4 One from the heart _ Elisa Rigoulet pour exo
Juliette Bonneviot
Antoine Carbonne
Daniel Keller
Armand Morin
Clément Roche
opening 21.03.14
exhibition march 21st - march 28th / open everyday 14-19h
Paris20 10 ter rue Bisson 75020 Paris paris20.org
Juliette Bonneviot, Nike/Rodchenko Construction n°126, 2012Oil on canvas, bolts, 114 x 100 cm
Antoine Carbonne, Salle des profs, 2014
Oil on canvas, 120 x 180 cm
Porte fenêtre à Chateauroux, 2013
oil on wood, 120 x 80 cm
Daniel Keller, Fubu Career CAPTCHA (Liquite Willusions), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Fubu Career CAPTCHA (Afterrace Robody), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Fubu Career CAPTCHA (Populargues Collecture), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Armand Morin, The day of the locust, 2014
Mixed media, variable dimensions
Clément Roche, Vivarium1 #4, 7, 8, 2009-2014
Silica, pigments, marble powder, MDF, velvet, synthetical trees, 114 x 81 x 31 cm
Echantillons pigmentés Si, 2013
Silica, pigments, glue, variable dimensions
Antoine Carbonne, Salle des profs, 2014Oil on canvas, 120 x 180 cm
Antoine Carbonne, Porte fenêtre à Chateauroux, 2013
oil on wood, 120 x 80 cm
Juliette Bonneviot, Nike/Rodchenko Construction n°126, 2012Oil on canvas, bolts, 114 x 100 cm
Daniel Keller, Fubu Career CAPTCHA (Computernity Edents), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Fubu Career CAPTCHA (Progready Poliart), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Armand Morin, The day of the locust, 2014
Mixed media, variable dimensions
Clément Roche, Vivarium1 #4, 7, 8, 2009-2014
Silica, pigments, marble powder, MDF, velvet, synthetical trees, 114 x 81 x 31 cm
Echantillons pigmentés Si, 2013
Silica, pigments, glue, variable dimensions
Armand Morin, The day of the locust, 2014
Mixed media, variable dimensions
Juliette Bonneviot, Nike/Rodchenko Construction n°126, 2012
Oil on canvas, bolts, 114 x 100 cm
Antoine Carbonne, Salle des profs, 2014
Oil on canvas, 120 x 180 cm
Porte fenêtre à Chateauroux, 2013
oil on wood, 120 x 80 cm
Daniel Keller, Fubu Career CAPTCHA (Liquite Willusions), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Fubu Career CAPTCHA (Afterrace Robody), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Fubu Career CAPTCHA (Populargues Collecture), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Clément Roche, Vivarium1 #4, 7, 8, 2009-2014
Silica, pigments, marble powder, MDF, velvet, synthetical trees, 114 x 81 x 31 cm
Juliette Bonneviot, Nike/Rodchenko Construction n°126, 2012
Oil on canvas, bolts, 114 x 100 cm
Juliette Bonneviot, Nike/Rodchenko Construction n°126, 2012
Oil on canvas, bolts, 114 x 100 cm
Daniel Keller, Fubu Career CAPTCHA (Computernity Edents), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Fubu Career CAPTCHA (Progready Poliart), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Armand Morin, The day of the locust, 2014
Mixed media, variable dimensions
Clément Roche, Vivarium1 #4, 7, 8, 2009-2014
Silica, pigments, marble powder, MDF, velvet, synthetical trees, 114 x 81 x 31 cm
Echantillons pigmentés Si, 2013
Silica, pigments, glue, variable dimensions
Clément Roche, Vivarium1 #4, 7, 8, 2009-2014
Silica, pigments, marble powder, MDF, velvet, synthetical trees, 114 x 81 x 31 cm
Juliette Bonneviot, Nike/Rodchenko Construction n°126, 2012
Oil on canvas, bolts, 114 x 100 cm
Daniel Keller, Fubu Career CAPTCHA (Liquite Willusions), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Fubu Career CAPTCHA (Afterrace Robody), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Fubu Career CAPTCHA (Populargues Collecture), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Clément Roche, Echantillons pigmentés Si, 2013
Silica, pigments, glue, variable dimensions
Clément Roche, Echantillons pigmentés Si, 2013
Silica, pigments, glue, variable dimensions
Juliette Bonneviot, Nike/Rodchenko Construction n°126, 2012
Oil on canvas, bolts, 114 x 100 cm
Antoine Carbonne, Salle des profs, 2014
Oil on canvas, 120 x 180 cm
Daniel Keller, Fubu Career CAPTCHA (Liquite Willusions), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Fubu Career CAPTCHA (Afterrace Robody), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Fubu Career CAPTCHA (Populargues Collecture), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Daniel Keller, Fubu Career CAPTCHA (Liquite Willusions), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Daniel Keller,
Fubu Career CAPTCHA (Afterrace Robody), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Daniel Keller,
Fubu Career CAPTCHA (Populargues Collecture), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Daniel Keller, Fubu Career CAPTCHA (Computernity Edents), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Fubu Career CAPTCHA (Progready Poliart), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Armand Morin, The day of the locust, 2014
Mixed media, variable dimensions
Daniel Keller,
Fubu Career CAPTCHA (Computernity Edents), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Daniel Keller,
Fubu Career CAPTCHA (Progready Poliart), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Antoine Carbonne, Diner, 2013
Gouache on paper on canvas, 20 x 25,5 cm
Antoine Carbonne, Diner, 2013
Gouache on paper on canvas, 20 x 25,5 cm
Juliette Bonneviot, Nike/Rodchenko Construction n°126, 2012
Oil on canvas, bolts, 114 x 100 cm
Antoine Carbonne, Salle des profs, 2014
Oil on canvas, 120 x 180 cm
Porte fenêtre à Chateauroux, 2013
oil on wood, 120 x 80 cm
Daniel Keller, Fubu Career CAPTCHA (Liquite Willusions), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Fubu Career CAPTCHA (Afterrace Robody), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Fubu Career CAPTCHA (Populargues Collecture), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Clément Roche, Vivarium1 #4, 7, 8, 2009-2014
Silica, pigments, marble powder, MDF, velvet, synthetical trees, 114 x 81 x 31 cm
Echantillons pigmentés Si, 2013
Silica, pigments, glue, variable dimensions
Daniel Keller, Fubu Career CAPTCHA (Computernity Edents), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Fubu Career CAPTCHA (Progready Poliart), 2013
Multicolor 3d print, 38 x 25 x 1 cm
Armand Morin, The day of the locust, 2014
Mixed media, variable dimensions
Clément Roche, Vivarium1 #4, 7, 8, 2009-2014
Silica, pigments, marble powder, MDF, velvet, synthetical trees, 114 x 81 x 31 cm
Echantillons pigmentés Si, 2013
Silica, pigments, glue, variable dimensions
exo, Éditions, 2013-2014
laser print, 19 x 23 cm each
en. Directed by Francis Ford Coppola in 1982, One from the Heart tells the story of Hank and Frannie, both worn out by their life as a couple. Entirely filmed in a studio and revealing visionary outdoor reconstitutions, the chromo-lit movie is a true apology of deceptive mechanisms. Rather than resorting to his power of illusion, the author considers simulacrum as a substitute force, a kind of meta-presence of the world.
So what brings together the outline of a Nike logo, artificial landscapes that feed off neon light, a city – amusement park whose scales and lights are illusionary, rewritten “captchas” printed in 3D, and painted images, the fruit of rearranged saturated signs?
Imitating reality is like diluting its exemplary nature in an invisible machinery aiming to multiply its forms of hyper representation. After being digested in a sort of giant kaleidoscope, it bursts into different pieces of the same game, that then collapse into each other and trigger a stutter, like a compulsive repetition.
The present hyper realities have transformed certain representations or logotypes into their artificial substitutes. They are foreign reincarnations of visual topos, revealing their appearance mechanism even if this means including it to the device, so as to generate an exposed interplay of illusions.
The simulacrum’s all-powerful economy ambiguously manipulates any reference to the authentic. It remains a hyper version, an augmented reality allowing the cohabitation of two models, the result of a reality and its quasi-virtualized version.
fr. En 1982, Francis Ford Coppola réalise One from the Heart, l'histoire d'amour de Hank et Frannie, un peu usés l'un et l'autre par leur vie de couple. Entièrement tourné en studio, le film aux éclairages chromo et aux reconstitutions extérieures visionnaires, est une véritable apologie de la machinerie du faux. Loin de jouer de son pouvoir d'illusion, l'auteur considère au contraire le simulacre comme puissance de substitut, une forme de méta-présence au monde.
Qu'est-ce qui rapproche la silhouette d'un sigle Nike, des paysages artificiels alimentés à la lumière d'un néon, une cité - parc d'attraction au jeux d'échelles et de lumières illusionnistes, des "captcha" réécrits et imprimés en 3D et des images peintes, ré-agencements de signes saturés?
Pasticher le réel revient à diluer son pouvoir d'exemplarité dans les rouages d'une machinerie invisible visant à multiplier ses formes d'hyper-représentations. Digéré dans une sorte de kaléidoscope géant, il se trouve éclaté en plusieurs pièces d'un même jeu qui, se téléscopant les unes les autres, entraînent une sorte de bégaiement, de répétition compulsive.
Les hyper-réalités mises en présence ici ont fait muer certaines représentations ou logotypes vers leurs substituts artificiels. Réincarnations étrangères de topos visuels, elles mettent à jour leur mécanique d'apparition quitte à l'inclure au dispositif pour en faire un jeu d'illusion "à découvert".
Cette économie toute-puissante du simulacre manipule avec ambivalence toute référence à l'authentique. Elle en demeure une hyper-version, une réalité augmentée rendant possible la co-habitation de deux modèles, le résultat d'un réel et sa version quasi-virtualisée.
Exo is Elisa Rigoulet & Antoine Donzeaud
Exo would like to thank New Galerie.