Bel édifice et les pressentiments
By observing and absorbing reality via its different dimensions (visual, material, cultural or even social), Simon Nicaise recreates through the prism of an essentially sculptural craft, works that furtively disturb the order and meaning of things, even though they often seem to be elementary. Although each shape seems to logically result from a preceding idea, the work of art is more the product of tensions, oscillations, moves, and of absurd or counterproductive reversals.
Bel édifice et les pressentiments is the first chapter of a series of projects-to-be, under the sign of the 1934 Marteau sans maître (The hammer without a master), a compilation of poems by René Char that was also re-transcribed musically and choreographically by Pierre Boulez and Maurice Béjard (1955). The hammer is a contradictory object involving the principle of construction as much as that of destruction, and it is in this regard that it sometimes appears in the work of Simon Nicaise (Chorégraphie, 2008; Masse agglomérante, 2009). There is no hammer here, but both the contradiction and suppressed violence suggested by the dichotomy building/destroying are however active within Bel édifice et les pressentiments. Rather than adapting this poetical and musical environment, the exhibition brings into play the preoccupations and the ways of doing that can be sensed in the Marteau sans maître. The exhibition has been designed as a landscape defined by works that are altogether reliefs, obstacles or constructions.
Curated by npai (Jérôme Dupeyrat and Maïwenn Walter).
npai takes part in the production of works, conceives exhibitions and editions. Since 2009, projects have been carried out with Etienne Cliquet, Samir Mougas, Mathieu Tremblin, and Frédéric Sallaz.