all the s o m e t h i n g i n b e t w e e n (transitory)

From June 15th to July 28th 2012

The quest for structure and formal organisation that characterises Adrian Dan's approach is paradoxically opposed to any notion of hierarchy. He disrupts our habits and reflexes by imbricating and placing on the same level real, virtual, public and private spaces, artworks and construction materials, personal productions and pieces "borrowed" from other people, figuration and abstraction, images and objects, transparency and opacity, depth and flatness... Over classification and value systems, the artist thus favours a system of correspondences, dialogues and oppositions. He challenges the notion of functionality and demonstrates the inoperativeness of the myth of photographic transparency in the age of new technologies. The issue of perspective pervades — obsessively — the entire series of works presented at Rosascape. Photographs taken at Rosascape with a digital camera — one or several shots of the same space taken at different times, tracking the setting up and taking down of exhibitions previously held there — provide the raw material for the artist's compositions. The cropping and rearranging performed afterwards gives rise to a series of large format panoramic images [untitled04, untitled05] as well as to more reduced-scale and seemingly independent pieces [untitled02,, échelle]. In both cases, the final image becomes an "object" through the Diasec mounting process and then through its installation — sometimes positioned vertically on the wall, sometimes placed on the floor on some form of construction material or other such as wooden pallets or plasterboard. The works' sculptural dimension and their interdependency erase their original identity to such a degree that any desire to classify them simply as photographs or photomontages is invariably checked.

(Extract from the text written by Julie Jones)

Read the text by Julie Jones.



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