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Alain Bublex

09.26.08 - 10.19.08
Exhibition — les Abattoirs, Musée – Frac Occitanie Toulouse

Alain Bublex, Musée Les Abattoirs, 2008, ©DR, Le Printemps de septembre - à Toulouse, photo Jean-François Peiré

Born in 1961, he lives in Paris and Lyon (France).

 

What are you showing at le Printemps de septembre?

An architecture—put very simply, a dwelling—whose floor, in a configuration of volumes and voids, can act as pedestals and bases, tables and chairs, thus offering a varied range of uses: exhibitions, lectures, screenings, waiting rooms... It was through an idea from Jean-Max Colard that Christian Bernard thought of endowing the Printemps de Septembre with a new tool installed in the reception hall at Les Abattoirs: a module present all year round and not just for the duration of the festival. It's a bit like the Printemps de Septembre's standby screen, a space where you should be able to remember past shows and imagine new ones.
In this backward-and-forward-looking mode, I like the idea that this deliberately cubic module is not so much an exhibition venue as a place where people think about exhibitions. Like a mental projection cabin. A place where you think about what you've seen, and where you might experience the retinal, sentimental and spiritual persistence of contemporary artworks. Seen during the festival.


How does this link up with the rest of your work?

It's a prototype, the other recurrent form of project in my work (with plans and diagrams). 

 

Alain Bublex has been given the task of constructing an exhibition module to be present all year round in les Abattoirs – Musée Frac Occitanie Toulouse. A time capsule that will bring together visual documentation about the exhibitions in progress and help to look ahead to the next Printemps festival. 

 

Like Glooscap, that imaginary town whose development over more than a century he has been describing and recording, Alain Bublex has been using a certain narrative art since the early 1990s. But when his various construction sites take on the descriptive forms of photography or the temporarily frozen forms of the landscape. A reverse way of endlessly preferring activity in progress to the finished work. Maintaining a make-believe activity and the activity of make-believe.