Maxime Manac'h

Desires and disasters (notes)

Sans titre

We do not think the "paintings" of Manac'h , we bang into it, or we lie flat on... Violently, or by slow acid dissolution of the so-called "I." This little "I" that we seek desperatly to restore, unify, and doll up.

The Manac'h slabs are that vitriolated “I”. I became this area : it is finally the skin (Valéry : "there was deepest in man, it is the skin” in Idée fixe), but the skin of zinc, copper, metal.

As Shinya Tsukamoto Tetsuo or Cronenberg Crash (here we also find the shock and the accident), the objects are extensions of us, they are also extensions of our bodies, the matter of our bodies - gas indurated, methane, carbon, poisons, fluids, and acids as colors and sounds. The fermentation creates a tension, an intensity to these things, and this tension, this intensity, we can call it desire.

To desire, desiderare in latin, is etymologically the disaster, it is to divert aims, purpose, useful. The desire is otherness, it is the other, and the alteration is the process of changing into something else. As Bataille says, alteration is the basis of all inception : the material is there - it is even just thinking - and it is this material that is transformed to create.

Slabs Manac'h are our desire against social, organized humans, it is our desire of the other, the absolute other, that is to say : the inhuman, what is inside him, prior to him, even prior to the animal that we are again : the matter.

These slabs are experimentals area of materials by themselves. The thought does not reason with it, it will diluted by flowing trails, pigment aggregates (serigraphs are vibrant colors), stratifies the way tectonic plates or Earth's layers (some are called "landscapes"). Saturation zones by tasks, twists, cast, film, the game changes, the infinite possibilities that make these slabs so heady, obsessive.

These laminated slabs still go back through the machine crank what is Manac'h. But they are not finished - nor achievement nor finality : these slabs incorporate the alteration time. No beginning, no end. No teleology, no history. No narrative or identity : a Manac'h slab will never be part of pratimoine, it is a negation of these duties memory imposed on us, as they continue to pervert to transform, to imair, to be always another. No depth (no metaphysics) : everything is pressed on the surface, everything happens on the surface.

We talked about variations of intensity, saturation, accidents : Manac'h slabs make noise. The temporal process of these surfaces is identified with feedback, anything that is not rational thinking that compels us.

Far from "noise that thinks" these noises then finally perturb (“détraquent”) the thought.


1. L'art primitif, L'art primitif, article de Documents, repris dans les Œuvres Complètes I, Gallimard, p.247.


Rodolphe Gauthier - 2013/12

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