Come in Number 51

“In mathematics, an equation is an equality containing one or more variables. Solving the equation consists in determining the values that the variable can have for the equality to be true. The variable is also called an unknown and the values for which the equality is verified are called solutions. Unlike an identity, an equation is an equality that is not necessarily true for all the possible values that the variable can have.”

Gilles Lachaud, “Mathématiques Mathématique - Équations”, Encyclopaedia Universalis Let’s try out something new, let’s focus on something other than their dates and places of birth, their studies, the moment of their encounter, where they live and what they eat, the distribution of tasks, the question of “how things work” between them. If necessary, we might even leave aside the issue of the images’ origins, the decisions underlying their choices. Let’s forget everything that normally reassures us, all the elements proving their good faith or intelligence, the lists of their doings that bring us closer to history but distance us from the subject – everything, in fact, that gives us the feeling of knowing, if not perceivin

In fact, let’s call them “X” – a letter that could denote the anonymous origins of their artwork and its potential rating. “X” like the variable in an equation which, for it to be an equation, must be able to include other variables. For indeed, X’s artwork would not exist without – and this is another variable – the artwork of others: the relation between the two is a simplistic and sadly contemporary citation method, but a subtle and demanding coexistence. Within this simple relation, this given equation, one can almost literally perceive X’s ambition to enter the realm of painters and the means used to do so: the means, exclusively, of painting.

Let’s look at how the colours are applied in X’s paintings, how they disappear into one another or confront one another, how they can fade away; let’s concentrate not so much on the motifs but on the way in which they are altered, how they are reconfigured, reorganized through the simple application of the paint: let’s see how all this is done, the use of flat tint and of gradation – if necessary, let’s check the “palettes” that also give rise to a painting. Let’s see how the paintings answer one another in the exhibition, how the same range of colours generates a setting sun or a conflagration, how the palette of flesh tones is also that of a landscape, and whether the fabrics really come from the same brush as the abstract forms. Let’s seek out the transparencies, the screens. Let’s look as closely as possible. Let’s record what impedes our sight. Let’s note the border of the image.

It matters little in fact where the images come from on which X’s artwork rests, and we should simply recall that X is sometimes not the author of these images. This artwork is of anonymous origin because it cares less about its copyright than about its obligations (Jean-Luc Godard: “Copyright really is nonsense. An author has no rights. I have no rights. I only have duties”.)

By what twist of mind do we believe we see in X’s artwork pornographic scenes, landscapes or abstract compositions, while this artwork urges us to view it as a painting, as a stated but provisional solution, a temporary equality? And why do we immediately perceive that many of these paintings will outlive us, we who, however, are eternal?

« Une équation est, en mathématiques, une égalité contenant une ou plusieurs variables. Résoudre l'équation consiste à déterminer les valeurs que peut prendre la variable pour rendre l'égalité vraie. La variable est aussi appelée inconnue et les valeurs pour lesquelles l'égalité est vérifiée solutions. À la différence d'une identité, une équation est une égalité qui n'est pas nécessairement vraie pour toutes les valeurs possibles que peut prendre la variable »

Gilles Lachaud, « Mathématiques Mathématique - Équations », Encyclopaedia Universalis

Faisons le pari d’inscrire ici d’autres choses que des dates et lieux de naissance, autre chose que les études, les moments officiels de la rencontre, où ils vivent et ce qu’ils mangent, le partage des tâches, le « comment ça marche » entre eux, et même laissons de côté s’il le faut la provenance des images, les modalités de leur choix ; oublions donc tout ce qui d’ordinaire nous rassure, toutes les preuves de bonne foi ou d’intelligence, les listes de faits et de gestes qui nous rapprochent de l’histoire mais nous éloignent du sujet. Tout ce qui, en fait, nous donne le sentiment de savoir à défaut de percevoir.

Appelons-les même « X » – une lettre à la fois sous laquelle leur peinture pourrait être née et dont elle pourrait parfois être frappée – « X » comme la variable d’une équation qui pour être équation doit savoir s’en adjoindre d’autres. Car en effet la peinture de X n’aurait aucune existence sans – autre variable – la peinture des autres, avec laquelle elle n’entretient pas un rapport simpliste de citation tristement contemporain mais un projet de coexistence subtil et exigeant. Dans ce rapport simple, cette équation posée, se lit presque en toutes lettres les aspirations de X à entrer dans le monde des peintres, et les moyens qu’il se donne : ceux, exclusivement, de la peinture.

Regardons dans les peintures de X comment les couleurs sont posées, comment elles disparaissent les unes dans les autres où s’affrontent, comment elles savent s’évanouir ; ne regardons pas tant les motifs que la manière dont ils sont altérés, comment ils sont reconfigurés, réorganisés par le simple jeu de la peinture : regardons comment tout cela est fait, le moment de l’aplat et celui du dégradé – vérifions s’il le faut sur les « palettes » donnant elles aussi lieu à un tableau. Voyons comment dans l’exposition les toiles se répondent, comment une même gamme colorée donne lieu à un soleil couchant ou à un embrasement, comment la palette des chairs est aussi celle d’un paysage, si les tissus surgissent effectivement du même pinceau que les formes abstraites. Cherchons où sont les transparences, les écrans, enfonçons l’œil jusque là où il lui est permis de s’enfoncer, notons sur quoi il bute, prenons acte de la frontière de l’image.

Peu importe en vérité d’où viennent les images sur lesquelles la peinture de X prend appui, et comprenons simplement que de ces images, X n’est parfois pas l’auteur. Cette peinture est née sous X parce qu’elle se soucie moins de ses droits d’auteur que de ses devoirs. (Jean-Luc Godard : « Le droit d’auteur, vraiment c’est pas possible. Un auteur n’a aucun droit. Je n’ai aucun droit. Je n’ai que des devoirs. »)

Par quelle déformation de l’esprit croyons-nous voir dans la peinture de X des scènes pornographiques, des paysages ou des compositions abstraites, alors que cette peinture nous invite à la voir comme une peinture, comme une solution affirmée mais provisoire, une égalité temporaire ? Et pourquoi percevons-nous immédiatement que nombre de ces peintures nous survivrons, nous qui, pourtant, sommes éternels ?

Eric Troncy

“In mathematics, an equation is an equality containing one or more variables. Solving the equation consists in determining the values that the variable can have for the equality to be true. The variable is also called an unknown and the values for which the equality is verified are called solutions. Unlike an identity, an equation is an equality that is not necessarily true for all the possible values that the variable can have.”

Gilles Lachaud, “Mathématiques Mathématique - Équations”, Encyclopaedia Universalis Let’s try out something new, let’s focus on something other than their dates and places of birth, their studies, the moment of their encounter, where they live and what they eat, the distribution of tasks, the question of “how things work” between them. If necessary, we might even leave aside the issue of the images’ origins, the decisions underlying their choices. Let’s forget everything that normally reassures us, all the elements proving their good faith or intelligence, the lists of their doings that bring us closer to history but distance us from the subject – everything, in fact, that gives us the feeling of knowing, if not perceivin

In fact, let’s call them “X” – a letter that could denote the anonymous origins of their artwork and its potential rating. “X” like the variable in an equation which, for it to be an equation, must be able to include other variables. For indeed, X’s artwork would not exist without – and this is another variable – the artwork of others: the relation between the two is a simplistic and sadly contemporary citation method, but a subtle and demanding coexistence. Within this simple relation, this given equation, one can almost literally perceive X’s ambition to enter the realm of painters and the means used to do so: the means, exclusively, of painting.

Let’s look at how the colours are applied in X’s paintings, how they disappear into one another or confront one another, how they can fade away; let’s concentrate not so much on the motifs but on the way in which they are altered, how they are reconfigured, reorganized through the simple application of the paint: let’s see how all this is done, the use of flat tint and of gradation – if necessary, let’s check the “palettes” that also give rise to a painting. Let’s see how the paintings answer one another in the exhibition, how the same range of colours generates a setting sun or a conflagration, how the palette of flesh tones is also that of a landscape, and whether the fabrics really come from the same brush as the abstract forms. Let’s seek out the transparencies, the screens. Let’s look as closely as possible. Let’s record what impedes our sight. Let’s note the border of the image.

It matters little in fact where the images come from on which X’s artwork rests, and we should simply recall that X is sometimes not the author of these images. This artwork is of anonymous origin because it cares less about its copyright than about its obligations (Jean-Luc Godard: “Copyright really is nonsense. An author has no rights. I have no rights. I only have duties”.)

By what twist of mind do we believe we see in X’s artwork pornographic scenes, landscapes or abstract compositions, while this artwork urges us to view it as a painting, as a stated but provisional solution, a temporary equality? And why do we immediately perceive that many of these paintings will outlive us, we who, however, are eternal?