PREMIERS FEUX
EDEN SARNA, MARIE DE VILLEPIN, ROTEM GERSHEL, LAETITIA STRIFFLING, CLEMENCE MARS, THOMAS LELOUCHMARCH 23
— MAY 6, 2023
— MAY 6, 2023
With what science did the first men, several tens of thousands of years ago, set their fires of wood and twigs deep in the caves, carefully avoiding the invasion of smoke? With what art, by means of flint tools, charcoal and crushed pigments, did they represent herds of cattle and horses in cavalcade, signs and figures that seemed to come alive in the light of the flames or the passage of the torches? These living, quivering images spoke of the beauty of the world, and even in the hour of the great cold, the hope of the renewal of living species, aurochs, horses, buffalos, ochres or reds, parked - they imagined - in the center of the earth. By these swarming representations on the walls, they could hope to reactivate the first energy opening the way to the herds emerging from the depths.
“Premiers Feux" brings together artists with different practices, collaborating together for the first time with the desire to combine the vision and work of each in a collective work, a first fire.
The photographic language of Laetitia Striffling lets us glimpse, through chosen angles, the play of forms where forces merge into a new essence.
The video work of Eden Sarna also presents us with a moment of domestic architecture,
where a mysterious figure engages in a dark and playful ritual, where dice and coins evoke the risks taken in a dark impulse. The mosaic in the background resonates with another work by the artist where the Terminator character hints at a fatal outcome.
The video work of Eden Sarna also presents us with a moment of domestic architecture,
where a mysterious figure engages in a dark and playful ritual, where dice and coins evoke the risks taken in a dark impulse. The mosaic in the background resonates with another work by the artist where the Terminator character hints at a fatal outcome.
The work of Clémence Mars presents archetypal forms attached to the remains of everyday life, such as a chair or a lamp. While its colorless
and abstract forms make the shadow of the fire or the characters of the cave, the installation of Thomas Lelouch proposes a system of furniture to stabilize a ritual. His naked and skeletal forms also allude to also allude to the residues and relics found inside a cave or during an archaeological excavation. At the back of the space, Marie de Villepin's painting offers a breakthrough like the ceiling of a cave that one can contemplate lying in the dark. Shapes and figures undulate like floating bodies on the eye's retina.
Rotem Gerstel's works, distributed in the space, represent a set of deformed heat dissipators designed to keep temperatures low in computers so that the system does not overheat or destroy itself. These traditionally hidden elements are represented here in frozen moments with slight deformations or struck by destruction.
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and abstract forms make the shadow of the fire or the characters of the cave, the installation of Thomas Lelouch proposes a system of furniture to stabilize a ritual. His naked and skeletal forms also allude to also allude to the residues and relics found inside a cave or during an archaeological excavation. At the back of the space, Marie de Villepin's painting offers a breakthrough like the ceiling of a cave that one can contemplate lying in the dark. Shapes and figures undulate like floating bodies on the eye's retina.
Rotem Gerstel's works, distributed in the space, represent a set of deformed heat dissipators designed to keep temperatures low in computers so that the system does not overheat or destroy itself. These traditionally hidden elements are represented here in frozen moments with slight deformations or struck by destruction.
