Exhibition Publication

Mauer

Perrine Lacroix

Raum für Kunst+ publisched by Das Esszimmer 17th October - 28th November 2013 Conversation with Perrine Lacroix Perrine Lacroix | www.perrinelacroix.com Group shows

2013 The Ride . Zoo Galerie, Nantes (F) 1987-1992 Ecole Nationale Supérieure des Arts Décoratifs, Paris (F) À portée de regard . Les trinitaires . Metz (F) As vozes das àguas . Centre international Joaquim Chissano, Maputo, Solo shows Mozambique 2014 Mauer, Snap, Lyon (F) 2012 Brooklyn-Romainville, Les Salaisons, Romainville (F) 2013 Vague silencieuse . Blockhaus Hubsquare, commissariat Mpvite, Nantes (F) Passages . commissariat Daniel Siino, Prison Saint-Paul, Lyon (F) Mauer, DAS ESSZIMMER, Bonn Tout doit disparaître . commissariat Vincent Mesaros, Paris (F) 2012 La bonne aventure. La Halle, Pont en Royans (F) D’une maison l’autre . commissariat Label Hypothèse. Bruxelles (B) SF: Since a couple of years it seams, that you follow up the no means with a function of protection. Much more these 2011 Un balcon en forêt . ATC en Résonance avec la Biennale de Lyon, Lyon(F) 2011 Festival Lumina . Sintra, Portugal topos of the wall (with its various aspects) in your installa- interventions seem to enable a new perspective onto a 2010 Terrain vague . Buy Sellf, Marseille (F) L’inattendu du Tout Monde . L’appartement22 et C. Bourne-Farrel, Art-O- tions and performances. certain territory and by that maybe to perceive a certain 2009 Thanks . En résonance à la Biennale d’Art Contemporain de Lyon, (F) Rama, Marseille (F) territory consciously for the first time. – From that point 2007 Pas perdus . Epicerie moderne, Feyzin (F) 2010 L‘attente . Musée d‘Art Moderne et Contemporain d‘Alger, Algerien – What is attracting you to walls? of view the walls in your interventions do not enclose but 2006 Les châteaux en Espagne . Galerie J, Genf (CH) 2009 Bleu, blanc, rouge = rose, Les églises, Chelles (F) liberate. 2005 Campagne . Néon & quai Rambaud, En résonance à la Biennale d’Art Show off . Olivierhouggalerie, Paris (F) Contemporain de Lyon, Lyon (F) Accrochage d’été . Olivierhouggalerie, Lyon 2009 PL: At the studio or the exhibition space the wall frames and Are there differences for you between your Installations/ Thésée . USM pour les Designer’s days, Paris (F) Loop . Olivierhouggalerie, Barcelona (E) limits, it is a support or a pretext. In this project it is going Interventions in an exhibition space and the public space? 2004 De ci Delà . Centre d’art contemporain Tranzit, Cluj-Napoca, Rumänien 2008 Lumières toujours . Ambassade de France, Lisbonne, Portugal to be the main topic. 2003 Regards aveugles . Fête des lumières, Lyon (F) Studiolo . Festival «Duo des arbres», Le Bessat (F) . 2007 Exposition de noël . Le magasin au Musée de peinture, Grenoble (F) The wall is both a physical and a psychological obstacle, PL: The room – and his context – is not only the frame or the 2005 Update . Festival de performances, Lyon (F) a symbolic enclosure. For Roland Barthes the enclosure support but rather the starting point of my work no mat 2004 Fly . Festival superflux, Lyon (F) involves the term of the area. The fence serves as a definition of a territory (dé-finire, drawing lines) and at the same Winfried, installation, polyethylene 4x12 m, ventilator, Residencies time as its protection. DAS ESSZIMMER, Bonn, 2013, Perrine Lacroix -> 2013 Trienal no Alentejo . Evora, Portugal Without title, brick and brick powder, DAS ESSZIMMER, Bonn, 2013, Perrine 2009 Cité des Cressonnières, production L’OPAC et Les églises, Chelles (F) When Robinson Crusoe discovers footprints in the sand Mauer, 200 bricks, 50x30x10cm, 2014, SNAP Lyon, 2014,Perrine Lacroix Lacroix Les Aftis . Production Chrysalide (Alger) et Gertrude 2 (Lyon) , Jijel, and he realizes that another human being lives on his Algerien island, he starts to protect his territory and to use it for himself. Frightened by the danger he does not leave out Curatorial work any precaution, sets wooden fences, etc. Once started 2000-2004 Direktorin rez d’art contemporain, Meyzieu (F) nothing can neither stop nor satisfy him. seit 2004 Direktorin La BF15, Lyon (F) | www.labf15.org

Therefore I concern myself with the wall ... from the demilitarized zone between North and South Korea to Thanks to the Green Line in Cyprus, from the peace lines in Belfast to The exhibiton is kindly supported by the Institut Français and the city of the berm in the West Sahara., from the border between Lyon, the Creative Incentive Fund of Rhône-Alpes (FIACRE) and by a the United States and Mexico to the barbed wire fence material sponsoring of brick producer Wienerberger GmbH, Germany. around the cities Melilla and Ceuta (spanish enclaves which are surrounded by Morocco), from the boarder line through Kashmir to the wall in Palestine and last but not least the almost infinite Great Wall of China which is 13.171 miles long.

SF : The Wall, as you explained above, has many different Imprint aspects, among which I really like the cited view of Roland Publisher: Sibylle Feucht, Das Esszimmer, Mechenstrasse 25, Barthes, pointing out the wall as a line that defines a D-53129 Bonn, www.dasesszimmer.com | 2013 territory. This view brings immediately images of some of Design: Sibylle Feucht your interventions in the public space to my mind, where Winfried, installation, polyethylene 4x12 m, ventilator, Photos: Sibylle Feucht, Bonn, Perrine Lacroix, Lyon you also seem to define territory in a certain way. – But by DAS ESSZIMMER, Bonn, 2013, Perrine Lacroix Translation: Anika Grabe SEERAUM, 2013, Ausstellungsansicht ter if it is shown in public space or in an exhibition room. ground but to dig in it at the same time. SF : In your solo show Mauer the first to be seen is not the Courant d‘air, an allusion on ‚Pistons de courant d‘air‘ by wall on the ground floor but a fluid and gently moving se- Duchamp, who photographed in 1914 an air blast through In Chelles (F) during a stay in the town Cressonnières in Half inside, half outside the work is a heterotopy where mitransparent plastic foil, faintly recalling memoirs of a sail the surface of an absolute squared tulle material and ob- 2009 while construction works I suggested to allow the one can only live mentally. Half architecture, half sculpture in the wind spanning almost the entire width of the space served its through wind deformed lines in front of an open scenery to enter the private space. the work is about the transformation of a cult place into and thereby creating a complete different form of a wall. window. a culture place and at the same time it questions the art‘s In coorporation with the inhabitants I have constructed a sacralization. Where do you position this installation within the context „I want to show the change on the surface of the square; I hill on one of the floors. In one of the apartments lied a of the exhibition and your body of work? have used the curves of the through wind deformed lines big mound/heap of soil, MON-T (http://www.perrinelacroix. In Marseille in 2010 I removed the walls of the gallery Buy- in my Verre (glass),“ Duchamp describes. com/en/creations/8/mon-t), divided on two rooms. Self and rotated it by 8°. The white cube slided into a less important state as if he tries to postion himself. PL : I felt like reconstructing the material and volume of the In the neighbouring street I invaded into an appartment, balloon which was built by Winfried and Sabine Freuden- to enliven it again before its demolition. While entering the In Nantes in 2013 I painted a log cabin (http://www.perrine- berg for their escape attempt. Therefore I got myself poly- appartment children of the district performed a dance and lacroix.com/en/creations/53/vague-silencieuse) where muni- ethylene and a small office ventilator. This light plastic leaf sang a song in a fictious language. tions was stored with charcoal – a component of gunpow- was immediately alive, it moved like an enormous animal., der. The work was blurred through wind and rain. It is just like a gentle wave. For the exhibition in Les églises in Chelles – two churches as ephemeral as the building is unshakeable. Above it there form an art space – I planed the work SEMI-S (http://www. was a sign inscribed with the title ‚sign‘ (in the original: Just as I was about to film the installation – the ventilator perrinelacroix.com/en/creations/2/semi-s), a cellular shaped enseigne). This tautological hoax questions the educational stood apart – an airstream blew at me. Because I opened concrete construction which seems to rise out of the value of such monuments and as a consequence the doors on both sides of the room (9 x 4m) the plastic sail was suddenly carried away by the wind, slided lively away, disappeared outwardly, came back again, blew itself up in one breath like the balloon of the Freudenbergs before the air escaped again and the sail sliped again.

This image of the curtain, caused by the wind, opens the Mauer #2, 200 bricks, 50x30x10cm, DAS ESSZIMMER, Bonn, 2013, Perrine Lacroix frame for that window. The sliding reveals two aspects: Winfried, installation, polyethylene 4x12 m, ventilator, the sculptural bloating of the sail in the wind as well as DAS ESSZIMMER, Bonn, 2013, Perrine Lacroix the figurative escape through the window which refers to the painting and the definition of the painting as an open window.

For Alberti this window does not open itself to nature but to history: First of all, on the surface on which I am going to paint, I draw a rectangle of whatever size I want, which I regard as an open window through which the subject to be painted (annotation: historia) is seen.1

The introduction of the veduta in painting of the Renais- sance is therefore an exclusive intellectual construction. It is not its function to present the visible but rather to excite the imagination of the observer and to remind him that this scene does not happen within a closed place but in front of the primordial ground. It opens different perspec- tives here on the escape of the Freudenbergs.

The film is called Winfried, a name that consists of: Win- (to win) and -fried (freedom). Footnote: 1 Alberti, Leon Battista: On Painting. A New Translation and Thereby three images were developed for the triptych Critical Edition, ed. by Rocco Sinisgalli, 2011, p. 167. the history in our present as well.

For DAS ESSZIMMER I transfer the exact dimensions of the wall on the ground, as a concrete silhouette, with bricks. These will become soil, landscape again.

MAUER is an hommage to the last victims of the Berlin Wall. In March 1989 Winfried Freudenberg flew with his balloon over the city for hours before he crashed over West Berlin. 25 years after the fall of the Berlin Wall the tragical fate of this man is still echoing in the carelessly escape attempts of migrants which remain as much archaic and dangerous as current. Winfried, installation detail, polyethylene 4x12 m, ventilator, DAS ESSZIMMER, Bonn, 2013, Perrine Lacroix This work is connected with the châteaux en Espagne which I have been taken photographs of in different coun- tries since 2003. Unfinished constructions, briefly outlined in 3D in the landscape, preserved utopias which can only be inhabited notional.

Winfried, film 2‘, Bonn, 2013, Perrine Lacroix

SF : So a wall is not only a formal architectural element of defining and protecting territory but becomes – in the way you use the wall – a tool to create (different) identities of a space, a building or a landscape.

– Would you agree on that interpretation?

For DAS ESSZIMMER I transfer the exact dimensions of the wall on the ground, as a concrete silhouette, with bricks. These will become soil, landscape again.

Winfried, film 2‘, Bonn, 2013, Perrine Lacroix

– Would you agree on that interpretation?

PL : Yes, my work tries to move walls, to tilt them, to redirect them, to let them slip, to fracture them, to reveal them, to let them fall,...the wall becomes the material for thoughts and for the construction of other rooms. For me it is a conceptual projection like the white canvas for the painter or the sheet for the poet. ter if it is shown in public space or in an exhibition room. ground but to dig in it at the same time. SF : In your solo show Mauer the first to be seen is not the Courant d‘air, an allusion on ‚Pistons de courant d‘air‘ by wall on the ground floor but a fluid and gently moving se- Duchamp, who photographed in 1914 an air blast through In Chelles (F) during a stay in the town Cressonnières in Half inside, half outside the work is a heterotopy where mitransparent plastic foil, faintly recalling memoirs of a sail the surface of an absolute squared tulle material and ob- 2009 while construction works I suggested to allow the one can only live mentally. Half architecture, half sculpture in the wind spanning almost the entire width of the space served its through wind deformed lines in front of an open scenery to enter the private space. the work is about the transformation of a cult place into and thereby creating a complete different form of a wall. window. a culture place and at the same time it questions the art‘s In coorporation with the inhabitants I have constructed a sacralization. Where do you position this installation within the context „I want to show the change on the surface of the square; I hill on one of the floors. In one of the apartments lied a of the exhibition and your body of work? have used the curves of the through wind deformed lines big mound/heap of soil, MON-T (http://www.perrinelacroix. In Marseille in 2010 I removed the walls of the gallery Buy- in my Verre (glass),“ Duchamp describes. com/en/creations/8/mon-t), divided on two rooms. Self and rotated it by 8°. The white cube slided into a less important state as if he tries to postion himself. PL : I felt like reconstructing the material and volume of the In the neighbouring street I invaded into an appartment, balloon which was built by Winfried and Sabine Freuden- to enliven it again before its demolition. While entering the In Nantes in 2013 I painted a log cabin (http://www.perrine- berg for their escape attempt. Therefore I got myself poly- appartment children of the district performed a dance and lacroix.com/en/creations/53/vague-silencieuse) where muni- ethylene and a small office ventilator. This light plastic leaf sang a song in a fictious language. tions was stored with charcoal – a component of gunpow- was immediately alive, it moved like an enormous animal., der. The work was blurred through wind and rain. It is just like a gentle wave. For the exhibition in Les églises in Chelles – two churches as ephemeral as the building is unshakeable. Above it there form an art space – I planed the work SEMI-S (http://www. was a sign inscribed with the title ‚sign‘ (in the original: Just as I was about to film the installation – the ventilator perrinelacroix.com/en/creations/2/semi-s), a cellular shaped enseigne). This tautological hoax questions the educational stood apart – an airstream blew at me. Because I opened concrete construction which seems to rise out of the value of such monuments and as a consequence the doors on both sides of the room (9 x 4m) the plastic sail was suddenly carried away by the wind, slided lively away, disappeared outwardly, came back again, blew itself up in one breath like the balloon of the Freudenbergs before the air escaped again and the sail sliped again.

Perrine Lacroix

Raum für Kunst+ publisched by Das Esszimmer 17th October - 28th November 2013