PENETRATION [fr. pénétration]
Penetration is a Gesture & Method.
Penetration is a Act & Format.
Penetration is a gesture and method to energize the flea market of art.
Penetration is a necessary act and format for the liberty of art.
The penetration follows some rules.
Sometimes the rules are the same as in Emergency Room.
It is not hijacking.
Nor is it an anarchistic act.
It is a civic act.
With gentleman manners.
Due to its failure to be Permanent,
and its failure to be Everywhere,
Emergency Room is often Out of Space.
It is in this Out-of-Space, space penetration takes place.
Artists from Emergency Room have to stay boiling and burning.
Artists from Emergency Room cannot be kept out of exhibition platforms.
Artists from Emergency Room has a lot of dysfunctions to exhibit.
They need space to express.
And they need to express very fast.
They need to express before it is too late.
The burning artists need space for their burning art works.
It is in this burning state penetration takes place.
And penetration is a fantastic solution.
Penetration does not only creates relations between the public,
but gives to the public important interpretations about the world of
Penetration is not only a energetic act.
Penetration is also the name of the space where it happens.
You can say:
”Here is the penetration!”
”Here is the invitation!”
Penetration is a welcoming act.
This is why the penetration is beautiful.
Penetration is a relief for the burning artist
in a period of
It is very important for artists to circulate in exhibition spaces,
just like the underwater currents flow in the sea.
It is essential for artists to express themselves directly
in the place
they want to be in.
Without the artists having to lower their heads.
But carrying on their works with dignity and pride.
Not like a rat in a sewer.
Not like a cow in the stable.
It is very important for artists
to be in their context,
to have access to it
and to demand it.
Show rooms should not be sterile and rigid.
Show rooms should be flexible.
Artists must throw passes to each other – like rugby players –
An artist, who has given birth to a work,
should not have to wait to expose it to the public.
The work must start living without delay,
and provoke immediate effects.
The work must live.
The work must exist.
and new rituals must be conceived.
Whatever obstructs the artist’s expression must be moved away
Penetration does not necessarily have to encounter a real collision
in order to be successful.
Smooth and loving penetrations are better than painful ones.
The penetration is a generous act.
The penetration is a mutual act.
The penetration expresses artistic solidarity.
The penetration implies a receiver and a donor.
Penetration is a soft transmission of space.
A friendly gesture,
a loving gymnastic,
an effect of proximity.
There are different types of penetrations.
We will list some:
The smooth one.
The censured one.
The changing one.
The turning one.
The touring one.
The evolutive one.
The sad one.
The impossible one.
The refused one.
The painful one.
The jouissive one.
The repeated one.
The insistent one.
The hilarious one.
The dry one.
Can you imagine if penetration was everywhere?
If artists would pass each other space, whenever they had the need to
express something important?
Art would be a thermometer!
Now penetration is a brand.
It is perfectly possible to say:
”I gave my space to Penetration”
Like it is perfectly possible to say:
”I have exhibited at MOMA”.
It is good for an artist to have been penetrated.
Artists start to ask for penetration.
Penetrated artists write it in their curriculum.
It is a sign of generosity to have a status of being
Some artists start to say
”Why did you penetrate him, but not me?”
Penetrations are the future of art.
Penetrations can only be done in a state of freedom.
Penetrations are like free circulation of ideas.
Let us tell a story about the penetration at the Athens Biennial 2007:
“In my opinion, the penetration on September 8th was a huge success. It
was simply beautiful. The penetration was dignified, indispensable,
respectable, natural, authentic, and most of all true. It retired after
24 hours. It almost certainly played with the poetry and not the
vulgarity. It’s as if it did a low bow at the Biennial, an unexpected
generous offering, like a bouquet of flowers. And to clarify myself,
there were many artists who participated. Our meeting point was at the
exit of Kerameikos metro station. Everyone arrived on time, as if they
were attending a baptism. The atmosphere was serious and serene, and
something special was uniting us: group energy. We were not the
individualistic 21st century artists – of a century where individualism
reaches its zenith – but a community. The artists brought in their
works just like someone brings pastries and sweets to a party. All the
components of a sacred ritual were there. The artists dressed up for a
special occasion. They shone of honesty, passion and beauty. The
was more than successful, it was magical. It was the act of an unified
group and not that of a selfish onanist. It was a wave that brought in
its own rich lot of beautiful seashells.
Friends, such as Enrico Lungi came from abroad. There were no
or feelings of resentment, only respect. All the works were necessary.
It was so beautiful and so simple that I almost wept. It was such a
generous act, so communal- they dedicated time and effort, and made
their works with love. The pieces were still fresh and hot. Unsifted,
and unrecycled by ideas, untouched by the art retailing system. Setting
up the work went quickly and smoothly. Their every move was determined
and accurate. They were considerate of their neighbours space –
everyone seemed to discern their spatial area even though it was their
first time there. Magic was in the air. An instinctual sensitivity,
a mother has for her son. Natural simplicity. Yes! The penetration went
really really well. Life is worth living!”
by Thierry Geoffroy /
Colonel ( link to