Friday, 20 January 2012


Blabla et Chichi sur un bateau
Curated by Christophe Hamaide Pierson and Xavier Mazzarol
January 14 - February 23. 2012
with avaf, Julien Bouillon, Claire Fontaine, Johan Creten, François Curlet, Wang Du, Mylène Eliot, Agathe Fleury, Tadashi Kawamata, Mike Kelley, Xavier Mazzarol, Daphne Navarre, Alfredo Piola, Yorgos Sapountzis, Louis-Philippe Scoufaras, Stéphane Vigny, Philip Wiegard, Franz West, Bernhard Willhelm


Ragamuffin Nuffin’

What d’s’e say?
– Don’t say nuffink.

What d’s’e do?

– Don’t do nuffink.

What d’s’e fink?
– Don’t fink nuffink.

Why d’s’e say nuffink?
Why d’s’e do nuffink?
Why d’s’e fink nuffink?

– Ain’t there.

Jean Tardieu, « La Môme Néant », Monsieur, Monsieur, Gallimard 1951 
(translated by David Kelley)
press release (translated from french with google translate!):

Blabla and Chichi on a boat
by Sylvain Menétrey

One enters a protected environment - even overprotected - by some manic spirit, which has carpeted floor and wall space blankets browned. Spatial coverage developed by NASA to protect astronauts from the cold, heat and humidity. These metallized plastic sheets also serve as survival blankets that regulate body temperature of seriously injured or extreme sports. Just look up to take the measure of the danger which they are the sign. The light from three movie spots of a respective power of 4000 watts through the roof canopy and floods the gallery space. Three light sources believed both essential to the vision and terribly dazzling.

Rather than reduce the radiation reflect the covers as prisms, causing a loss of connection to the visitor.
Artists Christophe Hamaide-Pierson and Xavier Mazzarol and created this device perverse, where the precious, the attractive, the protector and life are transformed into a trap for the senses. Set design and implement full exposure Blabla and Chichi on a boat which they are the commissioners Hussenot Gallery, this installation so hyperbolic subverts the codes of art exhibition, the white cube becomes a green golden lighting works a blockbuster.

Inviting the viewer into this environment bigger than life, a column of twenty cents coins Agathe Fleury bar up the access corridor to the main room. His station horizontal rather than vertical floating ad following: a series of works that appear to levitate on pedestals of different heights, values ​​down or askew. Thus, this photographic print of a distant figure, alone in a vast flooded. An image of the artist Alfredo Piola, whose apparent serenity is contradicted by the title Shipwreck. The presentation of the work flat on a pedestal under the steals. To see it, you must access the mezzanine of the gallery, a kind of belvedere where exposure is offered as a panorama.

As the protagonist of the image of Piola, humanity, or civilization celebrated by the foreign gold, seems lost in a break time and space. We do not perceive that the attributes and ornamental appendages, or utilities such as this gun piss ceramic Julien Bouillon.

The exhibition presents a series of objects changing, but arrested or mineralized by the artistic gesture in an intermediate state or embryo, like the piece of Franz West immersed in a rectangular plexiglass filled with resin. Other objects still seem warm and pulsating. And the bagpipes in pig skin bag of Philip Wiegard light rock or Mike Kelley, ironic reflection on the kryptonite of superhero confined to his wheelchair.

Through this dialogue of form and formlessness, the human and mutant, the seducer and the hostile, the picture emerges of a society that grows Promethean productivist logic to boost plant Ornamental protein (assume vivid astro focus) and the reflex to safe harbor eggs in a bunker (François Curlet).

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