http://www.mmdeschamps.net Marie-Michelle Deschamps Sat, 21 Mar 2015 13:25:08 +0000 http://www.mmdeschamps.net en http://www.mmdeschamps.net/mesure-of-an-attitude http://www.mmdeschamps.net/following/www.mmdeschamps.net/mesure-of-an-attitude Sat, 21 Mar 2015 13:25:08 +0000 Marie-Michelle Deschamps 9465463 Mesure of an attitude in the form of an adverb / Mesure d'une attitude sous forme adverbiale <br /> with Jen Aitken et Jean-François Lauda, Battat Contemporary, Montreal, 19.02 - 04.04 2015.<br /> <br /> <img src="http://payload358.cargocollective.com/1/6/195539/9465463/Marie-Michelle-web-3_950.jpg" width="900" height="1348" width_o="950" height_o="1423" src_o="http://payload358.cargocollective.com/1/6/195539/9465463/Marie-Michelle-web-3_950.jpg" data-mid="51613497" border="0" align="left" data-title="900 — 950 × 1423"data-hi-res="http://payload358.cargocollective.com/1/6/195539/9465463/Marie-Michelle-web-3_950.jpg" /><br /> <img src="http://payload358.cargocollective.com/1/6/195539/9465463/_DSC6498Photo-Guy-LHeureuxweb_950.jpg" width="900" height="908" width_o="950" height_o="958" src_o="http://payload358.cargocollective.com/1/6/195539/9465463/_DSC6498Photo-Guy-LHeureuxweb_950.jpg" data-mid="51613426" border="0" align="left" data-title="900 — 950 × 958"data-hi-res="http://payload358.cargocollective.com/1/6/195539/9465463/_DSC6498Photo-Guy-LHeureuxweb_950.jpg" /><br /> <img src="http://payload358.cargocollective.com/1/6/195539/9465463/Marie-Michelle_Deschampsweb2_950.jpg" width="900" height="601" width_o="950" height_o="634" src_o="http://payload358.cargocollective.com/1/6/195539/9465463/Marie-Michelle_Deschampsweb2_950.jpg" data-mid="51613374" border="0" align="left" data-title="900 — 950 × 634"data-hi-res="http://payload358.cargocollective.com/1/6/195539/9465463/Marie-Michelle_Deschampsweb2_950.jpg" /><br /> <img src="http://payload358.cargocollective.com/1/6/195539/9465463/Marie-Michelle_Deschampsweb_950.jpg" width="900" height="601" width_o="950" height_o="634" src_o="http://payload358.cargocollective.com/1/6/195539/9465463/Marie-Michelle_Deschampsweb_950.jpg" data-mid="51613357" border="0" align="left" data-title="900 — 950 × 634"data-hi-res="http://payload358.cargocollective.com/1/6/195539/9465463/Marie-Michelle_Deschampsweb_950.jpg" /><br /> <br /> When the vowels<br /> and the diphthongs are<br /> opaque or translucid,<br /> the consonants stay<br /> transparent. Configurations<br /> of color and of space<br /> barely glimpsed. Echoes<br /> of a tongue whose signs<br /> resist sense. “It was simply a matter<br /> of meeting this phrase.” The subject<br /> never leaves its grammatical<br /> glow. The small words<br /> that can't be altered<br /> fix objects, and quotations<br /> when so labeled<br /> cause short circuits<br /> “It was only a matter<br /> of recognizing this sentence,”<br /> the one we didn't know*.<br /> <br /> The exhibition explores a selection of works that use language as either a deconstruction or reconstitution process to question our hermeneutic habits. Viewers are invited to contemplate different approaches related to language as employed by the three artists (spoken, encoded, literary, visual, architectural). Measure of an attitude in the form of an adverb is preoccupied with two ideas: shifts or 'slippages' in the composition of oeuvres and articulating the vocabulary of loss of meaning. Linguistic ambivalence is presented through the multiple methodologies of these artists by leveraging the material and formal characteristics of their chosen medium.<br /> <br /> Jen Aitken offers us a set of works in which the rhetoric of architecture and the constant search for forms combined in infrastructural constructs unique to the artist. By taking paper crafts and their transposition into composite objects as a starting point, the artist suggests sculptures metamorphose depending on one’s point of view. Aitken’s practice develops a visual vocabulary that questions the relationship between objects and their referents, but also the disjunction of a visual language that is searching for new directions.<br /> <br /> For her first major project at the gallery, Marie-Michelle Deschamps unveils a new series of sculptures in enamel and plaster reliefs. Interested in issues of translation and enunciation - their instances of dislocation and transposition - the artist prompts us to question our ideas of construct by metamorphosing paper studies into three-dimensional objects. The notion of transfer is central to Deschamps’ practice and it is in the context of this sustained engagement with the transformation of both language and matter that the artist now exhibits pieces whose scrambled sources become interpretive trails at once figurative, abstract and literary.<br /> <br /> The idea of surface as a site of exploration, a space for the vocabulary of the artist, is constantly revisited in Jean-François Lauda’s work. Playing with a set of encoded motifs, the artist presents compositions that highlight process. His pieces bare traces of a language that is perpetually being redefined. Process leaves its mark on Lauda’s surfaces in his explorations of a codification that’s become distinctive to his practice. Thus, from one work to another, the viewer is confronted with the echo of surfaces, a dialogue that operates through the use of a fragmented language upheld in his painting.<br /> <br /> *HOCQUARD, Emmanuel (2012 [2003]). The Invention of Glass, translation by Cole Swensen and Rod Smith, Ann Arbor (MI): Canarium Books, p.14-15<br /> <br /> **Ibid, p.9. The title of the exhibition refers to an excerpt of text from Emmanuel Hocquard’s L’invention du verre (The Invention of Glass). Concerned with the properties of vernacular language, their incongruity, opacity and possibilities, Hocquard examines the disjunctions in language and contexts in which it is employed. Mesure of an attitude in the form of an adverb / Mesure d'une attitude sous forme adverbiale with Jen Aitken et Jean-François Lauda, Battat Contemporary, Montreal, ... http://www.mmdeschamps.net/8864801 http://www.mmdeschamps.net/following/www.mmdeschamps.net/8864801 Tue, 20 Jan 2015 16:46:13 +0000 Marie-Michelle Deschamps 8864801 Prologue to a fiction of a place that does not yet exist<br /> curated by Barbara Siriex<br /> ODD, Bucharest, Romania.<br /> with: Julie Béna, Marie-Michelle Deschamps, Beatrice Gibson, João Maria Gusmão & Pedro Paiva, François Lancien-Guilberteau, Alexandre Léger, Diego Marcon, Julien Tiberi, France Valliccioni, Adva Zakai.<br /> <br /> <img src="http://payload328.cargocollective.com/1/6/195539/8864801/15_bucarest_def_01_1000.jpg" width="900" height="599" width_o="1845" height_o="1230" src_o="http://payload328.cargocollective.com/1/6/195539/8864801/15_bucarest_def_01_1845.jpg" data-mid="60660400" border="0" align="left" data-title="900 — 1000 × 666"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864801/15_bucarest_def_01_1600_c.jpg" /><br /> <img src="http://payload328.cargocollective.com/1/6/195539/8864801/15_bucarest_def_02_1000.jpg" width="900" height="599" width_o="3348" height_o="2232" src_o="http://payload328.cargocollective.com/1/6/195539/8864801/15_bucarest_def_02_3348.jpg" data-mid="60660389" border="0" align="left" data-title="900 — 1000 × 666"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864801/15_bucarest_def_02_1600_c.jpg" /><br /> <br /> Je pense à toi / I think of you<br /> with Marie-Michelle Deschamps, Nicolas Party, Marion Wagschal, Maryse Larivière, Amélie Guérin-Simard, Kendall Koppe, Beth Stuart, Ziad Naccache, Willie Brisco.<br /> Battat Contemporary, Montréal, 2014.<br /> <br /> <img src="http://payload328.cargocollective.com/1/6/195539/8864801/itoy003_1000.jpg" width="900" height="600" width_o="1181" height_o="788" src_o="http://payload328.cargocollective.com/1/6/195539/8864801/itoy003_1181.jpg" data-mid="49746300" border="0" align="left" data-title="900 — 1000 × 667"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864801/itoy003_1181.jpg" /><br /> <img src="http://payload328.cargocollective.com/1/6/195539/8864801/itoy008_1000.jpg" width="900" height="600" width_o="1181" height_o="788" src_o="http://payload328.cargocollective.com/1/6/195539/8864801/itoy008_1181.jpg" data-mid="49746301" border="0" align="left" data-title="900 — 1000 × 667"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864801/itoy008_1181.jpg" /><br /> <br /> Routine Investigations <br /> with paintings by Justin Stephens<br /> Intermedia, CCA Glasgow, May 10-25 2013.<br /> <br /> <img src="http://payload328.cargocollective.com/1/6/195539/8864801/mandj_1000.jpg" width="900" height="620" width_o="1200" height_o="827" src_o="http://payload328.cargocollective.com/1/6/195539/8864801/mandj_1200.jpg" data-mid="50418028" border="0" align="left" data-title="900 — 1000 × 689"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864801/mandj_1200.jpg" /><br /> <img src="http://payload328.cargocollective.com/1/6/195539/8864801/mandj2_1000.jpg" width="900" height="556" width_o="1200" height_o="742" src_o="http://payload328.cargocollective.com/1/6/195539/8864801/mandj2_1200.jpg" data-mid="50418112" border="0" align="left" data-title="900 — 1000 × 618"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864801/mandj2_1200.jpg" /><br /> <br /> Valise (with Sarah Wright and Ciara Phillips) BQ, Berlin. 2013<br /> for The Glasgow Weekend, curated by David Dale Gallery, Glasgow. <br /> <br /> <img src="http://payload328.cargocollective.com/1/6/195539/8864801/bq_layout_03_1000.jpg" width="900" height="577" width_o="3405" height_o="2186" src_o="http://payload328.cargocollective.com/1/6/195539/8864801/bq_layout_03_3405.jpg" data-mid="51206880" border="0" align="left" data-title="900 — 1000 × 641"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864801/bq_layout_03_1600_c.jpg" /><br /> <img src="http://payload328.cargocollective.com/1/6/195539/8864801/bq_layout_02_6_1000.jpg" width="900" height="830" width_o="2727" height_o="2517" src_o="http://payload328.cargocollective.com/1/6/195539/8864801/bq_layout_02_6_2727.jpg" data-mid="51206911" border="0" align="left" data-title="900 — 1000 × 922"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864801/bq_layout_02_6_1600_c.jpg" /> Prologue to a fiction of a place that does not yet exist curated by Barbara Siriex ODD, Bucharest, Romania. with: Julie Béna, Marie-Michelle Deschamps, Beatrice ... http://www.mmdeschamps.net/ntpslf http://www.mmdeschamps.net/following/www.mmdeschamps.net/ntpslf Tue, 02 Dec 2014 09:20:08 +0000 Marie-Michelle Deschamps 8970863 <img src="http://payload333.cargocollective.com/1/6/195539/8970863/Triangle-NTPSLF-2014-017_1000.jpg" width="900" height="600" width_o="2657" height_o="1774" src_o="http://payload333.cargocollective.com/1/6/195539/8970863/Triangle-NTPSLF-2014-017_2657.jpg" data-mid="50772904" border="0" align="left" data-title="900 — 1000 × 667"data-hi-res="http://payload333.cargocollective.com/1/6/195539/8970863/Triangle-NTPSLF-2014-017_1600_c.jpg" /><br /> <br /> Ne trébuchez pas sur le fil<br /> un projet de TRIANGLE FRANCE<br /> avec Éléonore False et Emmanuelle Lainé <br /> au Bastille Design Center, Paris, 2014.<br /> <br /> L’exposition emprunte son titre à la figure mythique de Louis Wolfson, schizophrène New Yorkais dont l’ouvrage « Le Schizo et les langues » fut publié par Gallimard en 1970. Dans cet ouvrage autobiographique écrit à la troisième personne, Louis Wolfson raconte comment, pour échapper à sa langue maternelle, il a mis au point un procédé linguistique ultra sophistiqué lui permettant de convertir le plus vite possible l’anglais en une autre langue, faite de mots français, allemands, hébreux ou russes, équivalents du point de vue du sens et de la sonorité. Il destine son ouvrage à un lectorat qui ne cesserait de questionner ce qu’il en est de l’accession au savoir, quitte, comme il le dit, à accepter l’intensité de l’effort intellectuel et physique pour continuer à vivre et à agir, rester sensé et lucide.<br /> <br /> La question de la connaissance, des outils du savoir, de l’équilibre, des altérations de sens et d’espace sont au centre de cette exposition. Lors de sa résidence à Triangle France au printemps 2014, Marie-Michelle Deschamps a développé une série de travaux montrés pour la première fois à Collective Gallery à Edinbourgh pendant l’été 2014. Le procédé est complexe : elle a retrouvé Louis Wolfson, aujourd’hui millionnaire et résidant à Puerto Rico (il avait également une addiction aux jeux), avec qui elle a initié une relation épistolaire qui a ensuite fait l’objet d’une traduction, approximative, écrite par l’artiste au plus près du système que Wolfson décrit dans son ouvrage. Ce texte, considéré comme une série de sonorités, a ensuite été traduit à nouveau par l’artiste en une partition libre, interprétée tour à tour par un musicien et une chanteuse. Il en résulte l’œuvre sonore «Don’t Trip over the Wire» qui emplit l’espace du Bastille Design Center, ancienne quincaillerie du XIXe siècle elle même remplie d’histoire.<br /> <br /> « Don’t trip over the Wire ! », signifiant « Ne trébuche pas sur le fil », est une des phrases que criait souvent la mère de Louis Wolfson à son fils. Une phrase qui lui écorchait les oreilles tant il la détestait elle et sa langue. Une langue qu’il faut couper, remodeler, dépecer, pour en protéger son corps et son esprit. Lui faire devenir autre chose. Il s’agit donc de marcher, guidé par le son, et de trébucher, peut-être, sur un fil, sur une coupure, de basculer vers un autre langage, un autre espace.<br /> <br /> Les mains en céramique d’Éléonore False évoquent ce mouvement et le toucher. Comme chez Emmanuelle Lainé, il s’agit de faire l’expérience d’autres modèles de relations à partir d’un vocabulaire existant. Ouvrir les choses, les retourner encore et encore, les fabriquer et les photographier pour, enfin, voir changer les liens qui en articulent les éléments. Pour cela, il faut accepter la mise en danger qu’impliquent toutes les façons de toucher et d’être touché. Il est question de trouble. Pour citer la philosophe féministe Karen Barad évoquée par Emmanuelle Lainé lors d’une conversation récente : « le toucher n’est jamais purement innocent », « tant de choses se passent : une infinité d’autres – autres êtres, autres espaces, autres temps sont stimulés.1» Troubler, toucher, s’impliquer physiquement et intellectuellement, « c’est sentir les différences de l’intérieur et l’enchevêtrement des choses2».<br /> <br /> Dans cette exposition, il est aussi beaucoup question de découpes, de pliages, de surfaces et de volumes. Parlons de découpes et de séparations… sachant que l’étymologie du mot dichotomie signifie couper en deux, tout comme « Schizo » se traduit par « esprit coupé ». Il s’agit donc de penser les différences et les coupures, ou comment remettre en question ce que l’on sait tout en gardant les idées à portée de main ? Il faut en mettre l’intérieur vers l’extérieur, les relire en doutant, mettre de travers - queering 3- le sens qu’elles avaient reçues, et redéfinir notre relation à l’autre, non pas dans une séparation, mais dans l’interaction.<br /> <br /> 1. Karen Barad, The Politics of Materiality edited by Susanne Witzgall (revision of differences article published in 2012 ). Disponible sur http://womenstudies.duke.edu<br /> 2. Karen Barad, Interview in Mousse Magazine, Milan, 2012, n°34, pp. 77.<br /> 3. Karen Barad. Op. Cit. pp. 80.<br /> <br /> <img src="http://payload333.cargocollective.com/1/6/195539/8970863/Triangle-NTPSLF-2014-014_1000.jpg" width="900" height="600" width_o="2657" height_o="1774" src_o="http://payload333.cargocollective.com/1/6/195539/8970863/Triangle-NTPSLF-2014-014_2657.jpg" data-mid="50772881" border="0" align="left" data-title="900 — 1000 × 667"data-hi-res="http://payload333.cargocollective.com/1/6/195539/8970863/Triangle-NTPSLF-2014-014_1600_c.jpg" /><img src="http://payload333.cargocollective.com/1/6/195539/8970863/Triangle-NTPSLF-2014-031_1000.jpg" width="900" height="1348" width_o="1773" height_o="2657" src_o="http://payload333.cargocollective.com/1/6/195539/8970863/Triangle-NTPSLF-2014-031_1773.jpg" data-mid="50772911" border="0" align="left" data-title="900 — 1000 × 1498"data-hi-res="http://payload333.cargocollective.com/1/6/195539/8970863/Triangle-NTPSLF-2014-031_1600_c.jpg" /><img src="http://payload333.cargocollective.com/1/6/195539/8970863/Triangle-NTPSLF-2014-033test_1000.jpg" width="900" height="1157" width_o="1773" height_o="2279" src_o="http://payload333.cargocollective.com/1/6/195539/8970863/Triangle-NTPSLF-2014-033test_1773.jpg" data-mid="50772920" border="0" align="left" data-title="900 — 1000 × 1285"data-hi-res="http://payload333.cargocollective.com/1/6/195539/8970863/Triangle-NTPSLF-2014-033test_1600_c.jpg" /><img src="http://payload333.cargocollective.com/1/6/195539/8970863/Triangle-NTPSLF-2014-041_1000.jpg" width="900" height="600" width_o="2657" height_o="1774" src_o="http://payload333.cargocollective.com/1/6/195539/8970863/Triangle-NTPSLF-2014-041_2657.jpg" data-mid="50772937" border="0" align="left" data-title="900 — 1000 × 667"data-hi-res="http://payload333.cargocollective.com/1/6/195539/8970863/Triangle-NTPSLF-2014-041_1600_c.jpg" /><img src="http://payload333.cargocollective.com/1/6/195539/8970863/Triangle-NTPSLF-2014-042_1000.jpg" width="900" height="1347" width_o="1774" height_o="2657" src_o="http://payload333.cargocollective.com/1/6/195539/8970863/Triangle-NTPSLF-2014-042_1774.jpg" data-mid="50772986" border="0" align="left" data-title="900 — 1000 × 1497"data-hi-res="http://payload333.cargocollective.com/1/6/195539/8970863/Triangle-NTPSLF-2014-042_1600_c.jpg" /><br /> crédit photo: Aurélien Mole Ne trébuchez pas sur le fil un projet de TRIANGLE FRANCE avec Éléonore False et Emmanuelle Lainé au Bastille Design Center, Paris, 2014. L’exposition emprunte so... http://www.mmdeschamps.net/the-twofold-room http://www.mmdeschamps.net/following/www.mmdeschamps.net/the-twofold-room Mon, 10 Nov 2014 07:31:06 +0000 Marie-Michelle Deschamps 8864440 <img src="http://payload328.cargocollective.com/1/6/195539/8864440/10mmd2014thetwofoldroom_1000.jpg" width="900" height="563" width_o="1400" height_o="875" src_o="http://payload328.cargocollective.com/1/6/195539/8864440/10mmd2014thetwofoldroom_1400.jpg" data-mid="48705617" border="0" align="left" data-title="900 — 1000 × 625"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864440/10mmd2014thetwofoldroom_1250.jpg" /><br /> <br /> The Twofold Room takes the reader on a journey following a horizontal line, a line that starts with a red carpet, breaks at a reception desk, deploys itself endlessly in the hallway, and folds at the bedroom, where suddenly another appears, as it is, evidently, a double room. In the bedroom, the description goes back and forth from the bodies of language to the bodies of the guests, pleasurably intertwined in bed together. <br /> <br /> Design by: Bureau Principal and Marie-Michelle Deschamps<br /> <br /> Book available at:<br /> Aye-Aye Book<br /> ART METROPOLE<br /> David Dale Gallery Shop<br /> The Twofold Room takes the reader on a journey following a horizontal line, a line that starts with a red carpet, breaks at a reception desk, deploys itself... http://www.mmdeschamps.net/don-t-trip-over-the-wire http://www.mmdeschamps.net/following/www.mmdeschamps.net/don-t-trip-over-the-wire Mon, 10 Nov 2014 07:29:00 +0000 Marie-Michelle Deschamps 8864122 <img src="http://payload328.cargocollective.com/1/6/195539/8864122/donttriptest_1000.jpg" width="900" height="649" width_o="2340" height_o="1688" src_o="http://payload328.cargocollective.com/1/6/195539/8864122/donttriptest_2340.jpg" data-mid="50773078" border="0" align="left" data-title="900 — 1000 × 721"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864122/donttriptest_1600_c.jpg" /><br /> <br /> Collective<br /> 29.07.2014 - 07.09.2014<br /> <br /> In the Presence of Absence<br /> Laura Yuile<br /> <br /> “The unknown language, of which I nonetheless grasp the respiration, the emotive aeration, in a word the pure significance, forms around me, as I move, a faint vertigo, sweeping me into its artificial emptiness, which is consummated only for me: I live in the interstice, delivered from any fulfilled meaning.”1<br /> <br /> For Don’t trip over the wire..! Marie-Michelle has drawn upon the history of graphical music scores and experimented with her own methods of abstracting language and systems of notation. Graphical music scores emerged and evolved in the 1950s as a more flexible form of notation, one that allowed experimental composers to incorporate noises, effects and random elements that could not comfortably sit within the generic staves of standard musical manuscript paper. Sprawling arrangements of squiggles, patterns, clusters, loops, geometric and abstract shapes replaced the familiar musical language, making way for a different kind of structural consistency, one that functions more as a map of a musical territory than a set of clearly defined instructions. Marie-Michelle often takes a set of rules as a starting point for her work. Her method of constructing the sound piece present in this exhibition was generated through a process of abstracting and reconfiguring such rules. This process prompts a shift in the relationship between artist, performers (which here may be referred to as interpreters) and finished work – a restructuring of a typically hierarchical relationship into one that accommodates an exchange of salvaging and the acceptance of loss.<br /> <br /> Adopting a similar approach to that of a graphical score, the artist has invited the musician and performer to have freedom of interpretation, giving up a certain amount of control over what the final output might be. With the abstraction of systems of notation prompting a move towards a more untrustworthy form of language, the interpreters must draw upon their own creative and cultural experiences in order to read and translate visual information. The communicative process turns its back on certainty and embraces an abstract dialogue generated through a complicated relationship to the notion of control. We might refer to this act of interpretation as a performance whereby the artist sets some limitations, or guidelines, and by doing so sparks the translation of a score into its realisation in sound, gestures and perhaps words, pronounced out loud. In performing the score, the already abstracted rules are further deconstructed into a sonic architecture that will never be fully accessible to us; a rhythm that echoes with that which it lacks, and that which may still be possible.<br /> <br /> Soundscapes and sonic architectures affect our visual perception of a space and present different ways to engage with its physicality. In mapping the musical territory and thinking about the spatial and visual dimensions of sound, we might wonder what the sound re-translated into shapes, patterns, or words written down might look like. We can try to grasp at the edges and seams of sounds and silences, in order to embody the music and translate it back into something solid. We can try to imagine what we hear as tangible material with a certain amount of fixity and determinacy – a blueprint from which various slightly differing interpretations can be derived. But what we hear performed is perhaps not fully contained within the material that produced it, nor its performative interpretation, rather it is partially held, or masked, within the invisible residue that escapes the process of abstraction. A translation materialises as a conglomerate of two structures that includes the features assigned to the language of translation itself, which attempts to adopt logical models that are rooted in the universal workings of the human mind. In any interpretative exchange between systems of visual, verbal or non- verbal signs, we must accept both that which is lost and that which is gained, situating ourselves within this conflicted space and finding a way to contend with the loss of meaning. To interpret something is to make sense of it, to assign it significance.<br /> <br /> Don’t trip over the wire..! is an invitation to interpret or translate; a finger that traces a line around spaces and sounds as the listener steps in to replace the loss that has occurred throughout this process of abstraction, or the final step in a process of exploring the limitations and emotive possibilities of the unknown in both visual and verbal forms of language.<br /> <br /> 1 Roland Barthes,The Empire of Signs, (Hill& Wang), 1970.<br /> <br /> Download press release here.<br /> <img src="http://payload328.cargocollective.com/1/6/195539/8864122/14_deschamps_wire_600_web_800.jpg" width="800" height="640" width_o="800" height_o="640" src_o="http://payload328.cargocollective.com/1/6/195539/8864122/14_deschamps_wire_600_web_800.jpg" data-mid="47832061" border="0" align="left" data-title="900 (800) — 800 × 640"/> Collective 29.07.2014 - 07.09.2014 In the Presence of Absence Laura Yuile “The unknown language, of which I nonetheless grasp the respiration, the emotive a... http://www.mmdeschamps.net/and-on-this-no-more-than http://www.mmdeschamps.net/following/www.mmdeschamps.net/and-on-this-no-more-than Mon, 10 Nov 2014 06:18:06 +0000 Marie-Michelle Deschamps 8864115 <img src="http://payload328.cargocollective.com/1/6/195539/8864115/GGS_2606_1000.jpg" width="900" height="600" width_o="2500" height_o="1669" src_o="http://payload328.cargocollective.com/1/6/195539/8864115/GGS_2606_2500.jpg" data-mid="47832646" border="0" align="left" data-title="900 — 1000 × 667"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864115/GGS_2606_1600_c.jpg" /><br /> and on this no more than, Galerie Gregor Staiger, Zürich, October 2014.<br /> <br /> <img src="http://payload328.cargocollective.com/1/6/195539/8864115/DESC_001229-2_1000.jpeg" width="900" height="600" width_o="2500" height_o="1669" src_o="http://payload328.cargocollective.com/1/6/195539/8864115/DESC_001229-2_2500.jpeg" data-mid="50759371" border="0" align="left" data-title="900 — 1000 × 667"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864115/DESC_001229-2_1600_c.jpeg" /><img src="http://payload328.cargocollective.com/1/6/195539/8864115/DESC_001231-2-1_1000.jpeg" width="900" height="600" width_o="2500" height_o="1669" src_o="http://payload328.cargocollective.com/1/6/195539/8864115/DESC_001231-2-1_2500.jpeg" data-mid="50759382" border="0" align="left" data-title="900 — 1000 × 667"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864115/DESC_001231-2-1_1600_c.jpeg" /><img src="http://payload328.cargocollective.com/1/6/195539/8864115/14_BeingTogether_detail_4_1000.jpeg" width="900" height="1349" width_o="1707" height_o="2560" src_o="http://payload328.cargocollective.com/1/6/195539/8864115/14_BeingTogether_detail_4_1707.jpeg" data-mid="50759549" border="0" align="left" data-title="900 — 1000 × 1499"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864115/14_BeingTogether_detail_4_1600_c.jpeg" /><img src="http://payload328.cargocollective.com/1/6/195539/8864115/14_HarderMelody_1000.jpeg" width="900" height="600" width_o="1800" height_o="1202" src_o="http://payload328.cargocollective.com/1/6/195539/8864115/14_HarderMelody_1800.jpeg" data-mid="50759589" border="0" align="left" data-title="900 — 1000 × 667"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864115/14_HarderMelody_1600_c.jpeg" /><img src="http://payload328.cargocollective.com/1/6/195539/8864115/GGS_26031_1000.jpg" width="900" height="600" width_o="2500" height_o="1669" src_o="http://payload328.cargocollective.com/1/6/195539/8864115/GGS_26031_2500.jpg" data-mid="50759609" border="0" align="left" data-title="900 — 1000 × 667"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864115/GGS_26031_1600_c.jpg" /><img src="http://payload328.cargocollective.com/1/6/195539/8864115/14_big1_1000.jpeg" width="900" height="1200" width_o="1800" height_o="2400" src_o="http://payload328.cargocollective.com/1/6/195539/8864115/14_big1_1800.jpeg" data-mid="50759592" border="0" align="left" data-title="900 — 1000 × 1333"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864115/14_big1_1600_c.jpeg" /><img src="http://payload328.cargocollective.com/1/6/195539/8864115/DESC_001237-1_1000.jpg" width="900" height="1200" width_o="1875" height_o="2500" src_o="http://payload328.cargocollective.com/1/6/195539/8864115/DESC_001237-1_1875.jpg" data-mid="50759596" border="0" align="left" data-title="900 — 1000 × 1333"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864115/DESC_001237-1_1600_c.jpg" /><img src="http://payload328.cargocollective.com/1/6/195539/8864115/GGS_2603_1000.jpg" width="900" height="600" width_o="2500" height_o="1669" src_o="http://payload328.cargocollective.com/1/6/195539/8864115/GGS_2603_2500.jpg" data-mid="50772754" border="0" align="left" data-title="900 — 1000 × 667"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864115/GGS_2603_1600_c.jpg" /><img src="http://payload328.cargocollective.com/1/6/195539/8864115/DESC_001228_1000.jpeg" width="900" height="600" width_o="2500" height_o="1669" src_o="http://payload328.cargocollective.com/1/6/195539/8864115/DESC_001228_2500.jpeg" data-mid="50772767" border="0" align="left" data-title="900 — 1000 × 667"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864115/DESC_001228_1600_c.jpeg" /><img src="http://payload328.cargocollective.com/1/6/195539/8864115/detailgs_1000.jpg" width="900" height="741" width_o="3744" height_o="3084" src_o="http://payload328.cargocollective.com/1/6/195539/8864115/detailgs_3744.jpg" data-mid="50772819" border="0" align="left" data-title="900 — 1000 × 823"data-hi-res="http://payload328.cargocollective.com/1/6/195539/8864115/detailgs_1600_c.jpg" /> and on this no more than, Galerie Gregor Staiger, Zürich, October 2014. http://www.mmdeschamps.net/_ http://www.mmdeschamps.net/following/www.mmdeschamps.net/_ Tue, 03 Sep 2013 07:34:32 +0000 Marie-Michelle Deschamps 6278233 <img src="http://payload198.cargocollective.com/1/6/195539/6278233/plastermimi.jpg" width="670" height="730" width_o="800" height_o="872" src_o="http://payload198.cargocollective.com/1/6/195539/6278233/plastermimi_o.jpg" data-mid="36202374" border="0" align="left" data-title="900 (670) — 670 × 730"data-hi-res="http://payload198.cargocollective.com/1/6/195539/6278233/plastermimi_o.jpg" /><br /> <br /> <img src="http://payload198.cargocollective.com/1/6/195539/6278233/_MG_0338_Photo GLHeureux.jpg" width="670" height="446" width_o="1024" height_o="683" src_o="http://payload198.cargocollective.com/1/6/195539/6278233/_MG_0338_Photo GLHeureux_o.jpg" data-mid="35951574" border="0" align="left" data-title="900 (670) — 670 × 446"data-hi-res="http://payload198.cargocollective.com/1/6/195539/6278233/_MG_0338_Photo GLHeureux_o.jpg" /><br /> <br /> <img src="http://payload198.cargocollective.com/1/6/195539/6278233/Capture decran 2013-11-12 a 19.28.56.png" width="670" height="373" width_o="1178" height_o="656" src_o="http://payload198.cargocollective.com/1/6/195539/6278233/Capture decran 2013-11-12 a 19.28.56_o.png" data-mid="36342084" border="0" align="left" data-title="900 (670) — 670 × 373"data-hi-res="http://payload198.cargocollective.com/1/6/195539/6278233/Capture decran 2013-11-12 a 19.28.56_o.png" /><br /> <br /> <img src="http://payload198.cargocollective.com/1/6/195539/6278233/plaster2.jpg" width="670" height="340" width_o="800" height_o="407" src_o="http://payload198.cargocollective.com/1/6/195539/6278233/plaster2_o.jpg" data-mid="36202529" border="0" align="left" data-title="900 (670) — 670 × 340"data-hi-res="http://payload198.cargocollective.com/1/6/195539/6278233/plaster2_o.jpg" /><br /> <br /> /_<br /> CIRCA, Montréal, 2013.<br /> <br /> Moving from . I decide to walk backwards from one corner of a large open space to another. I have passed by the space before, never bothering to spend much time there because I haven't had reason too. It has a number of things in it. I am aware that it is not a perfect rectangle and some of the space veers off in a few different directions. A space with places to go. <br /> <br /> Walking backwards is a daft and familiar pursuit (a lot of very real and physical unknowns are pretty scary when you take it seriously). Taking steps backwards, I become attentive to my foot rustle along the carpet. In my head I am chewing through my memories to imagine what I thought I had seen before. I think to myself: a small 30 cm 'thing' can't be too far away. But it doesn’t seem to reveal its way to me and I continue steps back, finding myself nearly (or what I think to be) a quarter of the way to my destination. <br /> <br /> Something lumpy about knee height presses its uneven surface, soft and firm, into my left leg. I have an image in my head. First a leather couch to catch my tumble backwards. Or better, a sack of sand collared in by some kind of net. No couch at that height makes much sense! With the sack of sand, the statement and image fade into something other. 'The sand' refuses to deliver in permeable communication and I slither along its edge like a graphical wave. I take a few steps to the left. This soft bulk navigates the space. I feel connected again with my human body. This time I'm learning to write not just through using the hand. I am taking risks and shifting in and out of comprehensions.<br /> <br /> This lumpy thing becomes a measure and I am making images privately for myself. So, that if the measure were seen, its visibility would be distanced by its solitude. And in its distance the measure becomes more public, its distance the measure of its image. No longer am I moving in this space as a private act, but I am left out in the world*. To here -<br /> <br /> *When writing this I try to save writing with the title / and at the / the computer automatically understands it as a shortcut and tries to save it into my folders. Hide it away, make it belong somewhere. With _ I can save it within reach, to my desktop. <br /> <br /> With thanks and acknowledgement to Charles Bernstein's Content's Dream: Essays 1975-1984 (Los Angeles: Sun & Moon Press, 1986).<br /> <br /> text by Sarah Rose<br /> <br /> *** Leatherette piece made with Perrine Lotiron.<br /> photo credit: Guy L'Heureux<br /> /_ CIRCA, Montréal, 2013. Moving from . I decide to walk backwards from one corner of a large open space to another. I have passed by the space before, ... http://www.mmdeschamps.net/standard http://www.mmdeschamps.net/following/www.mmdeschamps.net/standard Wed, 13 Mar 2013 07:42:12 +0000 Marie-Michelle Deschamps 4847445 <img src="http://payload127.cargocollective.com/1/6/195539/4847445/standard-003.jpg" width="670" height="532" width_o="850" height_o="675" src_o="http://payload127.cargocollective.com/1/6/195539/4847445/standard-003_o.jpg" data-mid="27792362" border="0" align="left" data-title="900 (670) — 670 × 532"/><br /> <br /> <br /> <img src="http://payload127.cargocollective.com/1/6/195539/4847445/standardweb.jpg" width="670" height="670" width_o="850" height_o="850" src_o="http://payload127.cargocollective.com/1/6/195539/4847445/standardweb_o.jpg" data-mid="32584338" border="0" align="left" data-title="900 (670) — 670 × 670"/><br /> <br /> <br /> <img src="http://payload127.cargocollective.com/1/6/195539/4847445/mmd4.jpg" width="670" height="490" width_o="850" height_o="622" src_o="http://payload127.cargocollective.com/1/6/195539/4847445/mmd4_o.jpg" data-mid="32478671" border="0" align="left" data-title="900 (670) — 670 × 490"/><br /> <br /> <br /> <img src="http://payload127.cargocollective.com/1/6/195539/4847445/DD.jpg" width="670" height="693" width_o="800" height_o="828" src_o="http://payload127.cargocollective.com/1/6/195539/4847445/DD_o.jpg" data-mid="36202814" border="0" align="left" data-title="900 (670) — 670 × 693"data-hi-res="http://payload127.cargocollective.com/1/6/195539/4847445/DD_o.jpg" /><br /> <br /> <br /> <img src="http://payload127.cargocollective.com/1/6/195539/4847445/DD2.jpg" width="670" height="529" width_o="800" height_o="632" src_o="http://payload127.cargocollective.com/1/6/195539/4847445/DD2_o.jpg" data-mid="36202819" border="0" align="left" data-title="900 (670) — 670 × 529"data-hi-res="http://payload127.cargocollective.com/1/6/195539/4847445/DD2_o.jpg" /><br /> <br /> <br /> <img src="http://payload127.cargocollective.com/1/6/195539/4847445/-2.jpg" width="670" height="418" width_o="1400" height_o="875" src_o="http://payload127.cargocollective.com/1/6/195539/4847445/-2_o.jpg" data-mid="32478756" border="0" align="left" data-title="900 (670) — 670 × 418"data-hi-res="http://payload127.cargocollective.com/1/6/195539/4847445/-2_o.jpg" /><br /> <br /> <br /> STANDARD <br /> David Dale Gallery (with Ditte Gantriis)<br /> see all images here.<br /> <br /> The title of the exhibition, siphoned from a line in Roxy Music's 1973 hymn to the banality of the domestic sublime In every dream home a heartache, is a problematic term. When the intimate collides with the notion of industrial and commercial standards, contradictions emerge within the fragile yet ubiquitous nature of these signifiers. Exploiting their familiarity and resulting malleability, Deschamps and Gantriis' work opens up the gaps in those generic aesthetics – allowing their materials and form to act as an unspoken common language, and entrance point, each employing greatly disparate methods.<br /> <br /> Deschamps' industrially enamelled abstract sculptures, involving a process generally reserved as a protective finish for consumer goods and signage, stand there blank and silent. Their forms recalling boxes, signs or packaging, they wait to be decorated or emblazoned with the text or image that would make them so familiar. The walls of the space are punctuated by almost imperceptible plaster motifs, all of which are created using a scaled-up version of an erasing shield, a tool designed to erase prescribed shapes in technical and architectural drawings. These marks, suggest current use of plaster, as a concealer and a material to repair. In erasing physical imperfections through a template this process of industry, through the forms it creates, recalls traditions of fresco or stucco used as ornament and decoration in architecture. Language, underlying most of Deschamps' works, is here subject to a process of deconstruction and abstraction, as it is mainly the material properties of words, letters and signs that interest her- using them as a space to collapse, conceal or inhabit.<br /> <br /> Ganrtiis' large wall based works further investigate the medium of corporate or commercial aesthetic. Utilising industrial soundproofing boards, common in so many offices or shopping centres, Gantriis reworks them with imposing brushstrokes. Using a combination of digital and hand produced marks, she further obfuscates the intent, hiding the gestural act for it to become subsumed back into the bland background it originated. Existing between the setting of these boards and the artistic act forced upon them, the works become a tautology of self-referentiality, constantly referring back to a confused parallel history – neither the commercial nor the artistic can emerge.<br /> <br /> Both artists work in abstracting the commonplace, and shifting focus on the familiar. Somewhere between forgetting a punchline and hiding an answer one commonplace is transposed to arguably another. <br /> <br /> <img src="http://payload127.cargocollective.com/1/6/195539/4847445/P1110782.JPG" width="670" height="658" width_o="845" height_o="830" src_o="http://payload127.cargocollective.com/1/6/195539/4847445/P1110782_o.JPG" data-mid="28168043" border="0" align="left" data-title="900 (670) — 670 × 658"/><img src="http://payload127.cargocollective.com/1/6/195539/4847445/P1110780.JPG" width="670" height="664" width_o="837" height_o="830" src_o="http://payload127.cargocollective.com/1/6/195539/4847445/P1110780_o.JPG" data-mid="28168034" border="0" align="left" data-title="900 (670) — 670 × 664"/><br /> fortuna—post, Inkjet print on Hahnemühle Photo Rag Ultra Smooth, (Edition of 20), 35 cm x 35 cm, 2012.<br /> <br /> photo credit: Max Slaven<br /> STANDARD David Dale Gallery (with Ditte Gantriis) see all images here. The title of the exhibition, siphoned from a line in Roxy Music's 1973...