UNITED FOR LIFE
Nuances | 2025
Archaeology of gesture
« Rustiner ». This gesture, in Rustin's work, transcends its technical function to become a figure, a metaphor, a narrative fragment. It becomes a language in its own right, a sign of presence and care, capable of telling a story without resorting to words. Like Japanese kintsugi, which emphasises the fracture rather than concealing it, repair becomes a mode of appearance. In a world governed by the rhythm of capitalism, the value of an object is measured by its novelty and its capacity to be consumed and then discarded; « rustiner » thus becomes an act of resistance. The patch is no longer just a repair, it becomes an ecological gesture, an ethical gesture. It rejects the logic of planned obsolescence, it interrupts the race for instantaneity and replacement.
Perrine Lacroix's work focuses on what, at the heart of reality, escapes the gaze. In the enclosed space of the laboratory, she uses photography to capture these drawers where for decades the color and texture tests of rubber and silicone have been lined up, a material archives which reveal the persistence of time and the constancy of matter. Then she extracts these Colour Charts from their utilitarian organisation, lays them flat, and reorganises them according to an arithmetic logic that allows chance to emerge. The initial order is undone to reveal what the material retains of its own durations.
Mya Finbow (exxtact)
« Rustiner ». This gesture, in Rustin's work, transcends its technical function to become a figure, a metaphor, a narrative fragment. It becomes a language in its own right, a sign of presence and care, capable of telling a story without resorting to words. Like Japanese kintsugi, which emphasises the fracture rather than concealing it, repair becomes a mode of appearance. In a world governed by the rhythm of capitalism, the value of an object is measured by its novelty and its capacity to be consumed and then discarded; « rustiner » thus becomes an act of resistance. The patch is no longer just a repair, it becomes an ecological gesture, an ethical gesture. It rejects the logic of planned obsolescence, it interrupts the race for instantaneity and replacement.
Perrine Lacroix's work focuses on what, at the heart of reality, escapes the gaze. In the enclosed space of the laboratory, she uses photography to capture these drawers where for decades the color and texture tests of rubber and silicone have been lined up, a material archives which reveal the persistence of time and the constancy of matter. Then she extracts these Colour Charts from their utilitarian organisation, lays them flat, and reorganises them according to an arithmetic logic that allows chance to emerge. The initial order is undone to reveal what the material retains of its own durations.
Mya Finbow (exxtact)