Through a series of construction tools made of transparent textiles, Jannick Deslauriers draws our attention to the presence (too often taken for granted) of objects and events with which we interact.<\/p>\n\n\n\n

If, at first sight, the work evokes the notions of construction, of frame, the visitor quickly realizes that the objects it comprises are empty and only simulate the forms they represent. These, emptied of their parts and severed from their initial purpose, are henceforth useless. Added to Chantier<\/em>\u2019s spatiality of realities and absences is a temporal element. On the one hand, the appearance of the \u201congoing process\u201d of the objects\u200a\u2014\u200aemphasized among others by the presence of seams\u200a\u2014\u200arenders the production cycle of the work almost visible. Conversely, the evolutionary character of the building site finds itself immobilized in the gallery, evolving into nothing new.<\/p>\n\n\n\n

Chantier<\/em> illustrates the state of change that undoubtedly characterizes our ontology and that of our environment and draws attention to the transitory nature of the objects that make up history, to the \u201cdisappearance of our era.\u201d For, ironically, Chantier<\/em> manifests our incapacity to construct, or, at the very least, the fragility of all human enterprise.<\/p>\n\n\n\n

Based on the text \u201c\u2018L\u2019incapacit\u00e9 de construire\u2019: les tempor(\u00e9)alit\u00e9s de Chantier<\/em>,\u201d by Vincent Marquis.<\/p>\n\n\n\n

[Translated from the French by Louise Ashcroft]<\/p>\n\n\n\n

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