viennacontemporary 2019
Matthieu Haberard
Matthieu Haberard
Shared with Wschód, Warsaw
For viennacontemporary 2019, Haberard developed his research of the “underbelly of rationality” and presents works that visualise the difficulty of maintaining logic and a rational relationship to the world.
Matthieu Haberard’s practice illuminates the liminal zone between two opposing forces. Haberard proposes that dualism and dialectics are limiting, and instead asks if a thing is not ‘either-or’ but ‘and’. He is interested in the meeting point of games and rationality, the diurnal versus the nocturnal, cultural theories versus game theory. His work is born out of a rogue imagination pushing against the constraints of language, similar to that of young children. He aims to formulate a language capable of demonstrating the effectiveness of creative resistance during adulthood.
Haberard’s work, in all their playfulness, harbour a darkness within them. Haberard’s avatars, alter egos – be it virtual, real or fragmented – are a backstop, a resistance, potential to the fact that we currently live in a constant state of emergency, political, economical and psychological. If compliance is not an option, new models of resistance need to be designed and maybe they are found using games to counter violence.
For viennacontemporary 2019, Haberard developed his research of the “underbelly of rationality” and presents works that visualise the difficulty of maintaining logic and a rational relationship to the world.
Matthieu Haberard’s practice illuminates the liminal zone between two opposing forces. Haberard proposes that dualism and dialectics are limiting, and instead asks if a thing is not ‘either-or’ but ‘and’. He is interested in the meeting point of games and rationality, the diurnal versus the nocturnal, cultural theories versus game theory. His work is born out of a rogue imagination pushing against the constraints of language, similar to that of young children. He aims to formulate a language capable of demonstrating the effectiveness of creative resistance during adulthood.
Haberard’s work, in all their playfulness, harbour a darkness within them. Haberard’s avatars, alter egos – be it virtual, real or fragmented – are a backstop, a resistance, potential to the fact that we currently live in a constant state of emergency, political, economical and psychological. If compliance is not an option, new models of resistance need to be designed and maybe they are found using games to counter violence.
26.09.19—29.09.19
Booth B14, Marx Halle, Karl-Farkas-Gasse 19, 1030 Vienna
> Installation views
Shared with Wschód, Warsaw
For viennacontemporary 2019, Haberard developed his research of the “underbelly of rationality” and presents works that visualise the difficulty of maintaining logic and a rational relationship to the world.
Matthieu Haberard’s practice illuminates the liminal zone between two opposing forces. Haberard proposes that dualism and dialectics are limiting, and instead asks if a thing is not ‘either-or’ but ‘and’. He is interested in the meeting point of games and rationality, the diurnal versus the nocturnal, cultural theories versus game theory. His work is born out of a rogue imagination pushing against the constraints of language, similar to that of young children. He aims to formulate a language capable of demonstrating the effectiveness of creative resistance during adulthood.
Haberard’s work, in all their playfulness, harbour a darkness within them. Haberard’s avatars, alter egos – be it virtual, real or fragmented – are a backstop, a resistance, potential to the fact that we currently live in a constant state of emergency, political, economical and psychological. If compliance is not an option, new models of resistance need to be designed and maybe they are found using games to counter violence.
For viennacontemporary 2019, Haberard developed his research of the “underbelly of rationality” and presents works that visualise the difficulty of maintaining logic and a rational relationship to the world.
Matthieu Haberard’s practice illuminates the liminal zone between two opposing forces. Haberard proposes that dualism and dialectics are limiting, and instead asks if a thing is not ‘either-or’ but ‘and’. He is interested in the meeting point of games and rationality, the diurnal versus the nocturnal, cultural theories versus game theory. His work is born out of a rogue imagination pushing against the constraints of language, similar to that of young children. He aims to formulate a language capable of demonstrating the effectiveness of creative resistance during adulthood.
Haberard’s work, in all their playfulness, harbour a darkness within them. Haberard’s avatars, alter egos – be it virtual, real or fragmented – are a backstop, a resistance, potential to the fact that we currently live in a constant state of emergency, political, economical and psychological. If compliance is not an option, new models of resistance need to be designed and maybe they are found using games to counter violence.
