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An exploration of ‘The Edge of The Worlds’

“The most inventive expression of art can be found somewhere within the interstices of the worlds.” 

Talks by Rebecca Lamarche-Vadel, curator at Palais de Tokyo, Paris
& Jay Schutte, South African Linguistic Anthropology PHD candidate at the University of Chicago
Tuesday 29 July at 18:00 | free
Limited space | RSVP This email address is being protected from spambots. You need JavaScript enabled to view it.
French Institute of South Africa (IFAS), 1st floor, 62 juta st, braamfontein

Bridget Polk Balancing Rocks Hudson River USA  2010-web
Bridget Polk, Balancing Rocks (Hudson River, USA), 2010

Rebecca Lamarche-Vadel, curator at Palais de Tokyo, also referred to as the pioneer museum which reconciled the City of Light with contemporary art, will give us an insight on her 2015 exhibition The Edge of The Worlds.

The research works of the creators who will be introduced during this exhibition reveal unexpected places. Visionaries, researchers, poets and pirates, they challenge the artistic domains to sublimate and transcend world borders. At the crossroad of gestures, points of views and knowledge, creators rethink the architecture of the visible. They are the worlds' intercessors and connectors, open to a "constantly growing inventory of experiences" (Buckminster Fuller).

Jay Schutte, a South African Linguistic Anthropology PhD Candidate at the University of Chicago, is interested in the arts and the worlds they inhabit and re-make and how they are always entangled based on the thoughts of poststructuralist and postcolonial thinkers, including Homi Bhabha, Jacques Derrida, and Gayatri Spivak.

THE EDGE OF THE WORLDS by Rebecca Lamarche-Vadel

The hypothesis formulated on the occasion of the exhibition entitled Le Bord des Mondes (The Edge of The Worlds), which will be shown at Palais de Tokyo from February to May 2015 is that the most inventive expression of art can be found somewhere within the interstices of the worlds.

The research works of the creators who will be introduced during this exhibition reveal unexpected places. Visionaries, researchers, poets and pirates, they challenge the artistic domains to sublimate and transcend world borders. At the crossroad of gestures, points of views and knowledge, creators rethink the architecture of the visible. They are the worlds' intercessors and connectors, open to a "constantly growing inventory of experiences" (Buckminster Fuller).

Neither "outsiders", naive or "out of the box", these creators are free souls who renew our experience of the visible outside the norms. They move across disciplines, explore unknown shapes, escape from dogmas. Through games and intuitions, they draw and act as builders of the architecture of possible worlds, reminding us that "art is born... of the fascination with what cannot be grasped, of the refusal to fake performances, of the will to extract shapes from the world affecting human beings in order to include them in the world they rule. Major artists are not the transcribers of the world, but their rivals" (Malraux, Les Voix du silence).

The way we look at artworks that are part of the mysterious spheres of creation, in its most audacious and free expression, is renewed by Le Bord des Mondes. Experience, renewal, reinvention, going beyond the divides is what prevails in this exhibition. The idea is to make the poetry offered by the reconciliation of the worlds visible.

Exhibition curator: Rebecca Lamarche-Vadel

More about The Palais de Tokyo

The Palais de Tokyo was created in 2002. Its liveliness, joyfulness and adventurous approach was a wake-up call for Paris. An anti-museum par excellence, a rebellious undeveloped plot in the 16th arrondissement, an offbeat yet ambitious "palace", a place for exchange and surprise, it was a pioneer in reconciling the City of Light with contemporary art. As a model and its programming have become references well beyond the national borders, among specialists, art-lovers as well as the wide public. Following on from years of success, in 2012 the Palais de Tokyo became one of the largest sites devoted to contemporary creativity in Europe, its surface area rising from 8 000 m² to 22 000 m². It now extends right to the Seine River, forming a link on the side of the hill between the Eiffel Tower and the Champs-Elysées. Its success, spirit of adventure and the new spaces which have been made available to artists, their gestures and perceptions, has increased our capacity to perceive, imagine and open up new paths.

TRANSLATING MOBILITIES, MOBILIZING TRANSLATIONS: PRELIMINARY NOTES ON INDEXICALITY AND AUTHENTICITY IN THE EMERGENCE OF ART(WORLD) CHRONOTOPIAS by Jay Schutte

"The most inventive expression of art", suggests Rebecca Lamarche-Vadel, "can be found somewhere within the interstices of worlds." It can be argued, however, that the production and reception of aesthetic objects and ideologies are also complicit in the making of such worlds, suggesting that arts and the worlds they inhabit and re-make are always entangled. Thus, expression drawn from 'worlds' – supposedly geographical, physical, and concrete – in order to make 'art(worlds)' will always engender a transformation of their original, authentic point of emanation, due to the ways in which the reiteration of signs of 'authenticity' in new theatres of reception necessarily transform them. This volatility of the sign is referred to in semiotic literature as indexicality (Silverstein 1976, Keane 1997, Nakassis 2012). An array of poststructuralist and postcolonial thinkers, including Homi Bhabha, Jacques Derrida, and Gayatri Spivak, have suggested a similar conceptual impasse in debates around questions of translation – conceptualized beyond its common application as a linguistic practice. He will focus on these trajectories of thought, suggesting mobility and translation as analytics for suturing the relationship between emergent Art(worlds) and the worlds they negotiate. He will look into the relationship between the 'authenticity' of aesthetic objects and ideologies, and their supposed 'original' point of emanation, given their locatedness at the intersection of indexicality and authenticity, particularly in our current discursive moment.

About Jay Schutte

Schutte is a South African Linguistic Anthropology PhD Candidate at the University of Chicago. His research focus is on the relationship between Semiotics and Social Media as part of the current Africa-China dialogue. His work loosely concerns Translation and Semiotic Ideology, Mediation and (An)Aesthetics as well as Material Histories and 'Circulation'. The working title of his current research project is: "Translating a Sino-African Beijing: Language, Guanxi and Technologies of Personhood among African Students in China". He is currently resident in Beijing as visiting scholar at Renmin University while conducting his fieldwork on language learning and media dissemination in and beyond China and lectures occasionally in the Wits School of Arts in Johannesburg, South Africa.

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