Le dos du désert
Group show
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Pierre-Henry Kleinbaum et Allister Sinclair, Twenty-One Carpets, 2012 Maxime Bichon, Ciels (la réunion), 2012 © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Maxime Bichon, Ciels (la réunion), 2012, Acrylic on wood (7 pieces), 184 cm © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Maxime Bersweiler, Cosmophage, 2012, Stickers on windows, poster 100 × 150 cm © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Pierre-Henri Kleinbaum et Allister Sinclair, Manifeste du Curatage, 2012, Plastic frame, paper of vague dimensions. © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Virginia Gamna, I used to lay down on the bottom of the boat, 2012, concrete, plaster, fabric, modeling clay, env. 300 × 500 cm. © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Hua Yang, Window, 2012 Video, cube monitor, seat (duration: Crédac opening hours), performance (June 13, 2012). © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Alicia Zaton, PORTRET RODZINNY (Portrait de famille), 2012, Cardboard masks, photography (20 × 30 cm), performance (June 13, 2012). © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Méryll Ampe, Partition carrée pour interprète violoncelliste, 2012, Silkscreen on 5-page notebook, performance (June 13, 2012). © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Méryll Ampe, Partition carrée pour interprète violoncelliste, 2012, Silkscreen on 5-page notebook, performance (June 13, 2012). © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Méryll Ampe, Partition carrée pour interprète violoncelliste, 2012, Silkscreen on 5-page notebook, performance (June 13, 2012). © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Méryll Ampe, Partition carrée pour interprète violoncelliste, 2012, Silkscreen on 5-page notebook, performance (June 13, 2012). © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Méryll Ampe, Sara Martinetti, Olivier Lavenac, Gemini, 2012, wood, resin, 244 × 38 × 9 cm, view of the performance / installation, June 13, 2012. © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Méryll Ampe, Sara Martinetti, Olivier Lavenac, Gemini, 2012, wood, resin, 244 × 38 × 9 cm, view of the performance / installation, June 13, 2012. © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Méryll Ampe, Sara Martinetti, Olivier Lavenac, Gemini, 2012, wood, resin, 244 × 38 × 9 cm, view of the performance / installation, June 13, 2012. © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Alicia Zaton, PORTRET RODZINNY (Portrait de famille), 2012, Cardboard masks, photo (20 × 30 cm), performance (June 13, 2012). © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Alicia Zaton, PORTRET RODZINNY (Portrait de famille), 2012, Cardboard masks, photo (20 × 30 cm), performance (June 13, 2012). © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Alicia Zaton, PORTRET RODZINNY (Portrait de famille), 2012, Cardboard masks, photo (20 × 30 cm), performance (June 13, 2012). © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Gloria Maso, Landscape (ou Speech for a Daylight Factory), 2012, Performance, 12 min (June 13, 2012). © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Gloria Maso, Landscape (ou Speech for a Daylight Factory), 2012, Performance, 12 min (13 juin 2012). © Photo : Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Clarisse Bachellier, Acte huit, 2012, Performance for 5 performers, 10 min (June 13, 2012). © Photo: Aurélien Mole
Exhibition view, Le dos du désert, Centre d’art contemporain d’Ivry – le Crédac, 2012. Clarisse Bachellier, Acte huit, 2012, Performance for 5 performers, 10 min (June 13, 2012). © Photo: Aurélien Mole
Artists: Méryll Ampe, Clarisse Bachellier, Maxime Bersweiler, Maxime Bichon, Juliette Broquet, Louise Folly, Virginia Gamna, Pierre‐Henry Kleinbaum, Olivier Lavenac, Alice Maillot, Sara Martinetti, Gloria Maso, Floriane Pilon, Allister Sinclair, Hua Yang, Alicia Zaton
Curatorship: The Students of the National School of Arts of Paris-Cergy (ENSAPC)
The students have been invited to produce artworks through the minimal and conceptual art collection of Françoise and Jean-Philippe Billarant, shown at Le Silo (in Marines, near Paris). The Back of the Desert is the result of this experience led in collaboration between the ENSAPC (‘Opus Collection’ course), Crédac and Le Silo.
“Dear Françoise, dear Jean-Philippe,
Your collection shown at the Silo, the place that you opened in Marines (Val d’Oise) in 2011 has been, implicitly, the backbone of our project. Asked to examine this body of minimal and conceptual works from the 1970s to today, we imagined the project The back of the Desert. Impressed by your flawless hanging and by the proposals of our elders, we were touched by your generosity and desire to open your collection to a special experience. The stories you have told us during our meetings and the closeness you have with the works and artists have allowed us to generate new formal and conceptual dialogues with these historical figures. What can be said about these works explored so many times? How far can we “strip bare” them to extract the core of our productions? How to situate ourselves in relation to that legacy? For the student as for the artist, it is always a matter of position. Based on our respective practices, we have foiled or replayed material, gestures and postures to confuse them, reverse them or extend them. We then play at tracing desire lines between the artists in the collection and three institutional sites. These paths, formed by the time, that connect and bring closer some points in a city reappear in this project in the form of geographical, intellectual and emotional intersections where young practices dare to meddle with those they quote. From these places and their crossings emerge a common landscape, suggested by the paradoxical title of the exhibition Le dos du désert (The back of the Desert), a place that can only exist if created from scratch.
Sincerely,
Méryll Ampe, Clarisse Bachellier, Maxime Bersweiler, Maxime Bichon, Juliette Broquet, Louise Folly, Virginia Gamna, Pierre‐Henry Kleinbaum, Olivier Lavenac, Alice Maillot, Sara Martinetti, Gloria Maso, Floriane Pilon, Allister Sinclair, Hua Yang, Alicia Zaton.”