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Jocko Weyland “Les Souvenirs Sont Cors de Chasse” at Starcow, Paris
March 22, 2010, 9:25 am
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Jocko Weyland
Les Souvenirs Sont Cors de Chasse
March 25th- April 30th, 2010
Starcow
68/66/64 Rue Saint-Honoré ­ 75001 Paris
Vernissage le Jeudi 25 Mars à 18H

info links: elkzine | biography

In ³Les Souvenirs Sont Cors de Chasse² Jocko Weyland will exhibit
photographs of empty skateboard ramps and pools, skateboarders on board and
not, mannequins of 17th and 18th Century soldiers, details of 1980s-era
hardcore and punk record covers, and one picture of a lone female pedestrian
in Beijing. Comprised of color and black and white images taken over a
fifteen-year span, a loosely knit motif of explicit and fabricated
portraiture depicting both objects and people emerges through the ³hunting
horns² of memory in the show¹s title, which comes by way of Apollinaire¹s
poignant evocation of the ephemeral nature of remembrance.

In the photographs of mysterious wooden shapes and concrete bowls, utility
and aesthetic appeal mix. Manual Pad, or thrashed Donald Judd sculpture?
Scale is also uncertain ­ are they the size of a matchbox, or a dump truck?
These often improvised but meticulously built constructions are a perfect
marriage of form and function. Skateable sculptures with nary a skater in
sight, barren even, but replete with curves, angles, transitions and the
scrapes and smears that signify repeated wheeled assault. The actual
skateboarders who left evidence of their use appear elsewhere and
out-of-focus, riding at the Palais de Tokyo and the infamous Brooklyn Banks.
These depict the act but are not action shots by any means, instead showing
an abstracted, indistinct trace of the physicality inherent in the activity.
Continuing the exploration of mistrustful representation conjured via
memory, the ³Influential Practitioners² series presents re-photographed
headshots of well-known skateboarders from the pages of old magazines.
Weathered and smudged, seen together they make up a rogue¹s gallery or a
collection of distinguished pioneers, depending on the outlook. Further
photographic remembrance unfolds in the exquisitely detailed soldier
mannequins from the Musée de l’Armée. The same age as the skaters, but
anonymous and two hundred years ³older,² their make-believe visages are
uncannily lifelike, eliciting doubts concerning their place in the
mismatched tapestry of fiction, fact and doubtful recall that forms our
relationship to the past.

The details of the artwork on the covers of Die Kreuzen, Amebix, MDC and
Necros (to name a few) LPs are from another era of reminiscence, one
generation removed from the skaters, many from the soldiers. A paean to
recollecting the shock of the new, they are fetishistic renderings of what
were (and still are) sacred talismans, graphic innovation of the late 1970s
and early 1980s as a cropped, isolated ³portrait ² twenty years later.
Finally, the one color photograph of the unknown young woman on Di¹anmen
Xidajie echoes and amplifies the myriad mistrustful recollections of the
animate and inanimate heard like a hunting horn¹s sound, making for
hallucinatory and allusive portraiture that alternates between the real and
imagined, the remembered and forgotten.

Hunting Horns

Our story is noble and tragic
As the mask of a tyrant
No perilous magic drama
Not a single indifferent detail
Renders our love pathetic

And Thomas de Quincey drinking
Opium sweet chaste poison
To his poor Anne went dreaming
Let¹s pass on pass on since it all passes on
I will turn back often

Memories are hunting horns
Whose sound dies out along the wind

Guillaume Apollinaire, 1913

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