Neo-logos

Neo-Logos, 2018
Set of four neons in CMYK colours
C: 100 × 636.686 cm / M: 100 × 1198.21 cm / Y: 100 × 909.196 cm / K: 100 × 1184.969 cm

ELITOPIA, GLAMOGLOBALITY, NARCYNICISM and INTROSPECULATION:

Four neon texts declaim a set of neologisms. These words are shaped in Helvetica, a Swiss typeface developed in the late 1950’s. It was designed to be neutral and have great clarity, to carry no intrinsic meaning in its form, and to be used on a wide variety of signage. This set of qualities made it a great success and it is now one of the most used fonts in the world. 

Lit in Cyan, Magenta, Yellow and Black, this neon series by Annaïk Lou Pitteloud entitled Neo-Logos (2017) appropriates the colour spectrum known as CMYK, a colorimetric system used for printing and, as such, relate to the idea of mass distribution. Colours have also always been associated with symbolic meanings: blue suits the aristocracy, red is linked to honour as well as to danger, while yellow speaks of infamy or treachery, and black refers to renouncement and death. 

In this new vocabulary, the elite become a utopia: an elitopia. The -topos, a location, paradisiacal and unknown on the one hand, but on the other a rhetorical arsenal for the speaker in need of adhesion to establish the happy-few as argument for a ‘raison d’être’. In the word glamoglobality, the jet set becomes an attitude that projects class tourism as a world vision. In narcynicism, the egotistical self employs cynicism as a philosophy to legitimate the individual benefit above any type of solidarity. And finally, in introspeculation this self becomes an asset to speculate on, introspection as a potential of profiling and profit. 

These terms may not yet have entered the dictionary, but they nevertheless describe the ambiance of an epoch with great accuracy. They define an atmosphere not only specific to the art world but also to the broader contexts of politics and economy. 

Moreover, they address the speculations of the artist as a producer and the expectations of the viewer as a co-producer of the artwork, when every action or production is analysed in term of marketing. One could even say that the words can be seen as being symptomatic of the globalised twenty- first‘century of the self’. 

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