GALERIE ERIC MOUCHET, PARIS
A mapper of sounds and composer of sights, Rémi Dal Negro’s work contains sudden starts, breath frozen in time and silences which mean so much more than might seem at first sight or first sound. Much taken with the study of the inaudible and the invisible, his works generally aim to render concrete those things that are imperceptible. A Gyro Gearloose for the times we live in, Rémi Dal Negro uses modern technology to create another way of connecting with the spirit of a place or the voice of a city.
In this way, when Rémi Dal Negro replaces the cords of a clothes dryer with strips of EPDM (rubber), to the end of which he attaches devices that can ‘read’ vibrations, he creates a musical instrument which will play at the whim of the seasons and the elements. This produces a raw meteorological audio recording - something like a modern version of Vivaldi’s Le quattro stagioni.
Self-proclaimed “Bricoleur Supérieur” (Superior Handyman), Cyril Zarcone likes our gaze to linger over the details of his constructions and the techniques used in the design of his sculptures. Often, he leaves visible traces of the processes implemented in order to create his pieces and also give as much importance to the stages of construction as to the nal result.
This “Bricolage supérieur” (Superior DIY) as he sees it, is the use of tools and techniques suitable for technicians and workers (elements of formwork, protection and structural support), which inspire him to create these sculptures. Without specialist training and with his own knowledge, he draws on these instruments of the construction industry and building sites by reproducing them. He says himself: DIY is not the tinkering but rather a means of making better what we already have.
He therefore creates these works, starting with ‘outils-objets’ (utility object), which will be scrapped once used. However, when he rebuilds them, in a way that appears to be identical, he disposes of the reproduced object, of its primary function. This function will only remain in the essence of the transformed object. He therefore gives back the sculpture its beauty, its original shape and clears it of its useful considerations. All around this process, there is a creation based on the starkness of the function, to return to original supposed state of things. Like taking a step backwards, which allows us to further access the rst shape further, almost allowing us a glimpse of the mental development of its creator and the needs which have pushed him to build such an object.