ダイアン·ランドリー
ديان لاندري

Knight of Infinite Resignation

source: highlike

Work: “This intricate web of turning lights and darks operates cyclically, as does the iron installation. Lights appear and disappear with the rotation of the wheels, and the number of the wheels—twelve—references both the hours of the clock and the months of the year. Sand pours down the bottles as though they were hourglasses. But if the windmills suggest human patterns of time, they also allude to perpetual motion machines and thus a different scale of measurement if not a state beyond temporality. Although actually run by electricity, the form of the assemblages, with the running sand acting as weights, evokes the overbalanced perpetual motion wheels (dating to the middle ages, by Bhaskara, Villard de Honnecourt, and others) that were designed, futilely, to rely on inertia to spin forever. On earth perpetual motion seems to be an impossible fantasy, though in space planets and stars spin for unfathomable spans of time without energy input. The tension between human time and eternity is thus condensed into these enigmatic wheels, as is that between human and cosmic scales: the viewer oscillates between recognizing the hand-held water bottle and seeing star systems in their arrangement. In a number of earlier works, Landry has called attention to the threat to our most precious resource: clean water, which is conspicuously absent from the bottles here. Filled with sand, the bottles are dried up, sterile. In Quebec water is intimately linked to the question of energy, and thus the perpetual motion problem and fantasy. There are 237 bottles here, the liquid contents of which would apparently fill a bath—no more. The short-sightedness of human management of natural resources is made pitifully obvious by the work’s evocation of cosmic time, in comparison with which the human lifespan and even the existence of the species seem simply irrelevant. And there is something terrifying about this assemblage, which is so cold and serene, so unperturbed by the viewer’s presence.” Alison Syme, Diane Landry, installations & performances 2008-2009 (excerpt), catalogue-DVD, L’Oeil de Poisson, Quebec City, 2010.
Photographer: Ivan Binet
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source: dianelandry

This intricate web of turning lights and darks operates cyclically, as does the iron installation. Lights appear and disappear with the rotation of the wheels, and the number of the wheels-twelve-references both the hours of the clock and the months of the year. Sand pours down the bottles as though they were hourglasses. But if the windmills suggest human patterns of time, they also allude to perpetual motion machines and thus a different scale of measurement if not a state beyond temporality. Although actually run by electricity, the form of the assemblages, with the running sand acting as weights, evokes the overbalanced perpetual motion wheels (dating to the middle ages, by Bhaskara, Villard de Honnecourt, and others) that were designed, futilely, to rely on inertia to spin forever. On earth perpetual motion seems to be an impossible fantasy, though in space planets and stars spin for unfathomable spans of time without energy input. The tension between human time and eternity is thus condensed into these enigmatic wheels, as is that between human and cosmic scales: the viewer oscillates between recognizing the hand-held water bottle and seeing star systems in their arrangement.

In a number of earlier works, Landry has called attention to the threat to our most precious resource: clean water, which is conspicuously absent from the bottles here. Filled with sand, the bottles are dried up, sterile. In Quebec water is intimately linked to the question of energy, and thus the perpetual motion problem and fantasy. There are 237 bottles here, the liquid contents of which would apparently fill a bath-no more. The short-sightedness of human management of natural resources is made pitifully obvious by the work’s evocation of cosmic time, in comparison with which the human lifespan and even the existence of the species seem simply irrelevant. And there is something terrifying about this assemblage, which is so cold and serene, so unperturbed by the viewer’s presence.

Diane Landry lives and works in Québec City. Since 1987, her works have travelled widely across Canada and in major cities in the USA, Mexico, Argentina, many European countries, Australia and China. Her works have been discussed in numerous publications and recognized by important awards in Québec as well as in the United States. She is the first recipient of the prestigious Giverny Capital Prize, a distinction awarded to a visual artist from Québec. She has been an artist in residence in many centres in Canada, the USA, France, Italy and Argentina. She has just completed a six-month stay in the Studio du Québec in New York, sponsored by the Conseil des arts et des lettres du Québec. Diane Landry holds a MA from Stanford University, California. L’artist is represented by Galerie Michel Guimont.
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source: ledevoir

Infatigables, des roues de vélo tournent sur elles-mêmes dans l’espace d’exposition comme d’improbables moulins à vent. Elles sont, ces roues, de la toute dernière installation cinétique de Diane Landry, qui poursuit ici avec assurance ce qui fait la force de son travail depuis 20 ans. Arraché de son ordinaire, cet objet banal perfuse le réel d’onirisme et embraie des réflexions, parfois graves, sur le passage du temps.
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source: vooruitbe

Diane Landry, een artieste uit Québec, werkt in haar installatie ‘Chevalier de la Résignation Infinie’ tegelijkertijd met licht, beweging en geluid. Ze monteerde plastic flessen gevuld met zand op twaalf draaiende wielen. Het vallende zand houdt de wielen eindeloos in beweging. Op elke fles is een lichtje bevestigd dat nu eens zichtbaar is, dan weer door het zand bedekt wordt. Landry verwijst hiermee naar de opkomende en ondergaande zon en de eeuwige afwisseling van dag en nacht, eveneens een oneindig proces. Als derde element speelt ook het geluid van het schuivende zand een grote rol.

‘Chevalier de la Résignation Infinie’ verbeeldt op verschillende manieren de spanning tussen de drang van de mens om de tijd te vatten (de installatie bestaat niet toevallig uit 12 draaiende wielen, verwijzend naar zowel 12 uren als de 12 maanden in een jaar) en de oneindigheid van de tijd.
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source: shijue

这个错综复杂的转动网络轮回地点亮又熄灭，跟随其的是铁制装置。这些灯随着轮子的转动出现而又消失，轮子的数量（12个）引喻了时钟的12个小时和 一年的12个月。沙子如同在沙漏中般在瓶中流动。但如果轮子象征着人类的时间规律的话，它们也在暗示着永动机，以及一种不同寻常的、超越时间性的测量尺 度。尽管实际上装置由电力供能，它的构架形状以及示意重力的流沙唤起曾经的永动机轮（追溯至中世纪，由Bhaskara, Villard de Honnecourt及其他人设计），徒劳地希望惯性能永久保持。在地球上永动的概念似乎是不可能的臆想，但在太空中，星球在没有任何能量输入的状态下转 动了不知多久。人类的“时间”与永恒之间的张力便集中在这些充满神秘感的轮子中，同时也体现了人类和宇宙尺度之间的关系：观众在辨识饮用水瓶和感受星系般 体验之间反复。
在她之前的一系列作品中，Landry呼吁了我们重视正受威胁的最珍贵的资源：净水－－很明显地缺失于这些瓶子里。瓶子里盛满沙子，被干化，消毒。 在魁北克省，“水”和能源，以及永动机的问题和臆想紧密相连。这里的237个瓶子，它们的容量足够填满一个浴缸－－但这已不是现实。人类对于自然资源管理 的短视在此作品对时间轮回的反思中显得尤其可悲。将宇宙的发展史与人类乃至物种的存在历史相比较，显得那么不切实际。这个视觉组合中有种无声的恐惧，它如 此冷静而幽然，泰然自若地无视参观者的存在。（节选自Diane Landry的DVD-目录“Diane Landry，装置与表演 2008－2009”，作者Alison Syme，2010年，8－9页，作品由 L’Œil de Poisson委托创作。）
艺术家简介：Diane Landry起先完成她自然科学的学业，并在农业领域工作了五年时间。在25岁时她决定重返校园学习艺术，因为她意识到用视觉艺术改变世界会更容易些。她 在1987年于魁北克Laval大学获得视觉艺术学士学位，随后在2006年于斯坦福大学获得艺术硕士学位。作为一名多学科艺术家，Diane Landry设计原创表演、自动化装置、声音雕塑以及被她称为“mouvelle”的作品。她在各地表演及展出，尤其在加拿大、美国、欧洲、中国及澳大利 亚。她在魁北克及美国荣获无数奖项。她在加拿大、美国、法国、意大利和阿根廷的多处机构任留驻艺术家。2008年她完成了魁北克文化艺术委员会赞助的在纽 约Studio du Québec为期6个月的驻留。2009年，Musée d’art de Joliette出版了为她首次回顾展览编撰的专题，The Defibrillators。