Cedric Arnold / Edouard Burgeat / Guangli Liu /
Kasia Ozga / Lara Tabet
Born in 1976 in Northampton.
Lives and works in Bangkok.
Represented by the Olivier Waltman Gallery.
French: Apopheniac [invented word] > From: Apophénie ap·o·phé·nie | a-pɔ-fe-ni
Apophenia refers to a tendency to perceive significant connections or patterns between seemingly unrelated elements, whether objects or ideas, even in the absence of any real correlation or logical relationship between them.
Using as raw material images taken almost twenty years ago, rediscovered in abandoned boxes of negatives during the pandemic, this work lies between destruction and reinterpretation. The flow of chemistries placed on the photographic emulsion leaves room for chance, and thus, forms are modified and others disappear, allowing the emergence of new forms and new interpretations.
Born in 1988 in Paris.
Lives and works in Paris / Burcy.
This artistic project began while Edouard Burgeat was traveling illegally (confinements required) across various borders of the EU, escaping the Covid 19 pandemic in a truck (Citroên Jumper) with his partner and his wolf. This was followed by an interactive performance with the public on a photographic, sound and spatial installation, which took place at 35-37 in Paris in 2022. Visitors were invited to participate in the revelation of the final work directly on the truck covered with photographic transfers.
Secondly, the truck was brought back and cut up in the artist's studio, then each photo was recovered from the carcass of the truck cleaned and framed in black steel.
The proposed series of photographs is the result of this project.
Born in 1990 in China.
Lives and works in Paris.
I have never participated in any demonstration in China. At the end of 2022, in response to mandatory containment measures imposed by China due to the epidemic, many young people took to the streets brandishing sheets of white paper to express their discontent, an unprecedented situation for many years, nicknamed by the media “A4 Revolution”. Unfortunately, being in France, I was not able to witness this event.
I gathered information about ten major protests in China that took place between 1989 (the year before I was born) and 2022, and described them to an artificial intelligence model. This allowed me to create many images of protests that I had imagined but never seen with my own eyes. I then assembled these images into a large work of art. Although they are imaginary, they seem incredibly real to many people.
Born in 1981 in Warsaw.
Lives and works in Le Mans.
Save your skin: Soft sculpture. Digital images of human skin printed on vinyl sheeting cut and sewn together. Boat handles made of rubber. Wooden panel at the back of the boat. Foam padding. Unique piece. 330cm x 150cm x 40cm. 2020
Lifevests: Soft sculpture. Digital images of human skin printed on vinyl tarpaulin cut and sewn together with ribbons from leftovers from the textile industry. Foam padding. 5 unique pieces. 46 x 69 x 5 cm per vest. 2020.
The first soft sculpture was stitched from highly enlarged digital images of the skin around human eyelids. Images of human flesh are recomposed in an industrial form, with spare parts from a real Zodiac inflatable boat, evoking travel, passage and migration. The canoe has become a symbol of the heroic rescue of migrants to Europe, even though many travelers lose their lives in the Mediterranean. Sewing a canoe from a material that physically represents human bodies is a way of evoking the horror and despair of those who cross the sea.
Life jackets continue my exploration of maritime passages, borders and access to new horizons while working with the metaphor of skin as a form of protection and source of unequal treatment of travelers and migrants. When presented together, the multi-colored works ironically reference 1990s Benetton advertising and commercial celebrations of diversity across borders, asking whether we are all equally likely to be saved in our time of need.
Born in 1983 in Lebanon.
Lives and works in Marseille.
Three rivers and three lakes is part of a long-term research work on aquatic ecologies through the interaction between the photographic material and the biological element,Following a personal map of the waterways encountered on my path, I take samples, cultivate the bacteria then re-seed them on photographic film. The resulting visual shows the corollary of microbial activity. The interaction between photographic materiality and the biological element reveals the different agencies involved in the formation of the image which is at the crossroads of diagnostic bacteriology and landscape photography and constitutes a new bacteriological cartography of water.
This work comments on ecological and aquatic issues through performative gestures on both macroscopic and microscopic scales, one corresponding to the gestures of the artist/scientist, that of sampling, analysis and personal cartography and the other corresponding to the microperformativity of the bacteria themselves anchored in a space-time scale, which is specific to it, that of microbiological phenomena. Anchored in a post-human feminist discourse, this work questions the Anthropocene position and attempts to decenter the human scale in favor of possible alliances between humans and non-humans.