{"id":9212,"date":"2024-09-23T23:05:41","date_gmt":"2024-09-23T21:05:41","guid":{"rendered":"https:\/\/www.studio-gilles-barbier.fr\/project\/banana-riders\/"},"modified":"2024-11-13T17:37:26","modified_gmt":"2024-11-13T16:37:26","slug":"banana-riders","status":"publish","type":"project","link":"https:\/\/www.studio-gilles-barbier.fr\/en\/project\/banana-riders\/","title":{"rendered":"Banana Riders."},"content":{"rendered":"<p>[et_pb_section fb_built=&#8221;1&#8243; custom_padding_last_edited=&#8221;off|desktop&#8221; admin_label=&#8221;Header&#8221; _builder_version=&#8221;4.27.2&#8243; background_color_gradient_direction=&#8221;188deg&#8221; background_enable_image=&#8221;off&#8221; background_size=&#8221;initial&#8221; background_repeat=&#8221;repeat&#8221; width=&#8221;100%&#8221; custom_padding=&#8221;||0px||false|false&#8221; custom_padding_tablet=&#8221;5vw||5vw||true&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_row column_structure=&#8221;2_5,3_5&#8243; use_custom_gutter=&#8221;on&#8221; gutter_width=&#8221;2&#8243; make_equal=&#8221;on&#8221; _builder_version=&#8221;4.16&#8243; use_custom_width=&#8221;on&#8221; width_unit=&#8221;off&#8221; custom_width_percent=&#8221;100%&#8221; locked=&#8221;off&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;2_5&#8243; _builder_version=&#8221;4.16&#8243; custom_padding=&#8221;|||&#8221; global_colors_info=&#8221;{}&#8221; custom_padding__hover=&#8221;|||&#8221;][et_pb_text _builder_version=&#8221;4.27.0&#8243; _dynamic_attributes=&#8221;content&#8221; _module_preset=&#8221;8f5ee6b5-14e8-48e8-a7fd-9354fcc5b479&#8243; max_width_tablet=&#8221;70%&#8221; max_width_last_edited=&#8221;off|phone&#8221; global_colors_info=&#8221;{}&#8221;]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9jYXRlZ29yaWVzIiwic2V0dGluZ3MiOnsiYmVmb3JlIjoiIiwiYWZ0ZXIiOiIiLCJsaW5rX3RvX3Rlcm1fcGFnZSI6Im9mZiIsInNlcGFyYXRvciI6IiB8ICIsImNhdGVnb3J5X3R5cGUiOiJwcm9qZWN0X2NhdGVnb3J5In19@[\/et_pb_text][\/et_pb_column][et_pb_column type=&#8221;3_5&#8243; _builder_version=&#8221;4.16&#8243; custom_padding=&#8221;|||&#8221; global_colors_info=&#8221;{}&#8221; custom_padding__hover=&#8221;|||&#8221;][et_pb_text _builder_version=&#8221;4.27.0&#8243; text_font=&#8221;||||||||&#8221; header_font=&#8221;|700|||||||&#8221; header_2_font=&#8221;|700|||||||&#8221; header_3_font=&#8221;|700|||||||&#8221; header_font_size_last_edited=&#8221;off|desktop&#8221; locked=&#8221;off&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<h1>&#8220;Banana Riders&#8221;, 2004.<\/h1>\n<p style=\"font-weight: 400;\">In the early 2000s, the banana became a recurring motif in his work. Molded in wax and painted, he places it here and there in the exhibition space, calling it <em>Dreamlike Vaseline<\/em>. This exotic fruit, associated with the monkey (and, by extension, with ordinary racism), phallic in shape and a friend of slips, raises questions through its incongruous presence. Very soon, however, the banana is joined by other objects, which he groups together under the name of <em>Wetting Agents<\/em>. In chemistry, a wetting agent is a compound that increases the penetration power of a substance by lowering surface tensions. Beyond the obvious sexual puns, bananas, <em>Dreamlike Vaseline <\/em> and <em>Wetting Agents<\/em> occupy a strategic position in the artist&#8217;s vocabulary.     <\/p>\n<p>[\/et_pb_text][et_pb_toggle title=&#8221;Read more&#8221; open_toggle_text_color=&#8221;#000000&#8243; open_toggle_background_color=&#8221;RGBA(255,255,255,0)&#8221; closed_toggle_background_color=&#8221;RGBA(255,255,255,0)&#8221; icon_color=&#8221;#000000&#8243; open_icon_color=&#8221;#000000&#8243; _builder_version=&#8221;4.27.3&#8243; _module_preset=&#8221;default&#8221; title_text_color=&#8221;#000000&#8243; title_font=&#8221;|600|||on||||&#8221; custom_padding=&#8221;|0px||0px|false|true&#8221; hover_enabled=&#8221;0&#8243; border_width_all=&#8221;0px&#8221; global_colors_info=&#8221;{}&#8221; sticky_enabled=&#8221;0&#8243;]<\/p>\n<p style=\"font-weight: 400;\">Its use, which goes beyond the incongruity and gruesomeness of a first reading (the one for a giggle), marks a syntactic necessity that he identifies in the organization of his artistic language; a marker, like a preposition, indicating that the intervention of a mechanical function is at work, both at the level of body movements and those of thought. For this reason, he places them at the feet of his first <em>Production Machines<\/em>. As he gradually became more comfortable using this lexicon, he introduced it into the conception of works more openly articulated around these mechanistic notions: <em>Mental Projection<\/em> (mechanization of image production through suicide), The <em>Rink <\/em>(choreography of the fall), or for the installation in question here: <em>Banana Riders<\/em>. The horde of riders, perched on bananas, is arranged as if to breach enemy lines. They carry conquering banners inscribed with the chemical formulas of the most common wetting agents. Here, the device takes a more political turn, returning to one of the artist&#8217;s real obsessions, an existential terror he identified in one of his interviews as the <em>aesthetics of generalized rape, applied to the commodification of the world <\/em>(*). Another work, <em>Banana Head (<a href=\"https:\/\/en.wikipedia.org\/wiki\/Traumatic_insemination\">traumatic insemination<\/a>)<\/em>, echoes this massive rape.<\/p>\n<p style=\"font-weight: 400;\">&#8220;Glissades&#8221;: Instability, indistinction and humorous postures in the so-called postmodern era. Charlotte Serrus. PUP. 2012<\/p>\n<p style=\"font-weight: 400;\"><em>(*) Interview with J.Y. Jouannais in &#8220;Avant toute Chose&#8221;&#8230; (2004, \u00c9ditions jpr Ringier).<\/em><\/p>\n<p style=\"font-weight: 400;\"><em><\/em><\/p>\n<p style=\"font-weight: 400;\"><em><\/em><\/p>\n<p>[\/et_pb_toggle][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=&#8221;1&#8243; admin_label=&#8221;Gallery&#8221; _builder_version=&#8221;4.27.2&#8243; background_enable_image=&#8221;off&#8221; background_size=&#8221;initial&#8221; background_repeat=&#8221;repeat&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_row _builder_version=&#8221;4.27.0&#8243; _module_preset=&#8221;default&#8221; min_height=&#8221;144px&#8221; custom_margin=&#8221;5px|auto||auto||&#8221; custom_padding=&#8221;40px||40px||true|&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;4_4&#8243; _builder_version=&#8221;4.27.0&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_gallery gallery_ids=&#8221;4409,4403,4405,4401,4407,4399,4107&#8243; posts_number=&#8221;10&#8243; orientation=&#8221;portrait&#8221; show_pagination=&#8221;off&#8221; _builder_version=&#8221;4.27.0&#8243; _module_preset=&#8221;default&#8221; caption_font_size=&#8221;0px&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;Banana Riders&#8221;, 2004. In the early 2000s, the banana became a recurring motif in his work. Molded in wax and painted, he places it here and there in the exhibition space, calling it Dreamlike Vaseline. This exotic fruit, associated with the monkey (and, by extension, with ordinary racism), phallic in shape and a friend of [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":4403,"template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"project_category":[24],"project_tag":[],"class_list":["post-9212","project","type-project","status-publish","has-post-thumbnail","hentry","project_category-installations-en"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Banana Riders. - Gilles Barbier<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.studio-gilles-barbier.fr\/en\/project\/banana-riders\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Banana Riders. - Gilles Barbier\" \/>\n<meta property=\"og:description\" content=\"&quot;Banana Riders&quot;, 2004. In the early 2000s, the banana became a recurring motif in his work. Molded in wax and painted, he places it here and there in the exhibition space, calling it Dreamlike Vaseline. 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