twice cyrille weiner 1980 editions

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  • twice cyrille weiner

  • Certains sentiers poussent marcher plus que de raison, comme pris par un sortilge. Nous voici de nouveau engags dans la boucle jusqu ce quun sentiment dvidence retienne nos corps. lombre de cet arbre, assis sur ce rocher, debout sur cet asphalte, on se sent soudain vivre en bordure du monde, juste distance des choses.

    Marcher, fuir la situation du sdentaire que travail et contemplation divisent et dont les vacances forment lexpdient dune rconciliation temporaire Il avait fallu que sa voiture labandonne au bord dune autoroute pour se livrer une promenade sans but, rgler les pas perdus sur sa respiration. Saisi dans la lumire gale dun ciel laiteux, le panorama sans qualit lui tait apparu comme un dcor de thtre.

    La curiosit lui avait fait franchir le parapet puis sapprocher de tours dhabitations disperses sur un terrain vague. Lautoroute tait dsormais invisible et la rumeur de son flux touffe par une vgtation dense lpret attnue par les couleurs dautomne. La traverse du site pied dcouvrait un espace vierge, comme sil avait fallu physiquement sy inscrire pour en sentir le caractre infini. Entre une nature prenant possession du vide et les rsidus dactivits humaines rompues, un horizon souvrait.

    En marge des villes, sur les sentiers dun littoral ou dans lagitation dune zone dactivit portuaire, le photographe sattachait depuis sonder le pouls de ces espaces mouvants. La marche lui donnait du champ. Une mmoire de vcus antrieurs laccompagnait. Elle provoquait un sentiment dubiquit proche du rve sur lequel le temps navait plus prise.

    Le photographe prenait la mesure des lieux pour en requalifier lexprience. La marche layant prvenu de toute synthse vidente, il consignait dans un carnet les moments les plus propices pour les explorer. Il revendiquait un exercice dabstraction ncessaire, un abandon temporaire du sujet pour le laisser se dposer, lexplorer mentalement, y revenir et le trouver enfin.

    Some paths push us to do an unreasonable amount of walking, as if we were under a magic spell. We are once again engaged in the loop until a feeling of obviousness holds our bodies back. In the shadow of that tree, sitting on that rock, standing on that road, we suddenly feel like we are living on the border of the world, at an appropriate distance from things.

    Walking, running away from the sedentary situation that is divided by work and contemplation and whose holidays form the expedient of a temporary reconciliation It took his car breaking down on the side of a motorway for him to start walking aimlessly and synchronise his aimless steps with his breathing. Caught in the even light of a milky sky, the plain panorama reminded him of a theatre set.

    Curiosity made him step over the parapet and walk towards the high-rise buildings scattered over some empty land. The motor way was now invisible and the rumble of its flow was muffled by dense vegetation whose harshness was diminished by autumnal colours. Walking across the site revealed a virgin space; it was as if a physical mark had been needed in order to feel its infinite character. A horizon was opening between nature taking possession of emptiness and the residues of human activities that had been stopped.

    Outside cities, on the paths of a coastline or in the hustle and bustle of an area of port activity, the photographer endeavoured to have his finger on the pulse of these moving spaces. Walking gave him space. A memory of past lives accompanied him. It created a feeling of ubiquity close to that of a dream on which time no longer had a grip.

    The photographer measured the spaces in order to redefine the experience. Because walking prevented him from any obvious synthesis, he recorded in a notebook the most relevant moments in order to explore them. He advocated a necessary exercise of abstraction, a temporary abandonment of the subject to let it rest, mentally explore it, go back to it and eventually find it.

    Le collectionneur nest pas l o est sa collection. Il aurait plutt la haine du domicile et la passion du voyage , pour parler comme Baudelaire. Cest un marcheur. Le vrai domaine du collectionneur, cest lailleurs, partout ailleurs, cest le monde, les espaces infinis rsonnant au del de la promesse dobjets venir. Collectionner est une drive incessante qui cre dtranges gographies.

    Collectors are not where their collections are. How- ever they might have, as Baudelaire said, a hatred of the home and a passion for voyaging. They are walkers. The real territory of a collector is elsewhere, it is everywhere else, it is the world and the infinite spaces that resonate beyond the promise of objects to come. To collect is an endless act of drifting away creating strange geographies.

    twice a t conu par twice has been designed by Cyrille Weiner et and 19/80 ditions. Les textes ont t traduits par Texts were translated by Mathilde Mazau et relus par and checked by Stphane Ranon.

    Conception graphique Graphic designJad Hussein

    Photogravure Color separationsPrintmodel, Paris

    Impression PrintingDieKeure, Bruges (BE)

    2015 Cyrille Weiner pour les images 2015 Marguerite Pilven pour le texte 2015 19/80 ditions et les auteurs pour cette premire dition

    19/80 ditions, Paris www.1980editions.com

    Marguerite Pilven Grard Wajcman, Psychoanalytische Perspectieven, 2006, 24, 1 : 41-53

    ISBN 978-2-919159-09-3

    Dpt lgal : Fvrier 2015

  • twice

    cyrille weiner19/80 ditions

    FR

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