With Traversée, a video art programme for the Salon Partie de Campagne, we present six videos showing offbeat and surprising uses of travel and crossing. Each of these artists carries out a plastic research focused on the urban, the landscape, the territory and their appropriation.
Programming : Isabelle and Jean Conrad Lemaître – OVNi 2015 The artist is interested in the « other » and the « elsewhere ». The other, for Pancin, is also the dreamed self, while the elsewhere is both physical and virtual. He works on confinement, whether of his own body or of physical, social or mental prisons.
Programming: Françoise and Jean Claude Quemin – OVNi 2016
The Swiss artists of COLLECTIF-FACT, Annelore Schneider and Claude Piguet, stir up our distrust of others with the complicity of Alfred Hitchcock. Through their camera, we observe these visitors to the Natural History Museum in London. Don’t they all look suspicious? And all those guards with their walkie-talkies? We are all under surveillance. Let’s be wary. Françoise and Jean Claude Quemin
Programming NMNM Monaco – OVNi 2015
Camera 1, Plan 8 operates a displacement, in both senses of the term. The scene reconstructed here is the one where the camera suddenly walks autonomously around the empty flat while a character describes aloud how the murder -which no one witnessed- could have been committed there.Marion Templon Lajariette
Programming MAMAC Nice – OVNi 2015
Dominique Angel, a performer and sculptor above all, turns into a statue for a comical stroll through a museum, where the absurd rubs shoulders with a more dramatic reality.
Programming Antoine de Galbert Collection – la maison rouge Paris – OVNi 2016
The Chandelier Project is a performance made in a slum in Johannesburg. The artist appears as a drag queen, wearing a « chandelier-tutu ». From the incongruity of these unexpected encounters emerges a patchwork of poetic and obscene moments.
Programming Frac PACA – OVNi 2015
A beautiful stallion is here the victim of an external force that tries to subdue him. Through self-mockery and the interpretation of animals, the artist lets himself go to his delusions to finally become a man-animal within the confines of his studio.
Through the enumeration of artists, galleries, museums, art critics, these end credits summon actors and producers of a certain art history.