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This story begins unlike the other ones – with a noise in the night. Not the usual racket of nighttime sirens, traffic passing monotonously in the rain – No: doors slamming, electric saws, the spiky hiss of a welding torch. Is someone breaking in to the Archives? A bureaucrat from the Museum staging a midnight heist of incriminating documents? Is there, perhaps, a party going on? |
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“There is no known algorithm that calculates the relation of labor or genius invested in a work of art to its public reception.”
Sarah Fauguet and David Cousinard. Photo credit: Iddhis Bing.
Paris No Maps
By: Iddhis Bing
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This story begins unlike the other ones – with a noise in the night. Not the usual racket of nighttime sirens, traffic passing monotonously in the rain – No: doors slamming, electric saws, the spiky hiss of a welding torch. Is someone breaking in to the Archives? A bureaucrat from the Museum staging a midnight heist of incriminating documents? Is there, perhaps, a party going on? I throw on my clothes, head down the darkened stairway of the old laboratory building in Sévres. One never knows.
Sarah Fauguet and David Cousinard are spending a month planning and creating Vestige for the Pierre Bergé-Yves Saint Laurent Modules inside Intense Proximity at the Palais de Tokyo. I catch them at the beginning of the project, when they are working 16-hour days. There is no known algorithm that calculates the relation of labor or genius invested in a work of art to its public reception. The artists put in endless hours working and reworking. Vestige will be on exhibit for almost the same amount of time it took to create it.
Paris No Maps keeps its eyes on the artists and unexpected happenings in the city built on the sands of Lutece.
Purple people and man with beer. Photo credit: Iddhis Bing.
Courtesy of artists Sarah Fauguet and David Cousinard
David Cousinard. Photo credit: Iddhis Bing
