May 13 to June 14, 2014
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Four women, four artists, four sensibilities, four visions colonize the Eva Vautier Gallery. They guide us in the exploration of the hidden layers. What goes on under the exhibition halls, behind the walls? The creations come to life in the basement, through the ceiling, cross the walls, express themselves and reveal themselves, assert themselves despite the white walls that seem to want to contain them. They physically or spiritually seize the place and suspend there the unconscious of their experience, the traces of the past which haunt us and possess us, traces of what will be, of the family history, of the history of the place. From the smoke, the suspended wood, the felt, the growing coal, the continuity of the lines in the space, the pieces are born and develop, their growth seems stopped, suspended in time.
Alice Guittard turns her performances into books and her books into videos. Unless it is the other way around. Inventing a literature of her own, she believes herself to be an explorer, but without any tools or scientific evidence to support it. What matters is not the summit to be reached, but the drifts it generates. The editorial space is then one more valley to get lost in, to twist the syntax of words and their meaning.
Mathilde Villeneuve
Charlotte Pringuey-Cessac’s work is characterized by a strong link between subject and medium. As the first woman to paint, according to Pliny the Elder, she uses a coal – or, more precisely, because these drawings are otherwise large – a pile of coals. The first testimonies of the activity, if not artistic, nevertheless representative of the man, are wall paintings. With drawings of trees on the wall, Charlotte Pringuey-Cessac is in the longest tradition of painting, whether real like Lascaux or imagined as Pliny probably is. The first pictorial practices were certainly linked to rites. And when we see her work, alone, at night, when we hear her whispering, scratching, it becomes almost inevitable to inscribe her work in this tradition. Isn’t this work as much work on an object as work on oneself? With her natural sponge, she erases until the repentances are as important as the strokes: the traces of erasure are themselves part of the whole.
Klaus Speidel
Pauline Brun trained in contemporary dance at the Conservatoire National de Nice before entering 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 – choreographic studies: research and representation. His work questions both the exhibition space and its representation through volume works, in situ interventions and videos.
Agnès Vitani takes, consumes, recomposes, stretches and reshapes the elements and materials that in the plot of her approaches, cover identities otherwise presumed. Consumed, the matter is rehabilitated, lived, trivialized or marginalized. These adjectives are not competing depending on how we look at it.