13 May to 14 June 2014 Four women, four artists, four sensibilities, four visions colonise the Galerie Eva Vautier.
13 May to 14 June 2014 Four women, four artists, four sensibilities, four visions colonise the Galerie Eva Vautier. They guide us through the exploration of hidden strata. What happens beneath the exhibition rooms, behind the walls? The creations come to life underground, pass through the ceiling, cross the walls, express themselves and reveal themselves, asserting themselves despite the white walls that seem to want to contain them. They take hold of the place physically or spiritually and suspend within it the unconscious of their experience, the traces of the past that haunts and possesses us, traces of what will be, of family history, of the history of the place. Smoke, wood in suspension, felt, charcoal that grows, the continuity of lines in space: the works are born and develop, their growth seems arrested, suspended in time. Pauline Brun, Alice Guittard, Charlotte Pringuey-Cessac, Agnès Vitani Alice Guittard makes books out of her performances, and videos out of her books. Unless it is the other way round. Inventing a literature all her own, she imagines herself an explorer, but without any tool or scientific proof to back it up. What matters is not the summit to be reached but the drifts it generates. The editorial space is then one more valley in which to get lost, in order to twist the syntax of words and their meaning. Mathilde Villeneuve Charlotte Pringuey-Cessac The work of Charlotte Pringuey-Cessac is characterised by a strong link between subject and medium. Like the first woman who, according to Pliny the Elder, is said to have painted, she uses charcoal – or, more precisely, because these drawings are otherwise large – a heap of charcoal. The earliest evidence of an activity, if not artistic, at least representative of humankind, consists of wall paintings. With drawings of trees on the wall, Charlotte Pringuey-Cessac places herself within the longest tradition of painting, whether real, as at Lascaux, or imagined, as Pliny’s probably was. The earliest pictorial practices were certainly linked to rites. And when one sees her working, alone, at night, when one hears her murmur, scratch, it becomes almost inevitable to inscribe her work within this tradition. Is this work not as much work on an object as work on oneself? With her natural sponge, she erases, to the point where the pentimenti are as important as the strokes: the traces of erasure themselves form an integral part of the whole. Klaus Speidel Pauline Brun Pauline Brun trained in contemporary dance at the Conservatoire National de Nice before joining the Villa Arson, then the Beaux-Arts de Paris. She is currently pursuing her research on the body and space at the Centre Chorégraphique National de Montpellier, within ex.e.r.ce – études chorégraphiques : recherche et représentation. Her work questions the exhibition space as much as its representation, through volumetric works, in situ interventions and videos. Agnès Vitani Agnès Vitani takes, burns, recomposes,…
