In the white gallery (the play platform), he has created an installation that highlights an object while encouraging visitors to both handle it and offer their own comments. On a cross-ruled platform that visitors can sit around, he has placed a box containing his specially arranged version of ten of the twenty gifts devised by Friedrich Fröbel (the German teacher and educationalist who founded the first kindergarten in 1837 and designed one of the first systems of educational games).
All of Fröbel, as Froment sees it, is about projection: geometrical projection of a volume onto a flat surface, transformation of one thing into another, the role of speech and the place for interpretation. Our own reading of Fröbel is, according to Froment, a projection of ourselves. In this gallery the artist encourages us to handle things and create our own projections. At the end of the experience, we are invited to return the elements to their box. It is this gesture that serves as a conclusion for the short experiment.
In the dark gallery (the screening gallery), the artist brings out and renders legible what the venue ought to have been, i.e., a cinema. Le yoga par l’image (Yoga in Images) is screened from the projection booth. We find ourselves looking at a film that presents different seated positions for the body, whether passive or active, on the floor the way a yogi would sit, or on chairs whose design is more or less adapted to the body.
These two pieces reflect Froment’s interest in language and transmission as well as his investigations into the distance that exists between an object and its description, and the ways an object can be presented and displayed.

Le yoga par l’image is a coproduction of the Pavilion, Leeds, and the Contemporary Art Center of Ivry—Crédac.


Special thanks to: Gill Park, William Rose, Stephen Gaughan