Towards an aesthetics of disappearance

The exhibition Vers une esthétique de disparition – that will be spread over the town of Geneva avoiding what could be seen as a classical exhibition context – wishes to highlight artists’ work process in order to bring out their research. All the works are from the Contemporary Art Fund of the Canton of Geneva’s collection (FCAC).

The borrowed works were placed in daily life locations where the pedestal that can bring an exhibition in an established art institution or a gallery is being cancelled. By erasing certain presentation codes and by assigning the works in locations where there status can hardly be perceived, we would like to focus of each artist’s investigation. Guided tours and artists’ commentary will come and help understanding the research.

The triviality in everyday gestures (Eric LANZ, Les Gestes 1, 1993) therefore face the non less ordinary wander of a passage (Capsules in Halle Nord); apparently childish looking works are being displayed in a day nursery raising questions about the authors (Anna KIRKPATRICK, New Trees, 1999; Anne KELLER, Coin-coin, 1996, etc.); the framed horsehair (Pierrette BLOCH, Sans titre, 1995) in a hairdressing salon (Le coiffeur de la rue) could be an attempt to confuse us about the origin of these dark strands ; finally, the bike store (Hors-Piste) seems to take on a Halloween spirit with a mask shaped with melted headlights (Anita MOLINERO, Sans titre, 2012).

Many of artists’ contemporaries – past and present – were only able to approach their work in an aesthetical and ponctual way, or based on some market’s criteria instead of an art history. Should it be by covering up, by substituting, by suggesting, by removing, by recovering, by multiplying, by simulating or any other intervention ; a wide range of experiments resulted in questioning the notion of creation while excluding the possible importance of a formal acknowledgment.

During the United States’ election time, could it be possible that a certain Gianni Motti– whose support is clearly put forward (HJD distribution) – has escaped us ? Has a game of scrabble been left aside temporarily by two players (Café Slatkine) ? Could we consider that the name of a fragrance exhales a sent of post-feminism (Sylvie FLEURY, Egoïste, 1994, boutique Paradigme) ? Finally, what kind of mould or imprint is being revealed in Geneva’s hospital (Nicolas MOMEIN, Incomplete closed cube, Aliboron l’a digéré, 2011) ?

Gradually, what is offered to the eye seems to become a statement : aesthetical matters have disappeared. This might be an attempt to clearly distinguish the deception of « pop up » artists placed by some speculators, and that history will soon wipe out. This exhibition model intends to intrigue, raise awareness ; that is if you manage to spot the art work !

Sonia Chanel