Press D ossier - Centre d`art Le LAIT

Press Dossier
Jeanne Susplugas
All the world's a stage
Exhibition
From 22 June to 27 October 2013
Opening: 21 June at 6.30 pm
Curated by Jackie-Ruth Meyer
In partnership with :
With the support of the Fondation Nationale des Arts Graphiques et Plastiques (FNAGP)
Moulins Albigeois – 41 rue Porta – 81000 Albi - FRANCE
From Wednesday to Sunday from 2-7 pm.
Information: 05 63 38 35 91/ 09 63 03 98 84
[email protected]
Contact: Murielle Edet 00 33 6 72 82 22 78 / 00 33 9 63 03 98 84
[email protected]
www.centredartlelait.com
All the world's a stage
Jeanne Susplugas’s work involves society issues and present-day life styles. Relationship to self, and to
the other, forms of exchange and their spiritual and psychological dimensions, are evoked. Somewhere
between fascination and repulsion, fusion and rejection, reality and privacy, the works develop layers of
meaning resulting from everyday uses and current social issues.
Several works are made for the Le LAIT Art Centre: a large sculpture (Light House), a variant of an already
existing series, a monumental light well in which visitors can isolate themselves, become magnified, and
be projected into an artificial world; a video (Iatrogenic) with texts written by Marie Darrieussecq dealing
in a tragic-comic manner with medication and more particularly with Distilbene; another video (The Top of
my Skull) about compulsive gestures (texts by the writer Basile Panurgias); a marble and gold leaf
sculpture (Confinement Strategy); a ceramic piece produced during a residency at Artelineha (Containers);
in the form of pharmaceutical bottles forming a sentence to be read by Frédéric Beigbeder; a piece made
of glass (Grail), produced by the master glaziers Glass Fabrik, in partnership with the Musée/ Centre d’art
de Verre at Carmaux..
The main piece, and focal point of the exhibition, is titled ALL THE WORLD'S A STAGE. It consists of
modules forming a church that can be dismantled, and adapted to the exhibition venue, calling to mind
postwar religious architecture, just at that moment when motion and speed were defining the fast track
of economic and social growth. Depnding on the place, this work can be arranged as a village, a camp, or
a single structure. She is accompanied by an acoustic casing which makes inner voices resonate through
the texts written by Basile Panurgias and Marie-Gabrielle Duc.
A last work (House to House) will be presented in the Box at the art centre. It's inspired by doll’s houses
and the aesthetic of transportation crates. It contains a travelling group show which is enriched by
different works at each stage, works by artists selected by Jeanne Susplugas.
The exhibition’s title All the World’s a Stage is borrowed from the beginning of Shakespeare’s play As You
Like It, recited by Jaques (II, vii). This text compares life to a play, and lists the seven stages of life.
............................................................................................................
In a dialectical movement, her work wavers between seductive aestheticism and critical distance…
between poetic suspense and cutting satire.
Béatrice Gross. Taken from “A la limite des choses”. Catalogue Expiry Date 1999-2007.
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Light House III
sculpture, 2013
Aluminium, LED, Co-production Centre d'art Le LAIT / Chapelle de la Visitation Thonon les Bains,
sound Eddie Ladoire
Light House III, 2013 © photo Phoebe Meyer / Jeanne Susplugas
Light House is a monumental light well symbolizing a private place, where you take yourself hostage.
Muffled sound and white light: the ongoing disappointment caused by addictions. Involved are medicines,
compulsive behaviour patterns, it matters little what our addiction is, this well is the material form of our
confinement. A second skin. The well is what separates us from other people, from our pleasure, and
from all reality, when one is dependent, and refers us to a constant loneliness: the loneliness of a
fleeting relief. The room is seemingly open and well-lit, and this is the whole irony of these drugs: they
do not keep their promises, they confine us. Furthermore, this piece also conjures up exposure to sunlight,
another addiction of contemporary society, the “society of the spectacle”, between magnified apparition,
produced for the media, and disappearance of self.
The Top of my Skull
Video, 2012
7 min, text Basile Panurgias, actor Pierre Mignard
These movies results from the order of a text to the talented French writer Basile Panurgias related to
Jeanne Susplugas’s work on the daily rites and the "OBSESSIVE-COMPULSIVE DISORDERS". These texts
revolve around disquieting, absurd and funny attitudes.
The Top of my Skull consists of the secret of a strange little obsession, which makes a hole in the
psychic diagnosis of the person confiding: the compulsive scratching of a particular part of the skull
leaves marks on this now hairless area, the ambiguous effect caused by this behavioural disorder, a
reassuring constraint, and the social consequences of this deviance.”
Kathy Alliou in Dare, 2010, Germany.
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Iatrogene
Video, 2013
7 min
Text Marie Darrieussecq
Actors André Antébi, Judith Gars, Manesca de Ternay
During the seven minutes which Iatrogenic lasts, three people describe their relation to medicine and
medication, and more particularly Distilbene (a hormone prescribed to pregnant women up until 1983,
which affected their children). The tragic-comic text written by Marie Darrieussecq for this film refers
turn by turn to a trivialized or magical use, but also to the anxieties and beliefs raised by the issues of
medicine and care, at a time when health scandals involving medicines are still enlivening current news.
Containers
Ceramic, 2013
Residence Artelineha, Languedoc-Roussillon
Text Frédéric Beigbeder.
Containers, James Ellroy
For this ceramic piece, the artist continues
research embarked upon in 2007 in a series of
drawings.
It is inspired by American “containers”, bottles
given to customers in pharmacies with the exact
number of pills required for a treatment. On these
bottles are written the patient’s name, the
doctors’ name, and the name of the medicine...
The names of the medicines are replaced by
words which, once put together, make sentences.
These latter have come from a collection made
over the past ten years from books read by the
artist.
White bottles with words which form a sentence:
“Afterwards, when you go back home, you Lexomil
and you don’t dream any more.”
(Frédéric Beigbeder).
Containers, Frederic Beigbeder, ceramic, details, 2013, (c) photo
Artelinea
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Confinement Strategy
sculpture, 2013
Marble, gold leaf, wood, moss
Confinement strategy, 2012, exhibition Stratégie de l'enfermement, Chapelle de la
Visitation, Thonon les Bains (c) photo Annick Wetter / Jeanne Susplugas
In the globe of Confinement Strategy, several individual and collective tales are told: that of a
comforting and confining cocoon, like a sectarian community, relieving its victims of their wealth, and
gnawing at solid carapaces from within to empty them of their substance; that of a geode like the Earth,
stripped of its resources, covered by its riches, and opened like an egg ready to be eaten. As in many of
Jeanne Susplugas’s works, the transport crate and its casters invite us to imagine possible movements and
developments.
Graal, sculpture, 2013, crystal, exhibition All the world's a
stage, Albi (c) photo Phoebe Meyer / Jeanne Susplugas
Grail
sculpture, 2013
Crystal, co-production Centre d'art le LAIT/ Centre d'art / Musée du Verre de Carmaux, réalisation
Glassfabrik, 2013
Grail depicts a Lexomil tablet (an anti-depressant medicament), here ready to be taken. It is made of glass
and particularly attractive, but also conjures up the neuroses of our century (stress, depression,
psychiatric disorders), the fragility of people suffering from these symptoms and illnesses, as well as the
social vulnerability into which these people plunge.
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ALL THE WORLD'S A STAGE
Installation, 2013
Cardboard, wood, casters
Co-production Fondation Nationale des Arts Graphiques et PLastiques / DRAC Île de France
Sound piece : texts by Basile Panurgias and Marie-Gabrielle Duc
ALL THE WORLD'S A STAGE, 2013, exhibition All the world's as stage, A1lbi
© photo Phoebe Meyer / Jeanne Susplugas
In an age of technological alienation, fast food and fat-free products, drive-thru pharmacies, and so on...
the creation of a church that can be dismantled, modulated, and “taken away”. This church is, on the one
hand, part of a historical context connected with an urbanistic line of thinking at the end of the Second
World War about the notion of mobility. And, on the other hand, it is part of the reflection pursued by
the artist for more than ten years about architectural modules than can be dismantled, and are
moveable...
In connecting with old nomadic societies, the postwar population became more mobile because of the
way land was organized, the way the automobile developed, and the like... This new urbanistic context
gave rise to innovations where church construction was concerned: structures that could be easily
dismantled, taking the form of tent-churches, inflatable churches (like the one at Montigny-lèsCormeiles designed by the architect H.W. Müller in 1969), and “nomadic churches”, like those designed by
Jean Prouvé.
This piece, which has been inspired by the encounter with the Albi cathedral, will subsequently be shown
in a de-contextualized way. It can be shown either in parts, or as a host of modules which will be
redeployed in space to form a village. The piece is accompanied by an acoustic casing which makes inner
voices resonate through the texts written by Basile Panurgias and Marie-Gabrielle Duc.
There's no place like home
Video, 2012
Actress : Manesca de Ternay
The video screened in the tunnel at Les Moulins (single shot) shows a young woman saying “ there’s no
place like home” (as she tries to find her home). This sentence comes in the final scene of The Wizard of
Oz, the world’s most watched film, in which the film’s heroine, Dorothy, tries to get back home. Once
again, the house/home present in the show, be it physical or mental, is synonymous with safety and
fulfillment as much as confinement and introspection.
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House to house
Installation, 2010
Wood, wheels 116x157x129 cm
House to house, 2013, exhibition All the world's a stage, Albi (c) photo
Phoebe Meyer / Jeanne Susplugas
This house is inspired by modulable doll’s houses which open and are transformed. The artist here
appropriates the aesthetics of a transportation box or crate, well-known to artists, to make a house of an
unusual size, which opens and closes at will. It becomes a small inhabitable cell which can be modulated,
and which evolves.
This structure turns into a “transportation crate” for a travelling exhibition presenting a group of artists
which grows at every stage. (In 2011-2012: Paris (St. Germain itinerary); St Pée-sur-Nivelle (Berinak); Lyon
(L’Attrape couleurs), based on a theme intrinsic to the box (enclosure, privacy, the modulable dwelling) in
Albi, the ruin.
Are shown in Albi :
1- Vincent Mesaros,
Fantôme (Demeure, Reichtag), water-basded
felt-tip, pigmented ink on paper,, 60 x 60 cm,
2013
Fantôme (Demeure, Vatican), water-basded
felt-tip, pigmented ink on paper,, 60 x 60 cm,
2013
4- Sarah Trouche, Action for Macedonia, video, 2012
5- Isabelle Lévénez, Baiser, 1997, water colour, 30 x 20
cm
6- Jota Castro, Untitled, 2011, baseball ball, barbed wire,
mirror
2- Françoise Petrovitch, Jeune fille au lapin, 7- Emmanuel Regent,
Pendant qu'il fait encore jour, ink on paper, 2 juin 2013
water colour
Pendant qu'il fait encore jour, ink on paper, 6 juin 2013
3- Jeanne Susplugas, Daily Obsessions, 2008, Pendant qu'il fait encore jour, ink on paper, 8 juin 2013
mixed techniques on Japanese moleskin
8- Alain Declercq, Meeting Place, 2008, ink on
notebook, 14,1 x 9,4 cm
paperback, 22 x 13 cm
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Jeanne Susplugas
Born in 1974. Lives in France.
Represented by : Galerie Valérie Bach, Brussels ; Rewind, New York ; Mizuma Art Gallery, Tokyo
www.susplugas.com
Complete biography on request
Solo exhibitions (selection)
All the world’s a stage, Le Lait centre d’art contemporain, Albi, June 2013
Stratégie d’enfermement, Chapelle de la Visitation-Art Center, Thonon les Bains, April 2013
There’s no place like home, Galerie Valérie Bach, Brussels, 2012-13
Sous influence, L’attrape couleurs, Lyon, 2012
Un espace pour une œuvre (Ordinary Landscape), IUFM, Rouen (organisé par le FRAC Haute-Normandie), 2012
Turnaround, Le Bal, Paris (with Alain Declercq), 2011
Civil protection, STUDIOcollector, New York, 2011
Locked-in, Galerie Charles de Jonghe, Brussels, 2010
Mass Destruction (performance), Domaine départemental de Chamarande, F, 2010
House to house, wharf-centre d’art contemporain, Hérouville Saint-Clair, F, 2010
L’aspirine c’est le champagne du matin, B.A.R.(Bureau d’Art et de Recherche), Roubaix, F, 2009
Peeping Tom’s House, La piscine-Musée d’Art et d’Industrie, Roubaix, F, 2009
Home, Maison des Arts, Malakoff, F, 2009
Jeux de dames, Château de Jau, Cases-de-Pene, F, 2009
Side effects, Wyspa Institut of Art, Gdansk, P (curated by Roma Piotrowska), 2007
Desirable effects, Magacin, Belgrade, Serbia, 2007
Expiry date, Centre d’art contemporain Passages, Troyes, F, 2007
Month of photography, Mestské museum/French Institut, Bratislava, 2004 (curated by Philippe Piguet)
Transposition, Heresbekerei projektraum, Berlin, Germany (Monat der Fotografie Paris/Berlin/Wien), 2004
Ordinary Landscapes, Florence Lynch Gallery, New York, 2004
Biepackzettel, Kunst-werke, Berlin, Germany (curated by Anselm Franke) , 2003
Dissolution (projection), V Tape, Toronto, 2003
Dependence, MOCCA (Museum of Contemporary Canadian Art), Toronto, 2003
La maison malade, ARCO (cutting edge), Madrid, 2002 (curated by Jérôme Sans),
Group exhibitions (selection)
Sous influences, La maison rouge-fondation antoine de galbert, Paris, 2013 (cruated by A. Perpère)
Apo-calypse, Ancienen usine Béard, Clarens/Montreux, Switzerland (curated by Einzweidrei), 2012
Nuit Blanche, Paris (commissaire : Laurent le Bon)
Féminité 0.I, Maison Particulière art center, Brussels, 2011
Dublin Contemporary 2011 (curated by Jota Castro and Christian Viveros-Fauné)
Endism, 24HR Art | Centre for Contemporary Art, Darwin, 2011
Index of/, Palais de Tokyo, Paris, 2010
Omega, Margaret Lawrence gallery, Melbourne, 2010 (curated by Tony Garifalakis)
Mobile archive, Art in General, New York, 2009
Frasq (performances festival), Le Générateur, Gentilly, F, 2009
SOS 48 (Festival Internacional de Accion Artistica), Murcia, S (curated by: Jota Castro), 2009
Comic Strip, Musée de Sérignan, Sérignan, F, 2009
Variation & revision, Marymount Manhattan College Hewitt Gallery, New York, 2009
Those Strange Children, The shore Institute For Contemporary Arts, Long Branch, NJ, 2008
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Zeichenraum, Kunstverein, Nüremberg, 2007 (curated by Heidi Sill)
De notre temps (2), Musée de Grenoble, Grenoble, 2007
Giardino – Places for small stories, Pan-Palazzo delle Arti di Napoli, 2006 (curated by L. Hegyi)
Essences Insensées, Parcours Saint Germain, Paris, 2006 (curated by A-P. D’Albis)
Trailers and animations, Senko Frame project, Viborg, D, 2006
Moving Time: Tribute to N. June Paik, Korean Culture Service, New York, 2006 (curated by Iris Inhee Moon),
Media in “f”, Ewha Art Center, Seoul, Korea (curated by Iris Inhee Moon), 2005
Domiciles privé/public, Musée d’Art Moderne, Saint-Etienne, 2005 (curated by Lorand Hegyi)
Ipermercati del’arte, Palazzo delle Papesse, Siena, 2004 (curated by Lorenzo Fusi)
Où sont les femmes, Centre Soros for Contemporary Art, Kiev (curated by L. Nuridsany & C. Bourgeois), 2004
Not so cute and cuddly, Ulrich Museum of Contemporary Art, Wishita, USA (curated by E. Dunbar), 2003
Tutto Normale, Villa Medicis, Roma, 2002 (curated by L. Pratesi & J. Sans)
C’est pas du cinéma, Le Fresnoy Studio National, Tourcoing, 2002
XXIe Biennale of Alexandria, 2001 (curated by Michel Nuridsany)
Public collections
Musée d’Art Contemporain, Sérignan, F
SONS Museum, Kruishoutem, Belgium
FNAC (Fond National d’Art Contemporain), F, F
FRAC (Fond Régional d’Art Contemporain) Haute-Normandie, F
FRAC (Fond Régional d’Art Contemporain) Champagne Ardenne, F
Chocarro, Fundacio Vila Casas, Barcelona, Spain
Artothèque, Lyon, F
Bibliography
Catalogs / Editions (Personal)
Jeanne Susplugas Stratégie d’enfermement, Semaine, ed. Analogues, 2013
Jeanne Susplugas, ed. Voix/Richard Meier, 2013
Jeanne Susplugas, ed.galerie Charles de Jonghe, 2010
Jeanne Susplugas Home, Semaine, ed. Analogues, 2009
Expiry date _ works 1999-2007, ed. Archibooks, Paris (texts in English & French by Alain Declercq, Béatrice Gross,
Michele Robecchi, Aneta Szylak), 2007
Ordinary landscapes, ed. Maat, Paris (text in English by Corinne Rondeau), 2004
Anecdotes, évidemment…, ed. Papiers Libres, Milhaud (text in French by Harry Bellet), 2004
L’Une, l’autre, ed. AMF, Montpellier (text in French by B. Ramade & Manou Farine), 2004
Dependence, V Tape / MOCCA, Toronto (texts in English & French by A. Franke & D. Liss), 2003
Addicted, Galerie Olivier Houg, Lyon, France (texts in French & English by Léonor Nuridsany), 2003
Hypocondriaque, Mizuma Art Gallery, Japan (texts in Japanese & English by Masashi Ogura), 2003
Made in Japan, ed. RARe, Paris (text in French by Nicolas Rey), 2002
Alienation, Nikolai Fine Art Gallery, New York ; Galerie Valérie Cueto, Paris (texts in English & French by Michel
Nuridsany & Julian Zugazagoitia), 2000
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Recent Press (Selection)
RAMADE Bénédicte, Art sous influences, L’Oeil, March 2013
LORENT Claude, Soigner les maux qui rongent le monde, in Arts Libre Belgique, Nov. 2012
NIN Bettie, Jeanne Susplugas (ITV), in ParisArt.com
BUSING N.&KLASS H., Platz für frische Konzepte, in Artinvestor n°6, G, Nov. 2012 (Germany)
MARTIN Cyril, Double efficience, in Area, October 2012
Apo-calypse, in Rivierart, S, October 2012 (Swiss)
Le meilleur de Nuit Blanche, in Metro, October 2012
DHAINAUT Alexandrine, Jeanne Susplugas-Pharmacologue, in Lyon Capitale n°715, October 2012
MARCELIS Bernard, La ville et son image, in Le Quotidien de l’art n°217, September 2012
A Vevey la photo se fond dans le décor, in Le Matin, 9 September 2012 (Swiss)
DERVEY Chantal, Le poids des photos, in 24heures, 1-2 September 2012 (Swiss)
FUENTES Abigail, La otra mirada de Zona Maco, in Corona Boreal, June 2012 (Mexico)
MAISON ROUGE de Isabelle, Couples d’artistes, in Art&, March, 2012
PFEIFFER Alice, Artistic Collaboration (Couples Only) is Focus of Show in Paris, in New York Times, 2012
Fallout Shelters - Alain Declercq & Jeanne Susplugas, in Else, June 2011 (Swiss)
Jeanne Susplugas (images), in The Drawer, juin 2011
LEQUEUX Emmanuelle, Le Paris des artistes, in Beaux-Arts Magazine, April 2011
SCHEUERMANN Barbara, Jeanne Susplugas - Champagne in the morning, in Art Pulse, December 2010
ALLIOU Kathy, Ein neuer zugang zum Traum, in Dare (Germany), October 2010
POLONI Olivia, Omega, in UN 4.1(Australia), July 2010
Conversations intimes, in Art Aujourd’hui, June 2010
Exporama, in Art Press, April 2010
LINDHOLM A., J. Susplugas (ITV), in Kopenhagen Aktuel Inforamtion Om Samtidskunst, 2010
PFEIFFER Alice, Jeanne Susplugas - Worth the trip, in Art in America (US), March 2010
SERRA Stéphanie, Pills addiction and art according to French artist J. Susplugas, in BeObjective, February
PIGUET Philippe, Home, in Art Press, January 2010
PFEIFFER Alice, J. Susplugas - Home is where the art is, in The New York Times (US), October 2009
Iatrogène, in Les Inrockuptibles, September 2009
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Recent press (selection)
Jeanne Susplugas
All the world's a stage
Exhibition
Curated by Jackie-Ruth Meyer
Practical informations
From 22 June to 27 October 2013
Opening: 21 June at 6.30 pm
Exhibition venue
Press contact
Moulins Albigeois – 41 rue Porta
81000 Albi - FRANCE
Murielle Edet
Communication
(0033) 6 72 82 22 78 / (0033) 9 63 03 98 84
From Wednesday to Sunday from 2-7 pm.
Information : 00 33 5 63 38 35 91
00 33 9 63 03 98 84
[email protected]
www.centredartlelait.com
The partners of All the world's a stage
With the aid of the Fondation Nationale des Arts Graphiques et Plastiques
Individual help to the creation of the Regional Cultural Affairs Directorate
The institutional partners of the Centre d'art le LAIT
Direction Régionale des Affaires Culturelles / Ministère de la Culture et de la Communication, Région MidiPyrénées, Conseil général du Tarn et la Ville d'Albi.
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