Powerful General Purpose Art, 3/3 : The Living-Dead Objects.
Are neither dead nor alive, but honest anyways. Do you believe in art works? What if they don’t believe in you? What if they could kill?
Here is a piece of advice: Do not try to readjust your global vision set, it’s too late for that..

Powerful General Purpose Art, 2/3 : The Good, The Bad and The Art.
Avec Charles Falanga, Louise Hourcade, et Aurore Serra.
Graphic design: Marine Leleu.
Sculptures: collaboration w Victor Villafagne.
Set up made with: paper, aluminium (foundry made at Garage Delmas), motors, silicone tongues, video on TV screen, 10 chairs, costumes.
Lien : Cité Internationale des Arts.

Sans bord. Sans restriction.
Powerful General Purposed Art, production hybride à plusieurs entrées, par delà l’espace de l’exposition, par delà la scène théâtrale.
2/3 : The Good, The Bad and The Art est une mutation du projet P.G.PA à la Cité internationale des arts de Paris. La pièce s’adapte ici à l’espace « extra scénique » d’une galerie et cherche à intégrer les spectateurs au cœur même d’une création en perpétuelle adaptation in situ. Citant Jacques Rancière, Flora Bouteille s’intéresse aux relations entre pouvoir, savoir et partage.
« J’appelle partage du sensible ce système d’évidences sensibles qui donne à voir en même temps l’existence d’un commun et les découpages qui y définissent les places et les parts respectives. Un partage du sensible fixe donc en même temps un commun partagé et des parts exclusives. Cette répartition des parts et des places se fonde sur un partage des espaces, des temps et des formes d’activité qui détermine la manière même dont un commun se prête à participation et dont les uns et les autres ont part à ce partage ».

Jacques Rancière, Le partage du sensible, Esthétique et politique, Paris, La fabrique, 2000, p.12

Extrait d’un texte de Cassandre Langlois.

IMG.©Marine Leleu

Powerful General Purpose Art, 1/3 : The Perverted.
Sculpture en acier (la Pompe à Sens), mallette radioactive (PPPSSS faîte par Victor Villafagne), barrettes d’uranium, tee-shirts, chewing-gum.

Date : Le 2 novembre 2019 À 20 h.
Lieu : Les Subsistances, grand hangar, 8 bis Quai Saint-Vincent, 69001 Lyon.
Conception : Flora Bouteille.
Performeurs : Kenza Belghiti, Alix Merle, Maxime Pairault, Victor Villafagne, +1.
Scénographie : Rudy Gardet.
Costumes : Héloïse Bouteille.
Sculpture : Samuel Bouteille.
Sonorisation : Victor Villafagne.
Image : Marine Leleu.

P.G.P.A est une trilogie de pièces performatives circulant entre le théâtre, la galerie, et le film.

Ci-dessous le texte de présentation de la pièce aux Subsistances :
PERFORMANCE dans un white cube à plat sur une black box à nu.
Les éléments réunis sur scène constituent une chaîne de production. Pour que cette chaîne fonctionne, il faut l’alimenter en énergie (la pompe à sens) et en matière première (l’uranium purifié). Ce qui nous préoccupe, ici et partout ailleurs, c’est l’opération : une « succession de faits divers » exigeant une évaluation de leur enchaînement. Le but en est l’étude du phénomène mental artistique, pensé comme relation individuante entre performeurs et spectateurs. Cette individuation possible joue avec nos habitudes de subordination, et son issue dépendra des choix du public. L’image y est conçue comme un enregistrement statique, montrant le dispositif à l’état de « Repos Instantané », mais repos toujours relatif, car étant un arrêt sur image. Le « Pré-conditionnement » justifie en quelque sorte l’absence de sujets tangibles dans l’œuvre. Il explique que la Grande Image est une présentation narrative de concepts sous leur « apparence allégorique » comme un produit des opérations réalisées.

IMG.© Phillippe Merle

ONE MINUTE SECRET, 1/3 : Power.
Enceinte hyper-directionnelle, chaises, questions sur feuille A4.
Avec Paul Canfori, Charles Falanga, Alix Merle, Aurore Serra, et Victor Villafagne.

1/3 : Power est une pièce axée autour de 3 dispositifs faits de chaises. Chaque dispositif est une étape de la pièce, dans laquelle nous sommes guidés par un ou plusieurs comédiens.
1 : Le Tribunal ; rangs de 10 chaises en face à face encadrant deux chaises centrales ; où un performeur reçoit les membres du public un après l’autre. Un autre comédien encercle cet espace en commentant et suggérant des gestes à ceux qui se trouvent au centre.
2 : Le Trip ; cercle de 7 chaises où une comédienne attend. Elle amène les spectateurs dans une hypnose ASMR où elle leur fait faire l’expérience d’une sculpture sous son aspect uniquement mental.
3 : La Trahison, 10 chaises sont disponibles et bougent ; une comédienne les déplace. Elle est là pour révéler tout le mystère, les secrets, et dire tout ce qui pourrait potentiellement « trahir » l’œuvre, si tant est que celle-ci soit basée sur l’ignorance de ses secrets pour ceux qui en font l’expérience.
Un performer est debout sur deux chaises au-dessus du timer pour toute la durée de la pièce ; il pointe sur les participants l’enceinte hyper-directionnelle diffusant des textes enregistrés au préalable ; cette enceinte très précise leur donne la sensation d’entendre des voix dans leur tête.

IMG.© Fanny Vandecandelaere

How are you Mr Plague?, The Forbidden Rest n°3., , HYPERPIECE n.6, in collaboration with Kobas Verschuren, Victor Villafagne,
Kenza Belghiti and Hoàng Lê.
Performance, metal tools (Foundry made at Garage Delmas), the Bad Box, white tape, sound.
Salon de Montrouge, May 2019.

Comment évaluer un objet d’art ?
Est-ce un jugement moral ?
L’innocence peut elle s’acheter ?

I’m too honest that’s my problem
You know
I can’t help but be honest
You eat then you get sick,
that’s how it is.

Here comes the innocent killing machine. Here comes the undecided judges. Here comes the unclassifiable objects. Here comes the whitest white, the perfect cube. Here comes obedience, here comes hidden rules comes the unspeakable, the only reason to make art.

IMG.©Marine Leleu

Ecologie de la peste, with Léo Castel and Victor Villafagne.
Installation made with: lime scooters, AQ 18650 lithium batteries, bismuth crystals, melted aluminum, porc intestines, napalm inspired homemade resin, inks, toner, barbed wire, burned-by-both-ends match.
Salon de Montrouge, April 2019.
http://www.salondemontrouge.com

Je suis le toxique des toxiques
pourtant la terre tourne
sous les coups de mes reins.

Toxique ? Et si la vie était toxique, une corruption mortifère. Et si l’on se trompait de même pour les objets d’art et leur fonction curatrice. Et si il fallait tout prendre à l’envers… Si, note sensible de la gamme de do. Le IF comme bois liaison qui agrippe le dos des performeurs. La proposition artistique qui tend vers le métamorphe. Qui est l’auteur de ce mouvement ? La réponse est dans le passé qui nomma les monstres immatériels: ceux de notre futur proche.
Les trottinettes lime et autres chaussures « victoires » viennent accomplir ce que l’on ne peut vouloir...


IMG.©Marine Leleu

The For/Bid/Give/End Rest, The Forbidden Rest n°2., HYPERPIECE n.7, in collaboration with Kobas Verschuren, with Alix Merle.
Performance, hand-made knifes, the Bad Box, pest control device «Lucifer».
Musée des Beaux-Arts de Lyon, Mars 2019.

Everything here holds semiotic meaning because they are frozen now,
if you want to read into our semiotic meaning it’s gonna have to be updated on the fly.

During this second episode of the series The Forbidden Rest, we do a crime scene reenactment in a room of the museum where Etienne Martin’s sculptures are exhibited. Everything in the museum is under a preservative treatment, and we are here to release their potential. In this context, pollution can come from everywhere, and should be held back until we find The Guilty One.
Best Regards, The Forbidden Rest n°1., HYPERPIECE n.6, in collaboration with Kobas Verschuren and Victor Villafagne, with Pierre Masclef.
Performance, lead sculpture (the «Bad Box»), gun powder, pest control device «Lucifer», motorized Nike shoe.
Shown in Cité internationale des Arts, February 2019.

Spiritual & physical exercice on the transmutation of sins.

The first episode of The Forbidden Rest is the moment in which we encounter the Bad Box.
The Bad Box contains potentially a word’s possibilities of the bad itself.

©Marine Leleu



IMG.©Marine Leleu

TotalBodyControl n.2, HYPERPIECE n.5., with Antoine Bachmann, Lily Brieu, Swan Gautier, Samuel Gouttenoire, Alix Merle,
Grégoire Rousseau and Victor Villafagne.
Performance, metal sculptures, raspberry pie + infrared cameras, sound.
A show curated by ex situ, in (A)Void Floating Gallery, Prague, December 2018.

TotalBodyControl n.2 is performing "The Stalk(er)" of people, bodies, entities and molecules in a (very very) soft way.
This sensual track happens simultaneously in the present of the performance, and in the delayed video space of it : > there is two dimensional layer in this happening. We make the multiplication of them dimensions sensible through the use of infrared connected cameras that are constantly moving around in the performers hand’s.

As weak with sound, fury and our expectation’s silliness.



IMG.©Marine Leleu

TotalBodyControl n.1, HYPERPIECE n.4., with Antoine Bachmann, Marine Leleu, Pierre Masclef.
Performance, laptop, iphone, tape, 1 x A4, 2018.
This piece won the Prix de Paris 2018, which consist on a financed 1 year residency in Cité Internationale des Arts, Paris.
In TotalBodyControl performances, which are part of the “image fade” series, we are testing group obedience and autonomous self-administered authority.

Are art participants more disciplined than others?









One Continuous Stretched Performance: Faire Tâche (image fade n.2), HYPERPIECE n.3., with Antoine Bachmann.
Performance, harness, video, painting(s), sound.
Shown in Academiae Youth Art Biennale, Bolzano, 2018.

What’s performative? What’s a performance?

The action here consist of letting the audience know that something is going on, but it’s impossible to identify what there is to recognize or understand.
Antoine is continuously performing and doesn't do anything special.
The harness is an ornement. When wearing such a thing, “something” should happen. But this something has happened already by displacing the statuts of Antoine’s body, and the perceptive considerations of the audience.
It’s performed.





Manifesto Liquidist, 2017, graphic design by Marine Leleu. Printed in November 2017 at ENSBA — Lyon, www.ensba-lyon.fr.
Standard paper, 80g. / Typefaces: DTL Documenta, Univers / Published in 05 copy.

The Manifesto Liquidist is an essay in which I expose my research on transhumanism, NBIC and optimisation in the domains of human relationships
— between themselves and the world of things. It is a writing of 175 pages in which 3 part cohabit:
1 st
 The Manifesto and its Traité
2 nd
 It’s interpretation in poetic form
3 rd
 A corpus of images, all taken from the internet as screen-shotted (which is also a statement on appropriation).

A Manifesto is a theoretical attitude, that applies to life, that applies to practice and applies to forms.

Manifesto Liquidist

   01  To find and keep spaces to hide; in connivance, between humans. To face the injunction of the all-visible: be able to disappear.
   02  To understand that pleasure comes from risk, satisfaction from trial and plenitude from accident. And always, doubt.
   03  To built for yourself an intimidate sense of duration. Find the right shape for you body in the midst of new magnitudes and speeds that have become unimaginable.
   04  To love without knowing, without mastery, without control. Transforming consuming individualism into generous individuation.
   05  To built a biologic and philosophic individuation coherent regarding what we are as a specie: by saying no to immortality, say yes to the living.
   06  To not use sensorial immersion to fill emotional and sexual needs onto platforms that have no will or desires. Preach body-to-body against sterile visuality that saturates.
   07  To imagine a society which would not be theocratic or either technocratic.
   08  Against the demoralization that strikes the absence of epoch, do not be cynical. With an intimate injunction to be true to oneself and others.
   09  To shape for oneself a body and eye which distinguish the sensations coming from the disobedient real*, and those coming from the optimized real*.
   10  To re-create faith cells, and find the zone of future liminal trances.



To get complete file: CLIK
I’m Never Forever I’m Never For Now, HYPERPIECE n.1., with Antoine Bachmann, Sarah Brunone, Lola Giganon, Marie Goundo Traoré.
Performance, sculptures, videos, photographs, sound. National diploma of Plastic art Expression (DNSEP) May 2018, ENSBA Lyon.

Even in times of excess, emptiness is the outcome…

How not to be sick of a system based on the accumulation of a value that is abstract itself? (money) 

We are always never enough
And we cannot “come” because we are nowhere. Nor in pleasure, nor in pain…

 








HYPERPIECE, is a form of research and togetherness that has started and won’t be able to end itself, 2018 - 2019 - 2020 - XXXX.

The HYPERPIECE wants to destitute the artist’s figure. The artist is not anymore “the one” who knows, rather (s) he is naked, at the earth of an interdependency network that (s) he links in order to “make form”.

The artist itself is nothing, (s) he doesn’t do anything from Zero, (s) he is a knot in the network.
(s) he needs other peoples, (s) he needs everything to exist as a “person making art”. Art doesn't exists on its own in the middle of the desert. Or it could but it needs a diffusion. So it’s easy to understand the necessity of the all “art world” (or micro / macro-cosm around the artist) to allow someone, or something (an object) to become art or artist. The understanding of this necessity is what gave me the idea to play with the option of the artist disappearing within its own HYPERPIECE.


An example of what an HYPERPIECE can be:

The HYPERPIECE is an ambiguous and chasmic space within which all the moving and thinking bodies work together. The form and its evolution are depending on things that are not necessarily decided by the “author”, but come from the HYPERPIECE body which becomes autonomous.

The HYPERPIECE create a combination of information that are not to be recorded. The piece can’t be reproduced because every time it’s played or shown, it has grown, so it has changed. The first “system of free interpretation” I gave to the performers isn’t changed, but from this first set, anything can happen.

The HYPERPIECE is a space where artists, dancers, actors, musicians and other “energies of doing” meet each other and act. Their will is to push the “author’s question” to the limit. They are emancipated from recognition and pride, they understood that “making forms” it’s being together.

The HYPERPIECE is uncontrolled. What happens within the composition doesn’t depend on the author who is “versatile and sincere at the same time” … she/he brings something to us that is an independent entity. Through responsible irresponsibility they destabilize authority of intellectual academicism and annoy the hierarchies which systems expect the clear identification of a concept or a product (in relation to the market).

The HYPERPIECE can’t exist if it’s not live. It works only with living bodies. Those bodies are collaborators, not only performers. All the actors of the project are swallown by the global body of the HYPERPIECE. They all participate in the elaboration of a form that already exist because of their group-form.

Return To Hell, with Milan Tarascas.
Performance, ceramics, wood, steel, coton, sensors (warmth, pressure, movements, giro-), PCBs, 2017.
Shown in Proposition For Waiting For The Future, Exhibition Laboratory, Helsinki. A show curated by Gregoire Rousseau and Flora Bouteille.

About the concept of our show, by Gregoire Rousseau:

“Proposition for waiting for the future” title may lead to the following sophisticated questioning: why do we need a proposition to wait as the future will always come? A valid answer would be first to state that the future cannot be addressed so linearly as “always come” could mean. The future cannot be simplified in the complexity of its form because a second comes after another. Time manifest its effects transforms, produce and re-produce material elements in our everyday life.

Future goes on because of historical process of spaces of collective struggle. In this sense, “waiting” relates to in between time situations; between present, past and future, between fragmentation and unity, between movement and immobility, between liquid and solid. The proposition operates both as a moment of collaborative affirmation and as a production of singular moments. A continuum of situations, a superimposition of images, sounds and material. If present is the time of the coexistence, then future is the time of affirmation.






Double Headed, with Kobas Verschueren.
Performance and video installation, 2017.

WANCHIN is a word made of WANK + WATCH in their — ING forms.

“At every angle of the cam there’s a limit and I can walk out but not my breathing or any noise, wall to wall to walk walk not in this room — that is the frame, the mic hole open and wide swallows all” “they are we are you are IRL WANCHIN”





Maximum Harmony, multimedia installation: video, photography, writings, sculptural elements, 2017.
[https://vimeo.com/293111263]
Shown in Exhibition Laboratory, Helsinki in the frame of ANIMAL AND THE LOGIC OF OTHERS.
The video from Maximum Harmony was shown also in “Dear Mickey Mouse” in Chalton Gallery, London, July 2018.

Below, an excerpt of a text written by Laura O’Neill about Maximum Harmony:
“…the video digitally renders an exploration of the artist herself. Interior / Exterior. Observing the closeness of the cameras, the human body acts flat and transparent. The repeating forms of skin and hair create optical, meditative abstractions of gender constructs. Using the vantage point of the screen, the window or the transparent bag carried by us when required to conform to the demands of surveillance and security, pledging upon arrival, to leave nothing hidden, instead circulating the presence of the observing subject, self-constructing self-image.”





Do humans dream
of human-machines?


scroll down into the endless feed, 
someone is always updating more often or rising to the top by virtue of retweets, reshapes, or some opaque algorithmic calculation,
— second nature.


with your DNA we can call you
(13 % of, 7 % of, 31 % of, 9 % of, 27 % of, 6 % of, 7 % of,)
= Can you still be racist? 

Your information, your Work
— second nature.

THINK OF OTHERS/. THEY WANT THE SAME:

WE WILL EXERCISE TO MAKE THIS POSSIBLE, WE DO TALK TO KEEP IT REAL
Lost Ego (image fade n.1), HYPERPIECE n.2., Swan Gautier, Samuel Gouttenoire, Marine Leleu, Alix Merle.
Performance, props, sculpture, video, sound.
Shown in Partout, mais pas pour très longtemps…, ELAC Perrache, Lyon, 2018.

Click here to read about it ¬ Publication: Le Chassis avec Cassandre Langlois.
The world rolls around the mouth like a Werther’s Original, essay, 2017.
An essay explaining why it is possible to be Versatile and Sincere at the same time.

To get complete file: CLIK

Method: Fluid Appropriation.
Mood: Focused Indolence.

We Consent, video installation, 2017.
[https://vimeo.com/293107548]

We don’t say Yes or No, we just consent. Do not try to readjust (your television set), it’s too late for that.


Give Me What I Want And Then Leave Me Alone, duo show at Helsinki Project Room, 2018.

I wanted to embarrass the audience and she Iona Roisin wanted to embarrass herself.


Cold Skinned, Green (subjective shot n.3), with Kobas Verschueren.
Performance and video, 2016.

Cold Green is made with 5 different types of cameras.
Here we the deactivate the sensuality of the bodies, as they are obsessively looking into the camera hole.
The cam hole becomes the Hole of all Holes.

BIG DATA (subjective shot n.1), with Kobas Verschueren.
Performance and video, 2015.

BIG DATA is the second episode of the series started with CLOSER, and followed by NAVIGATE ME. Here the two characters meet BIG DATA
“… BIG DADDY TELL THEM WHAT THEY WANT TO HEAR, SHOW ME EVERY HIDDEN DANGER, GIVE ME THE APPROPRIATE TOYS TO PLAY WITH’. And offer their bodies to its holy whole “OH BIG DATA, YOU KNOW I AM SINGULAR IN MY PATTERNS, YOU SEE ME AS AN INDIVIDUAL, I AM ALL OUTSOURCED CODE TO YOU… OH GOD YES OH GOD DOG GOD DOG GOD YES HO GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD GOD DOG GOD DG GOD GOD DOG GOD DOG GOD GOD DOG GOD DOG GOD — OH. —— YES…”

CLOSER,with Kobas Verschueren.
Performance and video, 2015.

CLOSER is a dialogue.
CLOSER is a script to perform.
CLOSER can be learned and forgotten.
CLOSER happens in video space.
Video space doesn’t have texture.

Maybe better to say that video space is image + space; Existing but not situated, impacting but is it a fact? Is an image a fact or a surface?

Nice Feeling, video, 15mn, 2015.

Nice Feeling is a short fiction in which an anonymous girl presents herself as a art product, as a performative body, trained in order to be exported all around the world and further her value. This white room is a direct reference to the white cube, more broadly, the piece is a critique of the tao-referentiality of post-modernist artistic production. She speaks about the separation between, her body and the world, between the art world and the actual world. She is a being-image isolated and protected in a zone where she is required to do nothing. Just being there, as an image, out of time, never getting old, never risking anything. She insist on being her own avatar, she interrogates the implications of this image, of its virtual content in concrete terms. Wondering if her discourse is impacting reality even if its origin is undefined and seems not to belong to her...

"I will speak in english cause i could be exporte all over the world. I wish I am international;
Nice feeling
I go out sometimes and i remember...
I touched that, i sat there...
Here is just a temporary state of my body
Here I’m not the happening body...
Here I am the electric body, pointed out as singing blood, song of light and dark, moving squares on a non-existing surface.
Nice feeling
Up there they said I don’t need to represent anything.
«No representation, no representation» they said!
This is just about being
ha - ha - ha
«Just your image. This is undefined time out of time».

I would like to be... forgetful... the one who forget everything."