Les dialogueur·euse·x·s

Long, thin textiles, suspended 6 meters high by the artist, adorn the perimeter of the room. Curtains have covered the building’s large windows since its origin in 1912 and have absorbed the words of almost 2,800 conferences, ensuring fluid continuity between inside and outside. The artist reappropriates this “lining”¹ of the architecture, while the texture and tonalities stand out from those of the direct environment. Her color chart distances itself from the investigated Architectural Polychromy opting instead for eclectic shades, elaborated with acrylics, ranging from earthy to acidic tones, softened by dilution. Anna Meschiari’s 30-metre cheesecloth and the repeated and backlit silkscreen code replay industrial appearances. Yet the hangings seem to convey a new intimacy, redefining the substance of this interior.

“010000X010010000000… ” By listening carefully, one might distinguish the code before it blends in with the voices of the sound piece being broadcast, before it becomes a quasi-personified entity gradually infusing its surroundings. “The thing comes closer, it doesn’t feel like it, it looks like an image, it evolves, it doesn’t stay stable, it doesn’t work either, it’s more like it glides in a way”. The voices are those of the dialogueur.euse.x.s. They are also Anna Meschiari’s voices, mingling with those of women lecturers who have marked the Club 44’s history, such as biologist Kitty Ponse in 1953 or astrologer Elizabeth Teissier in 1980, that she captured during her research and incorporated into her sound piece 010000X010010000000.”

From the text Les dialogueur·euse·x·s by Marie DuPasquier, curator.
Read the whole text (in English)

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