Xolo Cuintle is a duo formed by Romy Texier (1995) and Valentin Vie Binet (1996), who live in Paris and work in Aubervilliers. Together, they produce works that challenge the boundaries between sculpture, furniture and décor. Assembling concrete, metal and wood, they create deserted and petrified scenes, between dream and simulacrum, whose past and future history cannot be distinguished. Xolo Cuintle's creations, meticulously assembled and arranged according to each space, play with the objects that constitute the topographies of our daily lives, plunging them into a state of permanent latency.
For the exhibition Current Upcoming Past, Xolo Cuintle invites us to enter a place that breaks with the traditional conception of time. Interested in the notion of heterochrony established by Foucault, the duo exacerbates the causal relationship between space and time in this place at the frontiers of reality.
Within this time-space of ambiguous character, the present is seen as the interconnection of an indissociable past and future. While the past, which seemed to have passed, still exists here, the future is itself already present. Between continuity and rupture, juxtaposition or timelessness, the thresholds support the precarious balance of the forms. On the edge of completion [past] as well as of the beginning [upcoming], these places of borders embrace their transitory qualities. From one space to another as from one state to another, space is here linked to passage, to transformation. Almost a non-place, a simple succession of open doors, it borrows from those spaces that govern the balance [present] between different environments: the waiting room, the SAS or the lobby.
For this occasion, Xolo Cuintle invites the artists Andrew Dussert, Oleg de la Morinerie and Milène Sanchez to produce a series of contributions relating to temporalities, here reimagined around the formula [current] [upcoming] [past].
Through his portraits of exhibitions based on their documentation, Andrew Dussert is interested in the transcription of subjective sensations as a sensitive archive. For Current Upcoming Past, he is asked to reflect on the notion of the post-exhibition, as well as on the question of archiving, i.e. what happens to the exhibition when it moves into the "past". As a premonition of this contribution, which will only be unveiled at the closing, several omens of what is to come will be scattered throughout the space [present].
Oleg de La Morinerie is looking for a material that would have the texture of a dream. He is interested in the image and its perceptions as the translation of the phantasmatic structure of the mind. Here he is invited to invest the gallery walls and extend the boundaries of his architecture to new dimensions, from a surface to a space. These images, which mimic the physical world, weave a floating world where the planes do not follow one another, a simulation of objects only tinted with the nuances of reality, "images of images".
As for Milène Sanchez, through her research into colour, light and the possible relationships between gesture and its absence, she aspires to capture in her paintings not what we see, but what seems to be invisible, emotion and sensation. His paintings, with their blurred timeline, are related to the architecture and underline the impossibility of dating the exhibition space.
Finally, the critic and curator Mathieu Buard is invited to develop an exhibition text in three stages.
In collaboration with Galerie Claire Gastaud.