"Glossaire Fragmenté" Laurent Ajina From 31 march to sunday 01 may 2011 After having launched his “call for the wall,” which led him to appropriate, through drawing, the walls of a water castle during his recent residency at the CentQuatre in Paris, Laurent Ajina, a Franco-Iraqi artist working in Paris and Vienna, entrusts to Lot 10, his first personal exhibit in Belgium.

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Program

After having launched his “call for the wall,” which led him to appropriate, through drawing, the walls of a water castle during his recent residency at the CentQuatre in Paris, Laurent Ajina, a Franco-Iraqi artist working in Paris and Vienna, entrusts to Lot 10, his first personal exhibit in Belgium.

Laurent Ajina has never completely detached himself from his training in architecture: he works with a marker, he draws on paper, on canvas, or more often, on walls. His works are however, far from being technical sketches: through lines on solid backgrounds, channeled and compressed lines of extreme precision, they portray memories of walks taken by the artist. One wanders through fragmented visions of the city. The urban space is seen as ground for exchange, a flow of information within a psycho-geographical relief of uninterrupted movements and fixed points.

Pursuing his constant interrogation of urban spaces aiming at the emergence of new values of representation, the pieces he proposes here open several paths. From Territories, enigmatic cartographies on canvas to Meteorites, drawn on large format pieces of paper, the visitor follows the hallway of words resonating in a third proposal, L'habitat, an ephemeral and in situ installation. The installation imposes a different movement in this other place and so prolongs, beyond the central questioning of the works, the limits of the device. The ambulatory displacement of the observer-reader becomes a thinking act which constructs itself around different proposals. The zones to read, the lines of information to follow, these vocabularies to decipher plunge us temporarily into suspense. At the heart of these devices, the spirit weaves its own canvas without entrapment. The gaze, absorbed by the end of these lines, without positioning or spectacular epilogue, recomposes this glossary of perpetual fragmentation.