Charlotte Pringuey Cessac invites 18 artists to create a piece relating to travel, encounter and transmission.
Charlotte Pringuey Cessac invites 18 artists to create a piece relating to travel, encounter and transmission. Small enough to fit within the space of a glovebox, the piece must be handled in order to be activated by passengers whom Charlotte meets along her way. She makes a journey from one artist's studio to another aboard her car, and records the passengers' reactions. With the artists: Simone Simon (Cagnes-sur-Mer), Catherine Burki (Marseille), Caroline Bouissou (Catalogne), Laura Giordanengo (Toulouse), Nicolas Daubanes (in residence at Pollen/Montflanquin), Florian de la Salle (Poitiers), Manon Rolland (Nantes), Daniel Nadaud (Laval), Maëlle Labussiere (Maison-Alfort), Albane Hupin (Rouen), Vincent Chenut (Bruxelles), Alban Morin (Saint-Étienne), Gabrielle Conilh de Beyssac et Jules Guissart (Pont-de-Barret), Marco Godinho (Luxembourg), Massimiliano Baldassarri (Neuchâtel), Anne-Laure Wuillai (Nice), Olivia Barisano (Vallauris), and Charlotte Pringuey-Cessac (in residence at METAXU/Toulon) View of the group exhibition Projet NOMADE, Charlotte Pringuey Cessac 2021, Photo © François Fernandez. This question is simple only in appearance. It gives each participant the opportunity to project themselves into a past buried deep within their memory. »Vincent Chenut, Protocole Projet NOMADE, Interpretation of the daily journey to the studio, 2021 “Imagined from the journey he makes every day from his home to his studio. Movement through urban space, for a movement across the coloured sheet.” Projet NOMADE The word is not the thing: reality escapes its representation, just as “the map is not the territory”, as Alfred Korzylski proclaimed. And if art is not life, can the map at least define the routes of these wanderings to which the artists devote themselves around Charlotte Pringuey-Cessac's NOMADE project? It is exemplary of an approach that favours itinerancy, experimentation and sharing over the mere realisation of the work, its completion and the sacralisation that results from it. It develops over a long process in which time and space intertwine, in the uncertainty of encounters, in the chance of everyday life, so much so that rather than mooring herself to a residency at the METAXU art space in Toulon, the artist preferred a nomadic residency which led her, over a month, on a tour of France aboard her car, during which she placed porcelain handkerchiefs on the shelf above her glovebox. The stake was then to exchange them from one place to another with 18 other artists, for works that would fit within such a small space. And since Charlotte Pringuey-Cessac each time carried new passengers, these works became the object of a mediation: they became part of the flow of a speech, of the transformation of meaning, of a figuration of fragility and ephemerality. The infinitesimal is then knotted to the intimate, so much does every project result from a personal journey, but also from a sowing for an uncertain harvest and for sharing. The project is…
