Nicolaus Schafhausen, Brigitte Oetker (Eds.)
|Uchroniaduplicate > do not create, infiltrate > do not exhibit, exceed > do not belong, appear > do not claim, delegate > do not restrict|
Under the direction of Annie Vigier & Franck Apertet (les gens d’Uterpan), Emanuele Quinz
Contributions by Mara Ambrožič, Franck Apertet, Pierre Bal-Blanc, Daniele Balit, Isabelle Barbéris, Patrick Bouchain, Karima Boudou, Patricia Brignone, Alina Buchberger, Marianna Calagna, Biljana Ciric, Sophie Demeyer, Anna Dezeuze, Julien Duc-Maugé, Lotus Eddé Khouri, Florian Gaité, Emanuele Guidi, Marion Hohlfeldt, Lacaton & Vassal, Sophie Lapalu, Marc Lenot, Christophe Martin, Dominique Mathieu, Rainer Oldendorf, Émile Ouroumov, Gianni Pettena, Emanuele Quinz, Axel Roy, Matthieu Saladin, Annie Vigier
Uchronia is a project initiated by the artists Annie Vigier and Franck Apertet (les gens d’Uterpan) in 2014, which emanates from the analysis of individual or collective attitudes and behaviors produced in the public space of a given city. The word uchronia, used among others by the French philosopher Charles Renouvier in his book Uchronie, l’utopie dans l’histoire (1876), means “non-time,” that is, a time that doesn’t exist.
In response to the increasing transformation of public spaces into functional areas toward which individuals are guided to fulfill a given activity, the two artists call upon citizens to become uchronists, to infiltrate public life with physical modules coming from daily behaviors, synchronized and adjusted according to context. Contrary to flash mobs or performances, these actions don’t address spectators. Passersby are accidentally witnesses, attentive or not, of these presences and gestures that maintain the formal appearance of normality.
More than a comment on the Uchronia project, this publication is thought of as a collective uchronia that infiltrates the book as space of publication, as a public space. According to the protocol proposed by the artists and by the art historian Emanuele Quinz, the contributors have freely occupied different sections of the book (the table of contents, introduction, chapter, illustrations, notes, appendices, etc.). Each section may be illustrated several times, or not at all.
Published with the support of IDEFI-CréaTIC, Université Paris 8
Design by Marianna Calagna