Nicolas Descottes / Mana Kikuta / Marie Lelouche
Born in 1968 in Paris.
Lives and works in Paris.
I have been carrying out a study on the accident for several years. I started with a series on the prints of Parisian buildings that have suffered a fire. Then I picked up exploded tires and windshields on the side of the highway between Paris and Antwerp that I photographed in the bedroom, in black and white, in my workshop. I then drew parallels with plant shapes worked with graphite powder. I felt the need to have a more precise analysis of these collision fragments, and to document them like an x-ray. A new reality then appears, like a "carpet of sharp crystals", to use the words of JG Ballard in his novel Crash! (1973)
Born in 1986 in Hiroshima.
Lives and works in Paris.
Graduated from the University of Photography in Tokyo, and the Higher Art School of Chalon-sur-Saône.
“Senbazulu” is a 16mm film in which hands fold and unfold a paper crane endlessly. This gesture puts us in the face of the abyss of the commemoration of the Hiroshima bomb, of which the legend of the “thousand cranes” tells, according to the words of a survivor of the disaster, that if we fold a thousand paper cranes within the year, our wish for health, longevity, love or happiness can be granted.
The origami paper (20x20cm) has been coated with a photosensitive solution which slowly turns blue when exposed to the sun. The movements and folds of the paper draw, as the gestures are repeated, a pattern on the sheet. Thus, once again flat, the sheet keeps the trace of the folds like a photograph of a prayer or a meditation, the general appearance of which seems identical, but the details of which always vary. A series of cyanotypes resulting from these manipulations is exhibited with the film.
Born in 1984 in Saint-Junien. Lives and works in Lille.
A graduate of ENSBA in Paris, she is pursuing a doctorate in research-creation between Montreal and Le Fresnoy on post-digital sculpture.
Represented by the Alberta Pane gallery (Paris-Venice).
The title of this series is borrowed from the slogan of a famous phone brand: "You have a new memory", a message that appears with an image stored in our device. But then, what are these new external memories, and these new forces of memory? Marie Lelouche offers sculptures that are both fragmented reconstructions of borrowed forms, places of memory, or the protagonists of the exhibition. They each have a first name and speak through an open chat application whose vibrations, with each message, catch our attention.
The artist relied on a collection of 3D recordings that she has been collecting for several years. Three-dimensional scanners are optical tools that are reminiscent of cameras in many ways. It is through the flatness of our screens that we access these volumes and these spaces preserved in the form of data, with the frustration of not being able to relive them fully.
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