View of the exhibition Fossiles, galerie frank elbaz, Paris, 2014
The artistic and musical 20th century is the century of the avant-garde but moreover of almost daily inventions of new technologies
of recording and transmitting sound (from vinyl disc to MP3 file via magnetic tape). But the industry and the economy
of those technologies (such as the art market) are living off from their rapid and planned obsolescence : what we love today
will tomorrow be denigrated in order to be rediscovered with enthusiasm next week (all the while being forgotten the time of a
And digital gadgets of every day usage will be obsolete and unusable as soon as the day after tomorrow.
Rainier Lericolais is an artist in love with techniques, recordings and aesthetic experiences of an epoch not so distant but already
revolved. A time when objects were placed on photographic paper and then passed through the photographic developer
in order to make an image, a time when one drew graphic scores that freed themselves from the traditions of musical notation,
a time when one made animation films from a sequence of geometric patterns. The artist updates those techniques and creates
an aesthetic link between the various works in his exhibition: abstraction and representation of sound.
For its fourth presentation at the frank elbaz gallery — and in connection with the installation of his works in the new presentation
of the MAC/VAL — Rainier Lericolais sets up sculptures in which audio media (from the cassette tape to the CD via the
MiniDisc) have left fossils’ prints in materials attacked by acetone. He adds, on the walls, series of pictures titled "reverse glass
paintings" and reminiscent of rayograms1
and other photograms4
of the last century.
builts a cabinet of graphic arts, as a tribute to El Lissitzky, in which he presents a series of works as varied as lectures and
updates of the visual experiments of the early 20th century. But we should not get fooled by the images that we think we know:
they were all produced with current means (a mobile phone, polystyrene, a used balalaïka) and the artist's work goes through a
technological update. Between fascination for the avant-garde’s aesthetic of the 20s and offbeat humor on the 80s technology,
it produces negative prints and fossils’ traces which, casually, are mostly large sound abstractions.