Europe

Benoît Maire
Le réel est l'impasse de la formalisation ; la formalisation est le lieu de passe-en-force du réel

The piece consists of sculpture of 10 elements, among them: a globe, a picture of a gorilla, a chair, scrabble letters, 3 glasses of black ink, a book whose title is illuminated by the beam of a 8mm projector, a pair of boots, etc. The display is a collection of selected objects chosen in response to the reading of a text by Alain Badiou (the first chapter of the seminar “Le réel est l’impasse de la formalisation; la formalisation est le lieu de passe en force du réel” from February 4, 1975). The elements are a visual way to question the transposition of an idea into reality. The challenge of the work lies in translating the speech of an artistic image, which itself generates speech. “For me the display of objects, is to provide support for a thought experiment, of a philosophy that “would return to the things themselves.”  Here I associate these “things themselves” to concrete objects.” In this sense, the work may be considered “complete” on the day in which the philosopher will use this display as a possible image for his thought. This network of indices awaits new meanings and interpretations. Emblematic of the artist, this work is rhizomatic. Some elements of this display have indeed contributed to other works made thereafter. For example, the image of gorilla refers to a work entitled Purpose Monkey (2007), while the book Le Bonheur de Vivre presented as part of the display was the subject of a video shown at the Biennale in Lyon in 2007.

From references to philosophical readings, Benoît Maire makes performances, organizes discussions, sculptures, assemblages of objects in space, paintings and videos. More than just a link between philosophy and art, his work creates a network of correlations and questions between the two disciplines, addressing the realization of an idea. How does one go from textual representation to a system of representation specific to visual arts? "Sometimes a picture is better to pose a problem," says the artist, "this is not about appropriating references, but to use them as an order of representation, like traces, memories, and spectra to reactivate." In Maire's work, arises the question of the "making" of an idea so that it becomes an object of reality, and in this case a work of art.
Benoit Maire was born in 1978 in Pessac, France. He lives and works in Paris.