Le rêve de surplomber


Architecture, urban art, ceramic, film...

Le rêve de surplomber

Past: November 19 → December 31, 2011

The exhibition takes its name from a work by Aurélie Godard: Carlo Mollino in San Remo (le rêve de surplomber). Here it’s a homage to the architect through the evocation of one of his unfinished projects, based in Italy and positioned to dominate the Mediterranean. Le rêve de surplomber exhibits a selection of imaginary architectural works using both the art of modelling and the synthesis of real life, photography and documentary sculpture, watercolours as a narrative medium, and mechanical ballet1.

For several years Aurélie Godard has produced models of modern buildings, from memory. These sculptures, a genuine syntheses of several buildings, are then placed on their transport crates, which act as plinths. This transformation highlights the movement of the work and the transitory character of its exhibition. Aurélie Godard has developed an architecture of memory that bears witness to the modern utopia. For le rêve de surplomber she presents a model, in which geometry is no longer affirmative, but eroded and worn-out 2, based on a blockhaus recorded by Paul Virilio.

We find reference to this solid and circular architecture again in the work of Eric Tabuchi. In 1990, at the Venice Biennial, Bernd and Hilla Becher, major photographers in the New Objectivity movement, were awarded the prize for sculpture. Eric Tabuchi revisits this historical fact through the Chateauparc series, which models a selection of the buildings documented. He directs his research towards a recovery of the history of these forms, in order to circumvent the codes and to elevate these everyday architectural works to the rank of monuments.

Pierre Leguillon always strives, in his arrangements, to make images circulate and converse, and to overturn the possible constraints which make them not always accessible to everyone3. With Silent Show (Cheval) he summons the fantasy architecture of Joseph Ferdinand Cheval, better known by the name Facteur Cheval. This self-taught artist dedicated his life to building a monumental sculpture, a visionary who proposed, through his naïve architecture, an ideal palace.

Kristina Solomoukha’s drawings are also built on the communication between images, and particularly on the relationship with language. She is interested in the precise moment when, before formulating and stating a sentence, an image or a feeling of the sentence forms and appears in our imaginations. Through a series of watercolours and a model of social housing, the size of a ceramic ornament, she presents projects for possible future three-dimensional constructions, dream sculptures filled with personal narration.

Chloé Dugit-Gros exhibits objects found in the architectural arena of work : the studio. She uses these elements to build an abstract and coloured landscape in perpetual movement. This mechanical ballet of subtly measured contrasts makes the image oscillate between representation and abstraction.

1 Cinematic film, 35 mm, black and white, silent, 16’directed by Fernand Léger en 1923-1924.

2 Architecture principe, Claude Parent’s and Paul Virilio’s review, Bunker archéologie written by Paul Virilio, 1958.

3 Dossier / Artistes iconographes, Art 21, issue 25, p.18-27, winter 2009/2010, Garance Chabert and Aurélien Mole.

Arlène Berceliot Courtin
  • Opening Saturday, November 19, 2011 6 PM → 9 PM
03 Le Marais Zoom in 03 Le Marais Zoom out

73-75, rue Quincampoix

75003 Paris

T. 01 42 77 05 97 — F. 01 42 76 94 47


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