Or the remains of a possible “Day After”.
In the approach of Pierre Labat, the idea of event, omnipresent work in progress, occurs plastically at different levels, levels and scales. It comes down to a way of “making an event” from anecdotes and details and, on the other hand, to refer to “facts-which-make-dates” as well historical than personal. Dramatic, such as leaving Japan while he was in residence in 2011, or happy, such as the birth of the one he will become, years later, the husband.
Some “key-moments-of-reading” which give a human dimension to very refined pieces in the extension of a minimal tradition, skillfully combining idea and memory. So here we are talking about post-minimalism, a practice in which “neither rich nor poor” objects, materials, shapes, extracts are precisely chosen because they are plastically significant, by their nature, qualities and presence to be combined with gestures and interventions.
“We will not ask what the meaning of an event is: the event is the meaning itself.” (The Logic of Meaning, Gilles Deleuze, 1969).
Works that can therefore be, in the same way, apprehended as events because fully inscribed in a space and a context. Practice that requires accuracy, precision and rigor, doubled at Pierre Labat intellectual facetious. A tongue-in-cheek humor based on the “just touch” of the wink and the T of the moment that can be enjoyed in the art of Haïku.
The AQUA ALTA exhibition comes in three formats , a promotional and ambulatory intervention composed of 57 original posters scattered throughout the city, a sculpture installation in the form of an exhibition, a series framed by “notes of attentions” drawn / glued in “point-line-plants”.
Through the melancholy and its remedy, Pierre Labat refers to the vanity of works and beings, just as heroic as derisory, placing in a way the human at the perpendicular time.
Amandine Pierné & Joan Coldefy.