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Modern times are defined by castration and domestication, writes Pascal Quignard: the hunters becomesubjects, wolves become dogs, aurochs become oxen, wild boars become pigs. As for the pits, the caves, the caverns, the chasms, they become as they are discovered, as they are engulfed and as they areworked in the body, tombs, then mines that are abandoned incurably. In a journey that seems simple andwithout return, time has an arrow to which our sense of history is attached. It invariably points in the same direction. There is, however, this lexical peculiarity of contemporary archeology which states that an invention is the discovery of a site or an archaeological object buried under the strata of another age.


The term “inventor” is thus used to describe the person responsible for this discovery, according to Wikipedia. It is therefore possible to invent and forget, then to reinvent the same thing infinitively.In western medieval times, the work of God was creation. Thus in the absence of creation, it is necessary to transform, - "mutare" -, to modify "emendare", - to improve "meliorare", says Jacques Legoff. On this subject, it must be noted that Empedocle is said to have died by jumping straight into the crater of Mount Etna to prove he was an immortal god. Plunging into the molten rock, the inventor of the four elements returned to the primordial soup. It was never known if by making this leap into the unknown Empedocles came out transformed, modified, simply improved, or if he actually broke the fabric of his mortal condition and did the work of creation equal to that of a god. It was never revealed.


The physicist Roger Penrose speaks of cosmic censorship in the face of a particularly extreme event that occurs in places hidden from outside observers behind thresholds and insurmountable horizons. At the opposite extreme, at the smallest scales of quantum mechanics, Heisenberg's theory of indeterminacy, or more commonly known as the uncertainty principle, teaches us that one can never be entirely sure of the simultaneous position and speed of a particle: the more we strive to understand one, the less we can understand the other. It cannot, it can never be seen as understood.


Yet it exists, it is present. It's here. The contact with unthinkable experiences has been considered since Freud, the use of hallucination can help maintain the illusion of a psychic continuity, escaping the chaos that threatens in substance the integrity of the subject. Facing the unthinkable, a first defense is followed by a second, the creation of a new, more tolerable reality, claims Guy Gimenez. This first time, that of the immune response, is hidden. It goes unnoticed in every sense of the word. It digs a hole and leaves the vacant place for the next stage. In contrast to the positive hallucination that makes it too conspicuous, this negative hallucination is defined by the denial and rejection of what is given as impossible to see. It's there, but it cannot be seen as it is. This work of the negative invoked by André Green precedes and proceeds with the organization of the re-presentation of the world, that is to say the return of his presentation rendered harmless. Like all work, it consists of transforming, modifying, improving, inventing.


In 1973, Dominique, a teen from the town of La Machine in the Nièvre, begins a dialogue with a striking spirit through the partition of her room. A year later, in 1974, after three centuries of exploiting the last wells of the coal mine that extends under the farm city, the last miner returns. It goes without saying, it comes from within. The region is brimming with similar stories, to the point of being blue in the face.



[1] Abîmes, Pascal Quignard

[2] Pour un autre Moyen Âge, Jacques Le Goff

[3] Le travail de l'hallucination, Guy Gimenez

[4] Le travail du négatif, André Green




With: Clement Caignart, Hélène Deléan, Martin Deléan, Christian Fabre, Christophe Fabre, Carole Lissoty, Dominique Margeault, Alexis Rejasse, Juliette Tixier, Jean Urruty ; Photo : Hélène Deléan, Clement Caignart ; Sound recording : Martin Deléan ; Editing: Clement Caignart ;Thanks: Centre d'Art Contemporain du Parc Saint Léger, Musée de la Mine de La Machine, Théâtre des Forges Royales de Guerigny, Ville de Guerigny, Catherine Pavlovic, Chantal Scotton, Djamila Chateau, Nathalie Jadot, Nicolas




Genius loci. CAC Parc-Saint léger. 15 Septembre. 9 Décembre. 2018





























Genius loci. CAC Parc-Saint léger. France. 2018


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