'Matiere Noire'

+ Marseille 2017 (FR) +

BORONDO SHOW
Marché aux puces
7.10.2017 – 31.01.2018

In collaboration with
BRBR FilmsCarmen MainDiego López BuenoEdoardo TresoldiIsaac CordalRobberto AtzoriSBAGLIATO. Gif by A.L. Crego

Curated by
Carmen Main

Co-produced by
Gonzalo Borondo
Edoardo Tresoldi

Presented by
Galerie Saint Laurent

It smells like dust and wood. We get into the limbo of memory. An endless number of carefully carved objects tell us that there was once a time when clocks could take their time. There are mirrors of all sizes. Contained inside the glass is a heavy, sparkling history that is now coming across new eyes. I can’t stop wondering how many glances coexist in this reflection.
Within this universe of furniture, certain vessels of different cultures materialise. Sound waves lie hidden in its curvatures, words from a past life that do not reveal its secret. Hundreds of statuettes, old-time icons, have gone from being avant-garde to being memories, to discover the sound of an unstoppable metronome that seems to set the beat faster and faster. Singing of the past, voices reverberate out of magnetic tapes and interfere directly in the present. At the same time, an absent-minded listener modifies these sounds with his contemporary perception in a return trip around the collective consciousness. Meters and meters of celluloid, immortalised memories are afraid of losing their eternal nature when confronted with fire.
On 8-millimeter film, a little girl looks at her dad’s camera while she is playing in the river. The little girl is laughing and dancing. She fascinates us speaking about the unique, yet it scares us when she shows us what is unrepeatable. She draws an invisible past, without which our existence would be impossible. Dark matter of the present time.
According to cosmologists, dust, wood, mirrors, vessels, statuettes, the little girl and any other thing we can see with our eyes, or through using instruments at our disposal, are just five percent of the universe. The rest is dark energy and dark matter, a mysterious substance that reminds us just how much we do not know compared to what we know. That our perception is limited and subjective and that life would not be as it is without this mysterious and dark reality. Just as it would not be as it is if the little girl, her father, the camera or the river had not existed. Just as life anywhere in the world would be the same if all these thwarted realities at Marché aux Puces in Marseille had not taken place. Just as all the stories lying about in the market had not occurred if the rest of the universe had not been in motion. My dark matter.
A reality that is not there anymore and whose echoes are the only things I can still hear. A reality that is not mine and I do not mind, because I do not even know that it exists. A reality that I cannot touch and whose unknown nature scares me. The sleeping truth in the unconscious. The invisible. My dark matter.

PROJETER

We are living in a world of projections. Each person carries with them at least one screen, a portal to broadcast and assimilate realities that can also be used as a window, mirror or glass case. A cosmos of images and concepts appears to us through the glass for the rst or the umpteenth time. We can discover the sea before even sensing the salt on our lips. Accessing the representation although we never saw the referent. Just as the slaves in the cave stared at the silhouette of the vessel re ected by the re without knowing the ames, the clay or the emp- tiness. To project, according to its most basic de nition, is to successfully outline an object onto another surface. Such as prehistoric times, when light was used to draw from its shadow, zoetrope or darkroom times: throughout history, humanity has sought a er emulations of reality rst and records of it later throu- gh painting, photography, animation or video. irst for immortality told throu- gh pigments, pixels or silver halide. Eter- nal archives of realities sleeping at ea markets or in the internet ocean, waiting to be found. Our knowledge is, however, subjective and limited. Matter is re-si- gni ed once it changes hands. Will we, therefore, be able to see something other than shadows projected by re, when confronted by these realities?

ROUTE – Collaboration with Carmen Main
8 animations on loop retro projected on glass, 500 original frames, stones, light audio react system.

©LaurentCarte©LaurentCarte
©BlindEyeFactory©BlindEyeFactory
©Aruallan©Aruallan
©Aruallan©Aruallan

REFLEXION
Oil painting on lightbox, glass, tv screens 240 x 240 cm

©BlindEyeFactory©BlindEyeFactory

SELFIE ELVIS – Collaboration with Diego López Bueno
Closet, found pictures, painting on glass, mirror, video on loop. 4:3. Digital. Color. 14″ CRT Built-in DVD
Player Television.

©BlindEyeFactory©BlindEyeFactory
©BlindEyeFactory©BlindEyeFactory
©BlindEyeFactory©BlindEyeFactory

ECHOS – Collaboration with Carmen Main
3 projectors, super 8 films extracted fragments found on the market, plexiglass, ventilator, mirror. scratched wall

©Blind Eye Factory©Blind Eye Factory
©Blind Eye Factory©Blind Eye Factory
©Blind Eye Factory©Blind Eye Factory

CAVERNA – Collaboration with Isaac Cordal
73 Painted polyurethane resin sculptures, found objects in place, oil on plexiglass, slide projector

©BLIND EYE FACTORY©BLIND EYE FACTORY
©BLIND EYE FACTORY©BLIND EYE FACTORY

FLYING BALLONS IN GREAT BLUE SKY – Collaboration with Diego López Bueno
Videos that follow same characteristics: one shot, raw, uploaded a long time ago and with very few views.

©BlindEyeFactory©BlindEyeFactory

CARROUSEL – Collaboration with Robberto Atzori and Carmen Main
65 Found and modified slides, carousel slide projector, found frames

©BlindEyeFactory©BlindEyeFactory

ALTER – Collaboration with Isaac Cordal
Strainers, leds, steel cable,Painting and scratched on Wall

©BlindEyeFactory©BlindEyeFactory
PERCEVOIR

perception as the truth of lies
perception as legitimised opinion
perception as unconscious judgement
perception as projection of the past onto the present
perception as acquired fear
perception as self-interested position
perception as illusion of realities
perception as a result of training faculties perception as
synaesthesia of the present moment perception as a series of
coincidences
perception as persistent belief
perception as misinterpretation
perception as consequence of knowledge perception as
impossible certainty
perception as tireless doubt
perception as conscious dreaming
perception as reaction to the accident
perception as solace of what is relative
perception as encounter with what is creative perception as
self-deceiving
perception as limit to anthropocentrism

MIRROR– Collaboration with Carmen Main
Upside down room realized with founded materials, sound system and dark room

©BlindEyeFactory©BlindEyeFactory

LA FICTION DEPASSE LA REALITÉ
Two rooms realized with couples of founded objects. Hole on the wall as a ‘fake mirror’

©BlindEyeFactory©BlindEyeFactory
©BlindEyeFactory©BlindEyeFactory
©BlindEyeFactory©BlindEyeFactory

REPRESENTATION
Antique shop. Painting (acrilic on wood)

©BlindEyeFactory©BlindEyeFactory

DEJA VU I – Collaboration with Carmen Main
Retroprojector, print on acetate, concrete, fourniture and objects

©BlindEyeFactory©BlindEyeFactory

DEJA VU II – Collaboration with Edoardo Tresoldi
Wire mesh, burned furniture

©BlindEyeFactory©BlindEyeFactory
INTERPRÉTER

Interpreting as a way to be in the world. As a consequence
of perception.When we observe a phenomenon, we cannot
detach it from our personal interpretation. e way to
understand it is inevitably always subjective and unique. In a
market full of objects, furniture, lms and all kinds of gadgets,
there is a nickel-silver teaspoon. We do not know how many
mouths it entered in Provence, whether it belonged to a
family cutlery set or whether a small child used it as catapult.
It was, in any case, never seen by the same eyes and it never
created two identical realities. e object interfered with the
lives of those who used it, just as they altered that of the
spoon itself. Each experience was unique and, at the same
time, built a new collective meaning. Now, a er a period of
time lying around at the market, the nickel-silver falls into
other hands that do not know its history but they will,
however, modify it again. Matter converses with perception
and of this interchange a new nuan- ce will be born.
Interpreting becomes then a creative act and the shadow
becomes light. The market is a big black box, a creator of
inter- pretations. A living organism conversing with the
passage of time. Lights come up constantly out of its
darkness. Lights that illuminate the world and modify the
course of the universe, that make visible what is invisible,
until one day they lose their brightness again. Realities that
will become shadows. Dark matter of the future.

MARCHE – Collaboration with BRBR films
Hologram in antique shop

©Laurent Carte©Laurent Carte
©Laurent Carte©Laurent Carte

MARCHE II – Collaboration with BRBR films
2 Retroproyection video on scratched painted glass

©Laurent Carte©Laurent Carte

CHAMBRE NOIRE – collaboration with Robberto Atzori

@blindeyefactory@blindeyefactory

TOUT PASSE, TOUT LASSE, TOUT CASSE – collaboration with Robberto Atzori
Filing cabinet, found objects; modified, lights.

@blindeyefactory@blindeyefactory

WUNDERKAMMERN – collaboration with Carmen Main, Robberto Atzori and Edoardo Tresoldi.

@LaurentCarte@LaurentCarte
@LaurentCarte@LaurentCarte
@blindeyefactory@blindeyefactory
@blindeyefactory@blindeyefactory

ELVIS II – collaboration with Diego López Bueno.

@blindeyefactory@blindeyefactory