Frans-Willem Korsten / Dossier de presse de l'exposition
Knowing Nothing of Agility, Centre d'art Tent, Rotterdam, 2007
There are many cities in one city and many histories
within one history: this was part of the lessons of Guy
Debord - if he wanted to give any. To drift, to go with
the flow: all these words have a passive connotation
and such a connotation is simply wrong in the case
of the dérive, which is a particular, intense kind of action.
It is similar to the action of the poet who does not need
to show off that he is a poet, or a photographer who does
not need to show off that he is a photographer.
It is not an action of finding something, for finding
something suggests that there is a searching subject who
traces something that is already there.
Jeremie Boyard has a distinct way of not beeing the
searching kind of subject. He is not curious but attentive;
he is not dissecting but sensing; not analytically inducing
or deducing but adding. His actions come close, as closely
as possible, to the realm of the virtual: real in its existence,
but not yet actualized. Boyard's work is active, here, in action
in order to actualize virtual objects, histories, shapes and relations.
Utopia has come to mean, on average, a world in the future:
a world that we project as an ideal world and that we then long for.
Boyard's work, if it is concerned at all with the idea of a utopia,
presents the riddle of non-places that suddenly become
places at the moment one enters them, or they enter you -
these places that are not other but are always directly next to us,
in front of us, touching us: this becomes possible, for instance, in
boyard's work A sense of déjà vu.
In a rhythmic flow of photographs that are remarkable in themselves,
as singularities, life becomes intensified, multiplied but not dispersed.
Again: Boyard's work is not about longing or nostalgia, It's radically,
intelligently, affecionately and attentively, about being here.