{"id":39858,"date":"2024-06-13T11:27:04","date_gmt":"2024-06-13T09:27:04","guid":{"rendered":"https:\/\/www.delpireandco.com\/?p=39858"},"modified":"2024-07-11T09:28:19","modified_gmt":"2024-07-11T07:28:19","slug":"raphael-lecoquierre-nubes","status":"publish","type":"post","link":"https:\/\/www.delpireandco.com\/en\/raphael-lecoquierre-nubes\/","title":{"rendered":"Rapha\u00ebl Lecoquierre \u2013 Moires"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":450,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.9.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Rapha\u00ebl Lecoquierre \u2013 Moires - delpire &amp; co<\/title>\n<meta name=\"description\" content=\"depire &amp; co is honoured to welcome Rapha\u00ebl Lecoquierre for Moires, an exhibition that is part of the cycle of concealed exhibitions at 13 rue de l&#039;Abbaye, presenting three new pieces created for the occasion. At the same time, a permanent work will be installed by the artist on a central feature of the bookshop.Finally, Rapha\u00ebl Lecoquierre has invited the chef L\u00e9a Maltese to join him in a collaboration that will be activated on the opening day in the entrance of the bookshop and will evolve throughout the exhibition.-Rapha\u00ebl Lecoquierre&#039;s practice is intimately connected with photography, its material properties and its suggestive power, which he manipulates through experimentation and unusual processes. At once minimal, poetic and radical, his work questions our relationship with the visible through a subversion of representation. Inspired by different pictorial and conceptual traditions, his works extend the viewer&#039;s gaze, allowing free rein to the most diverse interpretations.N\u016aB\u0112S is a series of paintings, sculptures and installations produced using a process that makes use of a vast collection of vernacular analogue photographs. These images of families, landscapes and other instruments of memory, gleaned and accumulated over time, are dissolved by oxidation in order to extract their coloured substance. The inks removed are incorporated into Venetian stucco and used as a raw material for the creation of motifs. In this way, the images documenting the world disappear and are transformed on the surface of nebulous works in a wide variety of formats, seen as fragments of an infinite object.For &#039;Moires&#039; Rapha\u00ebl Lecoquierre proposes a triad of pieces from N\u016aB\u0112S corpus specially designed for the bookshop&#039;s chest of drawers. The title refers to the three divinities of destiny in Greek mythology, as well as to the shimmering surface of the works in the exhibition.-Eating the imagesThe history of art and images has retained only one way of apprehending images, through the eyes, without contact and solely in the form of conceptual and even more profoundly metaphysical absorption. This system was conceived as early as the Aristotelian theories and the publication of the bibla ta poi\u00e8tik\u00e8 tekhn\u00e8, the Book of Poetics. The relationship with the image is then - and will remain until the present day - a disinterested pleasure, non-consuming, non-penetrating and without contact. Since childhood, we have been told that we should only touch with our eyes.But this categorical thesis has had a lasting impact on the history of representations, to the point of almost completely obliterating another history of art, one that remains obscure, that of iconophagy. In contrast to the classical theory of art, another history of art has developed, one that is secretive, forgotten and despised: the history of iconophagy, which consists in imagining that images are taken by mouth and ingested. Images are taken, put in the mouth, chewed, swallowed, digested and ingested. Paul Val\u00e9ry wrote in his notebooks that &quot;the wolf is made of assimilated sheep&quot;, which would mean that we are made of the images we have assimilated.But what does this mean? Eating an image consists, after having looked at it, in destroying it through a process of assimilation and digestion. To assimilate is to make what is other identical to oneself (simul). This means that we must succeed in making the image identical and merging it with ourselves. To do this, we have to eat the image, destroy it through digestion in order to incorporate it. Digesting consists in ensuring that what is itself can no longer achieve unity (dis- as impossibility of unity) so that it can become itself by assimilating. Eating the image consists in believing that it assimilates itself in consumption.This thesis has been accepted for food, but has been rejected, strongly and definitively, for the history of art and images. Precisely because Aristotle invented this particular way of experiencing pleasure (kharis) in consuming without consuming, but in consuming as a desire to please, rather than a desire to assimilate. The history of art and images is thus a kind of consumption that leaves the object intact, but whose essential pleasure as consumption is a desire to please oneself. The ultimate form of this process is indicated by Paul (1 Cor, 11-23) and will become what we call a Eucharist, which consists very precisely in ingesting what is no longer food but what is image and function. The whole metaphysical history of our relationship with consumption is an unexplained split between consumption as destruction and consumption as Eucharist. We are therefore bound by a kind of ban on consumption, preferring to teach us to grasp with our eyes without touching, without touching and without chewing. This is precisely the point of Rapha\u00ebl Lecoquierre&#039;s work and research, to let us imagine that we could eat, devour, digest and assimilate images. To imagine, at last, that we could have contact with the work in a way other than this infinite distance. Let&#039;s eat the images.Fabien Vallos\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.delpireandco.com\/en\/raphael-lecoquierre-nubes\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Rapha\u00ebl Lecoquierre \u2013 Moires - delpire &amp; co\" \/>\n<meta property=\"og:description\" content=\"depire &amp; co is honoured to welcome Rapha\u00ebl Lecoquierre for Moires, an exhibition that is part of the cycle of concealed exhibitions at 13 rue de l&#039;Abbaye, presenting three new pieces created for the occasion. At the same time, a permanent work will be installed by the artist on a central feature of the bookshop.Finally, Rapha\u00ebl Lecoquierre has invited the chef L\u00e9a Maltese to join him in a collaboration that will be activated on the opening day in the entrance of the bookshop and will evolve throughout the exhibition.-Rapha\u00ebl Lecoquierre&#039;s practice is intimately connected with photography, its material properties and its suggestive power, which he manipulates through experimentation and unusual processes. At once minimal, poetic and radical, his work questions our relationship with the visible through a subversion of representation. Inspired by different pictorial and conceptual traditions, his works extend the viewer&#039;s gaze, allowing free rein to the most diverse interpretations.N\u016aB\u0112S is a series of paintings, sculptures and installations produced using a process that makes use of a vast collection of vernacular analogue photographs. These images of families, landscapes and other instruments of memory, gleaned and accumulated over time, are dissolved by oxidation in order to extract their coloured substance. The inks removed are incorporated into Venetian stucco and used as a raw material for the creation of motifs. In this way, the images documenting the world disappear and are transformed on the surface of nebulous works in a wide variety of formats, seen as fragments of an infinite object.For &#039;Moires&#039; Rapha\u00ebl Lecoquierre proposes a triad of pieces from N\u016aB\u0112S corpus specially designed for the bookshop&#039;s chest of drawers. The title refers to the three divinities of destiny in Greek mythology, as well as to the shimmering surface of the works in the exhibition.-Eating the imagesThe history of art and images has retained only one way of apprehending images, through the eyes, without contact and solely in the form of conceptual and even more profoundly metaphysical absorption. This system was conceived as early as the Aristotelian theories and the publication of the bibla ta poi\u00e8tik\u00e8 tekhn\u00e8, the Book of Poetics. The relationship with the image is then - and will remain until the present day - a disinterested pleasure, non-consuming, non-penetrating and without contact. Since childhood, we have been told that we should only touch with our eyes.But this categorical thesis has had a lasting impact on the history of representations, to the point of almost completely obliterating another history of art, one that remains obscure, that of iconophagy. In contrast to the classical theory of art, another history of art has developed, one that is secretive, forgotten and despised: the history of iconophagy, which consists in imagining that images are taken by mouth and ingested. Images are taken, put in the mouth, chewed, swallowed, digested and ingested. Paul Val\u00e9ry wrote in his notebooks that &quot;the wolf is made of assimilated sheep&quot;, which would mean that we are made of the images we have assimilated.But what does this mean? Eating an image consists, after having looked at it, in destroying it through a process of assimilation and digestion. To assimilate is to make what is other identical to oneself (simul). This means that we must succeed in making the image identical and merging it with ourselves. To do this, we have to eat the image, destroy it through digestion in order to incorporate it. Digesting consists in ensuring that what is itself can no longer achieve unity (dis- as impossibility of unity) so that it can become itself by assimilating. Eating the image consists in believing that it assimilates itself in consumption.This thesis has been accepted for food, but has been rejected, strongly and definitively, for the history of art and images. Precisely because Aristotle invented this particular way of experiencing pleasure (kharis) in consuming without consuming, but in consuming as a desire to please, rather than a desire to assimilate. The history of art and images is thus a kind of consumption that leaves the object intact, but whose essential pleasure as consumption is a desire to please oneself. The ultimate form of this process is indicated by Paul (1 Cor, 11-23) and will become what we call a Eucharist, which consists very precisely in ingesting what is no longer food but what is image and function. The whole metaphysical history of our relationship with consumption is an unexplained split between consumption as destruction and consumption as Eucharist. We are therefore bound by a kind of ban on consumption, preferring to teach us to grasp with our eyes without touching, without touching and without chewing. This is precisely the point of Rapha\u00ebl Lecoquierre&#039;s work and research, to let us imagine that we could eat, devour, digest and assimilate images. To imagine, at last, that we could have contact with the work in a way other than this infinite distance. Let&#039;s eat the images.Fabien Vallos\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.delpireandco.com\/en\/raphael-lecoquierre-nubes\/\" \/>\n<meta property=\"og:site_name\" content=\"delpire &amp; co\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/delpireandco\" \/>\n<meta property=\"article:published_time\" content=\"2024-06-13T09:27:04+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-07-11T07:28:19+00:00\" \/>\n<meta name=\"author\" content=\"ANNA VANDELLI\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@DelpireEditeur\" \/>\n<meta name=\"twitter:site\" content=\"@DelpireEditeur\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"ANNA VANDELLI\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.delpireandco.com\/en\/raphael-lecoquierre-nubes\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.delpireandco.com\/en\/raphael-lecoquierre-nubes\/\"},\"author\":{\"name\":\"ANNA VANDELLI\",\"@id\":\"https:\/\/www.delpireandco.com\/en\/#\/schema\/person\/c5d510cb8d70b3e87d78f6a7c96021ee\"},\"headline\":\"Rapha\u00ebl Lecoquierre \u2013 Moires\",\"datePublished\":\"2024-06-13T09:27:04+00:00\",\"dateModified\":\"2024-07-11T07:28:19+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.delpireandco.com\/en\/raphael-lecoquierre-nubes\/\"},\"wordCount\":4,\"publisher\":{\"@id\":\"https:\/\/www.delpireandco.com\/en\/#organization\"},\"articleSection\":[\"At the bookshop\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.delpireandco.com\/en\/raphael-lecoquierre-nubes\/\",\"url\":\"https:\/\/www.delpireandco.com\/en\/raphael-lecoquierre-nubes\/\",\"name\":\"Rapha\u00ebl Lecoquierre \u2013 Moires - delpire &amp; co\",\"isPartOf\":{\"@id\":\"https:\/\/www.delpireandco.com\/en\/#website\"},\"datePublished\":\"2024-06-13T09:27:04+00:00\",\"dateModified\":\"2024-07-11T07:28:19+00:00\",\"description\":\"depire & co is honoured to welcome Rapha\u00ebl Lecoquierre for Moires, an exhibition that is part of the cycle of concealed exhibitions at 13 rue de l'Abbaye, presenting three new pieces created for the occasion. At the same time, a permanent work will be installed by the artist on a central feature of the bookshop.Finally, Rapha\u00ebl Lecoquierre has invited the chef L\u00e9a Maltese to join him in a collaboration that will be activated on the opening day in the entrance of the bookshop and will evolve throughout the exhibition.-Rapha\u00ebl Lecoquierre's practice is intimately connected with photography, its material properties and its suggestive power, which he manipulates through experimentation and unusual processes. At once minimal, poetic and radical, his work questions our relationship with the visible through a subversion of representation. Inspired by different pictorial and conceptual traditions, his works extend the viewer's gaze, allowing free rein to the most diverse interpretations.N\u016aB\u0112S is a series of paintings, sculptures and installations produced using a process that makes use of a vast collection of vernacular analogue photographs. These images of families, landscapes and other instruments of memory, gleaned and accumulated over time, are dissolved by oxidation in order to extract their coloured substance. The inks removed are incorporated into Venetian stucco and used as a raw material for the creation of motifs. In this way, the images documenting the world disappear and are transformed on the surface of nebulous works in a wide variety of formats, seen as fragments of an infinite object.For 'Moires' Rapha\u00ebl Lecoquierre proposes a triad of pieces from N\u016aB\u0112S corpus specially designed for the bookshop's chest of drawers. The title refers to the three divinities of destiny in Greek mythology, as well as to the shimmering surface of the works in the exhibition.-Eating the imagesThe history of art and images has retained only one way of apprehending images, through the eyes, without contact and solely in the form of conceptual and even more profoundly metaphysical absorption. This system was conceived as early as the Aristotelian theories and the publication of the bibla ta poi\u00e8tik\u00e8 tekhn\u00e8, the Book of Poetics. The relationship with the image is then - and will remain until the present day - a disinterested pleasure, non-consuming, non-penetrating and without contact. Since childhood, we have been told that we should only touch with our eyes.But this categorical thesis has had a lasting impact on the history of representations, to the point of almost completely obliterating another history of art, one that remains obscure, that of iconophagy. In contrast to the classical theory of art, another history of art has developed, one that is secretive, forgotten and despised: the history of iconophagy, which consists in imagining that images are taken by mouth and ingested. Images are taken, put in the mouth, chewed, swallowed, digested and ingested. Paul Val\u00e9ry wrote in his notebooks that \\\"the wolf is made of assimilated sheep\\\", which would mean that we are made of the images we have assimilated.But what does this mean? Eating an image consists, after having looked at it, in destroying it through a process of assimilation and digestion. To assimilate is to make what is other identical to oneself (simul). This means that we must succeed in making the image identical and merging it with ourselves. To do this, we have to eat the image, destroy it through digestion in order to incorporate it. Digesting consists in ensuring that what is itself can no longer achieve unity (dis- as impossibility of unity) so that it can become itself by assimilating. Eating the image consists in believing that it assimilates itself in consumption.This thesis has been accepted for food, but has been rejected, strongly and definitively, for the history of art and images. Precisely because Aristotle invented this particular way of experiencing pleasure (kharis) in consuming without consuming, but in consuming as a desire to please, rather than a desire to assimilate. The history of art and images is thus a kind of consumption that leaves the object intact, but whose essential pleasure as consumption is a desire to please oneself. The ultimate form of this process is indicated by Paul (1 Cor, 11-23) and will become what we call a Eucharist, which consists very precisely in ingesting what is no longer food but what is image and function. The whole metaphysical history of our relationship with consumption is an unexplained split between consumption as destruction and consumption as Eucharist. We are therefore bound by a kind of ban on consumption, preferring to teach us to grasp with our eyes without touching, without touching and without chewing. This is precisely the point of Rapha\u00ebl Lecoquierre's work and research, to let us imagine that we could eat, devour, digest and assimilate images. To imagine, at last, that we could have contact with the work in a way other than this infinite distance. Let's eat the images.Fabien Vallos\",\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.delpireandco.com\/en\/raphael-lecoquierre-nubes\/\"]}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.delpireandco.com\/en\/#website\",\"url\":\"https:\/\/www.delpireandco.com\/en\/\",\"name\":\"delpire &amp; co\",\"description\":\"Librairie Photo - \u00c9diteur - photobooks\",\"publisher\":{\"@id\":\"https:\/\/www.delpireandco.com\/en\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.delpireandco.com\/en\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.delpireandco.com\/en\/#organization\",\"name\":\"delpire & co\",\"url\":\"https:\/\/www.delpireandco.com\/en\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.delpireandco.com\/en\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.delpireandco.com\/wp-content\/uploads\/2022\/02\/logotype-delpire.png\",\"contentUrl\":\"https:\/\/www.delpireandco.com\/wp-content\/uploads\/2022\/02\/logotype-delpire.png\",\"width\":307,\"height\":55,\"caption\":\"delpire & co\"},\"image\":{\"@id\":\"https:\/\/www.delpireandco.com\/en\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/delpireandco\",\"https:\/\/twitter.com\/DelpireEditeur\",\"https:\/\/www.instagram.com\/delpireandco\/\",\"https:\/\/fr.linkedin.com\/company\/delpire-co\",\"https:\/\/www.youtube.com\/c\/delpireco\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.delpireandco.com\/en\/#\/schema\/person\/c5d510cb8d70b3e87d78f6a7c96021ee\",\"name\":\"ANNA VANDELLI\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.delpireandco.com\/en\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/203dc2540e406fb604851d1702a268d8?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/203dc2540e406fb604851d1702a268d8?s=96&d=mm&r=g\",\"caption\":\"ANNA VANDELLI\"},\"url\":\"https:\/\/www.delpireandco.com\/en\/author\/annavandelli\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Rapha\u00ebl Lecoquierre \u2013 Moires - delpire &amp; co","description":"depire & co is honoured to welcome Rapha\u00ebl Lecoquierre for Moires, an exhibition that is part of the cycle of concealed exhibitions at 13 rue de l'Abbaye, presenting three new pieces created for the occasion. At the same time, a permanent work will be installed by the artist on a central feature of the bookshop.Finally, Rapha\u00ebl Lecoquierre has invited the chef L\u00e9a Maltese to join him in a collaboration that will be activated on the opening day in the entrance of the bookshop and will evolve throughout the exhibition.-Rapha\u00ebl Lecoquierre's practice is intimately connected with photography, its material properties and its suggestive power, which he manipulates through experimentation and unusual processes. At once minimal, poetic and radical, his work questions our relationship with the visible through a subversion of representation. Inspired by different pictorial and conceptual traditions, his works extend the viewer's gaze, allowing free rein to the most diverse interpretations.N\u016aB\u0112S is a series of paintings, sculptures and installations produced using a process that makes use of a vast collection of vernacular analogue photographs. These images of families, landscapes and other instruments of memory, gleaned and accumulated over time, are dissolved by oxidation in order to extract their coloured substance. The inks removed are incorporated into Venetian stucco and used as a raw material for the creation of motifs. In this way, the images documenting the world disappear and are transformed on the surface of nebulous works in a wide variety of formats, seen as fragments of an infinite object.For 'Moires' Rapha\u00ebl Lecoquierre proposes a triad of pieces from N\u016aB\u0112S corpus specially designed for the bookshop's chest of drawers. The title refers to the three divinities of destiny in Greek mythology, as well as to the shimmering surface of the works in the exhibition.-Eating the imagesThe history of art and images has retained only one way of apprehending images, through the eyes, without contact and solely in the form of conceptual and even more profoundly metaphysical absorption. This system was conceived as early as the Aristotelian theories and the publication of the bibla ta poi\u00e8tik\u00e8 tekhn\u00e8, the Book of Poetics. The relationship with the image is then - and will remain until the present day - a disinterested pleasure, non-consuming, non-penetrating and without contact. Since childhood, we have been told that we should only touch with our eyes.But this categorical thesis has had a lasting impact on the history of representations, to the point of almost completely obliterating another history of art, one that remains obscure, that of iconophagy. In contrast to the classical theory of art, another history of art has developed, one that is secretive, forgotten and despised: the history of iconophagy, which consists in imagining that images are taken by mouth and ingested. Images are taken, put in the mouth, chewed, swallowed, digested and ingested. Paul Val\u00e9ry wrote in his notebooks that \"the wolf is made of assimilated sheep\", which would mean that we are made of the images we have assimilated.But what does this mean? Eating an image consists, after having looked at it, in destroying it through a process of assimilation and digestion. To assimilate is to make what is other identical to oneself (simul). This means that we must succeed in making the image identical and merging it with ourselves. To do this, we have to eat the image, destroy it through digestion in order to incorporate it. Digesting consists in ensuring that what is itself can no longer achieve unity (dis- as impossibility of unity) so that it can become itself by assimilating. Eating the image consists in believing that it assimilates itself in consumption.This thesis has been accepted for food, but has been rejected, strongly and definitively, for the history of art and images. Precisely because Aristotle invented this particular way of experiencing pleasure (kharis) in consuming without consuming, but in consuming as a desire to please, rather than a desire to assimilate. The history of art and images is thus a kind of consumption that leaves the object intact, but whose essential pleasure as consumption is a desire to please oneself. The ultimate form of this process is indicated by Paul (1 Cor, 11-23) and will become what we call a Eucharist, which consists very precisely in ingesting what is no longer food but what is image and function. The whole metaphysical history of our relationship with consumption is an unexplained split between consumption as destruction and consumption as Eucharist. We are therefore bound by a kind of ban on consumption, preferring to teach us to grasp with our eyes without touching, without touching and without chewing. This is precisely the point of Rapha\u00ebl Lecoquierre's work and research, to let us imagine that we could eat, devour, digest and assimilate images. To imagine, at last, that we could have contact with the work in a way other than this infinite distance. Let's eat the images.Fabien Vallos","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.delpireandco.com\/en\/raphael-lecoquierre-nubes\/","og_locale":"en_US","og_type":"article","og_title":"Rapha\u00ebl Lecoquierre \u2013 Moires - delpire &amp; co","og_description":"depire & co is honoured to welcome Rapha\u00ebl Lecoquierre for Moires, an exhibition that is part of the cycle of concealed exhibitions at 13 rue de l'Abbaye, presenting three new pieces created for the occasion. At the same time, a permanent work will be installed by the artist on a central feature of the bookshop.Finally, Rapha\u00ebl Lecoquierre has invited the chef L\u00e9a Maltese to join him in a collaboration that will be activated on the opening day in the entrance of the bookshop and will evolve throughout the exhibition.-Rapha\u00ebl Lecoquierre's practice is intimately connected with photography, its material properties and its suggestive power, which he manipulates through experimentation and unusual processes. At once minimal, poetic and radical, his work questions our relationship with the visible through a subversion of representation. Inspired by different pictorial and conceptual traditions, his works extend the viewer's gaze, allowing free rein to the most diverse interpretations.N\u016aB\u0112S is a series of paintings, sculptures and installations produced using a process that makes use of a vast collection of vernacular analogue photographs. These images of families, landscapes and other instruments of memory, gleaned and accumulated over time, are dissolved by oxidation in order to extract their coloured substance. The inks removed are incorporated into Venetian stucco and used as a raw material for the creation of motifs. In this way, the images documenting the world disappear and are transformed on the surface of nebulous works in a wide variety of formats, seen as fragments of an infinite object.For 'Moires' Rapha\u00ebl Lecoquierre proposes a triad of pieces from N\u016aB\u0112S corpus specially designed for the bookshop's chest of drawers. The title refers to the three divinities of destiny in Greek mythology, as well as to the shimmering surface of the works in the exhibition.-Eating the imagesThe history of art and images has retained only one way of apprehending images, through the eyes, without contact and solely in the form of conceptual and even more profoundly metaphysical absorption. This system was conceived as early as the Aristotelian theories and the publication of the bibla ta poi\u00e8tik\u00e8 tekhn\u00e8, the Book of Poetics. The relationship with the image is then - and will remain until the present day - a disinterested pleasure, non-consuming, non-penetrating and without contact. Since childhood, we have been told that we should only touch with our eyes.But this categorical thesis has had a lasting impact on the history of representations, to the point of almost completely obliterating another history of art, one that remains obscure, that of iconophagy. In contrast to the classical theory of art, another history of art has developed, one that is secretive, forgotten and despised: the history of iconophagy, which consists in imagining that images are taken by mouth and ingested. Images are taken, put in the mouth, chewed, swallowed, digested and ingested. Paul Val\u00e9ry wrote in his notebooks that \"the wolf is made of assimilated sheep\", which would mean that we are made of the images we have assimilated.But what does this mean? Eating an image consists, after having looked at it, in destroying it through a process of assimilation and digestion. To assimilate is to make what is other identical to oneself (simul). This means that we must succeed in making the image identical and merging it with ourselves. To do this, we have to eat the image, destroy it through digestion in order to incorporate it. Digesting consists in ensuring that what is itself can no longer achieve unity (dis- as impossibility of unity) so that it can become itself by assimilating. Eating the image consists in believing that it assimilates itself in consumption.This thesis has been accepted for food, but has been rejected, strongly and definitively, for the history of art and images. Precisely because Aristotle invented this particular way of experiencing pleasure (kharis) in consuming without consuming, but in consuming as a desire to please, rather than a desire to assimilate. The history of art and images is thus a kind of consumption that leaves the object intact, but whose essential pleasure as consumption is a desire to please oneself. The ultimate form of this process is indicated by Paul (1 Cor, 11-23) and will become what we call a Eucharist, which consists very precisely in ingesting what is no longer food but what is image and function. The whole metaphysical history of our relationship with consumption is an unexplained split between consumption as destruction and consumption as Eucharist. We are therefore bound by a kind of ban on consumption, preferring to teach us to grasp with our eyes without touching, without touching and without chewing. This is precisely the point of Rapha\u00ebl Lecoquierre's work and research, to let us imagine that we could eat, devour, digest and assimilate images. To imagine, at last, that we could have contact with the work in a way other than this infinite distance. Let's eat the images.Fabien Vallos","og_url":"https:\/\/www.delpireandco.com\/en\/raphael-lecoquierre-nubes\/","og_site_name":"delpire &amp; co","article_publisher":"https:\/\/www.facebook.com\/delpireandco","article_published_time":"2024-06-13T09:27:04+00:00","article_modified_time":"2024-07-11T07:28:19+00:00","author":"ANNA VANDELLI","twitter_card":"summary_large_image","twitter_creator":"@DelpireEditeur","twitter_site":"@DelpireEditeur","twitter_misc":{"Written by":"ANNA VANDELLI"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.delpireandco.com\/en\/raphael-lecoquierre-nubes\/#article","isPartOf":{"@id":"https:\/\/www.delpireandco.com\/en\/raphael-lecoquierre-nubes\/"},"author":{"name":"ANNA VANDELLI","@id":"https:\/\/www.delpireandco.com\/en\/#\/schema\/person\/c5d510cb8d70b3e87d78f6a7c96021ee"},"headline":"Rapha\u00ebl Lecoquierre \u2013 Moires","datePublished":"2024-06-13T09:27:04+00:00","dateModified":"2024-07-11T07:28:19+00:00","mainEntityOfPage":{"@id":"https:\/\/www.delpireandco.com\/en\/raphael-lecoquierre-nubes\/"},"wordCount":4,"publisher":{"@id":"https:\/\/www.delpireandco.com\/en\/#organization"},"articleSection":["At the bookshop"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.delpireandco.com\/en\/raphael-lecoquierre-nubes\/","url":"https:\/\/www.delpireandco.com\/en\/raphael-lecoquierre-nubes\/","name":"Rapha\u00ebl Lecoquierre \u2013 Moires - delpire &amp; co","isPartOf":{"@id":"https:\/\/www.delpireandco.com\/en\/#website"},"datePublished":"2024-06-13T09:27:04+00:00","dateModified":"2024-07-11T07:28:19+00:00","description":"depire & co is honoured to welcome Rapha\u00ebl Lecoquierre for Moires, an exhibition that is part of the cycle of concealed exhibitions at 13 rue de l'Abbaye, presenting three new pieces created for the occasion. At the same time, a permanent work will be installed by the artist on a central feature of the bookshop.Finally, Rapha\u00ebl Lecoquierre has invited the chef L\u00e9a Maltese to join him in a collaboration that will be activated on the opening day in the entrance of the bookshop and will evolve throughout the exhibition.-Rapha\u00ebl Lecoquierre's practice is intimately connected with photography, its material properties and its suggestive power, which he manipulates through experimentation and unusual processes. At once minimal, poetic and radical, his work questions our relationship with the visible through a subversion of representation. Inspired by different pictorial and conceptual traditions, his works extend the viewer's gaze, allowing free rein to the most diverse interpretations.N\u016aB\u0112S is a series of paintings, sculptures and installations produced using a process that makes use of a vast collection of vernacular analogue photographs. These images of families, landscapes and other instruments of memory, gleaned and accumulated over time, are dissolved by oxidation in order to extract their coloured substance. The inks removed are incorporated into Venetian stucco and used as a raw material for the creation of motifs. In this way, the images documenting the world disappear and are transformed on the surface of nebulous works in a wide variety of formats, seen as fragments of an infinite object.For 'Moires' Rapha\u00ebl Lecoquierre proposes a triad of pieces from N\u016aB\u0112S corpus specially designed for the bookshop's chest of drawers. The title refers to the three divinities of destiny in Greek mythology, as well as to the shimmering surface of the works in the exhibition.-Eating the imagesThe history of art and images has retained only one way of apprehending images, through the eyes, without contact and solely in the form of conceptual and even more profoundly metaphysical absorption. This system was conceived as early as the Aristotelian theories and the publication of the bibla ta poi\u00e8tik\u00e8 tekhn\u00e8, the Book of Poetics. The relationship with the image is then - and will remain until the present day - a disinterested pleasure, non-consuming, non-penetrating and without contact. Since childhood, we have been told that we should only touch with our eyes.But this categorical thesis has had a lasting impact on the history of representations, to the point of almost completely obliterating another history of art, one that remains obscure, that of iconophagy. In contrast to the classical theory of art, another history of art has developed, one that is secretive, forgotten and despised: the history of iconophagy, which consists in imagining that images are taken by mouth and ingested. Images are taken, put in the mouth, chewed, swallowed, digested and ingested. Paul Val\u00e9ry wrote in his notebooks that \"the wolf is made of assimilated sheep\", which would mean that we are made of the images we have assimilated.But what does this mean? Eating an image consists, after having looked at it, in destroying it through a process of assimilation and digestion. To assimilate is to make what is other identical to oneself (simul). This means that we must succeed in making the image identical and merging it with ourselves. To do this, we have to eat the image, destroy it through digestion in order to incorporate it. Digesting consists in ensuring that what is itself can no longer achieve unity (dis- as impossibility of unity) so that it can become itself by assimilating. Eating the image consists in believing that it assimilates itself in consumption.This thesis has been accepted for food, but has been rejected, strongly and definitively, for the history of art and images. Precisely because Aristotle invented this particular way of experiencing pleasure (kharis) in consuming without consuming, but in consuming as a desire to please, rather than a desire to assimilate. The history of art and images is thus a kind of consumption that leaves the object intact, but whose essential pleasure as consumption is a desire to please oneself. The ultimate form of this process is indicated by Paul (1 Cor, 11-23) and will become what we call a Eucharist, which consists very precisely in ingesting what is no longer food but what is image and function. The whole metaphysical history of our relationship with consumption is an unexplained split between consumption as destruction and consumption as Eucharist. We are therefore bound by a kind of ban on consumption, preferring to teach us to grasp with our eyes without touching, without touching and without chewing. This is precisely the point of Rapha\u00ebl Lecoquierre's work and research, to let us imagine that we could eat, devour, digest and assimilate images. To imagine, at last, that we could have contact with the work in a way other than this infinite distance. Let's eat the images.Fabien Vallos","inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.delpireandco.com\/en\/raphael-lecoquierre-nubes\/"]}]},{"@type":"WebSite","@id":"https:\/\/www.delpireandco.com\/en\/#website","url":"https:\/\/www.delpireandco.com\/en\/","name":"delpire &amp; co","description":"Librairie Photo - \u00c9diteur - photobooks","publisher":{"@id":"https:\/\/www.delpireandco.com\/en\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.delpireandco.com\/en\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.delpireandco.com\/en\/#organization","name":"delpire & co","url":"https:\/\/www.delpireandco.com\/en\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.delpireandco.com\/en\/#\/schema\/logo\/image\/","url":"https:\/\/www.delpireandco.com\/wp-content\/uploads\/2022\/02\/logotype-delpire.png","contentUrl":"https:\/\/www.delpireandco.com\/wp-content\/uploads\/2022\/02\/logotype-delpire.png","width":307,"height":55,"caption":"delpire & co"},"image":{"@id":"https:\/\/www.delpireandco.com\/en\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/delpireandco","https:\/\/twitter.com\/DelpireEditeur","https:\/\/www.instagram.com\/delpireandco\/","https:\/\/fr.linkedin.com\/company\/delpire-co","https:\/\/www.youtube.com\/c\/delpireco"]},{"@type":"Person","@id":"https:\/\/www.delpireandco.com\/en\/#\/schema\/person\/c5d510cb8d70b3e87d78f6a7c96021ee","name":"ANNA VANDELLI","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.delpireandco.com\/en\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/203dc2540e406fb604851d1702a268d8?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/203dc2540e406fb604851d1702a268d8?s=96&d=mm&r=g","caption":"ANNA VANDELLI"},"url":"https:\/\/www.delpireandco.com\/en\/author\/annavandelli\/"}]}},"_links":{"self":[{"href":"https:\/\/www.delpireandco.com\/en\/wp-json\/wp\/v2\/posts\/39858"}],"collection":[{"href":"https:\/\/www.delpireandco.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.delpireandco.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.delpireandco.com\/en\/wp-json\/wp\/v2\/users\/450"}],"replies":[{"embeddable":true,"href":"https:\/\/www.delpireandco.com\/en\/wp-json\/wp\/v2\/comments?post=39858"}],"version-history":[{"count":25,"href":"https:\/\/www.delpireandco.com\/en\/wp-json\/wp\/v2\/posts\/39858\/revisions"}],"predecessor-version":[{"id":41147,"href":"https:\/\/www.delpireandco.com\/en\/wp-json\/wp\/v2\/posts\/39858\/revisions\/41147"}],"wp:attachment":[{"href":"https:\/\/www.delpireandco.com\/en\/wp-json\/wp\/v2\/media?parent=39858"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.delpireandco.com\/en\/wp-json\/wp\/v2\/categories?post=39858"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.delpireandco.com\/en\/wp-json\/wp\/v2\/tags?post=39858"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}