{"id":12641,"date":"2022-09-14T12:21:26","date_gmt":"2022-09-14T10:21:26","guid":{"rendered":"https:\/\/chroniques-biennale.org\/oeuvre\/taotie\/"},"modified":"2024-05-14T12:24:58","modified_gmt":"2024-05-14T10:24:58","slug":"taotie","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/taotie\/","title":{"rendered":"Taotie"},"content":{"rendered":"\n<div class=\"wp-block-group oeuvreTopRow is-layout-flow wp-block-group-is-layout-flow\">\n<h1 class=\"noMarginBottom caps edge wp-block-heading\"><strong><strong>taotie<\/strong><\/strong><\/h1>\n\n\n\n<h2 class=\"caps is-style-noMarginBottom wp-block-heading\">T<strong><strong><strong>HOMAS GARNIER&nbsp;<\/strong><\/strong><\/strong><\/h2>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\">\n<h4 class=\"wp-block-heading\">Automated installation<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<p><strong><em>Taotie<\/em> is an automated installation project &#8211; a machine producing moving images by projecting shadows from a modular model based on automated factories and distribution centers. <\/strong><\/p>\n\n\n\n<p>The project draws its influences from pre-cinema, notably 18th century phantasmagoria, of which it is a contemporary and technological reinterpretation.<\/p>\n\n\n\n<p>The night has always been the spacetime of rest and sleep, but this model seems to be disrupted today. The instant connectivity of the world through highspeed internet, the decentralisation of the economy, the speed of distribution centers and their delivery in less than 24 hours, the adoption of teleworking in times of the pandemic, are pushing towards a model oriented towards a fragmentation of activity time, a desynchronisation of the body with society and with what it produces. <\/p>\n\n\n\n<p>The spatial outcome of this logic of continuous activity is the \u2018Dark Factory\u2019, an automated factory in which natural and artificial light is superfluous, as no one works there.<\/p>\n\n\n\n<p>Taotie questions the social and environmental implications of this new productivist paradigm by offering a continuous and immersive automatic performance in the bowels of one of these hermetic spaces.<\/p>\n\n\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/DSC02789-1024x683.jpg\" alt=\"\" class=\"wp-image-12637\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/DSC02789-1024x683.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/DSC02789-300x200.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/DSC02789-768x512.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/DSC02789-1536x1024.jpg 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/DSC02789-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>\u00a9 Thomas Garnier<\/figcaption><\/figure>\n\n\n\n<p class=\"is-style-default\"><meta charset=\"utf-8\">Partagez cet \u00e9v\u00e9nement sur les r\u00e9seaux sociaux<\/p>\n\n\n<div class=\"socialLinks socialShare\"><ul><li><script>function fbs_click() {u=location.href;t=document.title;window.open('http:\/\/www.facebook.com\/sharer.php?u=https:\/\/chroniques-biennale.org\/en\/taotie\/&t='+encodeURIComponent(t),'sharer','toolbar=0,status=0,width=626,height=436'); return false; }<\/script><a rel=\"nofollow\" href=\"http:\/\/www.facebook.com\/share.php?u=<;url>\" onclick=\"return fbs_click()\" target=\"_blank\" class=\"facebookLink\"><i class=\"fab fa-facebook-f\"><\/i><\/a><\/li><li><a href=\"https:\/\/www.linkedin.com\/shareArticle?mini=true&url=https:\/\/chroniques-biennale.org\/en\/taotie\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=Taotie&amp;url=https:\/\/chroniques-biennale.org\/en\/taotie\/\" target=\"_blank\" class=\"twitterLink\"><i class=\"fab fa-twitter\"><\/i><\/a><\/li><\/ul><\/div>\n<\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\">Artistes<\/h4>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><\/div><div class=\"artisteBlockRight\"><h2>Thomas Garnier <sup>(FR)<\/sup><\/h2><div class=\"artisteContent\"><p><span style=\"font-weight: 400;\">Thomas Garnier is a contemporary artist who originally trained as an architect and graduated from Le Fresnoy, Studio National des Arts Contemporains. His work has since been presented in exhibitions, festivals and international biennials.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">His practice is that of an artist but also of a researcher or heterotopologist, as defined by Foucault in his text \u00ables espaces autres\u00bb. This search for and construction of meaning in the \u00abliminal\u00bb or \u00abin-between\u00bb leads him to produce automated and collapsing sculptures. The critical nature of the works is developed through wandering, and the observation of real spaces. In Thomas Garnier\u2019s work, we seem to be witnessing the archaeology of a drifting and derived world, caught up in the congregation of multiple temporalities and techniques, derived from a primitive futurism, from multi-brutalism, from supra-romanticism or any anachronistic accumulation you could conjure up. <\/span><\/p>\n<\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:40%\">\n<h4 class=\"wp-block-heading\"><meta charset=\"utf-8\">Cr\u00e9dits &amp; mentions<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:60%\">\n<p>In partnership with the Vasarely Foundation Vasarely Foundation Prize &#8211; CHRONICLES 2020<\/p>\n<\/div>\n<\/div>\n\n\n\n<p class=\"is-style-noMarginBottom\"><\/p>\n","protected":false},"featured_media":12638,"menu_order":0,"template":"","edition":[66],"type_oeuvre":[95],"class_list":["post-12641","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/12641","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/12638"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=12641"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=12641"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=12641"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}