press release

Communauté does not conform to a traditional exhibition scheme with a determinate thematic line. Rather, it has been conceived of as a treatment of the aesthetic languages used by artists to describe what it is that makes up a community, with its functions, its exchanges, its rules, its behaviours, its memories. The works in Communauté do not take up micro-political positions or fragmented identitarisms produced by "globalisation", or comment on the swelling tide of communitarianism. Nor does it select artists on the basis of national or ethnic origin. It foregrounds the work of artists who, outside of any ideologically-imposed globalising context, give an account of the transformations that have taken place in the social and cultural landscape. Through well-chosen spatialisations, procedures and symbolic language, these artists shed light on the way in which a "community" comes into being. They have their roots in specific cultures or countries, but they look at several communities simultaneously, working regularly in different geographical territories, and are continually confronted with different types of perception. Thus a cosmopolitan community becomes established – a community of heterogeneity instead of sameness, a community of visual arts involved in the transformations that are taking place in society.

 Communauté is intended to focus on situations into which people project themselves, and in which interactions between individuals and groups can take place. The various works place the emphasis on processes for the regulation of social spaces. The exhibition is structured round contacts, cross-cutting games, and the clarification of situations of tension between individuality and collectivity. It is an encounter between "persons" who do not manifest a typological "sameness" brought about by history and tradition. A number of works elucidate situations which relate to transitions from the individual to the plural, for instance the obsessive fantasies of two hyper-individualists in Anri Sala's Nocturnes; or Jimmie Durham's Arc de Triomphe for Personal Use, which celebrates individual sovereignty; or again Tino Sehgal's dialogue on exchange and economy This is Exchange. Melik Ohanian's masterly White Wall Travelling gives a voice to dockers in Liverpool, while Christophe Berdaguer and Marie Péjus literally create a magnetism of group dynamics in the 7th Continent, and Constanze Ruhm presents her film Re(hers)al, which is built around a play staged by a group of female characters. "Geographics", taken as a mental territory, are at work, both in the protocols of Francis Alÿs's psycho-geographical performances, in Sam Durant's project for a public counter-cultural monument Proposal for Monument in Friendship Park, Jacksonville, FL, and in Elena Panayotova's decomposition of Balkan borders The Movable Peninsula, not forgetting Henrik Olesen's deconstructive work in stigmatising the mental landscape of conventional sexual morality firmly bound to frozen schemata Anthologie de l’amour sublime .

  In the second part, a work by Adrian Piper I/You (Us), along with a project by Dan Perjovschi, will join the new proposals that are to replace the works belonging to the FRAC Rhône-alpes collection.

 A special issue of the art magazine Semaine will include documents on the artists, and a curatorial text by Dirk Snauwaert. Pressetext

only in german

COMMUNAUTÉ
1st Part mit Francis Alÿs, Christophe Berdaguer & Marie Péjus, Sam Durant, Jimmie Durham, Melik Ohanian, Henrik Olesen, Elena Panayotova, Constanze Ruhm, Anri Sala, Tino Sehgal
2nd Part: Communauté 2 (9 July – 26 September 2004) presents Francis Alÿs, Christophe Berdaguer & Marie Péjus, Sam Durant, Jimmie Durham, Melik Ohanian, Henrik Olesen, Elena Panayotova, Dan Perjovschi, Adrian Piper, Constanze Ruhm and Anri Sala