All that remains is a territory of tales : texts on Dimitri Robert Rimsky's work

Dimitri Robert-Rimsky is a visual artist; his work primarily concentrates on the mediums of video and installation. He studied at the Institut Supérieur des Arts de Toulouse and in Germany at the Hochschule für Bildende Künste, Brunswick in the studio of Candice Breitz. Throughout his training, which was mainly orientated towards a reflexion on the use and dissemination of images and rich in written production, he developed a significant interest in media related images, their mythologies and evolutions. In 2013, after receiving his MFA, he moved to Paris, while maintaining close contact with the Toulouse city network. In 2015, he co-founded the studios Rotolux, situated in an old printing factory in Bagnolet, Paris, welcoming designers and visual artists. Later in 2016, he was awarded a place on the Experimental Programme in Political Arts (SPEAP), directed by Bruno Latour at Sciences Po, Paris. He continues to work on various current projects, both collaborative and independent. 

Since 2015 Aurélie Vandewynckele has collaborated various times with Dimitri Robert-Rimsky.

 

 

EXHIBITION ABOUT NEWS AND GEOLOGY – ROTOLUX – BAGNOLET

 

Dimitri Robert-Rimsky conceives a dialogue in which videos, images and texts make us question the production, distribution and reception of images within media cartography. The following corpus of works creates a dialectical resonation in the minute fractures of the memory and experience, the material and the immaterial.

The constructions of contemporary mythologies are at the heart of his work, as he creates perspective through their underground structures, and the way we understand it. Putting forward their fictional aspects, DRR evades the collective vision, which is often amnesiac, if not opaque. Exploring the semantic differences, he deconstructs the narrative strata that form the virtual network. In this sediment, like cracks, his pieces expose another landscape, sweeping the common towards the sublime. They operate like sequences, the pictures switching into the scenery of a fictional and spectacular society.

 

Somehow, the images can be used to foresee approaching times[1].

 

Multiple realities are engraved into the work of DRR, they work together on different levels of temporality, fusing together with poesy. Bringing to light the mass use of images in today’s society, his pieces are conceptualized by the evolution of new representations and in the construction of the knowledge of these. In highlighting the subliminal political structures, his compositions put into perspective the body of collective imagination like an incontestable truth and question our capacity to speculate over our new legends.

 

What is a landscape if not a text?
All that remains is a territory of tales.

 

[1] Georges Didi-Huberman, Sentir le grisou, Les Éditions de Minuit, Paris, 2014.


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IN THE MEANTIME - TEXT ON RÉJEAN PEYTAVIN'S WORK

Elsa Delage wrote a text about Réjean Peytavin's work.
Since 2015, they have collaborated various times.

IN THE MEANTIME

Réjean’s work fits the context of everyday-life acts and thoughts. His approach is based on a delicate perception of daily routine, through an ergonomic and dream-like perspective on objects. However, the scenarios that lead to the crafting of these objects, whether they are realistic or purely fictional, also stage typically fictional situations.

He distorts the basis of modern design, with the idea of form influencing function. But his work remains the result of designer research, as it still pursues an aim of functionality. As he designs specific shapes to meet specific requests, his work is more what one would refer to as “useful sculptures”, and in certain cases as forms that range between works of art, manufactured objects and handicrafts.

The simple fact of assuming an “artistic” design keeps him in the framework of research and experimentation. In this way, he acquires traditional know-how in an empirical manner, such as the art of faience, woodworking, sewing and daub and wattle. These techniques become working tools, which he then uses to develop new paths. His approach is thus close to that of handicraft, in that it relies on manual, non-industrial work to create limited series of objects.

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Translation: Louis Boivin

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