Vivos voco, j'en appelle au vivant

Group exhibition, instigated by a sculptor, for an audiovisual artist, a writer and a visual artist. In a garden, bodies and minds can see themselves as living forms in the midst of a multitude of other moving, organized and resilient forms, at once alien to themselves and deeply rooted in the same existence. The garden appears successively flamboyant, dried-up, dead and in bud. It's a quest, a resolutely human desire not to produce, but to create. It's a creation with the living, which cannot free itself from the rules it imposes. Yet they have names, spans, beginnings and endings, they belong to someone. Each garden is associated with the person who forms it, yet it is more linked with all the others than with the hand that prunes it. Hedges are encounters, separating only human beings; the living take no notice, passing between, under and over them. Here we present a colloquium of gardens that meet each other, and visitors are invited to observe the formal interactions that these emergences create. The immanence of this form of plant poetry imposes itself as a way of creating by and for itself. Vivos voco - J'en appelle au vivant, is part of a cycle of exhibitions guided by the idea of the garden. For this third exhibition, Margot Anquez Bariseau invites the artists Emilia Labbé, Ulysse Feuvrier and Minh Boutin, whose practices are rooted in poetic, living, biological imaginaries. Vivos voco takes its name from the work of Ulysse Feuvrier, who intertwines bodies and trees through the act of writing. Caught up in paths where flesh and spirit move from color to texture, perceiving the memory of lost beings and sensitive reality superimposed, Ulysse suspends the logical course of time and returns to the earth. The perception of his existence flows in a continuous movement, from the psyche to the exterior of oneself, and conversely from the territory to the intimate. This reciprocal desire for fusion between the body and the plant world also runs through Minh Boutin's work like a soothing energetic vibration. This two-step, mirrored movement gives rhythm to the sounds and images she produces, through a principle of slowness and fluidity. Minh embodies Ginkgökoko, a dreamlike musical garden blending vocals, piano and electronics, half-pop, half-experimental. She forges a universe in which the transformation of materials, whether sonic or visual, distills in us the sensitive experience of the forest and the promise of inner soothing. Yet this iteration of the garden calls for disorder, without chronology, blurring biological reference points. By seizing on everyday objects from childhood, transferring the sovereignty of the human habitat to that of the bee, Emilia offers a narrative that places itself halfway between reality and fiction in order to grasp the disturbing effects of human civilization. These reliefs of a history that runs parallel to our own are both the original and the copy of these symbioses between bees and humans, rethinking the hierarchy of the living in a world where the biological kingdoms are subtly called into question. Emilia's installations are a window between our here and her there. After chaos, life is born in an anarchy of forms and origins. Whether skin, bark or rock face, the creatures Margot scatters across the space inhabit this mutant garden. Clay and wood fuse to create beings where the boundaries between human and non-human become blurred. Through the hybridization of flesh and architecture, she creates chimeras that redefine the boundaries between the inert and the living, the sacred and the profane. Here, the hybridity of bodies testifies to a desire to establish continuity between living and non-living elements, inviting us to think in terms of relationship and becoming.