Following in the footsteps of Jackson Pollock and the Minimal painting of Robert Ryman, Jonathan Binet confronts his body and architecture, in an interplay of opposition that oscillates between connivance and competition, fighting and exchange.
“Impulse is a raw material in a kind of way.” A research area, a laboratory, an arena, the staircases of the Palais de Tokyo become the locations of a story told by the gestures of Jonathan Binet. These are so many signs and imprints, guiding the spectator’s steps to the heart of a fiction that progresses in space. A mental cell and the setting of a plot, the stigmata and interventions left by the artist constitute the clues, with the controlled gestures of the basement gradually giving way to the primitive expressions of the upper levels. From limbo to the vault of heaven, Jonathan Binet leads us in a dance choreographed by his choices and indecisions, each revelatory of an existential hypothesis. Halfway round, a platform invites us to a leap into the void or to movement, between elevation toward impulse or descent toward consciousness.
In dialogue with the exhibition “The Imagination Adrift” and in a practice that has similarities to a “performative painting” – in the wake of Jackson Pollock or Matthew Barney – and to the minimal painting of Robert Ryman, Jonathan Binet operates through action plans and confronting his own body with that of the architecture.