Paintings and paper works
A Constructed World’s recent paintings attempt a transition between mediums; performance, rehearsal, video and painting, where one takes on the quality of the other. Rather than displaying interest in the inherent qualities of painting these works show how one can inhabit the other and interpret liveness and performativity. Installed over a large Paper Room, made over four years with the group Speech and What Archive, this room tests out the spatio-temporal potential of painting.
Speech and What Archive is a group of artists, curators, an art historian, writer and philosopher invited together by ACW in 2009, including Fabien Vallos, Matthew Rana, Clémence de Montgolfier, Sébastien Pluot, Anna Hess, Marie Gautier, Fabrice Reymond, Etienne Bernard and Yann Sérandour.
“Even as he (Freud) strived for psychoanalysis to attain a certain level of respectability, Sigmund Freud was struggling against his attraction to telepathy. Ernest Jones, his collaborator in London, warned him against this occult practice, as it could bring harm to psychoanalysis. To this Freud replied that his belief in telepathy, just as his taste for tobacco and his Jewishness, remained strictly personal business. As if the personal affairs of Freud had no relationship to psychoanalysis. Telepathy would help make immediate contact with the other without passing through language. Language being nevertheless the condition of analytic treatment and the guarantee of an intersubjective relationship, Freud took the risk of both contradicting himself and imagining a state of telepathic fusion between the subjects. It’s a situation where the Other (including the Other in its absolute difference: the animal), could stop being an other and become a self. Both paradoxes have in common that they reveal conflicting relationships between theoretical constructs and the repressed desires that are impeding them. They also highlight the constraints that oppose the need to recognise difference.”- Sébastien Pluot