This new Simone Simon exhibition presents the artist’s latest series of photographs, Histoire d’eau, the fruit of multiple journeys to Iceland, Picardy and…
This new Simone Simon exhibition presents the artist’s latest series of photographs, Histoire d’eau, the fruit of multiple journeys to Iceland, Picardy and the Mediterranean coast. As part of the OVNi festival (Objectif Vidéo Nice), simone simon presents the video installation au rythme du paysage, and guest artist Linda Sanchez (Prix Révélations Emerige 2017) presents the film 11752 mètres et des poussières.. According to Chiara Palermo, curator and holder of a PhD in philosophy, “In the series Histoire d’eau, dialogue takes place differently . It becomes dance through the movement of the photographer, speech becomes gesture, and the image is the result of this communication without discourse that animates the image. [...] We can recognise the proximity with the artist’s earlier projects, stemming from a militant and aesthetic strategy that often sought ideological points of attack in order to denounce the transformation into act of a society in its homologation and its consumerist reification. She set emotions, difference and the marginality of stories in play against acquired narratives, through plural narrations. In Histoire d’eau, she plays with the plurality of the image and the discontinuity of each instant, without giving up the realism that characterises her work.” -- Gilles Renault, in Libération, March 2023, after Histoire d’eau, a solo exhibition by simone simon at the École des Beaux-Arts de Versailles: “simone simon’s evanescent landscapes jealously keep their share of enigma: floating, undecided territories, without border or demarcation, where the solid and liquid elements cohabit, superimposing themselves in a delicate dialogue tinged with timeless melancholy, barely troubled by what one guesses to be the flight of a bird. From Iceland to the Baie de Somme, humankind, by contrast, has no place here, being undesirable on these vertical bands that often refer to a pictorial register inviting contemplation.” AU RYTHME DU PAYSAGE | CHIARA PALERMO The uncertain noise of dreams is in decline. The human person becomes a mere person. Their language is the prosthesis of their fears [...] Stammering what is dead in our mouth. For example, childhood. But not by recovering the rules, the traps of childish play; play, you see, is simply being able to say that A is not necessarily equal to A — play is being able to say that A can be equal to anything else. And to play also means, or essentially, to be played [...] We are alive insofar as we know how to recognise If we encounter something [...] Space is not only an emptiness to fill [...] Living is like the needle that passes through the thumb [...] I am now interested in searching for what has been erased in time: the other in me, my unknown. It rains or it does not rain...or.. . Nanni Cagnone. Simone Simon’s latest projects had a social and political inspiration, from Les portes du Saint-Pierre (2008) through Ne regardez pas le renard passer (2017) or Nu (2018). How can we recognise the…
