Ici : symphonie désolée d’un consortium antique
Edgar Sarin composes by confining himself to the exhibition space with a basic assortment of hurriedly gathered materials. Through the act of inhabiting the materials become sophisticated, artworks form and accumulate in the space until a state of equilibrium is reached. The exhibition is not the ultimate goal but a starting point: ‘it is a pretext for chance – always triggered by the environment and its constraints – and therefore for creation’ (Edgar Sarin).
A space for contemplation becomes an autonomous and functional body, a testing ground that we inhabit.
Once the space has been shaped it changes into a functional place.
The blossoming of this autonomous body, the exhibition, implies the emergence of folklore*: certain pieces are subject to actions, situations and procedures defined by the artist and repeated throughout the duration of the exhibition.
edgar sarin
Born in 1989 in Marseille (France). Lives and works in Paris (France).
His work testifies to the formal search for political and environmental harmony, of which man would be the catalyst. Edgar Sarin was noted for his work on generative ruin and for his questioning of the exhibition space.
He establishes, a few years ago, that it is a question of considering the spectator from the moment he stops being one; thus being part of a Mediterranean lineage of the conception of the work of art. His work is thus elaborated by porosity with the medium. He defends an approach that encourages learning about the world and the material—a reasoned form of the creative gesture—which he develops in a sculptural corpus that is plural and precise.
In 2016, Edgar Sarin received the Revelations Emerige award.
Edgar Sarin’s work has been exhibited at the Collège des Bernardins (Paris), Centre de Création Contemporaine Olivier Debré (CCCOD), as part of the Nuit Blanche 2018 and at Konrad Fischer Galerie (Berlin). Edgar Sarin is also the founder of the research group on the exhibition «The Mediterranean».
With the painter Mateo Revillo, he undertook a series of publications, the first volume of which was Un titanic, reprinted by Editions Dilecta.
Edgar Sarin composes by confining himself to the exhibition space with a basic assortment of hurriedly gathered materials. Through the act of inhabiting the materials become sophisticated, artworks form and accumulate in the space until a state of equilibrium is reached. The exhibition is not the ultimate goal but a starting point: ‘it is a pretext for chance – always triggered by the environment and its constraints – and therefore for creation’ (Edgar Sarin).
A space for contemplation becomes an autonomous and functional body, a testing ground that we inhabit.
Once the space has been shaped it changes into a functional place.
The blossoming of this autonomous body, the exhibition, implies the emergence of folklore*: certain pieces are subject to actions, situations and procedures defined by the artist and repeated throughout the duration of the exhibition.
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