For his first show at Luis Adelantado, Mathieu Mercier presents a series of recent works, unpublished in Spain.
Mercier's work can be defined as "a uncertain cross, between the Vanguards project of imbuing the art object within their practical value, and Duchamp's gesture of giving symbolic values to everyday objects. Mercier is continually redefining the forms of production of objects and their surroundings, within the premises of the art world.
Halfway between natural and artificial, sculpture and readymade, science and illusion, Mercier plays with our system of representation, proposing us to examine our connections with reality and in particular what happens in the areas of intersection in this relationship.
As Marie CHÉNEL explains "in the Scans series, the organic is juxtaposed to the mechanic in a brutal confrontation: different elements, dust, dirt, flowers - are placed horizontally on the same glass of a high efficiency scanner. The reproduction machine copies its own background, which becomes the context of the work, as in the revelation of its production process. Formats, perspectives, light: the traditional reflexes of pictorial analysis are not very far as all the replicated objects, deliberately chosen for their links with the great themes of art history, refer immediately to the genres of still life, vanities , figuration and abstraction "
To this logic of confrontation responds the system of relations which underlies in sublimations, the name of the piece which greets us upon entering , on which appears embedded a chromatic scale on a white corian pedestal on which he has placed an everyday object, a small ethanol fireplace. The equation thus established, plays on the border of scientific and aesthetic discipline, between reality and abstraction, forming a "visual puzzle" in which we admire both the autonomous functioning as well as the global consistency.
These works are particularly revealing of how Mathieu Mercier works by association of ideas and visual cuts, together with his great attraction to the final synthesis capacity of the artwork.
The significant presence of different measurement tools related to perception, optical disorders caused by the photographs Untitled (Glasses 1-5) and the subtle interplay of seemingly precarious balance in the piece Untitled 2001-2012, helps placing the show as a whole under the sign of a controlled illusion, and of a reflection on the meaning that can be derived from the gap between the mental image and the perception of reality.
Winner of the Marcel Duchamp Prize in 2003, he has had numerous solo shows in France and abroad. In 2007, the Musée d'art moderne de la Ville de Paris held its first retrospective exhibition titled: Untitled Works, 1993-2007. Recently exhibited at the Foundation Enterprise Ricard de Paris and at Le Center Credac Ivry-sur-Seine.
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