Each season is envisioned as a movement that is articulated in several time signatures (overture, theme, focus, and finale) around a central theme that runs throughout all of the projects, lending them energy and direction. The initial 2016-2017 season, called "Chants de distorsion", encompassed one year and four movements. Our second cycle, "Alterism", lasted two years and include eight movements. Our third cycle is called "Esthetics of Use, Uses of Esthetics".
A keynote speaker delivers the speech that sounds the central theme or themes of an event. The keynote address or speech articulates the main and most important ideas. The season opens then at the art center with a keynote show, one that is emblematic of the themes and issues that will be featured during the year.
In a musical piece, the theme announces the motif that will appear over and over throughout the whole. Elaborated in partnership with research organizations and educational institutions on the local, national, and international level, this research exhibition makes it possible to explore a subject by inviting artists, curators, pupils, students, researchers, and art lovers young and old to take part and make their contribution, thanks to artists’ residencies, conferences, Q&As, workshops, satellite shows, and events—all forms of exploration in action.
From the solo to the sextant of artists, the third movement focuses on a precise point, lingers over one part, one element of the motif. This heightened attention in the work of one or more artists yields a vista, a clearer view.
The final movement concludes with a chorus, transfiguring the art center’s space and affecting the daily life of people throughout the region. Set up at CAC and several other sites in the town, department, and region, the finale catches the eye of users and participants in parallel areas generated by the featured artists.
Having been a stumbling block for two years, Alterism has become a methodology that we use in each of our projects, always working at the limits between disciplines, fields, registers, cultures, and subjectivities.
Today at CAC we are blazing a new trail that we intend to follow for each of the upcoming projects, at the intersection of various reflections on the issues that art is currently dealing with and the uses to which an art center can be put precisely where it is located. Over the next few years, we shall be thinking about the esthetics of use and the uses of esthetics. While many are raising the question of art centers’ societal responsibilities and their role in the city, it seems important to us to study the connections between the forms and uses they produce and vice versa. CAC Brétigny is joining with artists, researchers, curators, and art lovers to grapple with these questions. Tools and technological advances, but also culture in the broad sense of the term, are at the heart of thinking about our practices and art’s place in customs, at work, or in daily life. The first movement of Esthétiques de l’usage, usages de l’esthétique (Esthetics of Use, Uses of Esthetics) will tackle the notion of artifice.
Artifice is often contrasted with nature, whereas it is an integral part of reality, “To sing about the world is to sing about its artifice… to give up artifice is to leave existence behind and die,” Clément Rosset writes. And indeed, so-called natural laws are going to be used to legitimize ideological principles, summoned to naturalize singularities that are nevertheless cultural or lend support to power relationships and reject Otherness and difference. Championing artifice would thus consist of considering all the aspects of reality, which may seem bizarre, even irrational, rather than circumscribing it in a concept that is limited and often moralistic. Again, according to Clément Rosset, “We can distinguish three main ways of practicing artifice for an artist according to whether they want to be artificial because of disgust at a nature that is considered disappointing (naturalist practice); because of nostalgia for an absent nature (quasi-artificialist practice); or because of pleasure in the absence of nature (artificialist practice)… Through the different practices of artifice, generally it is reality that appears to be denied, tolerated, or embraced.”
We will therefore focus particularly on artistic practices that celebrate or reflect the artificiality of the world. We posit that the use of art (to decorate a space, create clothing, point up a social situation, experiment with materials, produce new narratives, etc.) will make it possible to shed light on this part of artifice that is inseparable from reality. In “Vie et mort des super-héros” (Life and Death of Superheroes), which deals with Jon Favreau’s Iron Man, Laurent de Sutter wrote that “the history of Western thought is indeed the history of being inasmuch as the latter can be presented as poor, i.e., being is what remains when the accessories that conceal or extend it are removed: being is nudity. What Stark’s poseur attitude reveals is that the above is a mistake. If there is being, it only exists in the accessories equipping, supplementing and augmenting it, and without which it is nothing.” No being without accessories, no use without esthetics, no identity without a costume
When Roland Barthes wrote "Martians" for Mythologies, he was dumbfounded by the way his era imagined life on Mars. Earthlings appropriated the planet by projecting their own customs and beliefs on it. Basing Martian life on the myth of the identical other, the double, they rejected any questioning of their usual logic via the intrusion of a true alterity.
Identity and otherness, the two notions are inseparable, and the helpless confusion of one seems to correspond to the radicalization of the other. Indeed, encountering otherness means above all questioning one’s own identity and thus the appearance of the other in oneself. This is the reason why, as Barthes puts it, otherness is the concept that is the most antithetical to "common sense". It involves interrogating prerequisites and facile thinking, making a genuine construction of knowledge possible.
Like a guiding light, Barthes’s analysis shows us the way to make alterism our way of thinking, following two principles. Knowledge is on the side of the other and alterity is above all in oneself.
Existence cannot be resolved by withdrawing into oneself and finding deep inside an identity that is "already there" and which knowledge simply brings out; rather it takes the Other, looming up unexpectedly. Knowledge of otherness as something that brings about the collapse of the illusory identity in which the subject is confined, and at the same time knowledge of the identity that that otherness presupposes. Such knowledge is knowledge of the world.
Thus, in contrast with "common sense", alterism favors misunderstanding and the multiplicity of interpretations. It is not that there is no reality or even truth, which for certain people is the same thing ("All that is real is rational" Hegel states), but because fantasy and fiction are actively involved in and components of the real. The object is just as real as feeling, emotions sparked by the object, or even the perception of the object itself.
Hence the importance of emotions.
Hence the importance of feelings and emotional representations in the construction of knowledge, whether historical or no.
To be the driving force of one’s own history, one’s own narrative, becomes fundamental here. So it is a matter of locating objectivity on the side of the object (Goffman) and expressing the emotional representations of both the object and the person engaged in the search. And thus give voice to the document, the object as lyrical subject.
The 2017—2019 seasons of CAC Brétigny are going to develop all of these aspects of alterism with our program of exhibitions, special events, workshops, and research seminars.
- In the name of the Father, the Fatherland and the Patriarchy
- les cellules blanches, nues et le sommeil électrique
- “Them” and “Us”: What Brings Us Together, What Divides Us
The expression "reality distortion field" (champ de distorsion de réalité) was often used to refer to the charismatic power of the Apple cofounder Steve Jobs, who always managed, they say, to win over even the most unwilling of his colleagues. A magnetic field apparently distorts the perception of anyone approaching it, always towards the source of the field. If the featured artworks do indeed provoke this modification of reality, they have this particularity in common. Their songs (chants, homophone of champs, "fields", in French) are constructed in the very connection that links them to whoever is listening, to the other.