FREE ENTRY
WEDNESDAY - SUNDAY
14 p.m. - 18:30 p.m.
IN RESPECT OF THE HEALTH INSTRUCTIONS IN FORCE
Exhibition co-produced by Stimultania and the College of Bernardine. This project received aid from the DRAC Grand Est and the Région Grand Est. In collaboration with Oil Publishing.
An attentive and concerned researcher, Vincent Chevillon follows in the footsteps of animals and records his thoughts in line-drawn shots.
Each detail revealed by the photographic image could provide an answer and allow the advance of an infinite investigation ... His exhibitions are so many avenues explored meticulously over the years: the artist organizes each piece of his work like a door to hell , a brilliant maelstrom of trunks, stones, bones and feathers, in the hollow of which a floating balance reigns.
Whether he travels by catamaran or in museum reserves, Vincent Chevillon traces narrow winds between the Canaries, the Baltic Sea, the Diamond Rock or the hunting reserves of the Duke of Luxembourg. He is interested in everything from the dentition of sperm whales, which have only about twenty teeth on the lower jaw and which swallow squid whole, to osteoarthritis of Asian elephants, locked in cages.
constraining the development of their spine. He reads Giono, Tournier, Goethe, Haraway, Ingold and Glissant.
Ah! rugged memory rebel in the thicket. / Every memory bush hides a shooter. / On our heads the beating of the mill / In our nights the boucans cough / The man may make the cry takes root. *
For him, “the words that are spoken have an impact on the world”. In space, his work unfolds; the monumental pieces, superb creations of an artist-craftsman, mounted in polyptychs, cut out, punctuate the weight of the words. And the birds seem to fall from the sky ...
Celine Duval
* Édouard Glissant, “Le sang rivé”, Présence Africaine editions, 2012
“It seems that our world can no longer contain our expansionist and progressive dreams. Disturbing disturbances are shaking our biosphere and committing us to new civic responsibilities, prompting us to rethink on a larger scale our anthropocentric history along with that of other beings.
Our museums, our natural spaces today ominously reflect the words of Descartes, that man one day surrenders "as master and possessor of nature". This colonial heritage, both with regard to the territories and to what makes them up (or those who made them up), obliges us to reconsider our use of the world. ”
Vincent Chevillon
The museums look like curious upturned arches where rest naturalized remains, sometimes the last material presence of species, of disappeared environments. In addition, the “natural” spaces which sheltered these beings now seem deserted…
A feeling of communicating slime emerges through this curious rapprochement. The conservation of these collections and these spaces raises many issues - sometimes embarrassing, both first and second degree - and creates paradoxical situations combining life and death, conservation and extinction, entangling the rational with the irrational, the civilized with the primitive. , the modern to the premodern, the scientific to the romantic.
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Vincent Chevillon is developing long-term research which has led him for several years to re-study and reassess certain foundations of our modern society, namely the invention of a frank and theoretical separation between culture and nature, of a limitless world to be conquered. and domesticate.
By going back and forth between specific news and their inscriptions in more obscure geographic, historical and cultural systems, his research works on the cohabitation of forms, attitudes and knowledge within intersecting cosmogonies.
His practice tends to make surface states and arrangements manifest, pronouncing what, out of sight, secretly agitates the world. His fields of research explore the margins of our modernity. He questions our relationship to elsewhere through these margins, to what they limit and pronounce on both sides.
In Lisières, by unearthing traces in the reserves of Belgian and French natural history museums as well as in so-called natural and protected environments (regional and national parks), the author engages in an enterprise of investigation and revelation / reassessment. . He points to the capacity of the image to bring out or cover, to condition our gaze on nature.
Paradoxically, this project tries, through the image, to activate the inanimate and attracts forgotten presences in abandoned spaces.
“In 2013, during a trip to the shores of the Atlantic Ocean, I started a photographic project that I called Lisières.
An edge is a limit between two midpoints. Travel experiences as well as the various long-term projects made me aware of the exuberant fragility of the worlds around us. Lisières addresses an aesthetic of reconciliation: reconciliation between nature and culture, between the domestic and the wild, folklore and the natural sciences, the living and the dead, the shadow and the visible, memory and the future. . "
Vincent Chevillon
Let yourself be carried by the voice of Vincent Chevillon to go further in his universe.
FOR FURTHER
Initially trained in Earth Sciences, Vincent Chevillon grew up overseas (Martinique, Reunion Island). He completed his training with studies in Art, joined in 2010 the post-diploma of Fine Arts in Paris, then the experimental program SPEAP (Art-Science and Society) of Bruno Latour at Science-Po Paris in 2017-2018. Since 2014, he has been teaching Space and Volume at La Haute École des Arts du Rhin (HEAR) in Strasbourg.
His research brings together different fields of study, ranging from anthropology, geophysics to iconology. He develops generally evolving devices from collected or shaped elements, images, stories that are formalized in the form of installations, editions, digital works or objects. A first set of this research (Spermwhaler's dream) was exhibited in 2011 in a module of the Pierre Bergé - Yves Saint Laurent Foundation at the Palais de Tokyo. In 2013, he undertook a field study aboard a sailboat during a 7-month roaming at sea on both sides of the Atlantic Ocean. This survey, SEMES, received the support of the FNAGP and the DRAC Grand Est and was exhibited in spring 2016 at the Espace Khiasma. Since 2013, he has been developing a participatory encyclopedic platform entitled archipelagos.org with different structures (FNAGP, SCAM, Espace Khiasma, Dicream, SPEAP).
