Benoît Maire
08 Feb - 15 Mar 2013
© Benoît Maire
Weapon In The Evening, 2013
Plexiglas, resin, metal, rayogram, crystal fragments in plastic bag
Weapon In The Evening, 2013
Plexiglas, resin, metal, rayogram, crystal fragments in plastic bag
BENOÎT MAIRE
Ohne Warum
8 Febuary – 15 March 2013
Maire's work investigates continental philosophy and can be seen as an ongoing endeavor to give concrete shape to theory. Using his crudely hand-engineered tools of measurement he explores the physical world as a Quixotic metaphor for contemporary philosophy. For his show at Croy Nielsen he continues this analysis through video, sculptures, and photographs. In a meta-documented performance displayed on a computer, Maire attempts to understand his relationship with the sun, some shadows, the course of a bird, a few clouds and the sand in an arena. The show also comprises a makeshift solar diorama hanging from the ceiling, two Plexiglas shelves serving as displays of classification for a disparate array of tools such as a lambda rayogram and crystal fragments. Finally a shadow box containing porcelain shells and a tool is juxtaposed with the aforementioned video in a contrasting display of technological means of presentation and calculation. Each work is connected with one another as evidence of Maire's alchemic attempt to materialize postmodern theory.
Ohne Warum
8 Febuary – 15 March 2013
Maire's work investigates continental philosophy and can be seen as an ongoing endeavor to give concrete shape to theory. Using his crudely hand-engineered tools of measurement he explores the physical world as a Quixotic metaphor for contemporary philosophy. For his show at Croy Nielsen he continues this analysis through video, sculptures, and photographs. In a meta-documented performance displayed on a computer, Maire attempts to understand his relationship with the sun, some shadows, the course of a bird, a few clouds and the sand in an arena. The show also comprises a makeshift solar diorama hanging from the ceiling, two Plexiglas shelves serving as displays of classification for a disparate array of tools such as a lambda rayogram and crystal fragments. Finally a shadow box containing porcelain shells and a tool is juxtaposed with the aforementioned video in a contrasting display of technological means of presentation and calculation. Each work is connected with one another as evidence of Maire's alchemic attempt to materialize postmodern theory.