DAPHNÉ LE SERGENT GEOPOLITICS OF OBLIVION NEWSPEAK_ SATELLITE 11 - JEU DE PAUME
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PRESS RELEASE JEU DE PAUME
CONCORDE
DAPHNÉ LE SERGENT WWW.JEUDEPAUME.ORG
GEOPOLITICS OF OBLIVION
NEWSPEAK_
SATELLITE 11
06 | 05 – 09 | 23 | 2018
PROGRAMME
SATELLITE 11
PARTNERS
Exhibitions co-produced by the Jeu de Paume, the CAPC Musée d’art contemporain de Bordeaux
and the Museo Amparo de Puebla, Mexico.
The Friends of the Jeu de Paume and the Friends of the CAPC contribute to the production of the works
and the publications in the Satellite Programme.
The Jeu de Paume is member of Tram and d.c.a, association française de développement des centres d’art.
MEDIA PARTNERS
artpress, paris-art.com, Souvenirs from Earth TV
The Jeu de Paume receives public funding from the ministère de la Culture
and its main corporate sponsors are the NEUFLIZE OBC BANK
and MANUFACTURE JAEGER-LECOULTRE.
Cover
Geopolitics of Oblivion, 2018
Courtesy of the artist,
© Daphné Nan Le Sergent.
Jeu de Paume | Satellite 11
NEWSPEAK_
SATELLITE 11
02 | 06 | 2018 – 01 | 21 | 2019
Background info: ‘NEWSPEAK_’. The three exhibitions
Each year, the Satellite Programme is will also be presented at the CAPC
entrusted to an independent curator, and the Museo Amparo de Puebla in
charged with designing and organizing 2018. The exhibitions of the Satellite
three exhibitions at the Jeu de Paume. Programme are accompanied by three
For the 11th edition of this programme, publications. Each year the Jeu de
the Jeu de Paume continues its Paume and the CAPC Musée d’art
partnership with the CAPC Musée contemporain de Bordeaux invite
d’art contemporain de Bordeaux and independent graphic designers to
joins forces with a new partner: the create the graphic or visual identity of
Museo Amparo de Puebla, Mexico. the three volumes associated with the
Agnès Violeau, an independent curator programme of exhibitions. The graphic
based in Paris, has been invited design for Satellite 11 was done by
to curate this programme, entitled Jérémy Glâtre.
Agnès Violeau © Aurélie Haberey
‘The limits of my language mean the limits of my world’ The minimalistic Newspeak model of language functions
Ludwig Wittgenstein therefore as a language-screen, constructed on affect,
ideology, rhetoric and absolute precision. Language
At a time when Google is working on the creation of a becomes the obstacle that lies between truth and
‘Metaverse’, a future world made up of several layers of misrepresentation.
different realities, affecting both the public and private
spheres, language and its usage are more than ever at Pointing towards an ever shorter distance between
the centre of the debate. the information given and its interpretation, but also
the new possibility of navigating between words and
Reflecting the new system of media discourse, this ‘theatre signs, ‘NEWSPEAK_’ attempts to create a cosmogony
of word-play’1 has been built at the dawn of the 21st of language, a laboratory of thought, and a form of
century, based on abbreviations (Twitter), neologisms resistance through the field of language and exhibition.
(Brexit, Frexit, etc.) and post-truths (alternative facts).
The 11th edition of the Satellite Programme consists of Agnès Violeau
work by artists Damir Očko, Daphné Le Sergent and
Alejandro Cesarco, engaging public discourse as a
strategy towards individuation. The three exhibitions Agnès Violeau, b. 1976, lives and works in Paris.
can be added to the growing critical analysis of today’s She is an independent exhibition curator and art critic.
diminished thinking2, offering a hypothetical response to Her themes of predilection are exhibition production and
the limits of a formatted, segmented and pared-down the potentialities and boundaries of language.
language.
In the era of the digital revolution and the proliferation
of technology, where even public speech, relayed by
the media, makes use of social and IT networks as a 1. Christophe P. Lagier, Le Théâtre de la parole-spectacle : Jacques
new agora, the question of a reduced, formatted, and Audiberti, René de Obaldia and Jean Tardieu, Birmingham (US) Summa
simplified language has once again been raised. This Publications, 2000.
geopolitical transformation is reminiscent of a linguistic 2. In 1977, Pierre Bourdieu spoke of a ‘relationship to a derealized
landscape imagined in a work of literature as early as world’.
3. Wikipedia provides a loose interpretation of the author’s definition, as
1949. Newspeak is the official language of Oceania, a outlined in the novel.
fictional state invented by George Orwell in his dystopian
novel Nineteen Eighty-Four. Wikipedia defines Newspeak Curator: Agnès Violeau
as ‘a controlled language, of restricted grammar and
limited vocabulary, a linguistic design meant to limit Exhibitions co-produced by the Jeu de Paume, the
[…] freedom of thought,’3 allowing people to be easily CAPC Musée d’art contemporain de Bordeaux and
manipulated by the mass media, and television in the Museo Amparo de Puebla, Mexico.
particular.
The Friends of the Jeu de Paume and the Friends of
This lexical and syntactical simplification of language the CAPC contribute to the production of the works
makes critical thought difficult, if not impossible. and the publications in the Satellite Programme.
3
DAPHNÉ LE SERGENT
GEOPOLITICS OF OBLIVION
06 | 05 – 09 | 23 | 2018
Born in 1975 in Seoul (South Korea), Daphne Le internet user’s emotional state, thus creating a new rhetoric.
Sergent lives and works in Paris. With her roots in Geopolitics of Oblivion presents a battle of signs. ‘Once uttered,
two cultures, her research domain includes notions […], speech enters the service of power,‘ said Roland Barthes.
of schize and deterritorialisation. Her work involves Where Newspeak was an attempt to restrict thought by limiting
various systems of assembly and disassembly, words, the digital image also presents itself within a broad
cut-up and erasure. It raises questions about the spectrum of synthetisations, transforming what can be felt into a
construction of identity by proposing an analysis of mere value that can be provoked. For William Burroughs the cut-
border landscapes as a phenomenon of perception up method was a potential ‘letting-go of consciousness‘. These
comparable to a screen. This work has led her to post-digital tools and signs seem to invite us to write our own
reflect on the question of organisation and devices archaeology of knowledge.
in contemporary artistic creation. Fragments of text,
partitioned drawings, photographic diptychs and A bilingual (French-English) catalogue is published
video sequences question the lines of subjectivity that for the exhibition.
run through an image and bind the elements together. 15 x 21 cm, 64 pages, € 14
Also available as an eBook for € 6,99
Invited as part of the Satellite 11 programme, entitled
‘NEWSPEAK_‘, Daphné Le Sergent presents the second The catalogue is a joint publication by Jeu de Paume, CAPC
movement of the cycle, Geopolitics of Oblivion, which, in musée d’art contemporain de Bordeaux, and the Amparo
today’s world of data deluge, raises questions about the Museum, Puebla, Mexico.
‘C vocabulary‘, the technical language in George Orwell’s
Nineteen Eighty-Four.
Geopolitics of Oblivion is a vehicle through which the artist Curator: Agnès Violeau
explores the industrialization and outsourcing of memory
in the post-digital era, imagining two fictitious retrofuturist The exhibition is organised jointly by the Jeu de Paume,
communities, the Sum and the May, where an alphabet has the CAPC musée d’art contemporain de Bordeaux and
been created to free human memory from the complexity the Amparo Museum, Puebla, Mexico.
of an image-writing code based on glyphs, pictograms or
ideograms. The artist explores digital archiving from two The Friends of the Jeu de Paume and the Friends of the
distinct forms of writing: on the one hand, cuneiform writing, CAPC contribute to the production of the works and the
which appeared earlier than 3,000 BC and was invented to publications in the Satellite Programme.
memorize debt and to exploit data relating to this transaction.
This is the model we use nowadays to conceive of memory The organisers are grateful to the French Archives
when we keep information in data centres. The other form of Nationales and LUTIN Userlab for their collaboration.
writing is Mayan script (6th-9th century CE), which records
the movements of the stars for future generations. Writing is
not thought of here as a tool for capitalising on something
past but for its predictive capacity. Today, when new ways
of going about writing have resulted from the use of screens,
from new interactions between the eye and the hand, and
from communication through photographs, gifs and emojis
based on stylised images and models as well as samples from
animations, one is led to ask what behaviours are generated
by this language. Actions resulting from this kind of information
processing include archiving, editing, collecting, copying, and
merging.
Thanks to the outsourcing of memory – the Cloud –, with its
infinite storage capacity, the new Babel formed by the Sum
and the May sets out on a quest for a universal language.
Each of them uses both kinds of writing in order to transform
images into a proto-script by means of graphic compression;
the aim is to use this for recording their history. The May
have recourse to scanpaths and linearity resulting from eye-
tracking, which follows the trajectory of the eye in interpreting
a virtual image. The Sum turn to ‘emotional objects‘, objects Daphné Le Sergent
of non-verbal communication, devised in order to plot the Geopolitics of Oblivion, 2018
Courtesy of the artist,
© Daphné Nan Le Sergent. 4
COMING PROGRAMME
ALEJANDRO CESARCO
10 | 16 | 2018 – 01 | 20 | 2019
Born in Montevideo (Uruguay), Alejandro Cesarco
lives and works in New York. His work unfolds
as a series of deductions that often indicate an
elsewhere or an off-camera, bearing witness to the
experience of reality in all its discontinuity.
Alejandro Cesarco describes his practice as addressing
questions of ‘repetition, narrative, and the practices of
reading and translating.‘ Artworks take the form of film
and video, prints and photographs, text and drawings,
among others, and evince a deep engagement with the
histories and aesthetics of Conceptual Art. With a poetic,
sometimes romantic, other times melancholic air, they
represent a sustained investigation into time, memory, and
how meaning is felt.
Many of Cesarco’s artistic strategies point to the
influence of literature on his practice, structurally and
conceptually, directly and indirectly. Certain works take
the form of the index, the dedication, and the table of
contents. Texts by authors such as Robert Walser, Jorge
Luis Borges, Marguerite Duras, and Clarice Lispector are
quoted in structure or subject matter. A similar ‘personal
canon‘ could be drawn from the fields of cinema and
art. Over all, Cesarco’s methodologies variously mine the
possibilities of tropes and archetypes, inspiration and
appropriation, genre and style.
His last solo exhibitions have included: ‘A Portrait, a Story,
and an Ending’, Kunsthalle Zürich, Switzerland (2013);
‘Alejandro Cesarco’, MuMOK, Vienna (2012); ‘Words
Applied to Wounds’, Murray Guy, New York (2012);
‘A Common Ground’, Uruguayan Pavilion, 54th Venice
Biennale.
A catalogue is published for the exhibition.
Co-edited by the Jeu de Paume, CAPC Musée d’art
contemporain de Bordeaux and Museo Amparo de Puebla,
Mexico. Bilingual edition / French-English
15 x 21 cm, 64 pages, € 14.
Also available as an eBook for € 6.99
Curator: Agnès Violeau
An exhibition co-produced by the Jeu de Paume,
the CAPC Musée d’art contemporain de Bordeaux
and the Museo Amparo de Puebla, Mexico.
The Friends of the Jeu de Paume and the Friends of
the CAPC contribute to the production of the works
and the publications in the Satellite Programme.
Alejandro Cesarco
The organisers are grateful to the Maison de Untitled (Remembered), 2014
l’Amérique Latine, Paris. Courtesy of the artist,
© Alejandro Cesarco and Tanya Leighton, Berlin.
5
PRESS VISUALS
2.
1.
3. 4.
The copyright-free reproduction
and display of the following
selection of images is permitted
solely as part of the promotion
of this exhibition at the Jeu
de Paume and only while the
exhibition is in progress.
Press visuals
to download at
1, 3 et 4. Daphné Le Sergent www.jeudepaume.org
Geopolitics of Oblivion, 2018
Courtesy of the artist,
© Daphné Nan Le Sergent. Username: presskit
Password: photos
2. Daphné Le Sergent
© DR.
6
2.
1. 3.
1. Alejandro Cesarco
The Inner Shadow, 2016
Courtesy of the artist,
© Alejandro Cesarco and Tanya Leighton, Berlin.
2. Alejandro Cesarco
Untitled (Remembered), 2014
Courtesy of the artist,
© Alejandro Cesarco and Tanya Leighton, Berlin.
3. Panta Astiazarán
Alejandro Cesarco, Montevideo, 2015
7 © Panta Astiazarán
1. 2.
3.
4.
1 to 3. Dan Perjovschi
Courtesy of the artist and Galerie Michel Rein, Paris-Bruxelles, © DR
4. Agnès Violeau
© Aurélie Haberey
8
1, PLACE DE LA CONCORDE · PARIS 8 E · M° CONCORDE
WWW.JEUDEPAUME.ORG
OPENING TIMES
Tuesday (late-night opening): 11am–9pm
Wednesday to Sunday: 11am–7pm / Closed on Mondays
ADMISSION
Admission: €10
Concessions: €7,50
PRESS VISUALS
Copyright-free visuals can be downloaded www.jeudepaume.org
Homepage: Press / Username: presskit / Password: photos
PRESS CONTACT
Annabelle Floriant
+33 (0)1 47 03 13 22 / +33 (0)6 42 53 04 07 / annabellefloriant@jeudepaume.org
@Jeudepaume
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