"No action" as a principle, inaction as an activity. We know that this paradox serves as a base for a whole section of Eastern philosophy and is not unconnected to the most singular artistic postures of our epoch. Under this seeming contradiction (the fact of doing nothing) another form is hidden: that of aporia. Aporia, i.e. that moment when language denies itself, a sort of paradoxical figure in which words and ideas fold together. The exhibition of John Cornu (born in 1976, lives in Rennes and Paris) entitledLaisse venir formally uses this idea of non-choice.
The pile of self-service leaflets in black and white photography, taken at night with flash, Falling Rain, as well as the sculptural Untitled and audio Sonatine pieces, specially designed for the site, all come from a “given”, from a prior existence. The sculptural installation kit, in room 1, has indeed been produced in an intuitive way from several modules and predetermined metal tubes. By the Murderess is almost modern, due to the cut of its medium (the frame liner). Presented in the intermediate room, Sonatine is deduced from a dysfunction, from the use of its material - fluorescent tubes – before being amplified. Each element of the piece exposed under the glass ceiling has been sculpted, eroded according to the nature of the wood out of which it was carved, its grain and knurls.
The works of John Cornu are drawn from a group of deductive games, as if their shapes already existed; as if they were already inscribed in the materials used.
Laisse venir seems to combine two genres normally at opposite poles: on one side an evocation of American minimalism (rectitude, protocol, serial aspect, coldness); and the other side, a type of romanticism expressed through several parameters such as wear, blindness, fall and dysfunction. All these aspects indicate that, in the work of this artist, there is a certain fascination as well as a critique of our modernist utopias.