One from the heart
Juliette Bonneviot, Antoine Carbonne, Daniel Keller, Armand Morin, Clément Roche
curated by Elisa Rigoulet
Exo Exo, Paris
March 21 - March 28, 2014
press release
One from the heart, 2014
Exhibition view, Exo Exo, Paris
Antoine Carbonne,
Salle des profs, 2014
Oil on canvas
Antoine Carbonne,
Porte fenêtre à Chateauroux, 2013
Oil on wood
One from the heart, 2014
Exhibition view, Exo Exo, Paris
Armand Morin,
The day of the locust, 2014
Mixed media
Armand Morin,
The day of the locust, 2014
Mixed media
One from the heart, 2014
Exhibition view, Exo Exo, Paris
Juliette Bonneviot,
Nike/Rodchenko Construction n°126, 2012
Oil on canvas, bolts
Juliette Bonneviot,
Nike/Rodchenko Construction n°126, detail, 2012
Oil on canvas, bolts
One from the heart, 2014
Exhibition view, Exo Exo, Paris
Clément Roche
, Vivarium1 #4, 7, 8, 2009-2014
Silica, pigments, marble powder, MDF, velvet, synthetical trees
Clément Roche
, Echantillons pigmentés Si, 2013
Silica, pigments, glue, variable dimensions
Clément Roche
, Echantillons pigmentés Si, detail, 2013
Silica, pigments, glue, variable dimensions
One from the heart, 2014
Exhibition view, Exo Exo, Paris
Daniel Keller,
Fubu Career CAPTCHA (Liquite Willusions), 2013
Multicolor 3d print
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
One from the heart, 2014
Exhibition view, Exo Exo, Paris
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
One from the heart, 2014
Exhibition view, Exo Exo, Paris
Antoine Carbonne
, Diner, 2013
Gouache on paper on canvas, 20 x 25,5 cm
One from the heart, 2014
Exhibition view, Exo Exo, Paris
One from the heart, 2014
Exhibition view, Exo Exo, Paris
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.
– Elisa Rigoulet
