Tuesday, November 23rd, 2010

"Essayage" Exhibition by Benjamin Lignel in Luxembourg

supplément (three fingers, right)
brooch
Illustration – Emmanuelle Duparchy, Paris
TLOOTH (for Harry Matthews)

brooch
Illustration – Emmanuelle Duparchy, Paris

Until December 22nd you can visit the first solo exhibition by Benjamin Lignel at Galerie Jungblut.
Fins el 22 de desembre espot visitar la primera exposició en solitari de Benjamin Lignel a la galeria Jungblut.
la disparition, saison 1 (with Enrico Bartolucci)
28 pp. booklet, 24.5 x 17 cm closed
Munken Arctic white 250gm
2010
edition size 600
Exhibition statement
This is my first solo exhibition, which makes me very happy: it is a good excuse to re-present old and new work, and see if they have anything in common.
In keeping with the theme of the exhibition (Essayage / fitting room), the scenography was conceived to encourage people to try on work, and test its user-friendliness.
Amongst the recent work, I will be presenting a series of suppléments, vaguely anthropomorphic brooches that combine the virtues of ex-voto, and those of disposable spare parts. Below: a text about them.
lingam, the collapsible versions
desktop objects
Photo Enrico Bartolucci, Paris
suppléments
brooch
Photo Enrico Bartolucci, Paris
suppléments

I do not believe in the magical virtues of ex-voto (I mean the wishful, not the grateful kind of ex-votos). I am, however, interested in how they operate:
Their point is not to replicate, but to suggest the limb they hope to save. Their failure to evolve beyond the anatomically sketchy consistently disappoints: they are never delicate –
Their existence is temporary and should not last longer than our wish to get better soon: as soon as we put them in circulation, we anticipate their end (let it be quick!) –
They would be quite pointless, if they did not copy (badly) a body part: they are meaningful precisely because they are redundant.

In short, their defining traits – botchy, undesirable and superfluous – make them a tough sell.

And yet: whatever is anachronistic about them (the belief that things can operate change) is also the reason why I (we?) create jewellery.

Good enough reasons, I thought, to promote their return.


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