Open letter for the advertisement of the post of Director of the Aquitanian FRAC, Bordeaux, France. 

fine and contemporary art, artist visual arts, painter , mixed-media artist, video artist, sculptor, visual arts projects...

Lili-Oto
34, street of the Suburb of Arts
33300 Bordeaux

Artist

President of the A.P.E.A
Asso: the Artists In Aquitaine
Tel.: 06 .. .. .. ..
http://apea.over-blog.net/
http://www.lili-oto.com/

Open letter... Bordeaux, October 17, 2006

Subject: announce candidature for the post of the director of the FRAC Aquitaine

For the attention of Madam the president of the Aquitanian FRAC-Collection

Madam the President,

Your advertisement for the post of director of the FRAC held all my attention.

A serious crisis plunges the artists plastics technicians in our country and especially in our area in an economy of survival. The social regression that we undergo authorizes me to question you on the design and the nature even of the structure of the FRAC Aquitaine.

Does Frac Aquitaine need really a new director? Two people in place: Marie-Anne Chambost charged with the collection and Xavier To winch-Schlachter administrator can be quite simply named deputy managers with each one the double administrative and artistic cap. This will make it possible to release wages and to allot it to the development of an active policy for the exposures. A supplementary budget for an institution choked by its operational budget.

I suggest that the amount of this supplementary budget is allocated exclusively with the plastics technicians resident in Aquitaine. The Regional Council must develop a dynamics based on the creative potential real and existing good to support the rise of a pole of creation of the visual arts or visual arts.

The new buildings of the FRAC by its interior architecture are suited to constant programming of exposures. Monthly and collective programming over twenty days of three artists resident in Aquitaine with the paid rights of presentation. Each ten day old cut leaves to the team the care to be occupied of the collection, conservation, restoration, of the programming and the radiation of the structure. Over ten months, they would be thirty artists exposed plastics technicians. It is completely conceivable to organize in more of this programming two exposures of national or international interest. It is finally to seek a solution or a mediation like the expression of an alliance between the requirements of the creativity and the constraints financial.

- is this a fold of the Aquitaine area on itself? The answer is not! If the Regional Council of Aquitaine impels the emergence of a true pole of creation with a political good-will and economic centered on the national and international diffusion of works of the plastics technicians in Aquitaine, it is a formidable tool which the Area offers to its artists plastics technicians. This pole must be found with cross other cultural but such economic synergies in the direction of a partnership step.

- A which addresses this pole of creation? With the artists plastics technicians, with the galleries, the collectives of artists and associative fabrics related to the practice of the visual arts or visual arts.

- Why two deputy managers? It will support the approach of the artists, because the complexity and the range of their activities oblige the decision makers today to fall under their projects. Bipolar, it has also the singularity to decentralize the function, to slow down the formatting and a priori.

I hope that this mail will be taken with serious and heard as a vector favorable to the imbroglio art-culture and artist-institutions. 
Sincerely yours

Lili-oto

 

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In France since 25 years the state and the French cultural institution have excluded from the artists (painters, sculptors,...) for political or sectarian reasons.these Artists live today in misery, poverty and the contempt and some time they commit suicide. These Artists live in misery, poverty and the contempt and some time these artists commit suicide. The persons in charge are the republican French elected officials who adopt attitudes of monarchs supporting a cultural oligarchy and violating the pluralist character of the expression of the diversity of the artistic currents and the currents of thought. The antidemocratic French cultural institutions refuse to diffuse art in the name of its diversity in a complete and equitable way.The antidemocratic French cultural institutions program the artistic sets of themes their choices without taking into account artistic realities reflecting the artistic activity and concerns on the French territory. Artists since 25 years refuse to subject themselves to this authority or this cultural police. 

I decided not to touch up and to make no correction in my written texts, young artist, in 1980s. They explain the starting point of my researches and my artistic activity with all awkwardness, naivety of a young artist in its workshop faced with its creation. (These texts accompanied several exhibitions as " ephemeral Gardens " and the first Lyons biennial "OUT" of contemporary art in France.


First glance, first question : Are my works fragments which have been torn away, uprooted and then exhibited, or a chaotic and hazardous assemblage, warering in a combination of destruction and reconstruction ?

All fragments here are systematically made of new materials, and this case, they are not a part of something that "has been", but fragments of a birth.

At the beginning, there is conciousness of... conciousness of a frontal space. When I am in front a wall, in my studio for instance, I have in mind one or several mental images - but not the concept of the "Quadro" (painting).

The first process already splits this space : I hang a transparent PVC film on a very large metallic frame, and I set up between the frame and the wall strong light-spots (1 or 2 Kw), which will light the plastic and leave the wall in obscurity. The PVC film becomes a catalyst of light, through the imperfection of its transparency, and because the heat of the light-spots puts steam on it. The presence of this frontal space is intensified by this light source creating a facticious wall. When I paint on PVC, I get the feeling to paint directly on light, and through the violence of the ligth facing me, through the transparency, I come to the materialization of a frontal space between the wall and me.

Te second process is a choice between a plane surface and a volume. In both cases, the plastic film is "destructured" with cutting-outs and heat - It's the birth of a first fragment, the "Original Fragment" (or "Base Fragment"). The more my thoughts get concious of this frontal space, the more it splits up and grows with the adjunction of other fragments (of walls, tiles...). In this elaboration I don't know "whether I go to the wall, or the wall comes to me".

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I have always been fascinated by the "vis inertiae" of material. For a material, inertia is the resistance to movement linked to its mass. Each material has its own inertia - oil, acrylic, glass, granite, wood, plastic, iron, aluminium,... It's a specific value for each material, reaching beyond the limits of its own physical laws; it becomes a suggestive value, wich sole conciousness lies in the radiance of its own dialectic.

The inertia of material may be seen as the fruit of a "Resonance"; from its very substance, and in the depths of its bowels, it may reveal an "Organic Sonority". Depending on the act, or the intervention, the organic sonority changes, its variations may be identified as "PHONEMAS" (sonant elements of language). The connection of silence and inertiae opens a new field of investigation, another world, and above all another language.

The different materials (of everyday use, and non-precious) : tiles, paper, cardboard, plaster, PVC film, are transposed, their previous "oder of importance" (sign, value, fonction,...) is transgressed in order to reconstitute a new "self value". For instance, the transparent PVC Film becomes a full space when the ligth goes through it, but this new space is ephemeral.

The subject intermingles with the materials being represented (presented again), and its object is an organic composition, where the language of material, the "phonemas", provide a new palette.

Each material is taken into consideration, from the pigment to the light, nothing is excluded. As to my object, the absence of references withdraws it from figurative or abstractive art. No writing, whether philosophical or spiritual, is mine. Therefore, all fragments brougth together don't vibrate but with their own being, their interactions. They are no parts of a whole, an entity, like the painting, but a CONSTELLATION.