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21/9/2006

Loris Greaud

Institut francais Milano (ex Centre Culturel Francais), Milano

Illusion is a revolutionary weapon

L'inaugurazione di questa mostra sara' accompagnata da un'intervento dell'artista italiana Dafne Boggeri con l'opera "Hidden line on explicit surface n.01" by Gabrielle Giattino

Curatrice Claire Burrus

With Illusion is a Revolutionary Weapon Loris Gre'aud sets in motion a complex system of unattainable experiences. A multi-track exhibition with no center. A vast network of projects spanning continents and collapsing time. Illusion is a Revolutionary Weapon will manifest itself in the binding between projects rather than the discrete events geographically defined by London, Los Angeles, Milan, New York, Tokyo and Vilnius. On city streets, building sites and playing fields, in public parks and gallery spaces, the works will take their start: from there extending and thwarting perception. Spreading through phone lines, radio waves, television emissions and eventually through rumors and hearsay, units of information relating to the project will cross over, run together and cancel each other - obscuring experience.
Rooted in the deceptive potential of the transmission of information, the project - and its title - stems from the 1970 William Burroughs essay, "The Electronic Revolution", in which the conspiratory capabilities of mass communication and mass confusion are elaborated. Cut-up techniques and the playback of multi-layers of recorded information stand to threaten the comfort of knowledge.
Illusion is a Revolutionary Weapon projects are linked - entangled in a quantum mechanical sense - so that though spatially or physically distant from each other, the discrete forms that exist separately refer to one another: they influence each other and exist in an associated system. Gre'aud enables this network as much as the viewers activate it. The impossibility of actually viewing all these projects renders many dark holes in the experience of the Illusion project, but it is the unobtainable complete experience itself which defines the project. One could consider that the project exists in its pure form when not viewed at all, a classic conceptual work - for once illuminated, a project’s potential is diminished.
In Tokyo, with Item Idem and Assistant, Gre'aud becomes a director for a building’s destruction. In the style of Gordon Matta-Clark’s first cuttings, a demolition company will be brought in to raze a structure. In opposition the Matta-Clark’s methods, however, instead of keeping the event private - only to be documented by a film crew - the Gre'aud project will be attended by seated viewers. Bags will be checked at the entrance and all cameras and recording devices will be off-limits. The only record of this theatrical event will be the anecdotes and experiences of those present, and, perhaps, a mountain of pirate images.
Layers of sound - a voice track that becomes incomprehensible, and then engenders new meaning as if in foreign tongue - is the point of departure for Gre'aud’s project in Milan. Transforming the sound of an early Steve Reich tape piece, “It’s Gonna Rain", into overlapping radio signals, Gre'aud will control the light entering and leaving the space through the ten windows of the gallery. Moving electric blinds will mimic the stops, starts and lags of the Reich work. Lapses of sound and meaning are transferring into chaotic emissions, controlling a code of light and dark.

Al Centre culturel francais de Milan, per una sola sera, Dafne Boggeri ci offre la possibilita' di vivere un luogo altro, normalmente chiuso al pubblico, che rappresenta l'antitesi architettonica ed estetica dello spazio del cinema, inizialmente destinato ad ospitare il progetto.
“Hidden line on explicit surface n.01" rappresenta la prima tappa di un'azione che tende a far perdere le proprie tracce. Mescolando arte concettuale e street writing, l’artista interviene nello spazio con una decorazione vandalica complessa e pressoche' invisibile. Il processo di costruzione e' svelato da un mockumentary in cui movimento e suono sono trattati in senso geometrico. Il video e' lo strumento aggiunto che trasforma gli spazi in vasi comunicanti, mettendo in scena la relativita' della percezione della realta' stessa.

Ufficio stampa: Rosette Ciola tel. 02 48591928 presse@culturemilan.it

Inaugurazione: 22 settembre 2006, 12.00 - 21.00

la galerie du Centre culturel francais de Milan, corso Magenta 63, Milano
orari di apertura: dal lunedi' al venerdi' ore 10.00 - 19.00, sabato ore 15.00 - 19.00

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