Clara Daquin works in Paris as an art critic and independent curator. Graduated from the ECAL, the Ecole cantonale d’Art de Lausanne in Arts Visuels and at the Sorbonne in Art History, she leds a study on duos and artist collectives, focused on the multi-handed creative process. Graduated at the Paris Sorbonne University in a Master Degree in Curatorial Studies, she conducts exhibitions with the « Mathilde Expose » collective since 2015 : Vertige en terrain plat, gallery Eva Meyer and Brownstone Foundation (2016), No man is an island, Jardin Exotique, Pavillion Bosio (2017). She worked with the Palais de Tokyo, Lafayette Anticipations, Fondation d’entreprises Galerie Lafayette, Semiose Gallery and the association La Source. She regularly writes for press and currently works with « The Community », a collective, gallery and multidisciplinary platform located in Xème arrondissement of Paris.
Photography is Julia Pitaud’s primary material, who plastically uses it as a poetic construction material. The artist thinks at the body, at the same time, through surrounding objects like clothes, second skin of men, and through the theme of the « seat », like a foundation. She also sees it through the prism of movement. La Chaise (2015) made with recovered inner tubes, is dressed with pictures taken during the artist’s abroad travels. Two motions compose the piece : the invisible one, made with strangers riding bikes, and a personal one, stating for the artist travelling. La Chaise refers to an impossible static attitude as the object seems to blend into an odd limpness : the artwork is relaxed, not the visitor. Paris-Alençon(2016) shows a specific gesture : leaving our coat when we enter someone’s home. The journey reffered by the title is nothing else but the one done for months by the artist to meet her partner. The pictures of Paris meet the Alençon’s ones, the tree trunk merges with the pant. In 2016, Julia Pitaud is obsessed by the idea of retrieving used clothes, coming from people she never knew and she will never know. She chooses them white, as a blank page to put her intents more easily.
For Nidgâté (Yuyan Wang + Qin Han), the concept of the body is already in the name of the duo : Nidgâté in ancient Asia means « rough skinned hands, without skills nor expertise ». Therefore, it’s not by chance that the film The Devil In The Details (2017) offers an anthology of gestures. On a background sound made with finger snaps, the film shows genderless moves : a hand collects a butterfly, another one catches a hair strand. Of these « tireless partners », Henri Focillon said : « The hand is action : it takes, creates, and sometimes we could say it thinks. ». In That Day (2017), the body is oppositely out of the picture. Supported by an audio clip from a relaxation session dedicated to the personal growth, the video presents the moves through many indoor spaces. Bases on appropriation, the artists collected extracts from horror movies, where the bodies, but not the story, are out of the screen. The expectation is steady, playing with our mental and narrative constructions.
In her paintings, Chloé Julien, a bit dazed, sticks caramel in her hair « Caramel dans les cheveux » (2010) and perceives life as a perpetual renewal, like the character Sisyphe (2008) cursed to push his rock to the top of a mountain, endlessly. The artist sometimes finds a partner with whom she can share her joys, like in Sur ton dos (2008). Chloé Julien’s watercolours draw a contorted corporal space, which is spreading, overflowing, hedging and melting. The artist looks at the chaos as a permanent state. Which chaos is it, which tension ? Is it the one between body and soul ? The soul in her drawings spreads, interferes, inserts itslef and invades as a strong emotion. Chloé Julien’s body has no organs : it is, indeed, inhabited by nothing but the soul. Here, the body is represented by what’s fully compose it, matters both invisibles and carnals.
Through two anthropomorphic sculptures, Florian Mermin invites us in a dreamlike world where the uncanny can be found. Bouches d’égouts (2013) seems to be made with big sweet meringues, but by looking closer, we can see in the plaster odd dentures. When Florian Mermin takes interest in the body it’s to integrate a part of dream in a very concrete reality. These speachless mouths seem to eat or swallow, and the pink of their stand looks alike the pink of our gums. The artwork Peaux (2015) is made of two bronze gloves displayed on a wooden desk. We can only imagine the story of this timeless room : was it a monster who laid down his hands before entering the room ? Or do these gloves help to hide rough and ugly hands ?
Inès Panizzi made this serie of drawings when she was at Col d’Allos in the Southern Alps. Surrounded by mountains, the artist does the same rite : she wakes up, makes some tea and goes out of the chalet to wander in the mountains. Inspired by her morning hike, during which she breathed hundreds of micro-organisms, saw insects and animals, she goes home and start drawing. During these hikes, she creates bounds between the stars, the living beings and the insects surrounding her and then draws almost recognizable elements : stars, plants, animals. These drawings, like small cosmogonies, tell the interactions between close and far, tiny and vast, macro and microscopic.