JULES SPINATSCH
Tableau d’éclats

28.01 — 01.02.2015

The Centre de la photographie Genève is very happy to present to Art Genève Jules Spinatsch’s latest work with the enigmatic title: Tableau d’Éclats / L’Éclat c’est moi.

ARTGENÈVE / Stand D19, hall 2

Far from referring to light or even to the Enlightenment, Tableau d'Éclats deals allegorically with a subject that is the very opposite of the Enlightenment's desire to form public opinion on a rational basis. The artist refers to a text published in 1989 by Helmut Moser with a title not without humour (black): "L'Éclat, c'est moi" followed by the subtitle, "Au sujet de la fascination pour nos scandales". The political scientist observes that in our "democracies", of which the press was su [...]

Far from referring to light or even to the Enlightenment, Tableau d'Éclats deals allegorically with a subject that is the very opposite of the Enlightenment's desire to form public opinion on a rational basis. The artist refers to a text published in 1989 by Helmut Moser with a title not without humour (black): "L'Éclat, c'est moi" followed by the subtitle, "Au sujet de la fascination pour nos scandales". The political scientist observes that in our "democracies", of which the press was supposed to be the fourth pillar, the mass media are less and less involved in the rational formation of public opinion. On the contrary, they intervene by "revealing" scandals. Helmut Moser observed the mechanisms of their treatment and identified 7 stages in the course of their emergence in the political landscape (revelation, publication, attack, defence, dramatization, negative identification and degradation of status).

But Jules Spinatsch does not illustrate what the sociologist said. The artist first photographed muddy eruptions in Iceland. By analyzing the images of viscous liquid to establish a kind of visual language, he decides on the hanging in 7 categories and finds the title Tableau d'Éclats for the whole and L'Éclat c'est moi for the individual photographs. Convinced that he must not be the only one to have found this pun, he came across on the Internet the publication of the same name by sociologist Helmut Moser, which also applies to his thesis, 7 categories.

The Geneva Photography Centre will present the two sides of this work: 3 large individual photographs and in 7 series, 112 photographs of volcanic mud eruptions, small bluffs of apparently unscaled appearance and giving the impression of an accident or even a disaster. These circular photographs, presented in a linear grid, are only traces of permanent explosions occurring daily under our feet, a few kilometres inside our planet.


Sponsors

With the generous support of the following partner(s)

Artist file

Jules Spinatsch * 1964 in Davos, lives in Zurich

Far from referring to light or even to the Enlightenment, Tableau d'Éclats deals allegorically with a subject that is the very opposite of the Enlightenment's desire to form public opinion on a rational basis. The artist refers to a text published in 1989 by Helmut Moser with a title not without humour (black): "L'Éclat, c'est moi" followed by the subtitle, "Au sujet de la fascination pour nos scandales". The political scientist observes that in our "democracies", of which the press was su [...]

Far from referring to light or even to the Enlightenment, Tableau d'Éclats deals allegorically with a subject that is the very opposite of the Enlightenment's desire to form public opinion on a rational basis. The artist refers to a text published in 1989 by Helmut Moser with a title not without humour (black): "L'Éclat, c'est moi" followed by the subtitle, "Au sujet de la fascination pour nos scandales". The political scientist observes that in our "democracies", of which the press was supposed to be the fourth pillar, the mass media are less and less involved in the rational formation of public opinion. On the contrary, they intervene by "revealing" scandals. Helmut Moser observed the mechanisms of their treatment and identified 7 stages in the course of their emergence in the political landscape (revelation, publication, attack, defence, dramatization, negative identification and degradation of status).

But Jules Spinatsch does not illustrate what the sociologist said. The artist first photographed muddy eruptions in Iceland. By analyzing the images of viscous liquid to establish a kind of visual language, he decides on the hanging in 7 categories and finds the title Tableau d'Éclats for the whole and L'Éclat c'est moi for the individual photographs. Convinced that he must not be the only one to have found this pun, he came across on the Internet the publication of the same name by sociologist Helmut Moser, which also applies to his thesis, 7 categories.

The Geneva Photography Centre will present the two sides of this work: 3 large individual photographs and in 7 series, 112 photographs of volcanic mud eruptions, small bluffs of apparently unscaled appearance and giving the impression of an accident or even a disaster. These circular photographs, presented in a linear grid, are only traces of permanent explosions occurring daily under our feet, a few kilometres inside our planet.


Exhibition view

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