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Pauline Bastard, Caroline Delieutraz,

Mazaccio & Drowilal, Marianne Muller


group show

28/04 - 18/05/2024
opening : 28/04, 14h - 18h




The artists gathered here play a game of pairs with elements gleaned from the street, personal and public archives or the Internet. The game emerges from an attitude of attention to our everyday environment - a distracted attention that leads us to unexpected parallels.

The pairs of shoes reconstructed by Pauline Bastard re-establish a precarious unity between objects that have become orphaned. A similar approach can be seen in her dishcloth printed with a similarly patterned Byzantine fabric, found in the collections of the National Library of France. In Deux Visions, Caroline Delieutraz plays on the similarities between Google StreetView views and photographs from the book La France de Raymond Depardon. The series materializes a virtual walk in the footsteps of the photographer. The duo Mazaccio & Drowilal, on the other hand, draw incongruous comparisons between their portraits and the appearances of various real or fictional characters. In this way, their approach develops a reflection on the unstable nature of identity. Finally, Marianne Muller's lenticular prints reveal unexpected formal similarities between distant photographic sources. In so doing, the artist plays with the viewer's position in the space, revealing the formal evolutions of these works as they wander around.

The practices presented here create amusing relationships between the art world and popular culture. They engage the public in recognizing the playful potential of a double vision opposed to a monolithic reading of the images that we consume. More than just a game, MEMORY is an exercise in awareness that reconnects us to reality and its multiple variations.

Instagram posts, captured moments, images gleaned from the Internet, situations imprinted in our individual and collective memories... Photographing, representing, retrieving objects are all ways of preserving the world in our minds. But, so close to being forgotten, is reality preserved in this way present in any kind of memory?

In the manner of a contemporary game of memory, the works on display are based on the chronicles of our closets and electronic devices, on the personal archives we carry in our cell phones, on the fixed memory of the images that inhabit the woven worldwide web.

Usually dormant, these archives are thus disturbed, extracted from their virtuality by a gesture of awakening that lends them a new interest. In this way, we could redirect the widespread desire to capture reality, to fix it in memories soon to be forgotten.

In this way, the game could become a form of poetic archaeology, freeing the image from its initial referentiality and enabling it to spring back into memory.

Aymeri Duler


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