BRATISLAVA.- Born in the Bordeaux region, Gérard Rancinan travels the globe, bearing first hand witness to events of historical importance. With his imperious need to express himself, he delivers startling images of the contemporary world filtered through an ever-evolving aesthetic prism. His original perspective is applied to both real life situations and authentic mises en scène, veritable simulacra of our world. His approach is recognised by the world of contemporary art. Rancinan eschews conventional codes, preferring instead to travel a road which, while not solitary, is certainly unique. Known throughout the world, Gérard Rancinan’s works are displayed in the most prestigious international galleries and museums and feature in leading collections of contemporary art. Rancinan is a Chevalier des Arts et des Lettres.
An independent journalist, Caroline Gaudriault has, for many years, published articles and features in international magazines including Paris Match, The Sunday Times, Stern, and Time, working on major projects around the world. At the same time, she creates portraits of major contemporary figures, with a particular emphasis on artists. As an author, she has always entertained a dialogue with photography. Expressing a particular interest in human commitment and historically significant events and movements, she works ceaselessly to preserve traces of memory.
The Trilogy of the Moderns is a Revolution in three acts. Between comedy and tragedy, it paints a picture of a confused humanity, blindly groping in the darkness, guided by an absolute desire for generalised happiness.
Delete it all, reinvent it all, move forward as a matter of urgency; impose the diktat of absolute happiness and universal thought… that is the gospel of the Modern! In its crazed acceleration, contemporary history is defined, with impeccable gusto, by some of the most remarkable creatures of our rapidly evolving society, individuals called, not without irony, the Moderns. They have no other names, no origin, no religious confession. They live without borders, without resentment, and therefore without any real issues to concern themselves with. Already immerged in a global, virtual space, they think of society as being ideally univocal and bereft of complexity. Adepts of the “yes” without the “no”, the “good” without the “bad”, the “me” without the “us”, of consensus rather than polemic, they dream of being perfect. So they smudge their errors, create illusions, rejoice in their questionable bliss. Impatient to transform society, the Moderns are candid optimists, more Modern than modernity itself. So, proselytes of a consensual, universal style of thought, they arm themselves with a kind of permanent happiness. The act of pleasing everybody becomes an article of faith. But what if their efforts were to lead to the end of history as we have always known it?
The exhibition is on view at
Danubiana Meulensteen Art Museum through September 1, 3013.
