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  • Hans SchabusKonstruktion des Himmels, 1994 (Courtesy of the artist and ZERO…)
  • Mandla ReuterThe Agreement, Vienna, 2011 © Mandla Reuter / Adagp 2014 (Courtesy Galerie Mezzanin, Vienne)
  • Antoine NessiUnknown Organs, 2014
  • Nina CanellTreetops, Hillsides and Ditches, 2011 © Nina Canell / Adagp, 2014 (Courtesy Konrad Fischer Galerie, Berlin ; Collection privée, Belgique)
  • Nina CanellPresent Tense, 2014 © Nina Canell / Adagp 2014 (Courtesy Galerie Wien Lukatsch, Mother’s Tankstation et Daniel Marzona)
  • Michael E. SmithUntitled, 2014 (Courtesy of the artist, Clifton Benevento, New York & Michael Benevento, Los Angeles)
  • Michael E. SmithUntitled, 2014 (Courtesy of the artist, Clifton Benevento, New York & Michael Benevento, Los Angeles)
  • Alexander GutkeAuto-scope, 2012 (Courtesy Galerija Gregor Podnar, Berlin / Ljubljana)
  • Alexander GutkeAuto-scope (photogramme), 2012 (Courtesy Galerija Gregor Podnar, Berlin / Ljubljana)

The Registry of Promise – Part Three

The Registry of Promise :
The Promise of Moving Things

Nina Canell, Michael E. Smith, Alexander Gutke, Antoine Nessi, Mandla Reuter, and Hans Schabus.

Exhibition from 12 September to 21 December 2014
Opening Thursday 11 September 2014 from 5 PM to 9 PM

Centre d’art contemporain d’Ivry – le Crédac
La Manufacture des Œillets
25-29 rue Raspail, 94200 Ivry-sur-Seine, France

The third part of The Registry of PromiseThe Promise of Moving Things deals with the so-called life of objects in our current pre-post-apocalyptic paradigm. Influenced in equal measure by animism, the much-discussed philosophical movement Object Oriented Ontology, the surrealism of Alberto Giacometti’s early masterpiece The Palace at 4 am (1932) and even the theoretical reflections of the Nouveau Roman novelist, theorist and editor Alain Robbe-Grillet (an OOOer, so to speak, well avant la lettre), The Promise of Moving Things seeks to address just that– the very idea that there exists some promise within objects in a world in which humans no longer roam the earth. Neither a critical rejection nor an endorsement of these ideas, the exhibition embraces the ambiguity at the very heart of the word promise. It questions to what extent this negative faith in the cultural and animistic legacy of objects is a genuine rupture with the anthropocentric tradition of humanism and to what extent it is merely a perpetuation of it.

Thus does the exhibition consist of works that features objects or processes which seem to possess some form of human subjectivity. For instance, the Austrian, Vienna-based artists Hans Schabus’ sprawling sculptural installation, Konstruktion des Himmels (1994), could merely be a random collection of variously seized wax balls and an elaborate light fixture or the most human forms of celestial organization: a constellation (which it is: a recreation of Apparatus Sculptoris [Sculptor’s Studio], identified and named in the 18th century by Louis de Lacaille). Almost but not entirely by association, German, Berlin-based Mandla Reuter’s sculpture installation, The Agreement (Vienna) 2011, which has been paired with Schabus’ work and is comprised of an armoire hanging from the ceiling, assumes a quasi, supernatural and animistic quality. The transference of so-called human subjectivity is unmistakable in Swedish, Malmö-based Alexander Gutke’s work, Autoscope (2012). This 16mm film installation portrays the trajectory of a piece of film passing through the interior of a projector, exiting into a snowy, tree-dotted landscape, ascending upward into the sky before plunging back down to earth and looping back into the projector, and repeating the process, all as if in an allegory of reincarnation. The US, New Hampshire-based artist Michael E. Smith’s slight sculptural interventions, which often consist of recycled textiles, materials from the automotive industry, animal parts, and a variety of toxic plastics, are known to possess qualities hauntingly evocative of the human body, as if the spirit of one had entered the other. Drawing his formal vocabulary from machines and tools, French, Dijon-based artist Antoine Nessi creates sculpture, which can perhaps be best described as post-industrial, in which the inanimate seems to take on an organic quality, assuming a life of their own. Finally, the practice of the Swedish, Berlin-based artist Nina Canell is no stranger to the kinetic and to a certain, if specious sense of animism. Something of a case in point, Treetops, Hillsides & Ditches (2011) is a multi-part sculpture comprised of four shafts of wood over the top of which a clump of Iranian pistachio gum has been spread (like the top of a match) and which slowly crawls down the sides of the wood, enveloping it, like living a skin.

Thus is the reception of each work complicated and vexed through issues of subjectivity, projection, necessity, and desire. Now to what extent the works are complicit in that reception both varies and is debatable. Whatever the case may be, it is virtually impossible to say, but this does not necessarily mean that it is impossible to conceive of a world without humanism, as argued by Robbe-Grillet, at its center.

EVENTS

Round-table
The Registry of Promise: one exhibition, four places

Thursday 11 September 2014 at 3:30 PM

As a prelude to the opening at Crédac, this round-table will bring together some of the main participants to the project The Registry of Promise. In the presence of the curator Chris Sharp, Lorenzo Benedetti, director of De Appel, Amsterdam (for The Promise of Soothsaying and Speaking in Tongues at SBKM/De Vleeshal), Claire Le Restif, director of Centre d’art contemporain d’Ivry – le Crédac, Ivry-sur-Seine (The Promise of Moving Things) and Sandra Patron, director of Parc Saint-Léger, Pougues-les-Eaux (The Promise of Multiple Temporalities).

Nuit blanche
Saturday 4 October 2014 from 7 P.M. to A.M.

In the framework of the group show The Promise of Moving Things, an outdoor screening of Michael E. Smith’s video Jellyfish (2011), projected from the inside of Crédac.