Allures (Aspects) proposes to explore a selection of works from the Frac Centre-Val de Loire Collection, among which some recent acquisitions (Passi, Superstudio, Cantafora), as well as works previously unseen or rarely shown at Turbulences (Niedermayr, Pettena, EZCT, Labdora, Andrault & Parat), the respective singularities of which help us perceive how they might express the notion of urban and architectural ‘presence’.
Allures opens up to the field of visionary thought on unprecedented, significant, and liberated forms, through a selection of works that falls within the ‘implementation’ of striking figures of a promising discontinuity (Archizoom Associati, UFO, Superstudio).
Allures also opens up to the perception of a state that is both rediscovered and renewed, infused with history and replayed memories (Libeskind), manipulated (Casebere, Pettena) or remotivated (Ian+) reality, in the extended and prospective continuation of combined art practices (Di Teana). The loans acquired for Allures (Absalon, the ‘mathematical appearances of the elliptical function’ from the Laboratoire de Mathématique in Besançon, and the selection of exceptional images associated with the Vhkutemas movement) take on their full meaning here: they are as many types of links, of bridges, which, through the diversity of these presences, point to the shared goal of an attainable intelligibility.
Drafts, sketches, grids, histograms, typologies, plans, blueprints, templates, models, photographs or moving images… Whether they represent the reality of the hand’s gesture or the expression of a digital tool, the point is to envision these works in their seminal state of frailty, which could be compared to Roland Barthes’ notion of ‘trembling meaning’, and which shapes its forces and densities.
The presence of invited contemporary artists and architects (Farah Atassi, Eva Le Roi, Studio sNCDA, Office KGDVS, Vincent Lamouroux, Hayoun Kwon) blends in with exhibits from the Collection. Symmetries come into play, breaking through any containment attempts, questioning our methods of organising and defining knowledge, (re)cognition, and perception of what is tangible. Still, these heterogeneous worlds draw the outline of a manifest consistency of artistic production, whether it belongs to the field of art or of architecture.
Eric Dégoutte, curator