Otium #1

Otium #1

Institut d’art contemporain, Villeurbanne/Rhône-Alpes

Myriam Mechita, Montagne de quartz (Pathfinder’s rocky terrain), 1997. © NASA/JPL.

June 2, 2015

Otium #1
Kata Tjuta
De Mineralis, pierres de visions

Steve Bishop

La Salle de bains off-site exhibition
June 12–August 9, 2015

Opening: June 11

Institut d’art contemporain, Villeurbanne/ Rhône-Alpes
11 rue Docteur Dolard
69100 Villeurbanne
Hours: Wednesday–Friday 2–6pm,
Saturday–Sunday 1–7pm


It is in a wholly other directed approach that the Institut d’art contemporain opens its doors to two projects: De Mineralis, pierres de visions & Kata Tjuta. The research subjects introduced here, fundamentally linked to the preoccupations and concerns of the IAC, will be further developed in the context of the Station 10 of the Laboratory space brain in December of 2015.

They build upon the recent attempts to be freed from the terms and conditions of the aesthetic experience in its usual acceptance, so as to privilege the attention, perception and sensations of the visitor (following exhibition The Collection Under Review, Artwork Experiences, 2014).

Otium #1
De Mineralis, pierres de visions
Guest curator: Pascal Pique, Le Musée de l’Invisible / The Museum of the Invisible
Artists: Marina Abramović, Art Orienté Objet, Halldór Ásgeirsson, Basserode, Cécile Beau, Michel Blazy, Katinka Bock, Sofia Borges, Charley Case, Céline Cléron, Aurélie Dubois, Jean-Luc Favero, Paul-Armand Gette, Éric & Marc Hurtado, Alexandre Joly, Frans Krajcberg, Gabriel Léger, Myriam Mechita, Camille Renahrd, Jean-Jacques Rullier, Lionel Sabatté, Elsa Sahal, Vladimir Skoda, Tunga

In a continuation of the Rêve Caverne exhibition, presented in the Château-musée of Tournon-sur-Rhône, De Mineralis, pierres de visions explores the question of the relationship between the human and the mineral. Humanity and artists have always enjoyed a particular and privileged relationship with the mineral world. Long before cave art, the first lithic industries seemed to have already established an intimate relationship with the spirit of the matter that can be seen more clearly on the surfaces of the ornate palaeolithic caverns.

To better understand these realities, that are not of a symbolic nature, this project considers one of the particularities of the relationship that exists between artists and the mineral: when stone intervenes in their visionary economy. That which can be seen in cave art is equally visible in the work of many contemporary artists. De Mineralis, pierres de visions wishes to explore and exhibit these strange and ineffable continuities. For the occasion, more than 20 artists have been invited to translate their relationship with stone and the mineral as generators of vision and experimentation of matter. Cave, rock and stone are dealt with here from an “animistic” point of view, when this material is doted with its own life with which the artists enter into dialogue. This project also proposes to experiment with the visionary capacities that can be developed through contact with certain minerals.

Otium #1
Kata Tjuta
Curator: Nathalie Ergino, assisted by Magalie Meunier
Artists: Basserode, Jimmie Durham, Francesco Gennari, Anthony Mccall, Matt Mullican, Sigmar Polke, David Rabinowitch, Matteo Rubbi, Vahan Soghomonian (with Fabien Ainardi, Matthieu Reynaud and Raphaël de Staël), James Turrell

Echoing De Mineralis, pierres de visions, that dotes the mineral with an interiority and a vital force, Kata Tjuta envisages matter—energy as constitutive of a space in tension, vibrating. One’s view is no longer focussed on the materials themselves, with their different characteristics and potentialities, but rather on the energy that they free up, on the telluric spaces that generate another way of seeing the world.

Curious in regards to the physical connection between the mineral world and the celestial sphere, between the earth and the cosmos, this project attempts to spatially translate the effects of friction, movement and transformation of matter, such as they may be used as metaphors by artists, being restored through sensitive experiences. A window on the world slips and shifts from the vertical to the horizontal, the ether to the solid, the mass to the scrap, the inanimate to the living.

Between the deserts of Mars and the sacred peaks of Kata Tjuta, the visitor is invited here to traverse a landscape, both enveloping and open, physical and interior: walking, feeling, experiencing, dreaming, becoming one with the space made real.

+ Off-site exhibition of the Art Center La Salle de bains at the Institut d’art contemporain
Steve Bishop
Curator: Caroline Soyez-Petithomme

Steve Bishop continues his thinking on notions of public and private spaces, on privacy and the presentation of self as it envisaged today, in the wake of 30 years of constant acceleration and striking layering of public media space and the internet in our everyday lives. NOCLIP, a term used in video-games, places the player’s character in a “walks-through-walls” mode that allows him to float through walls or floors. The crucial change that occurs through the daily use of the networking of a whole world has considerably dulled the distinction between public / private and rendered the two spheres totally permeable.

Steve Bishop’s installation deals with these modifications to our social and perceptive environment, its potential, as poetic as it is absurd, being endlessly renewed.

Press contact: 
Carine Faucher: c.faucher [​at​] i-ac.eu / T + 33 (0) 4 78 03 47 72

The Institut d’art contemporain gratefully acknowledges the support of the Ministry of Culture and Communication (DRAC Rhône-Alpes), the Rhône-Alpes Region, the City of Villeurbanne  and Cinepart. With the support of Minerama (De Mineralis, pierres de visions) and the Canadian Cultural Centre (NOCLIP).

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Institut d’art contemporain, Villeurbanne/Rhône-Alpes
June 2, 2015

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