Born in 1972, Dominique Weber lives and works in Saint-Laurent-Blangy, in the North of France. He holds a French « agrégation » (1995, rank : 3rd) and a PhD (John Jaffé Prize of the « Chancellerie des Universités de Paris », 2006; Raymond de Boyer de Sainte-Suzanne Prize of the « Académie Française », (2010) in philosophy.
Since 2015, his artistic work is regularly exhibited, both in solo and group exhibitions, particularly in Paris and Arras. His poems are published in French contemporary poetry journals. His practice of drawing and poetry takes place in the context of contemporary ecological crises. He thinks that this context creates some strong obligations. In particular, it requires artists – or should require them – to rethink the aims and means of art. Website : www.dominiqueweber.com; Instagram: @marcher.restituer & @earth.overshoot.day.2017
Title: on your neck, slowly, my kiss that fades away – painting without painter, poem without poet
Technique: air, light, water from the Scarpe river and sounds from the Vaudry-Fontaine forest on natural linen canvas, 80 x 80 cm
Medium : two videos (50 seconds and 27 seconds); photography.
Walking : spacing oneself, soaking up oneself.
Reciprocating : considering, touching, connecting.
And, sometimes, bending down and borrowing.
Borrowing only the very least, trying to make our traces and our prints as light as possible.
Faced with the advance of ecological disasters, reconsidering the poet’s and the painter’s usual means.
Their means, but also their aims.
Not according to the logic of representation : « Which words or images can show the Anthropocene ? ».
But rather according to the conditions of the advent of a new common sensitivity. A more egalitarian one, welcoming in a more fitted and in a more loving way the other-than-human nature. For the problem now arises in all its magnitude : should we really continue to address the interactions between man and the other-than-human world through the opposition of the readable and the unreadable ? How can we hear again the voices of the other-than-human beings – all the voices of all the other-than-human beings – without expressing them through ventriloquist humans ?
At the background of this sound and visual poem, there is therefore a close confrontation with the Albertinian characterization of the painting as an « open window on the historia » (1) : how to get out of the historia, out of the representation, in order to go outside towards the space which is common to everything that is and to everything that lives ?
But there is also, in view of this questioning, a necessary confrontation with the formalist approaches that have characterized some orientations of modernity – the « object-painting » identified by Michel Foucault in Édouard Manet’s work (2).
This sound and visual poem in order to cultivate a new eco- and geological sensitivity.
(1) Leon Battista Alberti, On Painting (= De Pictura, 1435, Latin version and 1436, Italian version), I, 19, ed. by Thomas Golsenne, Bertrand Prévost and Yves Hersant, Paris, Seuil, 2004, p. 83.
(2) Michel Foucault, Manet Painting (1971 Tunis Conference), ed. by Maryvonne Saison, Paris, Seuil, 2004, p. 47