In Chaos Theory (1987), James Gleick reminds us that the development of a scientific theory is often based on the repetition of experiments and the recurrence of an event. An isolated event is thus considered an error. However, in the research process, serendipity, chance discovery, accident and the acceptance of this hazard open up new paths that were beyond our predictions. We move from the known to the unknown.

 

The artists in Éprouver l'inconnu sometimes come from scientific backgrounds, while others have collaborated with scientists or are simply passionate about one of these fields. They all share a common interest in experimenting with the unknown by hijacking scientific forms and processes. Mary Maggic's biohacking approach hacks into biology, proposing ways of extracting estrogen from our urine, Do It Yourself style, to emancipate ourselves from institutions. Candice Lin questions the hegemony of Western scientism, contextualizing knowledge and materials within the history of domination, via the process of fermenting tea into kombucha.

Works produced specifically for the exhibition build bridges between disciplines. For example, a new installation by Roy Köhnke offers a sensual approach to evolution and trans-species relations. Morgan Courtois designs a series of sculptures smeared with olfactory liquids, like portraits and sensory memories of his loved ones, hijacking the processes of the pharmaceutical and perfume industries. Joey Holder takes a speculative approach to zoology, imagining an immersive multi-screen installation with artificial intelligence, playing with our desires for control and our fears.
For this exhibition, MO.CO. wanted to welcome different generations of artists, from the figure of Bernard Palissy (16th century) to the young international scene (born in the 1990s), via some emblematic figures of contemporary art such as Nam June Paik, Tetsumi Kudo, Kiki Smith or Alina Szapocznikow. Some artists less identified with contemporary art during their lifetime have also joined the exhibition, such as Anna Zemánková, HR Giger, Victorien Sardou and Emma Kunz.

Last but not least, the collections of the University of Montpellier underline the power of the crossroads of knowledge and forms, and the importance of historical markers (discoveries, concepts, objects), which are themselves sometimes doomed to a form of obsolescence.