[T]oday we live in a humanity for which the “world” and the experience of the world have lost all their value: now, nothing is of interest if it is not the ghost of the world and the consumption of this ghost. – Günther Anders, L’obsolescence de l’homme: Sur l’âme à l’époque de la deuxième révolution industrielle
Le monde est un zombie explores the gap that has grown up today between ourselves and reality, a gap which reveals the paradoxes, fault lines and distortions of contemporary society. Simon Bilodeau’s installation, being presented at Scope Miami 2012, is a simulation of our “ghostly” experience of the world in its threatening “zombie-like” or living-dead state. It features a giant industrial container which Bilodeau has reconstituted out of pieces recuperated from two previous exhibitions. In this third presentation, the concept on which the project rests, mobility, takes on a more concrete aspect, because transportation is now an integral part of it. The physical relocation of the work involved adapting it to its host site, in addition to structural and formal modifications which precluded from the outset simply copying the original work. While the material integrity of the container has been preserved, its appearance and the way it has been placed in the site have changed: the white panels have become dark grey, and the base and cargo of shimmering objects have been configured differently. The exhibition of Le monde est un zombie/le monde est un zombie /le monde est un zombie in Miami inaugurates the third phase of the project, that of putting it into circulation, and introduces new ways of thinking about conditions of survival, of “coming back” and of reproducing artworks.
Le monde est un zombie is thus a pivotal moment in Simon Bilodeau’s artistic trajectory. This open apparatus will be called upon to change and travel to other places before reaching, perhaps, a state of complete decomposition. The work’s still-uncertain path is not conceived as a coherent history but as a series of experiments which contribute to the troubling future of our world of contradictions.
Text by Katrie Chagnon, Doctoral candidate in art history
Université de Montréal / Université Paris I Panthéon-Sorbonne