Arnaud Labelle-Rojoux — Voyez-vous ça ! @ MAC VAL Musée d'art contemporain du Val-de-Marne from November 15, 2025 to April 12, 2026.
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Presented at the Mac Val,
Voyez-vous ça! offers a sensual and disorienting journey through the work of Arnaud Labelle-Rojoux, a singular artist, writer, teacher and performer whose practice has been woven since the 1980s from humor, popular cultural legacies and art history. The exhibition, organized in collaboration with the Centre Pompidou, devises a dramaturgy built on visual and conceptual collisions between three distinct sections that respond to one another like so many shattered mirrors, from the ritual volume of
SMS (Stop Making Sense), a series of 365 collages produced daily over the course of a year, to the inventive confrontations of
LCDB (Le Culte des Banni.e.s) and the continuous reactivation of earlier works in
++ (overmore), the itinerary vibrating with its echoes and inflections, addressing art history as much as our everyday lives.
Provocative, whimsical, exuberant and teeming, the work of Arnaud Labelle-Rojoux propels us in a single flash from geopolitics to the family table, from great literature to the coffee table of a waiting room, leaving us wide-eyed and at the mercy of a mythological bawdiness. A profusion of meanings, intentions and moods, of accents and biases, the artist’s images practice an art of derailment that, far from merely embracing its time, seems to perform a futurist computation of events which, drawn from the past, might well erupt into the present. References to history are thus infused with a sentimentality that casts them into a zone of
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Vue de l’exposition Voyez-vous ça ! d’Arnaud Labelle-Rojoux, MAC VAL — Musée d’art contemporain du Val-de-Marne, 2025 — 2026
© Adagp, Paris 2025 — Photo © Fabrice Gousset
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Vue de l’exposition Voyez-vous ça ! d’Arnaud Labelle-Rojoux, MAC VAL — Musée d’art contemporain du Val-de-Marne, 2025 — 2026
© Adagp, Paris 2025 — Photo © Fabrice Gousset
uncertainty touching on our future. A constant juxtaposition of disparate elements, vernacular images, textual fragments, artifacts of rock culture, historical or anonymous figures, profoundly Borgesian in spirit, turns text and image into the opening of an infinite labyrinth that nonetheless always leads toward the other.
In this world of images that is as much expanding as imploding, madness is nothing more than the reflection of a delirious process in motion, one that causes symbols to collide and unites, in a single movement, the sublime and the grotesque. Within a deliberately restrained format, intelligently staged, Mac Val plays with verticality to saturate the horizon and, like the artist himself, deploys an aesthetic of shock and the convergence of media, never losing sight of a taste for beauty and the effectiveness of gesture.
Through reflection, cutting, and association, his art of composition marshals humor into battle order, launching an assault on meaning; and in excess, each proposition stands on its own. For beauty—singular beauty—always returns; and it shows.
