paris

View of “Maxime Bondu,” 2015. Foreground: The Remote Viewer (Endgame), 2015. Background: The Deep War, 2015. Photo: Nicolas Brasseur.

Maxime Bondu

Galerie Jérôme Poggi

View of “Maxime Bondu,” 2015. Foreground: The Remote Viewer (Endgame), 2015. Background: The Deep War, 2015. Photo: Nicolas Brasseur.

At the core of Maxime Bondu’s work there often lies a fact whose sole claim to existence is that it has been produced in a past to which we were not witness—a fact that, in the process of being recorded and transmitted, becomes an enigma. How can one make something as impalpable as the past tangible? How can one concretize the images that it generates? Bondu reproduces objects associated with series of given facts, taking meticulous care with his materials and fabrication process. These objects are silent witnesses to the facts in question. Bondu seems to be putting his faith in objects—rather as in Georges Perec’s novel Les choses: Un histoire des anńees 60 (Things: A Story of the Sixties, 1965), with which the artist has worked in the past—and they contain the fleeting sense of something that has happened.

Bondu’s recent exhibition “The Remote and the Deep War”

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the October 2015 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.