FIRST TIME
exposition inaugurale, 11 avril 2018
Naiwei Tian
Sleepwalk, 2018
External sound piece 5’, loop
How do we perceive our body ? And how do we perceive the environment that surrounds our body. This work is about discussing the ambiguity of placing both in a dialogue.
It is entirely with the body, and could be a possible opportunity for an internal gaze, to amplify the body’s micro-sounds in order to perceive the space again, through experience and memories, while trying to extend the boundaries of the sound.
Gérémy Lelièvre
Suncheon’s Matter, 2018
Sound movie, 6’.
Transfers and chemical interventions on 16mm found films. The film is moved to a digital format for practical and economic reasons. I have transferred some satellite imagery of Suncheon on 16mm film with the use of solvent. The celluloid matter and the printed pictures become the landscape. Suncheon’s streets and roofs reveal geometric patterns on the film that become abstract pictures during the high speed projection.
I chose some objective views and brought them to a more subjective abstraction that reveal the matter of the picture.
Lou Chenivesse
Untitled, 2017
Digital photography, 56 X 37 cm
In this work I question the fragility of aging persons.
A fragility of the body, but also of a presence, a memory, an origin which disappears. Living ghosts that are not totally transparent, but already fade away. A presence which becomes floating.
Mykola Mudryk
Garden of Eternity (in progress), 2018
Oil on canvas, 47x 672 cm
Born in 1987, I am an artist-painter of ukrainian origin currently living in France.
My work has sensitive and intuitive roots. As a counteraction I’m trying to rationalize it, by creating concepts, protocols and rituels around it. For example when the process of painting becomes a ritual by painting the same chair every day until exhaustion or when one day I paint my left hand with my right hand and vice versa on the following day. This helps to change my habits and the way I paint.
Throughout my work I interrogate questions of limits and contradictions, between happiness and frustration, between dematerialization and figuration, between isolation and reconciliation, between intuition and rationalism, between lyricism and tragic, between evidence and ambivalence, between plastic credibility and unreal colors, between melancholy and irony, between what is spontaneous and what is planned... If that limit and contradiction exists, where does it start and how far does it go?
Joseph Tinsley
Emanation Body, 2018
Video, 5’15’’
This video is based on a speculative idea of a globalised religion. I have textured and animated a 3D scan of a sculpture of Simhavaktra, a buddhist deity part of the dakinis which are energetic beings in female form, evocative of the movement of energy in space.
This 3D scanned god is thought of as the common link in this generalized religion it is like what the Tibetan monks call Tulpa or emanation body. A hallucinated deity brought on from months of meditation and autosuggestion.
This dancing hallucination sequence is mixed with processed and textured found footage of groups of people in religious trance as well as the Illustris simulation; the most recent and most accurate simulation of the creation of the universe and cellular automata; simple algorithms that can mimic data propagation as well as natural growth. These images are put together to imply a growing network of globalized trance.
I use different techniques to convert the found internet videos into objects, by adding layers of glitches and texturing they become harder to understand and more abstract, reflecting an ambiguous state between reality and hallucination.
Zhixing Liu
Horizon, 2018
Drawing on paper, 500 x 50 cm
The bright moon shines over the sea, 2018, half-transparent plastic film and orange plastic thread, 600 x 60 cm
In this installation I have chosen a translucent film, that flows and disappears into the space like a water wave, with bright, orange lines above it, like «moonlight» sprinkled on the “water”. I was inspired by a poem from the Tang Dynasty in China, “As the bright moon shines over the sea, from far away you share this moment with me.» Perhaps the end of the narrative is the beginning of poetry.
In my creation I like to poetically combine all kinds of unrelated materials, giving them new possibilities. This combination is a re-examination and re-imagination of the function of everyday objects.
Pierre-Alexis Colodiet
Duplicity, 2018
Engraving copper
I have loaded these three copper plates with negative energy. I have followed this process : for four days, I have recited some sorts of mantra evoking dark thoughts. I focussed on negative feelings while I was holding the copper plates in my hands hoping copper to be a conductive material so that the negative energies could be transferred into the engravings.
I also have a personal approach to the numbers which are engraved in these plates. The signs correspond to symbols either emphasizing or stabilizing the figures. I have a relationship to the numbers even today. The plates I exhibit are going to be regularly loaded.
My work mainly deals with the themes of superstitions, the supernatural, beliefs and psychological disorders engendered by the phenomenon quoted above. My entire work is based on my inner feelings. I experiment my limits and my work is thus enriched with my inner self. What I am interested in is the tension between the real and the unreal,the irrational,the fiction, the unknown. I find these topics fascinating even more because I don’t think I will get any answers.I definitely use my superstitions as a material in my work.
I do like this phrase about superstitions and creation « Be the victim of your imagination ».
Cloé Brochard
Tourist Sight, 2018
Cutting / folding, 6 postcards of castles or fortresses
15.7 x 10.5 cm
Observation tools (horizontal) construct, sculpt and modulate our gaze according to specific needs. The tool causes a reorganization, which opens a new field as much as it closes, or locks the eye.
A triangle, round or square loophole for arquebusiers and slot- shaped for archers.
I ask myself the question of the point of view. The loophole is shaped like a funnel on one side it opens up a field of vision and the other closes it for the sake of protection, all working in a fair balance opening / closing.
When the castle became ruined, these vestige remains only through a tourist activity. How to reinvent the point of view of a murderer when it has become obsolete?
Rethinking this landscape in relation to a point of view now abandoned is contemplating the obsolescence of this once strategic point of view and asking oneself the questions «how do we observe now» «who is observed now» « Where do we see now?»
Paul Gibert
After Alexander the Great, 2018
Oil painting on canvas, 46 x 33 cm, 4 pieces
This serie of paintings presenst 4 landscapes of the actual location of 4 battles of the Eastern conquests of Alexander the Great in -334 bc (Granicus, Gaugamelès, Hydaspe, Tyre). Using strategic battle maps and the Google Street View tool I found the exact spots where Alexander’s army was, and I chose to paint the views they were facing.
So, I tried to bring a contemporary point of view over historical battles to question memories of these landscapes.
Matthieu Blake
A Landscape, 2017
Mural poem.
This short text is a poem that I wrote about the different ways to consider and contemplate the landscapes.I created it after to have seen Spring, Summer, Winter, Fall, Winter and Spring (2003) a movie directed by Kim Ki-duk.
Nevertheless, the poem can be appreciated independantly on his own way, nominating the landscape in plural types. These two verses intend to be presented on a wall, registered in painted korean letters. In this way, spread on the mural surface, in nuances of green, the words will be able to evoke a new visual landscape, from a «
hand choreography »
Naiwei Tian
Sleepwalk II, 2018
Video, logbook, 5‘
Walking at the same time, indefinitely, aimlessly, fragmented and anything difficult to determine.