{"id":80877,"date":"2023-03-13T16:44:23","date_gmt":"2023-03-13T17:44:23","guid":{"rendered":"https:\/\/2023.eva-vautier.com\/portfolio-item\/pauline-brun\/"},"modified":"2023-11-21T15:03:55","modified_gmt":"2023-11-21T16:03:55","slug":"pauline-brun","status":"publish","type":"portfolio","link":"https:\/\/eva-vautier.com\/en\/portfolio-item\/pauline-brun\/","title":{"rendered":"Pauline Brun"},"content":{"rendered":"

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Pauline Brun<\/strong><\/p>\n

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Pauline Brun began her training in classical and contemporary dance at the Conservatoire R\u00e9gional de Nice before entering the \u00c9cole Sup\u00e9rieure d’Arts Plastiques, the Villa Arson, and then the \u00c9cole Nationale Sup\u00e9rieure des Beaux-Arts de Paris where she developed her work in sculpture, installation and video. It is since her plastic research that she redirects herself towards dance and performance and integrates the ex.e.r.ce training at the National Choreographic Center of Montpellier. There, she experimented with stage space, developed a choreographic work and began various collaborations on dramaturgical and scenographic questions. Invited for the exhibition Museum On\/Off at the Centre Georges Pompidou in 2016, she wrote the performance <\/span>BIG BATH<\/i> for the space of the permanent collection. For the European Night of the Museums at MAC VAL, she presents the performance <\/span>DEFAULT STANDARD<\/i>. She also participates in group exhibitions with installations and videos. In addition, she is a performer, accompanies the staging or designs spaces for choreographers Fanny De Chaill\u00e9, Paula Pi, Pauline Simon, Ingrid Berger Myhre and Gaetan Bulourde.<\/span><\/p>\n<\/div>\n

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To approach Pauline Brun’s work, one must immediately begin by isolating two spaces: the physical, geographical or architectural one, the one that finally delimits, and the more metaphysical one, of creation, of the very logic of the work in becoming. Both spaces have their own parameters. They have their own rules and laws and allow the artist to operate within a framework that imposes its limits, the contexts that govern it. Pauline Brun’s work is therefore an attempt to apply within the framework of these limits, a succession of operations, of gestures that will push back these borders and in so doing, erase them to create a third space which is that of the work.<\/p>\n

A space that will know how to bring them all together to capture, in one movement, these vibrations and friction of elements that seemed isolated at first, but which suddenly, and together, make sense. If we isolate from the start two spaces, perhaps we can also evoke two gestures that are proper to them: the reversal, and the injection of narrative processes. Pauline Brun’s works are designed for spaces. It will always be a work that will echo the place that is supposed to house it. Thus the stake of the work is to use the constraints of the place to operate a disruption that I call here reversal. Here, a wooden board is transformed into a suspended surface, needing to be shaped by the action of the paint which imposes its weight and physical properties on it for a period of drying. There the walls or partitions are used as raw material for the elaboration of a sculpture of which one would not know besides if it is about a sculpture or the base waiting for its work. It seems that the wall itself has set itself in motion and that, in a great effort, it has managed to push back the matter that encircled it and constituted it, thus extracting itself from its condition. The space itself, taken in its physical constraints, is thus treated as a material that the artist comes to sculpt as he pleases, pulling it, twisting it, pushing it to the extreme. To isolate these elements, to take them out of their initial context and turn them around to make them what they are not, is therefore to ask the question of what they are. It is by asking this question that narrative games begin. The artist voluntarily leaves his trace in the manipulation of these spaces, and plays with it. Blurring the tracks, creating false ones, erasing some, accentuating the line at times. To isolate the constituent matter of space and to treat it as an object, is to give it a body. The works and the space thus carry the traces of their own history which one would never know if they take part of a fiction or document the realization of the plastic work. A body bearing the scars of a game or a confrontation between him and the artist. A whole poetic and pictorial vocabulary is thus deployed which makes the bodies reason with each other, the materials and the forms. The cutting of the partition reveals the wall that supports it, thus stratifying the architecture of the White Cube to better reveal its double belonging, as a space, to both the theoretical and architectural universe. In the same gesture, it returns to its condition of historical object, the one that can be told.<\/p>\n<\/div>\n<\/div>\n

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And if the artist leaves traces, proofs of her passage, it is because Pauline Brun’s work is ultimately nothing other than the practice of these spaces. It is through the experience of handling these different objects that the work appears. It is because the wall partition has become a sculpture, that the space can be read in its poetic dimension, revealing the history of which it is the bearer, a history that would not have been revealed if the artist’s gesture had not discovered it. It is thus a base that we observe, the very one that supports the practice and the experience that, thus, united in a gesture make work. In the end, it is through the body, and through the artist’s body so often staged or put into play in her work (and one suddenly makes the link between this red surface taken in her time of release and the costume that the artist wears in some of her videos, work that is not presented here and that therefore allows this lapse of time necessary for the cleaning and drying of the costume), that Pauline Brun reveals the spaces in which her work takes shape. And it is through the experience of these spaces that she manages to create the one in which the artwork unfolds.<\/p>\n

Arthur Eskenazi<\/p>\n

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[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tab][vc_tab title=”BIOGRAPHY” tab_id=”1410959496581-2-18a05-e7e3a614-bb8d”][vc_column_text css=”.vc_custom_1647012044016{margin-right: 5% !important;margin-left: 5% !important;}”]<\/p>\n

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Pauline Brun<\/strong><\/p>\n

Lives and works in Paris<\/p>\n<\/div>\n

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EXHIBITIONS <\/strong><\/p>\n

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2018<\/strong><\/p>\n

Camera Camera<\/em> \/ Eva Vautier Gallery, Windsor Hotel, Nice<\/p>\n

Avis de grand frais<\/em> \/ Group exhibition \/ Cannes<\/p>\n

Public Lighting 2<\/em> \/ Performance \/ La Station, Nice<\/p>\n

Warm up<\/em> \/ Group exhibition \/ Brussels<\/p>\n

Pink Room<\/em> \/ Atelier Estienne, Pont-Scorff<\/p>\n

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2017<\/strong><\/p>\n

MOVIMENTA<\/em> \/ \u00c9va Vautier Gallery, Nice<\/p>\n

Blaise Start<\/em> \/ Performance of workshop restitution \/ Ping Pong Theory \/ Centre Geogres Pompidou, Paris<\/p>\n

Blaise Start<\/em> \/ Workshop restitution performance \/ MAC VAL, Vitry-sur-Seine<\/p>\n

European Night of the Museums<\/em> \/ Performance \/ MAC VAL, Vitry-sur-Seine<\/p>\n

Salon de Montrouge<\/em> \/ Group exhibition \/ Montrouge, Paris<\/p>\n

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2016<\/strong><\/p>\n

By the current of a submerged river<\/em> \/ Collective exhibition \/ Grotte du Dard, Baumes les Messieurs<\/p>\n

GRAND BAIN<\/em> \/ Museum ON\/OFF exhibition \/ Centre Georges Pompidou, Paris<\/p>\n

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2015 <\/span><\/strong><\/p>\n

UFO<\/em> \/ Group exhibition \/ H\u00f4tel Windsor (by the Eva Vautier Gallery), Nice<\/p>\n

Tribe<\/em> \/ Group exhibition \/ Eva Vautier Gallery, Nice<\/p>\n

Hypothesis<\/em> \/ CRATCH Exhibition \/ 116, Montreuil<\/p>\n

A year of light<\/em> \/ Group show \/ Eva Vautier Gallery, Nice<\/p>\n

Toujours sans titre #radiophonique<\/em> \/ Festival Tropisme \/ La Panac\u00e9e, Montpellier<\/p>\n

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2014 <\/span><\/strong><\/p>\n

R.A.S<\/em>. \/ Group exhibition \/ ABC Gallery, Dijon<\/p>\n

Feldst\u00e4rke International<\/em> \/ Kyoto Art Center, Kyoto (Japan)<\/p>\n

En suspens<\/em> \/ Group exhibition \/ Eva Vautier Gallery, Nice<\/p>\n

In fieri<\/em> \/ Group exhibition \/ Dole<\/p>\n

Feldst\u00e4rke International<\/em> \/ Group exhibition \/ Monte Vid\u00e9o, Marseille<\/p>\n

Janela do p\u00e0tio<\/em> \/ Collaboration with Bruno Freire \/ La Panac\u00e9e, Montpellier<\/p>\n

10 years<\/em> \/ Group show \/ Espace \u00e0 Vendre Gallery, Nice<\/p>\n

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2013<\/strong><\/p>\n

En d\u00e9s\u00e9quilibre<\/em> \/ Monograph \/ 360m3 Gallery \/ Biennale Off, Lyon<\/p>\n

Aux demeurants<\/em> \/ Group exhibition \/ Castle of Neublans-Abergement, Neublans<\/p>\n

Objet #3<\/em> \/ Collaboration with Arthur Eskenazi<\/a> and the Collectif d2 \/ Point \u00c9ph\u00e9m\u00e8re, Paris<\/p>\n

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2012<\/strong><\/p>\n

(72h\/85 m2)<\/em> \/ Group show \/ Galerie Schirman et de Beauc\u00e9, Paris <\/span><\/p>\n

Groom<\/em> \/ Group exhibition \/ Parcours Saint-Germain, H\u00f4tel Lutetia, Paris <\/span><\/p>\n

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2011<\/strong><\/p>\n

Bandits-mages<\/em> \/ Group exhibition \/ Bourges<\/p>\n

Le grand \u00e9cart<\/em> \/ Group exhibition \/ Espace \u00e0 Vendre Gallery, Nice<\/p>\n

Video Art Festival<\/em> \/ Group exhibition \/ Athens (Greece)<\/p>\n

Biennial Wro Art Center<\/em> \/ Group exhibition \/ Wroclaw (Poland)<\/p>\n

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STAGE PERFORMANCES<\/strong><\/p>\n

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Scruffy Shot<\/em> \/ C-TAKT#2 Festival \/ C-Mine, Genk \/ 2018 <\/span><\/p>\n

And we are not at the same place<\/em> \/ Athens and Epidaurus Festival, Athens \/ 2016 <\/span><\/p>\n

Foreword<\/em> \/ ICI-CCN, Montpellier \/ 2015 <\/span><\/p>\n

Still untitled<\/em> \/ ICI-CCN, Montpellier \/ 2015 <\/span><\/p>\n

Encore sans titre<\/em> \/ ICI-CCN, Montpellier \/ 2015 <\/span><\/p>\n

Note moved<\/em> \/ ICI-CCN, Montpellier \/ 2014 <\/span><\/p>\n

Interlude spectacular<\/em> \/ ICI-CCN, Montpellier \/ 2014<\/p>\n

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SCENOGRAPHIES<\/strong><\/p>\n

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St\u00f6rlaut<\/em> \/ Jule Flierl \/ Charleroi Danse, Bruxuelles \/ Les Rencontres Chro\u00e9graphiques Internationales de Seine-Saint-Denis, Paris \/ Schaub\u00fchne Lindenfels, Leipzig \/ Sophiensaele, Berlin \/ MUMOK, Impultanze, Vienna \/ 2018 <\/span><\/p>\n

In the depth of field<\/em> \/ Ga\u00ebtan Bulourde \/ France \/ 2017 – 2018 <\/span><\/p>\n

Supplies<\/em> \/ Ingrid Berger Myhre \/ Black Boxe Theater, Oslo \/ 2016 <\/span><\/p>\n

Hecce (H)omo<\/em> \/ Paula Pi \/ CN D Pantin \/ 2016 <\/span><\/p>\n

Posteriors<\/em> \/ Pauline Simon \/ M\u00e9nagerie de Verre, Paris \/ 2016 <\/span><\/p>\n

Das ist<\/em> \/ Paula Pi \/ Th\u00e9\u00e2tre de poche, H\u00e9d\u00e9 \/ 2015<\/p>\n

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INTERPRETER<\/strong><\/p>\n

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Reciter Les Langues<\/em> \/ Lynda Rahal and C\u00e9lia Gondol \/ Palais de Tokyo, Paris \/ 2017 <\/span><\/p>\n

In the depth of the field<\/em> \/ Ga\u00ebtan Bulourde \/ France \/ 2017-2018 <\/span><\/p>\n

Mauvais Genre<\/em> \/ Alain Buffard \/ CN D Pantin, Th\u00e9\u00e2tre de N\u00eemes \/ 2017 <\/span><\/p>\n

In search of the _<\/em> \/ Bruno Freire \/ ICI-CCN, Montpellier \/ 2015-2016 <\/span><\/p>\n

Passage to the act<\/em> \/ Fanny De Chaill\u00e9 & Philippe Ramette \/ France & USA \/ 2011-2016<\/p>\n

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RESIDENCES<\/strong><\/p>\n

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The Station, Nice \/ 2018 <\/span><\/p>\n

TAKT-Dommelhof, Neerpelt \/ 2018 <\/span><\/p>\n

CN D, Pantin \/ 2017-2018 <\/span><\/p>\n

workspacebrussels, Brussels \/ 2016-2017 <\/span><\/p>\n

Cit\u00e9 Internationale des Arts, Paris \/ 2015-2017 <\/span><\/p>\n

Honolulu, Nantes \/ 2015 <\/span><\/p>\n

Th\u00e9\u00e2tre de poche, H\u00e9d\u00e9 \/ Collaboration with Paula Pi \/ 2015 <\/span><\/p>\n

Villa Arson, Nice \/ Collaboration with Diane Audema<\/a> & Diane Blondeau<\/a> \/ 2014 <\/span><\/p>\n

Villa Arson, Nice \/ Partnership with ICI-CCN Montpellier \/ 2013<\/p>\n

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WORKSHOPS<\/strong><\/p>\n

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CN D, Pantin \/ 2018 <\/span><\/p>\n

MAC VAL , Vitry-sur-Seine \/ 2016 – 2017 <\/span><\/p>\n

Center Georges Pompidou \/ Studio 13-16, Paris \/ 2017[\/vc_column_text][\/vc_tab][vc_tab title=”SELECTION OF WORKS” tab_id=”1410959083-2-88a05-e7e3a614-bb8d”][vc_column_text css=”.vc_custom_1604494276070{margin-top: 0px !important;margin-right: 5% !important;margin-bottom: 100px !important;margin-left: 5% !important;}”]<\/p>\n

–<\/span><\/p>\n

\"Pauline<\/a><\/p>\n

Pauline Brun, Preparatory drawing for cutting piece<\/em>, 2014, 50 x 65 cm
\nSeries of drawings, Paper, graphite, cut, collage<\/p>\n

–<\/span><\/p>\n

\"Pauline<\/a><\/p>\n

Pauline Brun, Under Control<\/em>, 2015, 90 x 120 x 90 cm, Plasterboard, plaster, dyes<\/p>\n

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