62, rue de la Joliette
13002 Marseille
t. +33 (0)4 91 56 11 50
contact@cirva.fr
www.cirva.fr
Facebook

Centre International
de Recherche sur
le Verre et les Arts
plastiques

Jimmie Durham

Jimmie Durham démarre en octobre 2016 une résidence de recherche au CIRVA, associé avec son ami artiste Jone Kvie.

Jimmie Durham est le lauréat du prix Goslar Kaiserring 2016.

« Si l’univers était plus lent, il serait liquide ». C’est l’image que Jimmie Durham a inventée le sourire aux lèvres lors des premières discussions avec l’équipe dans l’atelier du CIRVA. Il imagine des plaques de verre qui coulent, comme des vitraux du Moyen-Âge qui seraient encore mouvants. Il souhaite construire une cathédrale de verre liquide dont les couleurs seraient fluctuantes, translucides mais épaisses, d’un rouge profond et bigarré.

De multiples plaques de verres sont fabriquées par coulage à la louche, puis aplaties au moyen d’un rouleau, quelques-unes comme des pâtes à tarte, d’autres contraintes par un emporte-pièce. Ces galettes deviendront des éléments de mobiliers ou de constructions improbables, allant du marche-pied au paravent, le verre étant enserré par des structures de métal précisément conçues pour l’occasion. Des rencontres incongrues entre objets sans liens apparents pourront aussi se produire, des plaques de verre pourront s’illuminer lorsqu’on s’en approche, comme si nous étions surveillés, prière de ne pas toucher, vous êtes filmés !

Jimmie Durham propose ainsi des anti-architectures,  des compositions pour le verre qu’il choisit plus pour ses jeux d’opacités et de reflets que pour une quelconque volonté de construire, pour ne pas contraindre mais peut-être au contraire pour ouvrir.

D’ailleurs ce verre il aime le casser, il aime particulièrement la fente brutale provoquée par les incompatibilités de la matière, c’est l’état qu’il trouve le plus intense et vivant. Jimmie Durham nous a toujours habitué à l’acte de destruction, au désir impulsif de briser les choses, les réfrigérateurs, les avions, les voitures. Aujourd’hui, il ne résiste pas à celui de casser le cassable, c’est un acte somme toute libérateur et parfois même constructif, en tous les cas plaisant. C’est ce qui lui fait dire : « la violence en art, c’est comme le cynisme en art : si l’on était réellement cynique, on ne pourrait pas produire de l’art »[1]. (Isabelle Reiher, directrice du CIRVA).



[1] Jimmie Durham, Rejected stones, catalogue de l’exposition au Musée d’art moderne de la Ville de Paris/ARC, Paris Musées, 2009. 

Jone Kvie, né en 1971 en Norvège, vit et travaille en Suède.

About Glass

« For hundreds of years physical material, matter, was divided into three categories: solid, liquid and gas. Late in the 20th century glass was added as a fourth category. Liquid, solid, gas and glass, because scientists needed the clarity. Glass is never really solid, it is in a state of flow that does not flow in our universe. One scientist described it as flowing more slowly than the universe operates.

That means there is stuff daily around us that is as though it is not of this world.

It is of this world though, starting out as ordinary sand, it is then heated until it seems soft. Sand is minerals such as quartz, which have a crystaline structure.  But with high heat it loses the crystaline structure as it becomes soft.  Watching people worth with glass at a furnace, I see that it never becomes liquid. That is an added, hypnotically strange, property; melted glass is not melted, does not become liquid. It can seem viscous but that is also deceptive - it is the same as it is as cold glass, only softer.

One of the nice properties of glass is that is it always pliable to some degree. It will very often break and shatter but it will 'bend' a certain amount before breaking.

What is most useful about glass is the transparency - - - hard stuff that you can see through. Even better than magic; it does what we say. Become a window pane for a house or car, or it accepts added minerals to make the most brilliant combinations of colour and light.

Humans quite understandably, want to domesticate everything. Early on, we were too insulted by being bitten, hit or cut.  As we learned about glass the process involved learning to domesticate it, make it appropriate for every part of the parlour from window to the decanter and wine glasses we drink from and the glasses hooked on to our faces to help us read each other's poems.

When any of this glass breaks it becomes immediately against the law. And dangerous.

For me broken glass shows the true qualities of glass. It vibrates. It scares us. To encounter broken glass is like meeting a dangerous wild animal. It has a constant energy; energy that cannot fit into our world.

Working with molten glass at CIRVA in Marseille I learned that glass often breaks as it cools. We think that is because it cools too quickly or unevenly or something. But that is only descriptive, not really explaining what happens.

There is a great inner tension in glass. I guess that is because it is moving slower than the universe.

Jone Kvie's sculpture is incredibly varied because he uses any material that seems to echo a need in his brain. The individual pieces always re-interpret our perceptions of objects or phenomena in the world. But with an intellectual lightness that is similar to the spirit in which Italo Calvino wrote.

Jone and I had planned to do projects at the CIRVA glass workshop in Marseille for several years but could not free up time.

We finally did it in three beautiful weeks in October 2016. Each of us wanted to see how to return to some essentiality of glass. I wanted to show these strange qualities of both flowingness and the willingness to dangerously break.

Jone has done works also about the flow, yet always connected to volcanic action. He also made casts in wet sand using his hands to form the negative of the finished pieces. The results are properly unsettling, combing the human body with wild earth and wilder glass. » (Jimmie Durham, November 8, 2016, Berlin)

michelrein.com
kvie.nu