Lucas Lenglet
01 - 31 Mar 2007
LUCAS LENGLET
"Every inch is mine"
Gazonrouge is pleased to present Lucas Lenglet’s first solo exhibition in Greece. Every inch is mine is the third and final installation of a series that began with Tools for rescue / Tools for hiding - Künstlerhaus Bethanien and I have no gun, but I can spit - galerie Magnus Müller. In each of the three installations, Lenglet displays a different array of 'tools' that establish the fine line between security and insecurity, safety and danger. The artist explores the aforementioned notions by formally presenting objects and architectural elements as the partitions that are used to keep danger away. The dramatic, almost theatrical staging of the installations is meant to emphasize the artificiality of the presented solutions for refuge.
While his former work had strong references in 'the formalization of violence', with Tools for rescue / Tools for hiding, Lenglet’s interest shifted towards the fundamentals of a safe haven. What objects does one need to stay alive? In I have no gun, but I can spit he dealt with the geography of safe-structures using the vocabulary of the previous installation.
Every inch is mine advances the exploration of security on an individual level. The main gallery will be closed off on two sides creating a private space that contains the basics for survival (water and fire) and offers shelter. The installation creates what might be an interim home on the way to the ideal home. To achieve this, the artist says: ‘Unfortunately I had to close off the space, close myself in while closing the other out. Unfortunately I had to take the daylight away. But it's all mine!’
"Every inch is mine"
Gazonrouge is pleased to present Lucas Lenglet’s first solo exhibition in Greece. Every inch is mine is the third and final installation of a series that began with Tools for rescue / Tools for hiding - Künstlerhaus Bethanien and I have no gun, but I can spit - galerie Magnus Müller. In each of the three installations, Lenglet displays a different array of 'tools' that establish the fine line between security and insecurity, safety and danger. The artist explores the aforementioned notions by formally presenting objects and architectural elements as the partitions that are used to keep danger away. The dramatic, almost theatrical staging of the installations is meant to emphasize the artificiality of the presented solutions for refuge.
While his former work had strong references in 'the formalization of violence', with Tools for rescue / Tools for hiding, Lenglet’s interest shifted towards the fundamentals of a safe haven. What objects does one need to stay alive? In I have no gun, but I can spit he dealt with the geography of safe-structures using the vocabulary of the previous installation.
Every inch is mine advances the exploration of security on an individual level. The main gallery will be closed off on two sides creating a private space that contains the basics for survival (water and fire) and offers shelter. The installation creates what might be an interim home on the way to the ideal home. To achieve this, the artist says: ‘Unfortunately I had to close off the space, close myself in while closing the other out. Unfortunately I had to take the daylight away. But it's all mine!’