YUE YUAN
Towards the Ocean (N°1, 2, 3) Photographie, tirage sur le papier dos bleu, 120x160cm x 3
FR.
Les photos ont été prises devant la porte de la Cour nationale du droit d'asile le jour après la promulgation de la nouvelle loi sur l'immigration. Ici, tout liquide est considéré comme dangereux et doit être laissé à l'entrée pour des raisons de sécurité.
Plusieurs décrets d’application de la loi « Immigration » ont été publiés au Journal officiel les 14 et 16 juillet 2024. Ils concernent notamment le délai d’édiction d’une obligation de quitter le territoire français (OQTF) pour les demandeurs d’asile, le contrat d'engagement au respect des principes de la République que doivent désormais signer les étrangers souhaitant un titre de séjour, ou encore les modalités de l’assignation à résidence pour les demandeurs d’asile.
Depuis le 17 juillet 2024 lorsqu’il a été définitivement décidé (notamment par l’Office français de protection des réfugiés et apatrides ou la Cour nationale du droit d'asile) qu’un demandeur d'asile ne pouvait pas rester sur le territoire français, après en avoir été informé un préfet doit édicter sous 15 jours une obligation de quitter le territoire français à son égard.
EN.
The photos were taken in front of the door of the National Court of Asylum the day after the new immigration law was enacted. Here all liquids are considered dangerous and must be left at the door for security reasons.
Several decrees implementing the Immigration Law have been issued in the Official Journal on 14 and 16 July 2024. These include the time limit for issuing an obligation to leave France (OQTF) for asylum seekers, the contract of commitment to respect the principles of the Republic that must now be signed by foreigners wishing to have a residence permit, and the procedures for placing asylum seekers under house arrest.
Since 17 July 2024 when it was definitively decided (in particular by the French Office for the Protection of Refugees and Stateless Persons or the National Court of Asylum) that an asylum seeker could not remain on French territory, after having been informed of this, a prefect must issue within 15 days a obligation to leave french territory to him.
For my grandmother, to travel was to drink foreign water. Different places, different water. There was no need to be afraid of foreign landscapes, but foreign water could be dangerous. In her village lived a girl whose mother was suffering from an incurable illness. Day by day her strength waned, and her brothers were secretly planning her funeral. One day as the girl sat alone in the garden beneath the tree, a white serpent appeared and said to her: “Take your mother to see the Fire Bird. When she has touched its flaming feathers, she will be well again.” “Where does the Fire Bird live?” asked the girl. “Just keep going west. Behind three tall mountains lies a bright shining city, and at its center, atop a high tower, sits the Fire Bird.” “How can we ever reach this city if it is so far off? They say the mountains are inhabited by monsters.” The serpent replied: “You needn’t be afraid of them. When you see them, just remember that you, too, like all other human beings, were once a monster in one of your previous lives. Neither hate them nor do battle with them just continue on your way. There is only one thing you must remember: when you are in the city where the Fire Bird lives, you must not drink a single drop of water.” The girl thanked him, went to her mother and told her everything she had learned. The next day the two of them set off. On every mountain they met a monster that spewed green, yellow and blue fire and tried to burn them up; but as soon as the girl reminded herself that she, too, had once been just like them, the monsters sank into the ground. For ninety- nine days they wandered through the forest, and finally they reached the city, which shone brightly with a strange light. In the burning heat, they saw a tower in the middle of this city, and atop it sat the Fire Bird. In her joy, the girl forgot the serpent’s warning and drank water from the pond. Instantly the girl became ninety-nine years old and her mother vanished in the flaming air.
When I was a little girl, I never believed there was such a thing as foreign water, for I had always thought of the globe as a sphere of water with all sorts of small and large islands swimming on it. Water had to be the same everywhere. Sometimes in sleep I heard the murmur of the water that flowed beneath the main island of Japan. The border surrounding the island was also made of water that ceaselessly beat against the shore in waves. How can one say where the place of foreign water begins when the border itself is water?
Where Europe Begins Yoko Tawada
Yue Yuan (°1989, CN)
vit et travaille entre Bruxelles et Paris.
Au cours des dix dernières années, Yue Yuan a tenté de trouver une nouvelle façon de travailler en tant qu'artiste, curateur et bibliothécaire. La base de son travail est une pratique quotidienne d'écriture de partitions, qui sont ensuite activées sous forme de performances, d'événements ou d'installations spécifiques. Ses réflexions se concentrent sur les conditions de production et les formes d'exposition en tant que moyen de critique institutionnelle.Il est diplômé du HISK (Hoger Instituut voor Schone Kunsten) en 2023 et de l'École nationale supérieure des beaux-arts de Paris (DNSAP) en 2019.
Son travail a été exposé récemment : Musée Roger Raveel, Machelen (BE), Le Botanique, Bruxelles (BE), Palais de Tokyo, Paris (FR), Image/imatge centre d'art, Orthez (FR), Super Dakota, Bruxelles (BE), Galerie Jocelyn Wolff, Paris (FR), La Compagnie, Marseille (FR) Confort Mental, Paris (FR), Chengdu Biennale 2021, Chine (CN) Blanco, Gand (BE), SETU Festival, Elliant (FR), Biennale de Bregenz 2022 (AT)
Lives and works between Brussels and Paris.
Over the past ten years, Yue Yuan has been trying to find a new way to work as an artist, curator, and librarian. The basis of his work is a daily practice of writing scores, which are later activated as performances, events or site-specific installations. His reflections focus on the conditions of production and the forms of exhibitions as a means of institutional critique.
He graduated at HISK(Hoger Instituut voor Schone Kunsten) in 2023 and at the Ecole nationale supérieure des beaux-arts de Paris (DNSAP) in 2019.
His work has been shown recently: Roger Raveel Museum, Machelen (BE), Le Botanique,Brussels (BE), Palais de Tokyo, Paris (FR), Image/imatge centre d’art, Orthez (FR), Super Dakota,Brussels (BE), Galerie Jocelyn Wolff, Paris (FR), La Compagnie, Marseille (FR) Confort Mental, Paris (FR) Chengdu Biennale 2021, Chine (CN) Blanco, Ghent (BE) SETU Festival, Elliant (FR) Bregenz Biennale 2022 (AT)
Entre Deux Portes 64 rue de Namur 1000 Bruxelles
Entre deux Portes reçoit le soutien du prix BRUOCSELLA de Prométhéa.
