Bili Bidjocka « …Do Not Take It, Do Not Eat It, Th

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[楼主] stageback 2012-09-21 13:56:52

Bili Bidjocka « …Do Not Take It, Do Not Eat It,This Is Not My Body… »

Bili Bidjocka 《......不要碰它，不要吃它，这不是我的身体......》

SoloExhibition by Bili Bidjocka 个展

October 6 - November 18 2012 2012年10月6日 – 11月18日

Opening October 6 from 5 pm - 9 pm 开幕式：10月6日，下午17:00点-21:00点

stageBACKis pleased to announce the first solo exhibition of Bili Bidjocka in mainlandChina.

This exhibitionincludes performance, installation, video works, drawing and sculptures.

Forover two thousand years, many artists have been inspired by The Last Supper,Christ's last meal during which the son of God delivered his testament.There are thirteen people at the table, as if in a perfectly staged play.With " …Do Not Take It, Do Not Eat It, This Is Not My Body… ", theCameroon artist is showing us some sort of anti-Last Supper. A secularproposal in which God, in his Judeo-Christian conception, is absent.The event, or perhaps it would be best to use the word "show",which doesn't correspond to the theme at all, takes place in two stages.We could describe it as a diptych. On the one hand, it is a purely formalelement: a bead curtain which, borrowing from the Léonard de Vincitableau, represents a sketch, an abstract projection, presenting us withan empty table. Christ and his apostles appear to have deserted their placesand we are left to wonder if it is primarily a temporal experience. Thetable is empty as if it is enough in itself. As if it doesn't matter ifthe meal took place before or after. It is up to us to fill the haunted void.This void, which we know represents the very essence of all spirituality:the omnipresence of absence. Absence as impossible idealisation, absenceas a grip that is never lost and which will remain a memory. A naturally truncated memory since only our despairing determination convinces us thatthere is something to see. Absence as the symbol of a new epiphany.

This tableau's counterpart is a lively and carnal scene (the word isused deliberately). A moment of physical presence, which the spectator isinvited to look at. In this lively tableau, it is the meal, and not itsabstraction, which marks the curtain's counterpoint. The curtain, in itsprinciple function, is reduced to a decorative element. A decorativeelement over determining that the performance will try to contradict by playing, not on the reference but on its contestation. The human becomes the centreof every possible realisation, and the device as a whole represents thispart of the painting, which is so dear to the artist. Again, the meal itself isnot the objective. It is all in the process. The long road leading to thefinal supper. There may be no supper. As in the curtain, we are invited toimagine the time before and afterwards. However, since the performance isthe aesthetic and conceptual contradiction of the curtain, the spectatorhas the privilege of seeing that which cannot normally be seen, and will later say, as Rimbaud did, that they have seen, several times, thatwhich man believes he has seen. This carnal moment, this moment of life,in the main sense of the term, undoubtedly holds the key to the riddle presented by the title of this moment. It depicts the age-oldbattle between God and men. This ontological experience, whichcombines the secular and the sacred whilst humanising concepts that have been lost, by dint of its meaning being mechanically repeated,reminds us that sharing, in its simplicity and spontaneity, is what makes h
umanity. A reminder which is greatly appreciated in these troubled times.

Written by Simon Njami, Paris 2012

Bili Bidjocka has attended numerouscollectives and he has shown in the Biennale of Johannesburg(1997), Havana (1997), Biennale Dakar (2000), Taipei (2004) and VeniceBiennale (inside Check List - Luanda Pop, 2007 curated by Fernando Alvimand Simon Njami); he has exhibited his works in the New Museum of ContemporaryArt of New York and in the exposition Africa Remix (Düsseldorf, London, Paris,Tokyo, Johannesburg, 2005–2007). He founded and directed the contemporaryArt Center Matrix Art Project in Brussels.

He lives and works in Paris, France

stage候台BACK 50 MoganshanLu, Building 6, 5th Floor Shanghai 200060, China, 中国上海莫干山路50号 6号楼5层 +86 1502 100 5047 /+86 21 6276 9932 www.stage-back.org

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[沙发:1楼] myy 2017-03-20 10:17:47

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