ROSE ZÉRO SYSTEMATIQUE

Marcel Devillers’ artistic practice gets experienced with pace and cadence. He oscillates between paintings, materials and installation that he combines with readings and performances. A pace, the pace of the eye first. An eye that gets hypnotized by the reading of his mural poems, installed directly in the display window. The gesture of the painter reciprocally contaminates the gesture of the author. A move, the move of the retina that follows in a long travelling the closed line of the poem, a convolution that reminds us of the cogs of a machine or a transmission belt. A transfer takes place, the reading wants to appear pictorial, and the power of language blossoms in a flow of feelings, shapes and images.

The look moves and stops on a painting-object placed on the ground. Surrounded by light, it replaces successively a dot, a hearth, an axis or an exclamation. These podiums remind us of the universe of the scene or the cinema and their dressing rooms, of a past or future potentiality. Activated by the artist during performative readings, these closed spaces become the support of a voice that incarnates itself in the carnal pace of the declamation. The body sets the tempo, the implied tempo of the actor or the choreographer who lives in these small scenic islands. The title of the proposal refers to another notion of repetitive dissemination, as Rose Zéro has already been used by the artist in his publications. A serial aspect of production that enables Marcel Devillers’ work to spread out like a constellation of reflections on art and perception. It convokes as much a questioning of the artistic work and its materiality as the writing and its orality, playing with the porosity of aesthetics, materials and practices. It leads to a muffled beat fed by the excitement of the sparkling world of performing arts as by the nostalgic silence of the bodies and their incarnation. It also leads to a nomad deconstruction of the stability of our visual space.