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On French channel LCI, Silvère Jarrosson’s exhibition and participation in the Mask of art initiative for Sidaction
Movement is at the heart of creation. Where our individual and collective perception of reality often stultifies it, even if this only lasts the time requires to embrace it, the world around us is in perpetual motion: celestial bodies, tectonic plates, stones, animals, plants, cells, particles. Motionlessness does not appear to exist. Indeed death itself is perhaps impulsed by life, devouring itself and engendering fresh creation out of its own ruins.
Silvère Jarrosson does not resort to paint in order to create: he socialises with it, in a communal manner that alternates between the accommodating and the rebellious. His work, spanning lengthy series, engenders a succession of abstract figures, which he identifies, works on and combines, in a series of choreographic-like compositions. This results in an increasingly complex genealogical movement network.
Genesis through gesture
This exhibition offers a selection of works illustrating the development of Silvère Jarrosson’s work over the last couple of years.A series of small to medium-sized formats, where painted gestures are isolated and studied separately, and a set of large works in which the figures dynamically interact.
Two works stand out owing to their original size:
- A section of L.U.C.A., spanning a total length of around twenty-five metres. This sixteen-panel polyptic, measuring 2×1.5 metres, is the artist’s largest-ever work. It was initially exhibited in Latvia, at the Riga Fine Arts Academy in 2018, it was reassembled at the Liepaja Concert Hall, then at the Madona Fine Arts Museum. It was then shown at the Lys Over Lolland exhibition in Denmark, where the artist’s work was exhibited together with pieces from France’s Mobilier national. We are pleased to present part of this work in France for the first time.
- Finally, une of the three videos composing Hommage à Antonin Artaud, produced in 2019 at Villa Medici. This was screened directly on the Roman monument’s facade oat the Villa Aperta festival. Years later, Silvère Jarrosson is again using body expression, without resorting to paint.
—Célien Palcy, exhibition curator, extract from exhibition catalogue
Read the press release
In the three final chapters of The Erl-King, Michel Tournier describes three positions adopted by a boarding-school’s boys: on their back, the stomach or their side. The postures of these ing boys are described as three ways of embracing sleep. They are presented as three different possible approches to life. Children go to sleep in the same way as some people embark on travel or begin painting: as simple means of existence.
The culmination of a piano concerto is not the soloist’s final note, but rather the initial one, when he or she enters the stage: by surprise with Chopin, with great fanfare with Tchaikovsky and Grieg, elegance with Mozart, always too early with Bach. There is something in this initial part of the piece that goes beyond what follows: the piano establishes its presence—this undefinable presence allegedly mastered by Nureev, when he entered the stage, without a gesture, with the audience holding its breath.