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\r\n \"\"<\/a>\r\n <\/div>\r\n
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\r\n L’\u00e9chelle des revenus<\/a>\r\n <\/div>\r\n
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2025 Silkscreen printing on carpenter’s pencil \/ S\u00e9rigraphie sur crayon de menuisier The income scale published by the Observatoire des in\u00e9galit\u00e9s measures the different income levels of people living in France and gives the percentage of the working population concerned for each level. Here, this scale is silkscreen printed on a red carpenter’s pencil. The location of the inscription for each income category is determined by the percentage of people who earn that income; its greater or lesser extent is revealed or disappears as the pencil is sharpened. L\u2019\u00e9chelle des revenus publi\u00e9e par l\u2019Observatoire des in\u00e9galit\u00e9s mesure les diff\u00e9rents niveaux […]<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>

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\r\n Sali\u00e8re des fermetures des centres d\u2019art<\/a>\r\n <\/div>\r\n
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2025 Paper sculpture and prints to take away \/ Sculpture en papier et imprim\u00e9s \u00e0 emporter Based on the divinatory principle of the eponymous children’s game, this paper fortune teller lists the main reasons that have led to the closing down of contemporary art centers in France in recent years. Although each refers to the actual closing down of one or more venues, the sentences provided for reading have been taken out of context and made anonymous. They are taken from various articles, generally published in the local press to announce or warn of the closing down. Reprenant le principe […]<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>

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\r\n Bilan<\/a>\r\n <\/div>\r\n
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2025 Installation, protocol \/ protocole The stock of artists’ publications issued by the CDLA is presented in the form of a series of stacks of books, whose varying heights represent the histogram of the art center’s funding since its creation. Le stock des \u00e9ditions d\u2019artistes publi\u00e9es par le CDLA est pr\u00e9sent\u00e9 sous la forme d\u2019une succession de piles de livres, dont les diff\u00e9rentes hauteurs retracent l\u2019histogramme des financements du centre d\u2019art depuis sa cr\u00e9ation.<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>

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\r\n \u00c9tude des proportions<\/a>\r\n <\/div>\r\n
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2025 Protocol, bell \/ Protocole, sonnette Supported by the Ministry of Culture \u2013 DRAC Nouvelle-Aquitaine, the town of Saint-Yrieix-la-Perche, and the Haute-Vienne department, the CDLA is an art center funded exclusively by public subsidies, in other words, by French government tax income. \u00c9tude des proportions [Study of Proportions] takes the form of a new doorbell installed in front of the CDLA entrance, right next to the existing one. When activated, a voice announces the percentage of tax income that represents the art center’s annual budget. En \u00e9tant soutenu par le minist\u00e8re de la Culture \u2013 DRAC Nouvelle-Aquitaine, la ville de […]<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>

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\r\n Rates of exchange (the price of eggs)<\/a>\r\n <\/div>\r\n
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2025 Protocol \/ protocole. In the paper \u201cShould the Artist Become a Man of the World?\u201d, published in Art News magazine in October 1964, Allan Kaprow states: \u201cA picture never changed the price of eggs.\u201d In 1975, he published the artist’s book Rates of Exchange with Arc Press Books, which entered the CDLA collection in 2017. The protocol Rates of Exchange (the price of eggs) proposes, during the exhibition Litote institutionnelle, the sale of eggs by the piece (at a maximum of one egg per person), with the price indexed to the evolution of the price of Allan Kaprow’s book. […]<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>

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\r\n Une histoire secr\u00e8te des crises<\/a>\r\n <\/div>\r\n
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2025 Protocol, publications, and bookmarks in display boxes \/ Protocole, publications et marques-pages sous vitrines A series of display boxes presented as open books offers a selection of artists’ publications from the CDLA collection. What makes them unique is that they were published at the same time as a major crisis in capitalism. Although most of these publications do not directly address the crises of their time, they offer readers an alternative, often critical, history of these stock market crashes and the ideologies that orchestrate the perpetuation of the economic system. Un ensemble de vitrines pr\u00e9sent\u00e9es \u00e0 la mani\u00e8re de […]<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>

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\r\n Les eaux dormantes (les d\u00e9muni\u00b7es)<\/a>\r\n <\/div>\r\n
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2025 Installation Les eaux dormantes\u00a0(still waters) take the form of puddles whose volume is determined by social, economic or demographic quantification, at a rate of one metric drop (0.05 ml) per unit.\u00a0Each time it is activated, the title is followed by a name in parentheses specifying the statistic used. For the Ottignies-Louvain-la-Neuve contemporary art triennial, the data used for Les eaux dormantes (les d\u00e9muni\u00b7es) is the number of people \u201cin a situation of material and social deprivation\u201d according to the latest survey by the Belgian Statistical Office. This corresponds to a puddle of 65,876 liters of water. Activated as part […]<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>

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\r\n \u00c9tat modifi\u00e9 de conscience (l\u2019\u00e9vasion fiscale)<\/a>\r\n <\/div>\r\n
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2025 Installation, protocole All the windows in a space are covered with a blue adhesive layer that filters the light. The amount of outside light that enters the room corresponds to the tax evasion rate of the country where the event is taking place. The lighting atmosphere of the space is thus modulated by the offshore economy, which alters the perception of the space. The color blue refers to the original meaning of the word offshore, meaning \u201cat sea.\u201d The windows can be covered in a single room, on a single floor, or in an entire building. No other light […]<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>

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\r\n Happy Hour<\/a>\r\n <\/div>\r\n
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2025 Installation A neon sign reading \u201cHappy Hour,\u201d the kind found in bars, lights up only during the time slots when all the world’s stock exchanges are closed simultaneously, in other words, when no stock market speculation is taking place. Work produced as part of the exhibition Thriller. Think Common, Play Public, 11th Ottignies-Louvain-la-Neuve Contemporary Art Triennial. Une enseigne lumineuse \u00ab Happy hour \u00bb, du type de celles que l\u2019on trouve dans les bars, s\u2019allume sur les seuls cr\u00e9neaux horaires o\u00f9 toutes les bourses du monde sont simultan\u00e9ment ferm\u00e9es, autrement dit lorsqu\u2019aucune sp\u00e9culation boursi\u00e8re n\u2019a lieu. Oeuvre produite dans le cadre de […]<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>

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\r\n G\u00e9n\u00e9rique socioprofessionnel<\/a>\r\n <\/div>\r\n
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2025 Contribution to the journal Papier en action, as part of the exhibition Work and Economy in Artists’ Publications, presented from February 25 to April 11, 2025, at the Cabinet du livre d’artiste in Rennes. Like a film credits sequence, this protocol consists of listing all the people whose work contributed to making the exhibition or event possible, providing information on each person’s gender, age, role in the exhibition or event, and social class, or, in some cases, the reasons for not providing certain information. Download the journal here. Intervention dans le journal Papier en action, dans le cadre de […]<\/p>\n <\/div>\r\n <\/div>\r\n<\/div>","max_pages":16}