L’usage des jours. 365 ceramic objects by Guillaume Bardet
Throughout the period from September 21, 2009, until September 20, 2010, the French creator Guillaume Bardet drew one protest a day. As an expansion of this «artistic and human performance», from fall 2010 he saw to the production of every article. He did so in team effort with fourteen ceramists from the Dieulefit district (Rhône-Alpes, southeast France), where he had settled in 2009 so as to escape the Parisian turmoil.
It took a great measure of determination, ardor, avidness and power for Guillaume Bardet to come to be the center point of an organization together advanced of people, associations, foundations and collectivities, all of whom consented to join this human and imaginative undertaking with him for an over two-year period. It additionally mandated an awesome bargain of nerve and talent for the planner to exposed himself, uncovering not just his fundamental concerns and strokes of inspiration, and yet his feeble spots, his questions and his trial-and-lapse approach. What’s more this stuff to uncompromisingly give their full because of his formal and stylish results.
Guillaume Bardet endowed the scenography for this nomad presentation to his companion, the creator Vincent Dupont-Rougier, requiring regardless on a predisposition whereby time passes quite inefficiently (an one-year period) and quite quickly (that of a specific day). What’s more this by depending on components in the aid of straightforwardness, structuring and portrayal, in order to infer both linearity and abundance, families and utilizes, states of mind and fancies.
The display likewise carries to light different stages of persuasion, the virtuoso’s way of working and his quest for results. Mixed near each of the periods, qualified information is furnished close by Guillaume Bardet’s portrayals, his 3D drawings, and photos, as one with a composed record of the wonderfully productive exchange Bardet motivated between himself and the numerous ceramists included. In the statements of one of the last, Guillaume Bardet discovered how to «tell a story» and «seek out the lines» in each of the shapes he had planned and watched taking shape in the artisans’ hands.
This remarkable private challenge involved a near-to-monacal and reflective approach in 2009; it was emulated by a more collegial stage in 2010, peaking in the handling of 365 fresh out of the plastic new fired works. The aforementioned have since been put forth as the topic of a monographic show of another kind, indicated at some exhibition halls and presentation venues joining forces this drive. The mudac speaks for the keep going lap on the show’s schedule, which incorporated Sèvres («City of Ceramics») in France (close Paris), Le Grand Hornu Images in Belgium, the Château des Adhémar (Contemporary Art Center) in Montélimar (France), and the Maison de la Céramique du Pays de Dieulefit in 2012.