Opus IX: Abode of Chaos / Demeure du Chaos 1999-2013

obsolescence and consumerist
emptiness. They will make their
honey from these poisonous
flowers, which may simply be
blooms withered by an epoch
dedicated to sterility.
But whatever one’s feelings or
sensibility, rejection or acceptance,
a mystery as to its origins hovers
over these surroundings. It forces
respect and even admiration, due
to the extent of the disaster,
resulting in an unwavering
tenacity. Because it is not the
originality of the themes that
strikes us, most having been
largely covered by deconstructivist
and nihilistic movements, so much
as the infamy accomplished, its
irreparable character, its intellectual
and pressing necessity. And so
this is what gives an artistic
licence forced to the wall, on the
borderline of syncope. In contrast
to samples soberly confined in
galleries and museums, behind
sanitary protection, here and now,
this is the tip of an emerging
continent pushing through,
threatening to take over the world.
Those who champion the Abode of
Chaos and its orchestrator have
meticulously produced a microworld
that is seemingly destructured,
but whose disorder appears
in fact to be built up layer by layer,
shard by shard. On every scale, we
can only imagine the various
creative processes that have
worked on and borne along all
these symbols, signs, objects and
representations to achieve their
final union. It is difficult to know
if this is the result of staged
choreography, architectural
mastery, intuitive improvisation
or even random or arbitrary
decisions. This immersive world
constantly poses the riddle of its
cosmogenesis and the intentions
that engendered it. What on earth
lies behind it? It sparks off a
mental quest that ends up in
another abyss, one leading directly
to the heart of the human
interiority all around us. On site,
dumbfounded, we move within a
liberated intimacy that has
exploded as it suddenly emerged.
It has cast itself in a ferment of
surging and ebbing waves on the
ground, on the walls, into the
slightest receptacle. And yet this
plural individuality is not as
egotistical as the discourse
accompanying the project would
372 373
have us believe. By combining so
many talents and fountainheads,
the creator instantly acknowledges
a work co­created by others. In
this case, all the artists contributing
to the collective work have
forged an alliance through their
own personal style and touch.
These mingled inspirations
together ooze a delirious, hallucinogenic
“creality” whose myriad
dimensions are haunted by alter
egos.
Provided that you accept the test
in the sense of a challenge and of a
concrete variant, immersing
yourself in the Abode means
entering a bubbling, nourishing
soup that feels more final than primordial.
It activates and profoundly
mixes universal and
fundamental archetypes together.
In the innermost depths of its
entrails, impulses evacuated or
denied by social normativeness or
libidinal training come together
and drift apart. Of necessity, what
follows is an initiatory relationship
that changes us into a foreign
being, with whom we must either
break or form a pact.
This is why the Abode of Chaos’
Organ Museum perfectly matches
the definition of a new kind of
work that is no longer total, but as
totalising as it is anti­totalitarian.
Its extreme degree of saturation,
which then intensifies further as
more and more is added to it,
fosters the crystallisation of
subjectivities invoked like
kaleidoscopic motifs, which reflect
back dream­like visions of
ourselves, our inner and outer
worlds, our possibilities and
impossibilities. The echoes and
resonances experienced while
passing through such a saturated
artistic milieu create and delineate
our own shadows and light,
making spectators themselves into
ephemeral, immaterial works,
setting them up as a possible
emanation of a new organism, root
or bud, pollen or spore, fruit or
soil, in a series of unpredictable
existential metamorphoses.
Later, forgotten or revered, this
world will be able to nourish with
its sap anyone who has recognised
it as one of the major telluric
landmarks of our time: the mecca
of an energy force both spiritual
and carnal.
Étienne-Armand Amato
DSc in Information and
Communication
Pages 372/373
[…]D’autres apprécieront les effets
corrosifs de ce magma signifiant qui
thématise l’obsolescence, la vanité
consumériste […]
[…]Others will appreciate
the corrosive effects of this
meaningful jumble, which
thematises obsolescence and
consumerist emptiness […]
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