NASTASIA MEYRAT

Contributing to the shrinking in the dwelling

02.10.15 – 14.11.15

nastasia

It seems that reserved and severe souls can be sheltered in small spaces. Those types of spirits are interesting and sometimes smart. Assuming the revolution of sight implies new scenes of modernity and a great taste of the spectacular. This is corny but one can wonder if it makes sense now and here. Revolution of sight is accepting to be surprised. Of course, it also means trying to adapt to different types of representations, to which we’re not used to. The revolution of sight through its immediate manifestations, its shapes or the aesthetics. Aesthetics mustbe understood in a very large way. People can be very serious, easily bothered and bored. The need to be entertained is frequent and fluid.

Entertainment can be easy but it becomes interesting when the behaviour of the artificial fact hasn’t any particular colour. Also when it is powerful, even violent but quiet. The sneaky ones know how to hide and appear publically: they know how to make war and how to feed themselves, because they’re clever. Neutrality is decadent and opaque. Shrinking is not decadent, it’s smart. The value of this transformation, can be easily mistaken. But it has got nothing to do with alienation. Shrinking is training, an action close to a practice. It’s also about a revolution of representation, a state. That state never ends it is a constant one. It can be mental and deep sometimes. It’s improvisation and accumulation of absurd things falling down in your face and using laugh as a weapon that can strike.

A popular generalised aesthetics could have something to do with being social. Well it surely is related to a validation and a popular taste. Decadent domesticated people are maybe validated people, not necessarily popular but they are those who can somehow decide, since they are the mass, the great number. Thus, this is pretty decadent and shitty. If it was a room it would be extremely messy or insanely tidy. Rooms and houses tell a lot about their owners if you look at them really carefully. I really find domestication interesting but I might hate domesticated people. Domestication is tragic and comic. It’s tragic because it reforms you for the rest of your life in that constant state of shrinking. And it’s comic because although domesticated people are not to envy, domestic spaces are often where you shrink.

The domestic space is also where you encounter the chore and this is dangerous especially for us. But we haven’t stayed stinking in the dark in those kinds of rooms yet. Some of us are divest of vulgarity and are able to choose between building a cube, a room, a chore or that tool. Sometimes being scornful is a way to avoid shaped and decadent people. I guess it’s all about the rooms, the pieces and the tools. And we want more and more tools, we want to play with them. Yes we want to play in scornful manner. This contemptuous and good art of shrinking is probably utopic, but being snobbish transforms it in a realistic way to reach things. I would like to be snobbish and shapeless and of course snobbism isn’t something inauthentic.

The height of the soul is contempt. Try to be modern and you will get corny. It would be so nice to do things and to be as amusing as a choreography without any actions, because it’s charged with tragedy and comedy. Comedy reflects what is trivial and accidental, this particular inarticulate sound that it can produce is almost existentialist. Tragedy and comedy do not need pedestals.

Spreading unstable shapes like a liquid or a disease can help embrace things. Those unknown shapes become secret weapons and they are needed because home is an ambiguous utopia in itself, that’s why it’s important to rethink chores. Oddities, eccentricities and deviances are quite like a knife that can cut in the deep as much as it can sculpt some non-defined shapes.

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