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Michel Rein: ELISA P�NE - Fermer les yeux. Sauver sa peau - 2 Feb 2008 to 26 Feb 2008 Current Exhibition |
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ELISA P�NE
I'm looking for something to believe in2007 video-work, ed of 5 |
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ELISA P�NE Fermer les yeux. Sauver sa peau Vernissage samedi 2 f�vrier, 16h-21h/ Opening reception Saturday, Feb. 2, 4-9 pm Exposition du 2 au 26 f�vrier 2008 en partenariat avec Mulhouse 007 (scroll down for English) Les installations et les vid�os d�Elisa P�ne sentent la poudre. D�abord simplement parce que l�artiste a l�habitude de travailler le feu d�artifice comme un mat�riau tr�s consistant o� se m�lent le bruit, l�odeur, les belles bleues et le bouquet final, le spectacle et ses relents guerriers, le divertissement pascalien et les explosions. Un cocktail merveilleusement incendiaire que l�artiste dose d�une mani�re in�dite, en d�pla�ant l�angle de tir, autrement dit le format et le lieu, puis aussi en infl�chissant le point de vue du spectateur. Par exemple, quand elle d�clenche un feu d�artifice intra-muros, Elisa P�ne r�duit l��chelle des modules pyrotechniques. Plus aucun recul donc, plus d�envergure ni de hauteur, tout se d�roule dans un espace confin� o� la petite foule des spectateurs a le champ de tir sous le nez sans avoir besoin de le lever pour voir le lieu s�enflammer. La vid�o intitul�e I�m Looking for something to believe in confine le feu d�artifice dans un endroit encore plus �troit, celui de l�habitacle d�une voiture abandonn�e dans une verdoyante clairi�re. In�vitablement, l�explosion fait d�border le feu hors de ce cadre doublement trop serr�. Les vitres se brisent et la fum�e couleur suie vient faire tache au milieu de ce d�cor champ�tre. Puis les lourdes bouff�es se dissipent et le chant des oiseaux r�sonne � nouveau. La nature a remis le couvercle sur les p�tarades. Retour � l�ordre naturel. Le plan fixe de la vid�o se charge d�ailleurs d�accentuer cette tension entre l�autorit� du cadre et ce qui tente d�y p�n�trer ou de s�en �chapper violemment. De m�me, dans une s�rie de photos, Elisa P�ne tente d��chapper aux bornes temporelles d�un �v�nement pyrotechnique. Autrement dit, elle met en sc�ne ce qui vient avant ou apr�s, les pr�mices et les restes, le d�tonateur et la fum�e. Les images montrent ainsi une foule de jeunes gens mains dans les poches. D�soeuvr�s, ils font face � une colline exhalant les derni�res bouff�es d�un feu d�artifice. A cette ambiance cr�pusculaire de fin de partie, r�pondent les 4x4 noirs t�l�guid�s qui arpentent la galerie en faisant hurler des bruits de d�tonations. Messagers tonitruants laissant pr�sager le pire ou retransmission d�explosions qui ont lieu ailleurs, en p�riph�rie, les caisses sont d�ailleurs titr�es Boom Biddy Bye Bye, d�apr�s un rap de Cypress Hill. Reste que le feu n�est pas tout dans le travail d�Elisa P�ne. C�est la nuit, ses tr�fonds, ses jeux obscurs et interlopes qu�elle habite dans La Passion des Fils. Cette courte vid�o focalise petit � petit sur deux jeunes gens. Assis sur un banc, ils se livrent � un jeu de doigts sanglant. Clin d��il � Pasolini, la vid�o bat et tremblote au rythme des gestes nerveux et crisp�s d�une jeunesse d�soeuvr�e, qui, litt�ralement ici, ne sait plus quoi faire de ses dix doigts. Voil� pourquoi, dans cette expo, �a sent la poudre, cette odeur �cre qui pr�sage le p�tage de plomb. Judica�l Lavrador, janvier 2008 --------------- Elisa P�ne est n�e en 1979. Dipl�m�e de l�Ecole d�Arts de Cergy-Pontoise, elle est laur�ate du �prix de la galerie� d�cern� par Michel Rein lors de l�exposition �Mulhouse 007�. ---------------- Prochaine exposition: ALLAN SEKULA, 8 mars-5 avril 2008 ---------------------------------------- PRESS RELEASE Elisa P�ne�s installations and videos reek of gunpowder. First of all quite simply because the artist often works with fireworks as a very consistent material in which there is a mingling of noise, smell, beautiful sights and the final starburst, spectacle and whiff of war, Pascalian entertainment and explosions. A wonderfully incendiary cocktail which the artist measures in a quite novel way, by shifting the angle of fire, otherwise put, moving the format and the place, and then by also altering the onlooker�s point of view. When, for example, she sets off a firework indoors�intra muros�Elisa P�ne reduces the scale of the pyrotechnic modules she uses. So there is more standing back, no more big scale and no more soaring height, everything takes place in a confined area where the small throng of spectators has the field of fire right under their nose, with no need to get up to see the place go up in flames. The video titled I�m Looking for Something to Believe in confines the firework to an even smaller place, the interior of a vehicle, abandoned in a lush green clearing. Inevitably the explosion pushes the fire beyond this setting which is twice as cramped as it need be. The windows are shattered and soot-coloured smoke makes a dirty blotch in the midst of this rustic scene. Then the heavy puffs of smoke fade away and birdsong rings out once more. Nature has replaced the lid on the crackle of fireworks. There is a return to natural order. The static shot of the video is incidentally responsible for emphasizing this tension between the authority of the frame and the setting, and what is trying to make its way into it or escape from it, in a violent way. Likewise, in a series of photos, Elisa P�ne tries to dodge the time-related markers of a pyrotechnic event. Otherwise put, she presents what comes before and after, the premises and the remnants, the detonator and the smoke. The images thus show a crowd of young people with their hands in their pockets. They are at a loose end, looking at a hill exhaling the last puffs of smoke from a firework. This twilight end-of-play-like atmosphere is combined with remote-controlled black SUVs which criss-cross the gallery letting out shriek-like noises of detonations. Resounding messengers harbingering the worst, or retransmission of explosions taking place somewhere else, somewhere peripheral, the boxes are moreover titled Boom Biddy Bye Bye, taken from a Cypress Hill rap number. The fact remains that fire is not the whole story behind Elisa P�ne�s work. There is the night and its depths, its dark and dubious games which she inhabits in La Passion des Fils. This short video gradually focuses on two young people. Sitting on a bench, they are involved in a bloody finger game. With a wink at Pasolini, the video beats and quivers to the rhythm of the tense, nervous gestures of a youth that does not know what to do with itself, a youth which, here, is quite literally twiddling its thumbs. This is why, in this show, there is a smell of gunpowder, that acrid smell that forewarns us of things going ballistic. Judica�l Lavrador, January 2008 ---------------- Born in 1979, Elisa P�ne is a graduate of the Cergy-Pontoise Art School and winner of the �gallery prize� awarded by Michel Rein at the exhibition �Mulhouse 007�. ---------------- Next exhibition: ALLAN SEKULA, March 8-April 5, 2008 |
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