paris

Dominique Blais, Coil, 2017, ink-jet print. Installation view. Photo: Frédéric Lanternier.

Dominique Blais

Galerie Xippas | Paris

Dominique Blais, Coil, 2017, ink-jet print. Installation view. Photo: Frédéric Lanternier.

What tied together the works in Dominique Blais’s exhibition “La fin du contretemps”(Turning Off the Offbeat)—orchestrated more than installed in the space—was an irregular but precise rhythm encompassing both visual elements and sound. Rhythm, whether audible or visible—the two types do not necessarily go hand in hand for this artist—can mark time. Even the faintest sounds, or entirely inaudible ones, have this effect. In Morphée (Morpheus), 2018, an opaque sound-absorbing fabric covers what appears to be a harpsichord; we hear no sound, and it’s impossible to tell whether the fabric conceals a real instrument or merely a scale model.

In Blais’s work, a rotary form—a circle or ellipse—often generates rhythm. The artist has previously used vinyl records (Apparatus [Rotation], 2011) or a floodlight making a full 360-degree turn (Light House, 2013), for

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