A solo exhibition by Mark Geffriaud
From October 29th to December 21st, 2011
*All that is said is true
all the time
all the time
All that is said is true
all the time
but times change*
in The Ballad of Genesis and Lady Jaye
a film by Marie Losier
released on October the 26th
Mark Geffriaud’s work refers constantly to somewhere else, like a rendez-vous leading from one to another. His second exhibition underlines Mark Geffriaud’s wish for exchange and a constant flow between works, ideas, forms and persons.
Even the title of the exhibition All that is said is true, all the time, all the time (…) on October the 26th follows this principle by quoting words from a coming-movie. Every element of its construction makes echo from an older story or to a future project, in a different space. The gallery becomes the passage in which things build themselves to exist somewhere else, the pretext to tell a story, the extract of a narrative, fragments of a memory or a module of a house.
The exhibition gathers two new works, an older work introduced in 2009 which continues to develop in a space-time still to be defined and also a performance, realized the opening day.
Geffriaud suggests with Shelter the construction of a house. He imagines a method in progress ; in every new exhibition, he will be able to build a part of this house environment: a room or an architectural element, defined by the measurement and the economy of the space which receives it. This architecture will be built day by day, in a simultaneous discussion with others, in which everyone will bring its own competence. Once assembled, these modules can find the right place to welcome the set. Having taken the imprint of a space to create the other one, it will be necessary to find a correspondence to fit into it. The system of correspondence floats between a concept of economy and an art market one, between a project with friends and the realization of a piece of art.
Shelter is transformed in the time and the space as The light that moves against the wind, 2011. The installation is composed by a lens of blowed glass filled with water, a light and a paper screen. The spectator, by penetrating into the space, moves slightly this paper screen which receives the refraction of the enlightened object. Thanks to its movement in the space, the shape’s reflection on paper waves. Again, there are correspondences between the artist’s breath and a draft provoked by the spectator, between an image and a sculpture, between a scientific object and the chance of a movement.
Cyrus, 2009 is the name by which Mark Geffriaud indicates an object which he stole to the artist Eric Stephany in 2009. They agreed that it could stay in Mark Geffriaud’s possession as long as its owner would not know what he was missing. Once Eric Stephany realized the existence of the missing object, he will immediately restitute it and the work will have no more material existence. They will not speak about it anymore and it will disappear gradually to fall again into the oversight. For now the object is sometimes confined to a curator, a museum attendant or to someone else present, with the instruction to keep it in its pocket during the exhibition duration.
During the opening Mark Geffriaud will present Nouvelle réfutation du temps, 2010 ; with Géraldine Longueville he’ll propose a simultaneous lecture of two Borgès’ essays. Written in 1944 and 1946, they incessantly meet and cross.
This exhibition is the receptacle of multiple narratives and exchanged words. Mark Geffriaud reveals to us a global as well as a split up vision. It is somewhere else, after the exhibition and outside of the gallery that its stakes becomes decisive.
This exhibition received support from la ville de Paris.
Realisation of the lens with the collaboration of the Centre International de Recherche sur le Verre et les Arts plastiques.