Art and Sneakers series, 2018 - ongoing, #39 Alexander Rodtchenko, Constructivist poster, 1923 / Adidas Yung 1 Shoes Red Navy

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Troll #6, 2019, fabric mask, chain, 11,9 x 18,3 inches

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Odyssey (Aurélien), 2019, HD video, 9/16, 3'56''

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Monologue (Aurélien), 2019, vidéo, HD, 9/16, (5 min 47)

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Swipe Dream #5, 2019, framed fine art print, 9,9 x 17,7 inches

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Net (Pandinus Dictator), 2016, series of five, cellphones, online found footage, 7,8 x 10,6 inches each

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View from the exhibition "Unamed Feelings", 2017, Galerie 22,48m², Paris

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Seizure (Pandinus Dictator), 2016, Photograph, pigmentary print, 9,4 x 11,8 inches

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View from the exhibition "Unamed Feelings", 2017, Galerie 22,48m², Paris

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Fulgur (Pandinus Dictator), 2016, pigmentary print, 11,5 x 13,8 inches

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Just The Fact Nothing But The Fact, 2016-2017, HD video, 10'26"

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View of the exhibition "Unamed Feelings", 2017, Galerie 22,48 m², Paris

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Black Armor, 2017, installation, 13 elements of fairing made of ABS plastic, 70 x 62,9 inches

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View of the exhibition, "Unamed Feelings", 2017, Galerie 22,48m²

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View of the exhibition, "Unamed Feelings", 2017, Galerie 22,48m²

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Embedded Files, 2015 - 2017, Installation, 12 paraffin blocks, found pictures and objects, light box, plexiglass shelf, HD video, 48'56". Video made in collaboration with the Youtuber Rikita ASMR.

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✨ Unboxing + tapping + whisper ✨ with Rikita ASMR, (Embedded Files), 2017, HD video, headphones , binaural sound system, 48'56"

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Blue Skin (détail), 2017, pigmentary print on fine art paper, 62,9 x 11,8 inches each

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Deux Visions, Series of diptychs, pages of the book La France de Depardon, screenshots from Google Street View, 62,9 x 11,8 inches each diptych

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Deux Visions, Series of diptychs, since 2012, pages from the book "La France de Depardon", screenshots from Google Street View, 62,9 x 11,8 inches each

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Les vagues, 2015, jigsaw puzzle, wood, 16,3 x 11,4 x 0,7 inches

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Les vagues (detail), 2015, jigsaw puzzle, wood, 16,3 x 11,4 x 0,7 inches

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Les Otages, 2014, Video installation, 15 inches screens, captions, variable dimensions

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Claire Blandin, 2014, digital print, headphones, mp3 players, soundtrack, variable dimensions

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Trucage, 2014, book (Philippe Vasset, Exemplaire de démonstration, Fayard, 2003), Ipod, Rhodoïd paper, green paint, 12.5 x 11.6 inches

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Masques anti-regard, 2014, plastic, frosted film, wooden shelf, 31,4 x 7,8 x 4,3 inches

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Written in flesh, 2014, series of digital prints, found images, variable dimensions

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Sans titre (La Tour de Babel), 2013, jigsaw puzzle, wood, 3136 pieces, 22 x 18,1 inches

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Sans titre (La Tour de Babel), detail, 2013, jigsaw puzzle, wood, 3136 pieces, 22 x 18,1 inches

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L'homme qui dormait dans un livre, 2014, domain name, program, found images

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A l’œil nu, 2012, graphite on paper, aluminium, 47,2 x 55,5 inches

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Les matrices (une archéologie du web), 2012, wax, plexiglass bell, 12.4 x 9.13 x 1.7 inches

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L'explication du monde, 2012, website www.lexplicationdumonde.net, found animated gifs, jigsaw puzzle, wood, 117 pieces, 11,2 x 6,6 inches

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Venezzia_biennial_jn_3.jpg, 2011, binder, printed screenshots, posters, 15' video, dimensions variable. View of the exhibition "Falling Pictures", 2011, Gallery 22,48m².

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Google-marque pages, 2011, public intervention, bookmarks, video tutorial

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300 avatars par défaut, 2011, loop animation video, Ipod

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Au creux de nos mains, 2011, video installation

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Autoportrait de la lampe, 2010, installation, lamp, inkjet print, 8.2 x 11.6 inches

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Blue Meme, 2010, loop video

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Falling Pictures, 2010, website, domain name

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VIDEOS

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Caroline Delieutraz works with material that is abundant in our society of information: images and other data, circulating insensitively through the flow of international electronic networks. The origins of this data, the way it appears in public space – including the internet – its exploitation, transformations and successive reuses, its death and rebirth, all form the focal point of her work. Every day, Caroline Delieutraz gathers all kinds of material available on the web and manipulates it, in an attempt to occupy this constantly fluctuating world in her own way. Even though she perpetuates what could be referred to as the erasure of the “original”, a relative concept in a copy-paste world, she never negates the origin of this data or the work that others have accomplished. On the contrary, the source of the images are an integral and significant part of her work. Caroline Delieutraz moves and reshapes the information she extracts from the system in an effort to question the authority of these images that seem so familiar to us that they have become certainties. By constantly jumping from the so-called “virtual” world to the so-called “real” world, Caroline Delieutraz’s different pieces take on the appearance of digital and analog vehicles, the mysterious hybrid elements that make up the data.
 

Geraldine Miquelot

VIDEOS

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