinites-electives\/#primaryimage"},"image":{"@id":"https:\/\/esse.ca\/en\/reviews\/affinites-electives\/#primaryimage"},"thumbnailUrl":"https:\/\/esse.ca\/wp-content\/uploads\/2022\/03\/94_CR14_Tondre_Affinites-Electives-scaled.jpg","datePublished":"2018-09-01T17:26:00+00:00","dateModified":"2023-03-02T01:22:41+00:00","breadcrumb":{"@id":"https:\/\/esse.ca\/en\/reviews\/affinites-electives\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/esse.ca\/en\/reviews\/affinites-electives\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/esse.ca\/en\/reviews\/affinites-electives\/#primaryimage","url":"https:\/\/esse.ca\/wp-content\/uploads\/2022\/03\/94_CR14_Tondre_Affinites-Electives-scaled.jpg","contentUrl":"https:\/\/esse.ca\/wp-content\/uploads\/2022\/03\/94_CR14_Tondre_Affinites-Electives-scaled.jpg","width":2560,"height":1563,"caption":"Affinit\u00e9s \u00e9lectives, vue d'exposition, Galerie Division, Montr\u00e9al, 2018. 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