Upside down

Curaté par Jens Cheung
Galerie Factory49
Sydney, Australie
2017

Upside down is inspired by the visual language of pedestrian crossing. Repositioning the public sign on the ceiling will abolish the function of symbols, and return back to formalistic abstraction and minimalism. This act of rebellious is linked with Martin-Taton concerns with the legitimacy of symbol within the contemporary society. The symbol refers to the manipulation of automatic motions of human beings, in this case, public semiotic instructions are the codes of human movements interferer. Thus, in which way the codes reveal the authorized orientation within the society? And what consequences will occur if the line is crossed?

These questions have led Martin-Taton to focus on the ownership and right of manipulation on behalf of the authority. This notion has driven the artist to inspect different forms of authorized symbols, including police cars, fire station, working uniforms, road markings etc. In order to investigate the political urban space with personal interference, the artist wears working uniforms, utilizing them as his camouflages and to submerge into a space filled with authorized symbols.

Authorized symbols found on road represent an identity, an identity that could be linked globally. They have formed a comprehensible language that serves everyone, including those who are linguistically different. Manitou has intended to reintroduce the universal language by placing political authorities in context, and bring in to discussion of socio-interaction of contemporary culture.

Texte par Jens Cheung


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