Lu sur le site le Salon, cette recension à propos de l’exposition Locus Solus, Avenue de Jette, Institut de Carton.

(…) Guide: Paul van der Eerden
Kinoshita’s Isofollies and Bambara

Bolis When I first saw the Kinoshita’s Isofollies, they seemed familiar to me even though I had never seen them before. They reminded me of the objects the Bambara from Mali call Boli. Bolis are sacred objects that are seen as the accumulations of secret knowledge accessible only to the initiated. They are containers for the collective memory and for the history of the tribe. The Bambara take care of them, ‘nourishing’ them with libations of blood, millet beer and other substances that enhance the Boli’s power. Their surface is a closed and impregnable crust of different materials. To the initiated, they have a presence that goes beyond the object itself: they are real, and as such they not only take up their actual space, as objects, they also occupy a mental space in the memory and ideas of the people. Kinoshita’s Isofollies have the same closed appearance: they look like mysterious aliens. And, when you encounter them for the first time, you only can guess about the actual content of the work, or about its meaning. The Isofollies are containers of debris, leftovers from previous shows that Kinoshita has now wrapped in plastic. Like the Bolis, they are accumulations of material, and they capture their own space. They clearly don’t want to be realistic sculptures, but they are what sculptor Tony Smith calls ‘presences’. They don’t question the nature of sculpture, just as the Bolis don’t question ‘art’, but they are present, they occupy their own space, in reality and in the memory or conscience of the viewer. And so, in my memory, I had an image of a Boli I had seen somewhere. And although memory isn’t reality, it is felt or experienced as real. I had never seen the Isofollies before, but, in the associations they prompted in my mind with objects of a different nature, they became familiar, real.(…)

[sociallinkz]