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\r\n Trying to convert a sponge into a stone (you\u2019ll never break a window with it)<\/a>\r\n <\/div>\r\n
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2023 Protocol, dried sponge \/ Protocole, \u00e9ponge s\u00e9ch\u00e9e The sentence that gives this work its title comes from Cornelius Cardew’s diary. It was written in 1973, just as the composer was becoming a Maoist, abandoning all avant-garde artistic practice to devote himself to music in the service of the Revolutionary Communist Party of Great Britain. If this sentence is a sharp criticism of political artworks that are confined to the art world, it also marks Cardew’s distancing himself from the Maoist doctrine that an artwork considered bourgeois can always be hijacked to serve the interests of proletarian revolution. The sponge […]<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>

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\r\n Un\u00b7e passant\u00b7e<\/a>\r\n <\/div>\r\n
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2023 Performance Every working day of the exhibition, someone walks past the gallery crying, one and only once, at any time during the opening hours. Chaque jour ouvr\u00e9 de l\u2019exposition, une personne passe devant la galerie en pleurant, une seule et unique fois, \u00e0 n\u2019importe quel moment sur les horaires d\u2019ouverture.<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>

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\r\n Les d\u00e9penses<\/a>\r\n <\/div>\r\n
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2023 Protocol. This protocol consists of using the exhibition venue’s operating expenses to determine the prices of the works in the exhibition. Ce protocole consiste \u00e0 utiliser les montants des d\u00e9penses de fonctionnement du lieu d’exposition pour d\u00e9terminer les prix des \u0153uvres de l\u2019exposition.<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>

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\r\n Krachs (The Economist)<\/a>\r\n <\/div>\r\n
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2023 Magazine covers \/ Couvertures de magazine. The curve of each stock market crash since the beginning of the 21st century is cut out from the original cover of the issue of The Economist magazine published at the same time. La courbe de chaque krach boursier survenu depuis le d\u00e9but du XXIe\u00a0si\u00e8cle est d\u00e9coup\u00e9e sur la couverture originale du num\u00e9ro du magazine\u00a0The Economist\u00a0paru au m\u00eame moment.<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>

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\r\n 1%<\/a>\r\n <\/div>\r\n
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2023 Protocol This protocol shifts the logic of the \u00ab\u00a01% artistic\u00a0\u00bb to a new use. The idea is no longer to allocate \u00ab\u00a01% of the estimated cost of construction or renovation work, excluding taxes\u00a0\u00bb for a public building to an artistic creation, but to determine the sale price of a work according to the income of its purchaser. For its first activation, the protocol applies to the book \u00c9l\u00e9gie \u00e9conomique. Ce protocole d\u00e9place la logique du \u00ab 1% artistique \u00bb pour en proposer un nouvel usage. Il ne s\u2019agit plus d\u2019attribuer \u00ab 1% du montant hors taxes du co\u00fbt pr\u00e9visionnel […]<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>

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\r\n \u00c9l\u00e9gie \u00e9conomique<\/a>\r\n <\/div>\r\n
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2023 Book \/ Livre (28 p., laser print, 100 copies) \u00c9l\u00e9gie \u00e9conomique is a book of ready-made poetry, transposing into prose various rankings of economic data and statistics published by the Observatoire des multinationales and INSEE. \u00c9l\u00e9gie \u00e9conomique est un livre de po\u00e9sie ready-made, transposant en prose diff\u00e9rents classements de donn\u00e9es et de statistiques \u00e9conomiques publi\u00e9s par l\u2019Observatoire des multinationales et l\u2019Insee. Graphic design : Jean-Baptiste Parr\u00e9<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>

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\r\n Le d\u00e9bat<\/a>\r\n <\/div>\r\n
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2023 Video (2 hours 50 minutes) This video is an exercise in ventriloquism. It takes up the entire debate between Marine Le Pen and Emmanuel Macron in the run-up to the 2022 presidential elections, modulating the words of each candidate with those of his or her opponent, using the side-chain principle. Cette vid\u00e9o est un exercice de ventriloquie. Elle reprend l\u2019int\u00e9gralit\u00e9 du d\u00e9bat de l\u2019entre-deux-tours des \u00e9lections pr\u00e9sidentielles de 2022 opposant Marine Le Pen et Emmanuel Macron, en modulant, selon le principe du\u00a0side-chain, la parole de chaque candidat\u00b7e par celle de son adversaire.<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>

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\r\n Regard troubl\u00e9<\/a>\r\n <\/div>\r\n
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2023 Printed and electronic insert \/ Insert imprim\u00e9 et \u00e9lectronique. Regard troubl\u00e9 hijacks the contemporary art communication networks of which the exhibition space is a member, transforming them into a medium for disseminating a proposed action. The phrase \u00ab\u00a0At the entrance to each gallery, start crying and visit the exhibition with a blurred gaze\u00a0\u00bb replaces the title of the exhibition and circulates through the printed and electronic publications of these networks. Regard troubl\u00e9 d\u00e9tourne les r\u00e9seaux de communication d\u2019art contemporain dont la galerie est membre en les transformant en support de diffusion d\u2019une proposition d\u2019action. Ainsi, la phrase \u00ab \u00c0 l\u2019entr\u00e9e de […]<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>

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\r\n Flash Crash<\/a>\r\n <\/div>\r\n
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2023 Protocol A flash crash refers to a sudden collapse in stock market values, lasting between a few seconds and a few minutes. The first flash crash to leave its mark was on May 6, 2010, between 2.32pm and 3.08pm (New York time). The Flash Crash piece creates a potential breach in the exhibition space’s daily routine, by affixing a \u00ab\u00a0closed\u00a0\u00bb sign to the entrance door at the time and for the duration of this historic flash crash, between 2.32pm and 3.08pm (local time). During this time, however, the site remains open to anyone who defies the instructions and pushes […]<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>

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\r\n L\u2019espace r\u00e9ifi\u00e9 est susceptible de perdurer encore<\/a>\r\n <\/div>\r\n
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2023 Scenographic protocol The scenography of the previous show before D\u00e9tresse et dividendes, presented in the Salle Principale gallery (Nuria G\u00fcell, Confinements, plans d’\u00e9vasion et jouissances diverses, April 13 to July 1, 2023) has been \u00ab\u00a0frozen\u00a0\u00bb and reused as it was for this exhibition. The display is thus constrained by the ghost of a past exhibition, but at the same time reveals a spatial organization and the flow of exhibitions in which it takes part. La sc\u00e9nographie de l’exposition pr\u00e9c\u00e9dant D\u00e9tresse et dividendes pr\u00e9sent\u00e9e dans la galerie Salle Principale (Nuria G\u00fcell,\u00a0Confinements, plans d\u2019\u00e9vasion et jouissances diverses, du 13 avril au […]<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>","max_pages":14}