VENIR VOIR VENIR
Before the transformation of its building, Lafayette Anticipation, Fondation d'entreprise Galeries Lafayette will present the architectural project conceived by the OMA agency, as well as projects created over recent months under the banner of its pre-launch programme.
After having been occupied for almost nine months by Lafayette Anticipation's teams and around twenty artists, the building at 9 rue du Plâtre, anchored in the urban fabric of the Marais, has revealed itself as a free space for creation. Conceived in collective experience and critical dialogue, the exhibitions, events and performances between October 2013 and June 2014 have tested the space, even before its renovation, in its operational flexibility and its inclination to keep a window open to the unexpected.
From the 3rd to the 6th of July 2014, Lafayette Anticipation is inviting the public to experience art in movement, to visit the building at 9 rue du Plâtre and to see its architectural and artistic project. Venir Voir Venir (Come See Come) where the past, present and future of Lafayette Anticipation, Fondation d'entreprise Galeries Lafayette exists, presents a space for innovative production, committed to all creators and open to the widest public.
Meris Angioletti is born in Bergamo (Italy), in 1977. She currently lives in Paris. She recently had solo shows at Studio (Stockholm), at the Schleicher und Lange (Berlin) and at La Galerie, Centre d'art contemporain (Noisy-le-Sec, France).
Mixing the history of the arts and humanities with esoteric beliefs, Meris Angioletti’s work questions the mechanisms of language, perception, memory and the psyche. Applying an analytical method in which iconographic exploration and writing complement each other, the artist creates light and sound installations, video projections, slide shows, publications and photographs.
Meris Angioletti was resident at Lafayette Anticipation, Fondation d'entreprise Galeries Lafayette, from April to June 2014. Diverting medieval mysteries, she created the Ut project, a series of six tableaux vivants that placed viewers and the space on the same level. Multiple genres and disciplines were brought together: poetry, Greek tragedy, esotericism and tarot card reading made up this “ambulatory piece” characterised by the absence of narrative and psychology. These two aspects were substituted by symbolic values highlighted by “symbol generators”. The work was accompanied by a multiplicity of languages, and one found fragments of an imaginary idiom that the artist had previously used in the pieces Coro (2011) and Les Captives (2013).
“UT - A mind map”, Installation, 2014
“UT - a mind map” is a diagram which transcribes and summarises the research carried out for the production of the theatrical work “UT”, which will premiere in June 2015. The reflection about the theatrical space as a passage between the visible and the invisible also gave rise to a second work : “Eaux claires et montagnes violettes”.
“Eaux claires et montagnes violettes”, Conference of music and light, 2014
“Eaux claires et montagnes violettes” is a conference of music and light that deals with extended spatial experiences, with the iconostasis of Henri Michaux’s “dessins mescaliniens”, taking in the songlines of the Australian aborigines.
Born in 1981, Xavier Antin lives and works in Paris. He has most recently had solo exhibitions at Galerie Crèvecœur (Paris), the Maison d’art Bernard Anthonioz (Nogent-sur-Marne), the Institut supérieur des Arts de Toulouse, and the BF15 (Lyon).
Xavier Antin was resident at Lafayette Anticipation, Fondation d'entreprise Galeries Lafayette, in January and February 2014. Building on his previous projects, he produced A Film Set, a film that uses a long tracking shot to combine the insights of a model railroad landscape creator, a military drone pilot and a London stock trader. The film was shot in the artist’s studio at Lafayette Anticipation. Xavier Antin placed a mobile phone on a model railroad circuit to capture videos of the scenery.
“A film Set” (1/3), Video, 2014
“A Film Set” is a series of three abstract films, subtitled with conversations carried out with three people whose professions engage them in a specific relationship with the image and representation: a trader at the London City, the director of a model railway park in the South of France and a drone pilot in the USA.
The research for this project was also supported by CNAP (National Centre for Visual Arts). Xavier Antin is represented by the gallery Crèvecœur, Paris.
Will Benedict was born in 1978 in Los Angeles. He lives and works in Vienna, where he and Lucie Stahl created Pro Choice, an alternative space in a pedestrian tunnel under the S-Bahn. His most recent solo exhibitions were held at Dépendance gallery (Bruxelles) and at the Halle für Kunst (Lüneburg). Some the work he created during his residency at Lafayette Anticipation, Fondation d'entreprise Galeries Lafayette, was presented at Balice Hertling gallery from April to June 2014.
His residency at Lafayette Anticipation took place in the context of his stay at the Cité internationale des arts in Paris. The artist practices technique hybridisation, combining photography, painting and drawing.
Will Benedict was resident at Lafayette Anticipation, Fondation d'entreprise Galeries Lafayette, from February to June 2014. He conducted sculptural research using the vernacular forms of office furniture. He invited artist Sergei Tcherepnin to undertake joint research and production revolving around butcher’s blocks, whose vibrations they tried to capture by means of special equipment. He is also continuing to publish posters and books with artist Henning Bohl, exploring the Southern Gothic literary genre.
“New Parched Pictures”, Recent works, 2014
The image in the image is a recurrent motif in Will Benedict’s work. The mise en abyme leads to the creation of hybrid structures from tabular shapes and techniques: painting, drawing, photography and collage. Although this work follows a principle of superposition of images, it doesn’t result in their fragmentation, but instead assures their strange homogeneity. The collection contains several new works produced in collaboration with Henning Bohl and Sergei Tcherepnin.
Special thanks to Cécile Larrigaldie.
Will Benedict is represented by the gallery Balice Hertling, Paris.
Bruno Botella was born in 1976. He lives and works in Paris. His most recent solo exhibitions were held at La Salle de bains contemporary art centre (Lyon) and Galerie Samy Abraham (Paris). He also participated in the group exhibition humainnonhuman at the Fondation d'entreprise Ricard.
The artist does not set out to create finished work, but rather to “traverse temporary states of matter”, as he puts it. The sculptures he presents to us are in reality only one step in the creative process.
Bruno Botella was resident at Lafayette Anticipation, Fondation d'entreprise Galeries Lafayette, from February to June 2014, during which he continued his ongoing research. His method gives his work an experimental character: in the artist’s hands, objects must undergo a “twisted blow”. They must always be subjected to a new action, “divided up, plunged into water or tossed into a gutter”, to use the artist’s terminology.
“Problème Pédagogique”, Mixed media, 2014
“A big wooden box. It looks like a pinhole camera in which the lens has been replaced by a set of flexible sleeves and coatings of Vaseline. Push your hands in it. This dark room in which you’re handcuffed is a distant relative of a therapy designed to cure phantom limbs. There are holes, a perforated mirror, two rooms for your hands, one for sleep, the other for work. The sleep room is filled to the brim with anaesthetic clay. The work room is empty and reflected in the mirror. There is also a hole in the mirror, a “glory hole” through which your sleeping arm projects toxic matter to the other side.”
Bruno Botella is represented by the gallery Samy Abraham, Paris.
He studies formal conjunctions between art history, design, architecture and fashion. His current work is inspired by Ikebana, the Japanese art of flower arrangement. He also borrows from modernist references, with nods to Le Corbusier or to the collage art of Georges Braque and Pablo Picasso, whose processes he diverts: his sculptures are directly conceived for cut cardboard, avoiding the use of drawing. These assemblages cause us to reflect upon flat surfaces. Davide Cascio sees them as paintings with indeterminate edges, and he gives concrete form to this idea by hanging them on the wall.
During his residency, Davide Cascio created works for the exhibition “Ikebana” at FORMA gallery in Lausanne. He also produced a series of pieces in collaboration with Venezuelan artist Jorge Pedro Nuñez, for a sculptural work for four hands, taking maximum advantage of the resources at 9 rue du Plâtre, reusing materials before the restoration of the building.
“Ikebana Arrangement”, Installation, mixed media, 2014
Halfway between collage and sculpture, the shapes in the “Ikebana” series, assembled from plywood, formica, acrylic, carpet and wood, attempt to overturn the process of creation. They take their inspiration from techniques used by Braques and Picasso who created genuine sculptures from cardboard, as skeletons for their still-lifes. Likewise the Japanese masters of Ikebana who determine their floral compositions depending on their vases. Davide Cascio’s shapes are at once works and their own design.
ARNAUD & BERTRAND DEZOTEUX
Arnaud Dezoteux was born in 1987. He lives and works in Paris. His work has most recently been exhibited at Museo Lazaro Galdiano (Madrid, 2014), the Villa Arson (Nice) and Atelier Rouart (Paris, 2013), for which he created a Cartel-Fiction on the occasion of the exhibition “The Chessroom”. His brother Bertrand was born in 1982 and works between Bayonne and Paris. His works have been exhibited at the Ecomusée de Marquèze (Sabres), the Frac Aquitaine (Bordeaux) and the Palais de Tokyo (Paris).
The artists’ primary medium is video, but they also develop other practices. For the “Testers’ Salon” project initiated at the Chalet Society in September 2013, they developed a work platform open to young creatives (artists, designers, graphic designers, scientists, theorists, artisans), enabling them to put their intuitions to the test, evaluate and compare skills, develop techniques and methods, and invent forms.
The Dezoteux brothers were resident at Lafayette Anticipation, Fondation d'entreprise Galeries Lafayette, from January to June 2014. The artists continued developing certain specific projects at the Testers’ Salon. At the same time, they started working on new creations. For Cloud Berry, Arnaud and Bertrand took inspiration from the world of filmmakers Lana and Andy Wachowsky and their film Cloud Atlas. They exported the concept to the Berry region, asking residents to take on multiple roles, going from periods of the past to future times. Extracts of the film were presented at the Altkirsch International Film Festival in Alsace, 12-14 April 2014.
“Cloud Berry” HD Video, 23 minutes, 2014
Inspired by the blockbuster “Cloud Atlas”, directed by Andy and Lana Wachowski, “Cloud Berry” is the casting of a hypothetical science fiction film which takes place between prehistory and the future. Seventy amateur actors were auditioned in Bourges in November 2013. The camera captured their improvisations, their skill at creating characters in front of a blue-screen. Their time at Lafayette Anticipation, Fondation d'entreprise Galeries Lafayette's residency was used for post-production and editing of the film, to carry out tests, and to create virtual environments to reinforce the performances of the participants.
“Working at Lafayette Anticipation allowed me to develop a project I had started working on prior to my residency. The project functions by relating different kinds of research that are quite numerous and diverse […]. The Lafayette Anticipation’s spaces made a significant contribution to the project, including its plastic aspects.”
Although she uses mediums like ceramics, oil, sculpture, photography and installation, in her practice Mimosa Echard does not assert any particular technique, expertise or type of work. She often presents her work as an intuitive reaction to spaces, images, raw natural materials or discarded objects, which form assemblages that disclose openings.
Mimosa Echard was resident at Lafayette Anticipation, Fondation d'entreprise Galeries Lafayette, from February to June 2014. Having just returned from a residency in Thailand, her work in the Lafayette Anticipation’s spaces revolved around the I Ching, an ancient Chinese book famously studied by Leibniz. Borrowing the systematic aspect of this book structured into hexagrams, she developed a work dominated by the notions of analogy and progression.
“Antiprisme (Karl)”, 2014
Mimosa Echard’s work, produced in collaboration with Patrick Vindimian, is inspired by her research on tensegrity structures, discovered by Karl Ioganson. This necessarily inert sculpture rests on mechanical forces. Three elements (brass, steel and galvanised steel) drawn from 9 rue de Plâtre are put under tension to form a shape in a continuum of energy. The work endorses the qualities of traditional sculpture, defined by masse, as well as mobiles.
Mimosa Echard proposes a collection of works about a certain idea of construction, tension and transformation. Like the building of Lafayette Anticipation in which the artist worked for five months, these works evoke the telescoping of shapes and different spaces: a tent canvas captured between two states, tree bark brought back from Thailand projected into an astronomical design, so many points of contact between the motifs.
For the “Arena” series, created at Lafayette Anticipation, Mimosa Echard superimposes layers of iridescent acrylic on analogue prints. This process, developed by chance during her recovery work, allows the pigments of the photographs to react chemically with the acrylic and reveal themselves in the material aspect.
Mimosa Echard is represented by the gallery Samy Abraham, Paris.
ASSI JOSEPH MEIDAN
Assi Joseph Meidan, whose work has been exhibited at the YOU-ADS gallery (Paris), is influenced just as much by the history of modern art as by the social sciences—particularly psychology. His latest research is linked to memory.
Joseph developed a work informally entitled “Circle of Memory”, taking inspiration from the spirit of the building at 9 rue du Plâtre. In this context, he created pieces that, taken as a whole, he characterises as a kind of “memorial”. Part of his project at Lafayette Anticipation, Fondation d'entreprise Galeries Lafayette, consisted in “acting upon the building’s archaeology” by reusing materials found on-site in his basement studio. He also began creating a “new memory” by working on the perception of a light-image projected for a few seconds in a dark room.
“Devenir gris, Devenir gris”, 2014
“Her to her, here to there”, 2014
“Oh no, don’t worry”, 2014
“Montrent de la peur lorsqu’il se tourne pour se cacher”, 2014
Assi Joseph Meidan likes saying that the work he produced at Lafayette Anticipation results from a dialogue between the format of the monument and the salon. Over five months spent in residence, the artist developed a certain sensibility to the state of things as he found them and their likely disappearance. These works are an attempt to save, materially and mentally, all the forms met with. The light, marble, dust and assembled metal describe his sensation of time and the persistence of vanished forms.
Scott Myles was born in 1975 in Dundee. He lives and works in Glasgow. His most recent solo exhibitions were held at David Kordansky Gallery (Los Angeles), Dundee Contemporary Arts(Dundee) and Meyer Riegger gallery (Berlin).
The artist’s work is based on the formal vocabulary of urban furniture, signage or displays, which he transforms, displaces or covers, while preserving details that link the objects to an experienced reality (graphics, marks, scratches, blisters, etc.).
Scott Myles was resident at Lafayette Anticipation, Fondation d'entreprise Galeries Lafayette, in February and March. He conducted research for two separate projects. His interest in Guy Debord led him to assemble documents on this French intellectual. He is also developing research on the advent of the industrial era and more specifically on the marginal conflicts that accompanied it. In this context, he is interested in the Luddite rebellion that took place in England in the early 19th century.
“Potlatch”, Twelve offset prints on bible paper (unlimited edition), 75 x 50 cm, presented at Lafayette Maison.
The action of layering ideas and materials is inherent within Scott Myles’ artistic practice. With “Potlatch”, the artist wishes to initiate a subtle intervention that involves the wrapping and containment of objects, and the gifting of an artwork within a situation of commerce. “Potlatch” entails the temporary replacement of the white tissue paper used to wrap purchased goods in Lafayette Maison with stacks printed with twelve colour photographs of Guy Debord’s home, took in Champot. Participation in the project occurs when someone purchases goods in the department store.
Scott Myles is represented by the Modern Institute, Glasgow.
JORGE PEDRO NUÑEZ
Jorge Pedro Nuñez was born in 1976 in Caracas (Venezuela). He lives and works in Paris. In 2014 he had a solo exhibition at Galerie Crèvecœur in Paris, entitled Entre Machine et moi Machin, and his work also appeared in the group exhibition Spatial Acts at Americas Society’s Visual Arts in New York.
Jorge Pedro Nuñez was invited by Davide Cascio to collaborate on the project Catiti Catiti Imara Notia Notia Imara Ipeju, for which they took samples of elements from the past life of 9 rue du Plâtre in order to give them a second life.
“Catiti Catiti Imara Notia Notia Imara Ipeju ” Installation, mixed media, 2014
The collaboration between Davide Cascio and Jorge Pedro Nuñez rests on sculptural crossbreeding. One is inspired by Carlos Raul Villanueva, the modernist Venezuelan architect, and the other by Max Bill, the Swiss concrete artist and designer. From this meeting arose research on tropicalisation, a technique that allows objects to function under severe climactic conditions. Their raw materials are finished industrially produced forms, collected at 9 rue du Plâtre — which before the Lafayette Anticipation housed a school and offices. Chairs, neons, tables and boards, already transformed once by their daily use.
Jorge Pedro Nuñez is represented by the gallery Crèvecœur, Paris.
“Sometimes what appears before the creation is complete is eloquent enough. My research is also often stopped before it is complete because of what its incompleteness expresses.”
Elodie Seguin was born in 1984. She lives and works in Paris. Some of the works she created for Lafayette Anticipation were exhibited at Frieze New York 2014 by Galerie Jocelyn Wolff. In 2012, she took part in Art Basel and had a solo exhibition at Hillary Crisp Gallery (London).
She has cited diverse influences such as Barnett Newman, Jason Dodge, Paul Cézanne and Gustave Courbet. Her artistic language requires a pragmatic approach. The environment and context in which the work is created plays an essential role, but it is also the interdependence between the pieces that enables Elodie Seguin’s work to make up a system. A work’s physical boundaries hold no importance for this artist who incorporates the specificities of the production and exhibition sites into the pieces she creates.
“Deux pièces”, In situ installation, mixed media, 2014
This in situ installation testifies to Elodie Seguin’s experience in the workshop over six months. By affixing panes of glass to the walls the artist creates a symmetry that highlights the length of the room. The building opposite is reflected to the point that it finds itself almost modelled between the workshop walls. This aesthetic displaces the vocabulary of the window and the prefabricated wall which permeates the second floor of Lafayette Anticipation, beyond the surfaces.
“Bas relief, limite de la peinture : la peinture, sans limite”, Wall, wood, plaster, ink, metal, 2014
A bas relief, the colour of which varies depending on the light. The sculptural element, as if unfinished, opens entirely to englobe the space of the workshop and become one with it.
Elodie Seguin is represented by the gallery Jocelyn Wolff, Paris.
Gabriel Sierra was born in 1975 in Colombia. He lives and works in Bogotá. His most recent solo exhibitions were held at Kurimanzutto Gallery (Mexico City), Peep-hole contemporary art centre (Milan) and Casas Riegner gallery (Bogotá).
An industrial designer by education, Gabriel Sierra quickly directed his practice towards the field of art. His work explores society and its cultural practices, feeding on pointed references to the history of art and design while at the same time being anchored in popular tradition. The artist also bases his work on physical spaces. His interventions often challenge the usually obvious relationship between the viewer and the physical setting.
The artist spent a week in residence at Lafayette Anticipation, Fondation d'entreprise Galeries Lafayette, in December 2013. Gabriel Sierra centred his work around the reuse of materials, and he installed specially designed windows made of glass recycled from Perrier bottles. These were placed on the ground floor and first floor of Lafayette Anticipation.
“Untitled (Bottle Window Corridor)”, 2013-2014
“Untitled (The Black Step)”, 2013-2014
Gabriel Sierra’s works test the idea that forms and materials constitute an architectural language and can, in this way, be considered as systems for the transmission of values. The artist acts directly in the spacial vocabulary of Lafayette Anticipation by replacing certain windows and skylights by panes of glass made from melted Perrier bottles, which not only alter the light, but also the atmospheres of the rooms they are found in. In their turn the stairs between two floors are modified. Their surface is changed so that crossing them constitutes a new experience.
Gabriel Sierra is represented by the gallery Kurimanzutto, Mexico.
Her work constructs a framework that makes it possible to gauge the impacts and interdependencies of a range of political, economic and aesthetic concerns. Echoing oil crises and periods of recession, the imagery and materials that make up the artist’s world are layered into one another: plastic, tar, burlap and denim mix with glassware dating back to the Great Depression, instruments for repairing the movement in watches, 21st-century inkjet printouts and cardboard packaging. The artist also works on photographic images, which she uses to carry out a slow, precise fading of the subject, who becomes a surface.
Valerie Snobeck was resident at Lafayette Anticipation in April 2014. She shot a film showing the repairing of the movement of an old watch made by Shell. This video builds on her previous works relating to this oil company. The film was shot at Lafayette Anticipation, Fondation d'entreprise Galeries Lafayette, on Friday April 25th.
“Go Soft”, HD Video, 1h38, 2014
Valerie Snobeck’s work echoes periods of recessions and oil shocks. “Go Soft” documents the meticulous repair of the so-called “skeleton” watch produced by Shell Company in 1940, the cogs of which were lubricated, for advertising purposes, with motor oil.
Performance: Anthony Castellano
Photography: Thomas Ozoux
Sound: Christopher Guyot
Executive Producer: Vincent Cuneo
Special thanks to Doris Seitz, Estelle Vidal, Eric Faye, Maison Royal Quartz
Valerie Snobeck is represented by galleries Catherine Bastide, Bruxelles, and Simon Lee, London.
Cally Spooner was born in 1983 in Ascot. She lives and works in London. She has recently presented her work at the KW Institute (Berlin), the Drawing Centre (New York) and Tate Britain (London). On 27 February 2014, live from Tate Modern in London, for the programme “BMW Tate Live: Performance Room” Cally Spooner presented an adaptation of And You Were Wonderful, On Stage. This performance for a cappella choir explores the injunctions of contemporary public discourse and the political lies revealed by the media, borrowing from musicals and Hollywood ballets.
The artist was resident at Lafayette Anticipation, Fondation d'entreprise Galeries Lafayette, in January and February 2014. After several performances (Stedelijk Museum in Amsterdam, Performa 13 in New York, Tate Britain), Cally Spooner, accompanied by choreographer Adam Hewlett-Weinert, set up a fleeting film studio for the filmed elements of this performance given at Tate Modern on 27 February 2014.
“He’s in a Great Place! (A film trailer for And You Were Wonderful, On Stage)”, Video, 2014
The artist presents an adaptation of “And You Were Wonderful, On Stage”, a performance broadcast live on the 27th February, 2014, from the Tate Modern in London as part of the BMW Live programme. This performance for an a cappella choir, the choreography of which was conceived and filmed at Lafayette Anticipation, Fondation d'entreprise Galeries Lafayette, explores the injunctions in contemporary public discourse and the political lies upheld by the media, in forms which borrows from musicals and Hollywood ballet.
Cally Spooner is represented by the gallery MOTINTERNATIONAL.
ERIC VAN DE WALLE
Eric Van de Walle is a designer by education. He participated in the last Art Paris Art Fair. He is working on the development of a collection, as well as on commissions for individuals or in collaboration with architects and decorators. Believing in the creative process that establishes an indissociable link between the drawing of an object and its fabrication, he creates pieces in small series.
Eric Van de Walle was resident at Lafayette Anticipation, Fondation d'entreprise Galeries Lafayette, from January to June 2014, during which he conducted visual art research. His encounters at Lafayette Anticipation enabled him to develop his approach. As he moves away from design to do more artistic work, Eric Van de Walle is in search of a new “palette of materials” as he puts it, in order to create installations using various elements and processes.
“Les filles se marient dans les rideaux”
At the confluence of minimalist abstraction and decorative arts, the furniture of Eric Van de Walle preserves the strong intention to discard the obvious. The pieces are not always identifiable, yet still respond to criteria of use and function, to a form of elementary convenience.
“Le déguisement”, mixed media, 2014
“Ce qui nous ressemble”, photographs and glass, 2014, (extract from Un trajet, capturing a Florence Vax train ride)
“Le soldat Noguchi”, waterproof chipboard, 2013
“Agglomérat”, waterproof chipboard, 2014
“Column”, pizza boxes, Carrara marble, 2014
“Plate-forme”, linoleum, 2014
“Charlotte sometimes”, steel, plastic drawer, photographs, 2014
Thursday July 3 - Sunday July 6 2014
From Thursday 3rd July to Saturday 5th july, 1pm - 9pm
Sunday 6th July, 1pm to 5pm
Ground floor: OMA/AMO and Pierre Giner.
Floors: Xavier Antin, Will Benedict, Bruno Botella, Arnaud and Bertrand Dezoteux, Davide Cascio, Mimosa Echard, Joseph Meidan, Scott Myles, Jorge Pedro Nuñez, Megan Rooney, Elodie Seguin, Gabriel Sierra, Valerie Snobeck, Cally Spooner and Eric Van de Walle.
New Pompidou, a film by Simon Fujiwara (2014)
From 3rd to 5th July at 1:30, 3:30, 5:30 and 7:30
Sunday 6th July at 1:30 and 3:30
Zhana Ivanova, Borrowed Splendour, Thursday 3rd July at 8pm and Friday 4th July at 8pm. Meris Angioletti, Eaux claires et Montagnes violettes, Saturday 5th July at 5pm.
Lafayette Anticipation, Fondation d'entreprise Galeries Lafayette hosted about fifteen artists in residency between january and july 2014. Free to reuse the building's residual elements, they all have contributed, before the refurbishment itself, to the 9 rue du Plâtre transformation.