{"id":19318,"date":"2023-11-08T11:51:54","date_gmt":"2023-11-08T10:51:54","guid":{"rendered":"https:\/\/www.jousse-entreprise.com\/art-contemporain\/?post_type=expositions&p=19318"},"modified":"2023-12-08T11:53:41","modified_gmt":"2023-12-08T10:53:41","slug":"renaissance-sauvage-la-perspective-symbiotique","status":"publish","type":"expositions","link":"https:\/\/www.jousse-entreprise.com\/art-contemporain\/en\/expositions\/renaissance-sauvage-la-perspective-symbiotique\/","title":{"rendered":"Renaissance sauvage : la perspective symbiotique"},"content":{"rendered":"

Galerie Jousse Entreprise is pleased to present the group exhibition Renaissance Sauvage: la perspective symbiotique curated by Guillaume Log\u00e9. The exhibition will run until January 13, 2024. (closed from December 22, 2023 to January 2, 2024 inclusive).<\/p>\n

With\u00a0<\/strong>Art Orient\u00e9 Objet (Marion Laval-Jeantet & Beno\u00eet Mangin), David Bihanic, Michel Blazy, Cl\u00e9ment Borderie, David Christoffel, Edith Dekyndt, Laurent Derobert, Claude Gilli, J\u00e9r\u00e9my Gob\u00e9, Andy Goldsworthy, Victoire Inchausp\u00e9, Susan Jacobs, Chlo\u00e9 Jeanne, anne marie maes, Ariane Michel & C\u00e9leste Boursier-Mougenot, Val\u00e9rie Mr\u00e9jen, Luc Petton, Tom\u00e1s Saraceno, Niccol\u00f2 de Martinelli, dit il Trometta, Jean-Luc Vilmouth, Yang Zhichao.<\/p>\n

 <\/p>\n

Why are we speaking about a new form of perspective in art, six hundred years after linear perspective theories emerged \u2013 which paved the way for modernity \u2013 during the Renaissance of the 15th<\/sup> and 16th<\/sup> centuries? What are the characteristics of this new perspective? In what ways is it intimately tied to the ecological context that we know? What does it say about our era? And what horizons does it open up?<\/p>\n

An in-depth answer to these questions can be found in an article that was just published in the online journal La pens\u00e9e \u00e9cologique<\/em>, [1]<\/a> which has been reprinted and published in a booklet that is available at the gallery.[2]<\/a><\/p>\n

The context is that of a \u00ab\u00a0Wild Renaissance,\u00a0\u00bb whose first manifestations we are now witnessing. Our book Renaissance sauvage. L\u2019art de Anthropoc\u00e8ne <\/em>(Puf, 2019) describes the genesis and spirit of this Wild Renaissance, and comments on various examples. The \u201csymbiotic perspective\u201d is a form of perspective associated with this possible shift in civilization. Like all perspectives, it bears witness to a certain way of seeing, translating into a method for constructing works. It gives birth to a new space and to new connections. Far from a mere technical term, perspective<\/em> speaks about the world \u2013 perhaps like no other device \u2013 about its underlying dynamics and its future.<\/p>\n

To put it briefly, the paradigm of a linear perspective (which we might call a \u201cmodernist perspective\u201d) is based on a mathematical approach to reality and on adhering to a certain conception of man\u2019s place and power on Earth. The symbiotic perspective changes scientific and philosophical reference frames. Environmental sciences and philosophies nurture it, while simultaneously calling into question the anthropocentrism inherent in modernity. At its most basic level, the symbiotic perspective involves soliciting plural, creative forces in the realization of a work. The individual is no longer at the center, deciding and determining all things, imposing his will on an inert nature. Instead, he seeks ways to collaborate with what he discovers about life and an impetus beyond himself.<\/p>\n

The symbiotic perspective touches on the most sensitive ecological questions, among which: how do we see our place and role on Earth? How do we approach and work with the living (or more generally, \u201cthe moving\u201d)? How can we understand and listen to nature\u2019s active diversity? How can we welcome and express non-human forms of intelligence and sensitivity? Or even: how can we give voice and presence to those, that for too long, have been condemned to invisibility or disregarded? How can we coexist and build a sustainable future in harmony with all the other beings and entities that inhabit the planet? What\u2019s the difference between collaborating and controlling? How do we obtain the consent and participation of those other-than-us? And so on.<\/p>\n

The exhibition explores different variations of the symbiotic perspective within the creations by some twenty artists. Although presented non-chronologically, the exhibition is situated in comparison to the canon of linear perspective through the presence of a drawing by Niccol\u00f2 Martinelli (known as Il Trometta, c. 1540-1611). The exhibition reminds us that certain 20th-century artists initiated a paradigm shift, notably Claude Gilli (1938-2015) and Jean-Luc Vilmouth (1952-2015) who are shown here.<\/p>\n

[1]<\/a> https:\/\/lapenseeecologique.com\/la-perspective-symbiotique\/#_ftnref77<\/a><\/p>\n

[2]<\/a> Guillaume Log\u00e9, La perspective symbiotique. Une nouvelle forme de perspective en art<\/em>, Paris, Galerie Jousse Entreprise, 2023.<\/p>\n

Ruinart supported the artists Chlo\u00e9 Jeanne and J\u00e9r\u00e9my Gob\u00e9<\/em> as part of its patronage program, and commissioned an art piece from Tom\u00e1s Saraceno in 2021.<\/em><\/p>\n

 <\/p>\n

Many thanks to artists for the loan of their works<\/em>. Thanks also to\u00a0galerie Anne-Sarah B\u00e9nichou (Pairs), galerie Les filles du Calvaire (Paris), galerie neugerriemschneider (Berlin), galerie\u00a0Paul Proute\u0301, galerie Art : Concept (Paris),\u00a0galerie Greta Meert (Bruxelles),\u00a0galerie Lelong & Co (Paris).\u00a0<\/i><\/p>\n

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