Galerie Lara Vincy.

GLOBIBULGA
New world’s writings

(From the Latin “globus”, globe, and “bulga”, bag, purse) Globalized Art may perhaps be in the 21st century what Suprematism was in the 20th [cf. Art maximal, Ballon, Centrifugeuse, GGooggle, Kazimir, Mundial/ER, Wysiwyg].

For his fifth solo exhibition in the Galerie Lara Vincy, Pascal Le Coq is proposing a layout designed like a Larousse dictionary – the ancestor of Google and Wikipedia. In the window, a cover on which is placed an object representative of the questions broached by the artist in his OXO encyclopedia: it is the now iconic “Miss Erotica”, a balloon turned inside out like a sock and surmounted by his bladder in erection, archetype of the semantic shifting position as a slogan.

In the first room, the walls are covered by attempts at flags, which are in fact “Lubies”, an assembly of vexillological details, based on the syllables of the toponyms they represent (for instance “LUxembourg+zamBIE=LUBIE”). Not printed but painted, unlike the previously presented versions, these paintings gain in dramaturgy what they have lost in technological advance. The Lubies, metaphors of the flux engendered by mundialization, are also an opportunity to revisit the history of color via various updated chromatic systems (heraldic hatchings, subtractive color model, photo negatives – the latter being the retininan equivalent of the material reversal at work in “Miss Erotica”). The viewer can, if he wishes to appear in the next version of the DDictionnaire OXO, order his own Portrait Lubie Contributor – for instance like XAVIER [XAnadu+ségoVIe+archipeldesgambIER] NIEL [Namibie+kIEL].

In the second room are found definitions accompanied with visual representations in two or three dimensions. It is enough to read the explanatory notes hung on the wall to better understand some mysterious objects placed nearby, like that black ball covered by two bandages, which turn out to be the tridimensional version of the logotype of the Xerox Company, world leader in the reproduction of documents. These notices might be four-colored pages snatched from the already published DDictionnaire OXO (256 pages) or black and white printed copies taken from the future version (512 pages), which only exists at the moment in the form of data processing files in the artist’s computer, and in three USB keys spread out in different places.

Since the entire OXO encyclopedia cannot be shown hic et nunc (4888 entries are to be found in the DDictionnaire currently being drafted, at the very moment when these lines are being written), a symbolical object, whose inside is totally green, indicates that the dictionary that is manifest in the gallery is open: open to all kinds of developments, immediate and to come. Since the appearance of the Word Wide Wild Web, a new reflection of the world, it is henceforth possible – but in fact impossible – to embrace all its contents, as the visionary Borges had foreseen. With OXO and its artefacts, Pascal Le Coq is offering a condensed version, deformed and certainly absurd. But in comparison with the world itself, absurdity is not necessarily where we imagine it. “Absurd x Absurd = Rational” could become the slogan of he who wants to keep a minimum of equilibrium in the unceasing flow.
Post-scriptum. The purchased works can be taken away immediately by their purchaser. In that case, they will be replaced in situ, for the paintings, by a black rectangle of similar size, and for the objects, by a black object of a similar weight.

Translated in English by Ann Cremin