Bertrand Lavier

The series of objects placed on top of one another, to which Miele/Fichet-Bauche (1984) belongs, is the result of the artist’s method of finding objects that are ​“radically similar” and then pairing them. Many of Lavier’s (*1949 Châtillon-sur-Seine, lives in Paris and Aignay-le-Duc) works refer to the conceptual idea that underpins the ready-made — taking everyday objects out of their usual context and presenting them in exhibition settings as artistic works. Removed from their original contexts, these objects gain a new meaningfulness, but Lavier does not prescribe how they should be interpreted. For Miele/Fichet-Bauche (1984) this leads to the question whether the artist is interested only in the similarity of the two objects — a safe and an icebox, or whether any form of critique of social phenomena is intended. This work could thus be seen as a comment either on a culture of surplus or on the loss of resources. By using objects that are part of our daily routines, the artist makes these themes tangible, revealing immanent issues such as the scarcity of resources as part of our individual actions.