Les yeux mi-clos

2018.10.13-2018.12.09

                                    Looking is not always just seeing: Eyes wandering between near and far, present and absent, and vision and mind.

                                                                                           -Baldine Saint Girons,<L'Acte esthétique. Cinq réels, cinq risques de se perdre> 

 

Our earliest idea was derived from the line that is simplest and purest in form—the horizon. It was a straight line or a surface on which people stood (Wassily Kandinsky); beneath its spare appearance, it was complex and bore many meanings: Separation, restriction, stillness, a boundary, a film, an interface, continuity, stopping, direction, movement, process, time, thickness, and boundlessness, etc.

 

The horizon moves forward endlessly, like a boundary that can never be crossed. It delineates and separates the known from the unkown and mysterious, and inspires us to find our place and name between sky and earth. It prompts questions concerning creative issues of common interest: the relationship between the self and the horizon and between the self and visible space, and the purely visible relationship between extension and distance, and we can transform it into a realm for experimentation with external and internal perceptions. If the horizon looks like a line and projects our relationships onto the world's shared desires and adventures (what is meant here is the desire to explore unknown possibilities or the far distance, apart from the linear physical body), now it seems to be split into multiple coexisting entities. What are the spaces that are brought into being by our field of vision? What kind of new relationship have we established with the world? This process of mutual questioning led to the "Les yeux mi-clos" joint exhibition. The exhibition, which contains the three strata of stillness, time, and movement, examines the topic of the boundedness and wandering of the body (linear, temporal, and mine). By switching the floor's horizontal and vertical orientations and taking advantage of the slight differences and repetitions between the exhibition rooms, the exhibition achieves mutual integrity and interplay. 

 

"Les yeux mi-clos" embodies the state of tension between clarity and obscurity. Ambiguity, stillness, chaos, loss of connection with reality, or re-arrangement of visual reality… Here it is not just what we see, but even more what we feel. Just like the horizon, this place is a twilight zone between separation and closeness. First, this limit is an extremely fine dividing line, and is the interface between two special states; it is slowly expanding into an area that can be traversed, can influence, is experimental, and can be exchanged, and is gradually forming an open (seuil), subtle transition zone. In that complex zone where events happen or end, changes accelerate or cease, and mutual infiltration and deformation occur, the body is not solely the nominal body, but is also a relative body. Eyes half-closed are found in this zone that the body has not yet gone beyond. Because it is subject to frequent disturbance from the external world, it is forced to respond, and becomes a wandering body—"In the midst of." The relationship between my self and what will become me is occurring in the midst of it and in the midst of time through a medium and process.