Within the context of art fairs, we are accustomed to conceiving displays that are as close as possible to our way of doing within the gallery walls. Collective hangings always allow us to re-work more consciously and with some distance the ties between the artists of the gallery, drawing from our in-depth understanding of their working process, their studio life and the forms emerging there. These displays are rooted in a desire of immersion or of “living with” that the context of the fair impedes at will. We recently conceived, at the gallery, an exhibition in which the artworks’ vulnerability was fully assumed. It started with ceramics placed in equilibrium on improvised pedestals and ended with different kinds of objects presented on the floor. The evening of the opening was very busy, but there were no accidents. We later understood that the works, as well as the display itself, had slowed down the visitors’ pace. Everyone was moving around carefully as one does in an artist studio, where the accumulation, the stacks and the stratification become ways of seeing the thought process differently, sometimes further and more deeply due to the humility that imbues our bodies in this space, which does not seek to entertain. For this year, we let the works speak for themselves, let them take over the space, whether they are hanging or stored. Our work consist in letting them become pieces of life capable of channeling bodies and of reminding us that abstraction is not an issue if one endows the object with a life of its own. Thus, we speak of the delicate polychromy of Gyan Panchal's sculptures, the biting reds of Laura Lamiel and Mathieu K. Abonnenc, the endless shades of blackness of Marie Cool Fabio Balducci and the dust greys of Charlotte Moth.
The works are somehow at the crossroads of the studio life and the exhibition. This project brings us as close as possible to the engine noise of creation, compelling us to experience forms that are both beautiful and unstable.