obsolescence and consumerist emptiness. They will make their honey from these poisonous flowers, which may simply be blooms withered by an epoch dedicated to sterility. But whatever one’s feelings or sensibility, rejection or acceptance, a mystery as to its origins hovers over these surroundings. It forces respect and even admiration, due to the extent of the disaster, resulting in an unwavering tenacity. Because it is not the originality of the themes that strikes us, most having been largely covered by deconstructivist and nihilistic movements, so much as the infamy accomplished, its irreparable character, its intellec tual and pressing necessity. And so this is what gives an artistic
licence forced to the wall, on the borderline of syncope. In contrast to samples soberly confined in galleries and museums, behind sanitary protection, here and now, this is the tip of an emerging continent pushing through, threatening to take over the world. Those who champion the Abode of Chaos and its orchestrator have meticulously produced a microworld that is seemingly destruc tured, but whose disorder appears in fact to be built up layer by layer, shard by shard. On every scale, we can only imagine the various creative processes that have worked on and borne along all these symbols, signs, objects and representations to achieve their final union. It is difficult to know if this is the result of staged
have us believe. By combining so many talents and fountainheads, the creator instantly acknowledges a work co-created by others. In this case, all the artists contribut ing to the collective work have forged an alliance through their own personal style and touch. These mingled inspirations together ooze a delirious, halluci nogenic “creality” whose myriad dimensions are haunted by alter egos. Provided that you accept the test in the sense of a challenge and of a concrete variant, immersing yourself in the Abode means entering a bubbling, nourishing soup that feels more final than pri mordial. It activates and profound ly mixes universal and fundamental archetypes together.
choreography, architectural mastery, intuitive improvisation or even random or arbitrary decisions. This immersive world constantly poses the riddle of its cosmogenesis and the intentions that engendered it. What on earth lies behind it? It sparks off a mental quest that ends up in another abyss, one leading directly to the heart of the human interiority all around us. On site, dumbfounded, we move within a liberated intimacy that has exploded as it suddenly emerged. It has cast itself in a ferment of surging and ebbing waves on the ground, on the walls, into the slightest receptacle. And yet this plural individuality is not as egotistical as the discourse accompanying the project would
In the innermost depths of its entrails, impulses evacuated or denied by social normativeness or libidinal training come together and drift apart. Of necessity, what follows is an initiatory relation ship that changes us into a foreign being, with whom we must either break or form a pact. This is why the Abode of Chaos’ Organ Museum perfectly matches the definition of a new kind of work that is no longer total, but as totalising as it is anti-totalitarian. Its extreme degree of saturation, which then intensifies further as more and more is added to it, fosters the crystallisation of subjectivities invoked like kaleidoscopic motifs, which reflect back dream-like visions of ourselves, our inner and outer
worlds, our possibilities and impossibilities. The echoes and resonances experienced while passing through such a saturated artistic milieu create and delineate our own shadows and light, making spectators themselves into ephemeral, immaterial works, setting them up as a possible emanation of a new organism, root or bud, pollen or spore, fruit or soil, in a series of unpredictable existential metamorphoses. Later, forgotten or revered, this world will be able to nourish with its sap anyone who has recognised it as one of the major telluric landmarks of our time: the mecca of an energy force both spiritual and carnal.
Étienne-Armand Amato DSc in Information and Communication
[…]D’autres apprécieront les effets corrosifs de ce magma signifiant qui thématise l’obsolescence, la vanité consumériste […] […]Others will appreciate the corrosive effects of this meaningful jumble, which thematises obsolescence and consumerist emptiness […]
Published on Mar 13, 2013
thierry Ehrmann: we put all our passion and folly into preparing this French-English Collector, the book of the decade: 504 pages / 4.5 kg /...