« Rappelle-toi de la couleur des fraises »
Whether in her writing, production, or choosing to work collectively, Lola Gonzàlez creates works that display a propensity for authenticity, spontaneity, and fluidity, solid values that cement emotional ties. She mainly works in video art, repeatedly featuring a group of young people in natural settings with grand family residences to be seen somewhere in the picture. It is impossible to know who these people are or what holds them together, and yet their activities appear to be driven by a common dream that is infused with a certain idealism.
In Veridis Quo (2016), the group has come together in a house by the sea on the eve of some event for which they seem to be preparing with firearms training while wearing a blindfold. Their day ends with a silent dinner around a platter of shellfish punctuated by the crack, clack, and crunch of broken carcasses. In the morning, the group, now blind, is guided to the shore by their two observers, who alone have not lost their sight. They then wait, weapons in hand, their empty gaze fixed on the horizon, while the event is suspended for the time being.
With the show Rappelle-toi de la couleur des fraises (“Remember the Color of Strawberries”), visitors can discover the artist’s latest production, which was shot in December 2016 and conceived as a video installation in which two film spaces intermittently merge. The first video shows two lovers who have washed up at the foot of a house by the sea. They are taken in by three young men who see the world in black and white only. In the house the couple must confront different trials that will lead to a change in their perception of color. The emotional and chromatic vicissitudes experienced by the couple are punctuated by a soundtrack composed by Alexandre Bourit, one of the artist’s friends, which is heard issuing from the second space. This latter space seems to be a way of passing between two diegetic realities.
Gonzàlez has taken the opportunity of her solo show to create a shared moment with her network of art colleagues, friends and family, who provide support and have an influence on her output. She has invited several others to join her, including Nicolas Rabant (born in 1988), whose dyed nets conjure up the reflections of dawn and dusk on the surface of the sea; Accolade Accolade (Jenne Pineau and Paul Mignard, both born in 1989), a duo of painters who explore symbolist pictorial territories together; and Pascale Gadon-Gonzàlez (born in 1961), who has been studying and photographing for some twenty years various species of lichen, an organism resulting from the symbiosis of two biological entities which invites us to think of otherness as a complementarity. Through these invitations, Lola Gonzàlez lends visual form to the process of exchange and the preponderant role played by the community of affection and cooperation in her artistic practice.
Exhibition film, directed by Bruno Bellec. © Le Crédac, 2017.
Lola Gonzàlez was born in 1988 in Angoulême, and currently lives and works in Paris. A 2012 graduate of Lyon’s School of Fine Arts, she has shown her work at the Pompidou Center as part of the Hors-Pistes Festival, the Salon de Montrouge, Treize, the Noisy-le-Sec Gallery, the Palais de Tokyo, Le Magasin in Grenoble, and IAC of Villeurbanne as part of the Lyon Biennial. She is the winner of the 2016 Meurice Prize for Contemporary Art. In 2016-2017, she is a resident artist of the Pavilion / Palais de Tokyo. https://lola-gonzalez.com/
Shot in 2016 in Dinard, Lola Gonzàlez’s new film received funding as part of the art patronage program of the National Foundation for the Graphic and Plastic Arts, and the generous support of the Ars Ultima - Stein & Guillot Art Foundation and its patronage program.
Media partnership : Zérodeux, revue d’art contemporain trimestrielle et gratuite
Sponsoring for the opening : Grolsch, Les Nouveaux Robinson