L'Almanach des aléas (The Almanac of Uncertainties)
curated by Milo at Fondation d'entreprise Ricard, Paris, France 8.06-13-06.2019
with : Romain Blanck, Romain Bobichon, Baptiste Brossard, Océane Bruel, Lou Masduraud, Léa Mercier, Maité Marra, Jean-Baptiste Perret, Sophie T. Lvoff, Gaspar Willmann, Garance Wullschleger, Maha Yammine
On the eighth of July, two thousand and nineteen, we hope the weather will be pleasant and that you will be well.
That evening, the association milo will open L’Almanach des aléas (The Almanac of Uncertainties) –a group exhibition assembling twelve artists graduated from the ENSBA Lyon, at the Fondation d’entreprise Ricard. Through the works presented– videos, installations, photographs, paintings, and performances– the artists take hold of the ludicrous, the implicit, the usual and/or the invisible, creating a multitude of poetic, political, pragmatic and subjective approaches to everyday life and that which upsets it. The temporality of the exhibition, the images, the gestures and the things that surround us thus cease to exist in our day to day life and become objects of reflection.
Taking place at the end of a year marked by unprecedented social movements, this exhibition intends to reflect on togetherness and the way in which the works presented can make sense of our often ignored realities. In contrast to the current representations of stereotypical lifestyles and out of step with our culture of intensity, L’Almanach des aléas turns our attention to what occurs on the scale of hours, days, years. The multiple voices that bring this exhibition to life thus create a polyphony in three motions that unfold across a circular path: habits, disruption, relief. Habits. Disruption. Etc.
Work presented :
Regarder les abeilles, 2019 (To Look at the Bees)
Sculptural installation with threads, clothes, solitary earrings, plaster, fruit stones, nails, silver powder, various elements, plastic bottles, glass jars, water, silicone paper-mache, dimensions variable
Decomposing fruits, solitary earrings, a blouse burnt by a cigarette and a clay cast of bubble wrap. A simple thread– carefully unwoven and extracted by the artist from an old curtain– runs throughout the exhibition space, binding these elements from this heterogenous inventory of everyday life. Although Océane Bruel collects impressions and objects from throughout her days, it is in the studio that she explores plasticity and vulnerability. From this emerges a troubled poetry, a humanity afloat between its objects and its fragile environment.
Katia Porro
images: Julie Vacher
