Mathieu Tremblin. Inscripicions. Twitter account avatar. 2018.
Font, digital collage. Various sizes.
Mathieu Tremblin. Inscripicions. Twitter account. 2017.
Twitter account, texts.
Nicolas Edme Restif de La Bretonne, Paul Cottin, Mes Inscriptions. Journal intime de Restif de La Bretonne (1780-1787), Paris, Plon, 1889.
Mathieu Tremblin. Inscripcions. 24th Februar 2012. Quimper (FR).
Text, temporary neon spray paint, bridge. Various sizes.
Documentation. Digital image. Various technics and sizes. (photography: Éric Le Vergé)
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[EN]
Mathieu Tremblin.
Inscripcions.
Since 2011.
Europe (EU).
Texts, font, stickers, abandoned furnitures, urban furnitures.
Various sizes.
Inscripcions is a tribute to Restif de La Bretonne, a sort of extimate diary of users’ city, observed and commented by Mathieu Tremblin, that is spread over various surfaces, walls, abandoned furnitures, urban furnitures.
1. They install an advertising billboard in the middle of their garden but protest when they discover a tag on the door of their garage in the morning.
2. They transform the abandoned shed into collective toilets and the sheets of toilet paper they leave behind litter the floor, lined up as in a field of salads.
3. Back from gleaning with the arms full, he disappears into the interstitial forest of the area.
4. They drink cheap beers and then embed the metal cans in the protection grid.
5. He shouts from his window on the passersby down in the street, but they pretend not to hear him. And he remains stuck alone in his delirium.
6. He paints the initials of his party on the ground and the walls and services of the road do not erase them. But passers-by add letters to deride him.
7. He opens the fire hydrant with a wrench and, while the water spills on the roadway, he fills some tanks. Then he takes them home with a shopping cart.
8. She paces the roadside while the cars pass at full speed and do not stop. Then she challenges the runner who passes on the way and they exchange an accomplice smile.
9. They come down from the chairs of their apartment and place them in a circle in the street. Then they sit down and talk until nightfall.
10. Their motley blankets are dried on the adjoining fences.
11. He hangs on the lamppost at eye level a drawing of his daughter where red and blue ladybirds twirl like balloons of balloon.
12. In the half-light of the vacant land, he examines a stump of worm-eaten stump to collect wood-pellets.
13. At the foot of the chess board; He sits and plays by piece with the passers-by who stop.
14. Using a hooked and crooked hanger, she slides her hand into the drum of the dumpster to extract clothes.
15. Each head in a hole, they scan the bottom of the glass container to locate returnable bottles.
16. They train with their basketball in the dead end and use the metal hoop grafted on the cast iron basket as a basket.
17. Sitting in the deserted wilderness, surrounded by two exotic birds in a cage that chirp, he waits peacefully for a bird to be caught in its nets.
18. As soon as the visitor is out of sight, they arise in the ground and break with application whatever is in their passage taken from an enjoyable destructive frenzy.
19. Perched on a buried bunker along the canal, she writes her name in the snow and takes a picture of it, taking care that the passersby do not see her.
20. For the sport, he goes up the stairs of the escalator.
21. Like a messiah walking on the waters, he crosses the middle of the canal, the surface of which has frozen.
22. They distribute leaflets to passers-by who respond favorably to the question: « Are you a Jew? « .
23. They walk in the middle of the road intoning songs of supporters escorted by a cord of CRS as numerous as them.
24. From the second floor window, she sends a handful of bread crumbs to the pigeons on the other side of the pavement.
25. She brings back her folding chair so she can chat with her friends on a public bench.
26. Equipped with a boom and a headlamp, he dips into the container to remove the returnable bottles.
27. With his eyes glued to the ground, he advances, pushing with the foot the packing of a packet of crushed cake.
28. Leaning on his bike, he creates a beat with the doorbell and moves the head in order.
29. He walks on the carpet that protects the roadway and when it reaches its end, it folds back on itself with the foot of a precise gesture to reveal the wrong side.
30. He is on the phone while a white plastic bag flys by. The wind blow it away and he starts to chase it. He tries to stamp it with his foot several times but misses it. Still on the phone, he finally catches it with his other hand and put it into his pocket.
31. He’s eating a yogurt while walking down the streets. Once eaten, he takes off the seal and paste it on a urban furniture.
32. She’s asking people for a cigarette. When she gets one, she breaks it in two pieces and throws it away.
33. Their hug lasts 27 seconds.
34. A car is hurtling at full speed honking all the street long. There is no traffic at all.
Concept, action, photography: Mathieu Tremblin.
[FR]
Mathieu Tremblin.
Inscripcions.
Depuis 2011.
Europe (EU).
Texte, fonte, autocollant, encombrants, mobiliers urbains.
Dimensions variables.
« [Mes inscriptions] peindront mieux l’état de mon cœur que les plus éloquents discours. »
Restif de La Bretonne, 1779
À la fin XVIIIe siècle, de 1780 à 1787, Restif de La Bretonne, écrivain graphomane alors âgé d’une cinquantaine d’années, rapporte les évènements de sa vie sous forme de graffiti qu’il réalise sur les parapets des ponts de l’Île Saint-Louis lors de ses promenades quotidiennes. Il abandonne cette activité après avoir constaté la disparition trop rapide de ses mots et notamment parce qu’une main malveillante les efface. Il effectue alors le relevé de ses propres inscriptions qu’il transcrit dans un recueil publié à titre posthume et intitulé Mes inscriptions.
Inscripcions est une sorte de journal extime de la ville des usagers, observée et commentée par Mathieu Tremblin, qui se déploie sur divers supports, murs, mobilier urbain, encombrants.
Le glissement du journal intime de Restif de La Bretonne vers un journal extime fait écho à la démarche intellectuelle (à travers Glossographe, son manuscrit autographe de réforme du dictionnaire jamais publié) et la vie de l’auteur (à travers Mes Inscriptions, son journal intime), puisque celui-ci est aussi l’inventeur du mot urbanité désignant les mœurs de la ville ; un terme qui prend un sens plus viscéral quant on se place du point de vue celui-ci, dépeignant à même les murs ses propres mœurs.
Les Inscripcions sont donc remise en jeu et déplacement de ces mœurs observées, des urbanités Libres sous forme de brèves apposées sur des éléments transitoires de la ville dans une typographie numérique évoquant le terminal de communication (un Smartphone avec le système Android) qui permet de les prendre en note.
Conception, action, photographie : Mathieu Tremblin.
Tags: Inscripcions, intervention, leftover, message, Quimper (FR), survey, urban furniture
