In Passage Sainte-Croix, the exhibition Le temps du sacré brings together a selection of Pascal Convert’s works illustrating his relationship to time and memory through the prism of the sacred – a notion he deconstructs through a private and political perspective.
Echoing his Miroirs des temps project, Convert shows a video documenting the making-of process for his work in Miséricorde cemetery. In it, he makes scale models and fireproof moulds, melts and cools glass, unmoulds and polishes it, while also scouting locations inside the cemetery, finally setting up his work, then having the public discover it.
This exhibition is also dedicated to a selection of other works, films, paper rubbings, and photographic platinum prints taken from a series made in Armenia about the disappearance of khatchkars: stone statues covered in engraved crosses destroyed by the Azerbaijani authorities.
In the inner courtyard, two glass rhombuses with two, old cast iron grills evoke interlacing khachkars or the wrought iron enclosures around tombs in La Miséricorde cemetery.
Finally, three monumental wax bells call to mind an object that brings people together and structures a community. This everyday symbol is dear to this artist, whose works struggle to fight against oblivion.
Thanks to the FRAC Nouvelle-Aquitaine and the FRAC des Pays de la Loire.
Miroir des temps
Convert accepted Le Voyage à Nantes’ invitation to create a permanent work that now exists amidst its time-worn tombs – an act that has never been yet been performed in a public cemetery.
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