I state. You hear. He understands. We draw. You play. They sculpt.

A situation settles, kind of a game with absurd rules, behind each of Laurent Odelain's film or photographic propositions.

From the statement of an action, stands a protocol out where by the performer's body goes into dialogue, or rather into a struggle, with an object, motionless body of paper, tape or stone. Through these experiences, forms a collection of alive and short lived sculptures. Whether we are in Berlin, Helsinki or in the Alsatian countryside, the environment is used as a painted scenery, a background that says nowhere. Everything seems to happen in a non-place, in a time out. Gestures that can be observed are in between, between those of a drawer and a sculptor, between those of the game and boredom, between here and elsewhere. His propositions are dead ends, impossible, a poetic form of disenchantment. In this continuum of absurd actions, we regularly meet the figure of Sisyphus, thus acting as a mirror of our own repeated gestures on the scale of a lifetime, bis repetita placent, that we begin and begin again, blind of our mistakes.

Enters in this in between, it is to agree not to know where we go, where it goes. It is to wonder perpetually what happens. We cross in his pictures or his narratives, people struggling, a struggle by passive slowness, futile action. Those characters are maybe not as lost as they seem to be. Maybe is it we who seek, vainly, a sense of it all. Soon we'll make it useful, as if all things had to become active. So, from these poems of nothing, from these pictures of emptiness, sketches a praise of the action-little or of the no-act, a universe where procrastination would be master. To overcome the videos of Laurent Odelain, we must accept this, as it may lead to nothing, not doing anything. And this state of abandonment is probably that of the appearance of the possible. Potential dance, probable rules, necessary drift.



Camille Bondon, June 2014