7 août 2015

Allen Alain Viguier
ISBN : 9782912939067
Hôtel des Bains éditions
Published August 17th 2015
Paperback, 52 pages
21 x 14,8 cm.
9 € Trade.


In the book’s two texts concepts of art "return" from the past, mostly from the founding narrative of contemporary art, but they are not taking us back to the past. The past that is recovered in our present is a measure of the distance that separates us from then.
The texts' central proposition operates through the bracketing of objects. Boundaries and interactions are asserted, but boundaries are not inherent properties of entities and entities have no inherent substance. A boundary is like a multifaceted interface at which a synthetic inside and a scattered outside meet, correlate and interact with one another.
By suspending its own internality an object allows itself to be examined through its external relations in the material context of art and institutional practices. Its customary literalness and self-reflexiveness are turned round into a working method for unfolding and investigating its own contextual complexity.
What an artwork is is also what it does and makes us do. Through its agency, it engages a coordinated collective of people, practices and objects. Its event questions the boundaries of personhood and consciousness, and it decenters the anthropocentric as well as the generic spectator.
Somewhere in between the academic's talk (what I am thinking) and the artist's talk (what I am doing) theoretical discourse can exemplify the representational as being routed in live performance and material externality.  


Allen Alain Viguier
ISBN: 9780646942087
PlastiCity Press
Published September 1st 2015
Paperback, 36 pages
10,5 x 14,8 cm
10 AUD Trade


From the book's point of view post-object art did twice better than generally acknowledged. It not only sabotaged the physical object's static substance ontology but also reformulated what an object is. A new object to start again with. By reestablishing the object beyond its physical instability through processual invariance, it can then be observed in the context of its external relations and hence as having no ontological primacy over them. By bracketing the object and suspending its internality, both the object and the curatorial frame can be observed as working synchronically, correlated at a placeless boundary or interface.