Le temps des choses | Marie-Hélène Pigis | TEDxEMLYON

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swell and objects that take you from

your time and there are some who can

you give it there are objects that

despite all their promises you steals

literally hours of your

day because you’re constantly

have to think about reloading them

backups and update them

even put them to repair they we

constantly solicit

and the worst is that we respond to their

solicitations and that our hours go by

and there are objects that could

that we do not pay attention

but who could give you time

I would like to take you a moment

around this question and you

propose a different way

to consider the objects with which

you live and maybe to see the

things ie in the proper sense see

things

so this idea she came into my

life a few years ago when I

visited an exhibition called

slow art and that had a dozen

dozens of objects that had

all for common point the time that

their creators and their designers

had spent doing this object a while

often very long even most of the

abnormally long times and who

gave this fascinating side in their

results

there were for example embroidery there

there was this dress in shards of glass

all hung with fasteners one

with the others

this eggshell necklaces and among

the objects of this exhibition i

met since we can talk about

meet this painting of an artist

swedish that’s called malines lager this

painting when I saw him

immediately seduced by his side

mysterious by his his his side

fascinating this shadow like that was wearing

on the floor and when against when

I got closer

here is what I discovered from the painting

actually under the surface or maybe

above there was all this texture

incredible this matter to my only and

which actually made me realize that this

table was not one this table is

a tapestry and obviously when I

saw them when I realized the nature

of the material

it plunged me into an abyss of reflection

why and how

first of all why did this artist have it

chose a technique as time-consuming

and how was it taken then I

imagined with his needle in train

here and there to crisscross all his little ones

son of different colors

so in reality malines did not cut to the

hand she broke her machine to

sew to make his needle moving

and so she uses her needle like

a brush and finally the threads like

colors to create this illusion

extraordinary shade on the floor

as we saw earlier

it is from that moment that I am

am I started to ask myself

question of time in objects then

no time for objects to know if a

object and precious old but time

filed by the one who designed and manufactured

the object and to what extent the time

that they had been deposited could be

perceived by whoever is watching is used

the object today

so some of the craftsmen artists

but also in the industrial environment

produce objects that can be

really qualify this lot it’s up to

say with a very strong investment

temporal then in 2012 in France

some even started the movement

slow made that aims to bring together

all those who find themselves behind

this formula of fact with all the time

needed done with all the time

necessary it does not necessarily mean

especially slowly but in

giving all the means including the

time to reach the goal we

had fixed then we see that there

touch to something that is more than

the order of luxury today in any case

which is really more part of our

daily

for me these slow objects are very

good examples to try to analyze in

this is the time breaks and that would be

somehow encapsulated in them then

there the table and the chair that you have

under your eyes are for me good

examples

they were produced by the furniture

national in paris that beyond furnishing

the official palaces also produces

a whole lot of objects from the carpets of

tapestries of furniture in a frame

temporally extraordinary

since some craftsmen some

technicians sound and most actually

have to work on a product

several years the temporal unit for

a carpet or a tapestry is rather

the year that the ego actually

is it so it’s really

archetypes of slot objects and this table

and this chair are the result of a

quite a long process of research and

development somehow that has

resulted in the choice of the material which is in

does carbon fiber and why

this matter she was chosen because

that it was ultimately the one that

allowed is the only one somewhere that

allowed to achieve the result that

the designer dreamed of knowing an office

extremely long but which should remain

stable and with this kind of vortex at

middle one sees is that these hollow and in

did they result in choosing the fiber

of carbon that required

for technicians to train at these

composite materials to which he was

not necessarily formed initially for

result in the result that we see

today under the eyes then

finally that tells us that we

that we learn these objects and that

do they contain for me at a time so

they contain they contain everything

of which they are depositories a

know-how an intention a project a

perseverance and if they contain everything

this then we can go and draw on them

are extremely fertile containers

we can feel admiration for

know-how

we can wonder about a constraint

technical overcome one can feel from

the gratitude of admiration for the

whoever realized the object we

uses today but they are not

only passive containers they

are also kinds of generator for

me it actually triggers ways of

think and postures and turns

different minds

they allow us to feel

doubts of the questions in particular by

report to our report to the

productivity and those to louisa there is

that’s why we want

always be arrived before leaving

so of course we can also recipe

finally feel uncomfortable

facing objects including objects

who are very technically invested

so typically the marquetry does

part of these techniques that are very

time consuming and for

which one visualizes the person well

spending an infinite time at

assemble small pieces and that’s

true that in the face of this type of object one can

to say to each other but damn it why did he or

did she spend so much time on a

only one piece there are some by one kind

of vanity and maybe a limit a

nausea so here I gave the example of

marie-antoinette cylinder desk

but I think we could feel

this state of mind in front of an object that

would not even

real but perhaps virtual but which one

could feel the matter for example

an extremely animated animated film

a comic board or a video game or

something like that and it’s true that

in front of this kind of objects sometimes I

was saying that somewhere he was doing too much

of noise and there are other objects that

are quieter which reveals – which

is German their wealth to the first

first but who speaks empty that he creates

offers us ranges of freedom that

are extremely powerful

this bowl has been repaired according to the technique

Sugi kin is a technique

15th century Japanese that could be

translate by gold joins in this case

when an object is broken we choose no

not to throw it

as in many in our society

but to fix it without

hide the repair but on the contrary

somewhere sublimating it with this

technique does not make glue

but lakes and gold powder and in

this case especially in the case of a bowl

obviously the object becomes functional again

he literally goes back for a

second life or its owner values

both its history and its aesthetics

and somewhere we could say

eventually it may not be the

overflow overflow of material from

time investment know-how

which is the true wealth of these objects

but perhaps precisely the emptiness

this space of freedom

this personal projection space

who is the true the true encounter and

precisely this meeting maybe that

the real meeting

it is not done in the object or even

in myself but in this gap is this

antrum at the time of the meeting

and somewhere it may be

exactly when I am

crossed by the experience that this has of

the value then for me this this

experience this ideal has changed my life

because she made me sign up

in a new curriculum

academics and try to do

bring all this into my life what is

a challenge but she herself makes me

it takes me some time somewhere in

reading while working meet but

she made me discover beaches of

reflection that I would not have imagined

because these objects tell us a lot

things and encourages us to tell

finally project our own narrative

of the world and in our relationship to time

and to the world for maybe living it a

a little more slowly a little more

poetically is a little less

prosaically then the idea is not to

only surround yourself with handicrafts

of art as we could see from route of

reject all manufactured objects or

even every single object but

maybe to leave their chances of

make room for this type of object

because precisely they tell us

allow to make room in

our daily

so in our mind to do

emerge these spaces of creativity from

much needed dream and stories

and that’s what I wanted you

proposed was to attempt this

experience of giving their chance to these

objects that I call this lot to open

finally breathing spaces

which have become extremely necessary

necessary and useful in our

daily it’s in our in our

life today

so that’s in your hands

today and

you just have to do it

experience thank you

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