Jean-François Taddei,
Director of Frac des Pays de la Loire.
Excerpt for the artist's book by Laurent Moriceau entitled Les Perméables (The Permeables)

Translation : Anna Hiddleston

1 - Résidence à Beppu, Japon

2010

Cette résidence a permis la réalisation de trois propositions différentes. Ces travaux ont été montrés à l'exposition KATAMARI, platform 02 à Beppu (24 juillet -  24 août 2010).

I'm looki...

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1 - Résidence à Beppu, Japon

2010

Cette résidence a permis la réalisation de trois propositions différentes. Ces travaux ont été montrés à l'exposition KATAMARI, platform 02 à Beppu (24 juillet -  24 août 2010).

I'm looking forward to see you here at 4 pm !
Calicot (150 x 230 cm) suspendu dans le passage d'une galerie marchande de Beppu.
I'm looking forward to see you here at 4 pm est une invitation sans destinataire, c'est une proposition motivé par un désir de rencontre lié au hasard et à l'improbable. De fait, chaque jour je me suis présenté à ce rendez-vous de 16 h sous le calicot.

To/et
1 photographie format 84,1 x 59,4 cm et 15 photographies format 12,5 x 9 cm.

Ce travail photographique tente de déplacer la fonction d'une conjonction de coordination vers le champ de l'image. Le mot outil choisi et expérimenté dans l'espace d'un paysage a été "et" soit "to" en japonais.

Esthetic of minus (Laurent Moriceau + Kanako Hayashi)
Photographie (70,7 x 50 cm), texte (70,7 x 50 cm), sculpture en savon.

Le point de départ de ce travail de collaboration a été la pièce en savon intitulée "l'artiste diffus". Ce travail n'a jamais été montré et le contexte thermal exceptionnel de la ville de Beppu m'a semblé idéal pour l'activer. J'ai ainsi offert cette pièce à Kanako Hayashi en lui proposant de se l'approprier à travers le triple statut qu'il représente : cadeau, savon et œuvre d'art. La première réponse de l'artiste japonaise est un texte développant ses premières impressions personnelles sur notre rencontre et ses intentions de travail pour ce projet. Implicitement ce texte aborde les nuances et différences culturelles propre à nos cultures respectives.

Les partenaires : Beppu project, convention CulturesFrance - Région et DRAC des Pays de la Loire.

2 - Autoportrait(s) d'un passage

2010

1% Artistique. Conseil Général des Pays de la Loire. Collège Lucie Aubrac de Vertou.

Découvrir le site internet de ce 1%

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2 - Autoportrait(s) d'un passage

2010

1% Artistique. Conseil Général des Pays de la Loire. Collège Lucie Aubrac de Vertou.

Découvrir le site internet de ce 1%

Autoportrait(s) d'un passage est une réponse au chantier de 1% artistique proposé en 2007 par le conseil Général des Pays de la Loire. Un cahier des charges définissait certains éléments du profil de l'œuvre : celle-ci devait être pérenne. La réalisation serait installée dans le hall du collège. L'œuvre permettrait aux élèves de se l'approprier. Le projet réalisé répond à ce cadre mais propose aussi des développements supplémentaires.

Autoportrait(s) d'un passage n'est pas une proposition figée, elle porte en elle les mouvements du collège. C'est une forme en évolution qui sera nourrie de la vie de l'établissement. Une question pourra peut être demain évoluer en affirmation : une œuvre pérenne peut-elle être en perpétuelle transformation ?

L'idée retenue et développée est la suivante

- Proposer à l'ensemble des personnes du collège (élève et personnel) de concevoir une image à partir d'éléments qui représentent leur univers personnel. Chaque proposition étant ensuite imprimée sur un drapeau, le travail consistait pour chacun à s'approprier ce support.

- Demander une phrase, un commentaire, une légende pour accompagner son choix d'image. Pour des questions de lisibilité, ce court texte ne pourrait pas être imprimé sur les drapeaux. Ce court texte associé à son image serait diffusé sur un écran installé à proximité de l'œuvre.

La vie de l'œuvre

Cet ensemble d'autoportraits est en mouvement et destiné à évoluer selon le flux annuel des arrivées et des départs des personnes de l'école. Chaque année les nouveaux arrivants (les 6ème par exemple) seront impliqués dans le projet et il leur sera proposé de créer chacun un drapeau associé à son commentaire¹. Les drapeaux des personnes sortantes seront décrochés et leur seront offerts.

Ce dispositif de renouvellement des drapeaux n'est pas une règle autoritaire. Le principe de l'œuvre tiendra compte des contingences du collège. Ce qui est en jeu c'est la possibilité pour la communauté d'un collège de s'approprier une œuvre et de la faire vivre. Pour des raisons techniques et parfois de motivation j'envisage que cette proposition puisse être mise en veille. Autoportrait(s) d'un passage connaîtra sans aucun doute des successions de poses et de réactivations.

¹ À noter que dans la perspective de la mise à jour de l'œuvre, un atelier de fabrication de drapeaux a été installé dans la classe d'art plastique du collège avec tout le matériel professionnel nécessaire.

1 ...Starting From a Piece of Chewing Gum Chewed by a Star

October 5th, 2009: Hôtel Le Meurice, Paris*. November 13th, 2009: The Alliance Française, Hôtel Mercure of Quito, Ecuador. November 20th, 2009:  The Alliance Française of San José, Costa Rica.

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1 ...Starting From a Piece of Chewing Gum Chewed by a Star

October 5th, 2009: Hôtel Le Meurice, Paris*. November 13th, 2009: The Alliance Française, Hôtel Mercure of Quito, Ecuador. November 20th, 2009:  The Alliance Française of San José, Costa Rica.

A collection of works in porcelain reproducing the shape of a piece of gum chewed by a star (cf. film portfolio below) and a piece of chocolate, also identically shaped.

Many thanks to the Chocolatiers: Jean-Charles Rochoux (website), Fiorella Falco Dubreuil (Grand Hotel Mercure, Quito, Ecuador), Dominique Blomeyer (Chocolaterie Giacomin, Costa Rica).

Laurent Moriceau would also like to thank Hervé Branyere, Chrystèle Thézé, Philippe Gasparini, and Amandine Decorne.Sponsors: The Alliance Française of Quito, Ecuador, The Alliance Française of San José, Costa Rica, CulturesFrance, and agence XXb, Paris.

*As part of Through the looking glass, an exhibition and event by L'agence XXB.
 

3 - Schuttberg, Berlin

Schuttberg, Berlin is the title of a publishing project, a full mockup of which was presented at the Comme un boomerang (“Like a boomerang”) exhibition at HAPPYFEW gallery, Korsörer Strasse, Ecke Ystader Strasse / 10437 BER...

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3 - Schuttberg, Berlin

Schuttberg, Berlin is the title of a publishing project, a full mockup of which was presented at the Comme un boomerang (“Like a boomerang”) exhibition at HAPPYFEW gallery, Korsörer Strasse, Ecke Ystader Strasse / 10437 BERLIN, November, 2009.

“Schuttberg” is a German word that designates a mountain of debris or rubble. This project juxtaposes two sets of images. The first set of images, collected at the Landesarchiv, documents the construction of Schuttbergs in Berlin from the 1950s to the 1970s. The second features photographs of different so-called “debris mountains” taken in 2009, over the course of two trips to the German capital.

Schuttberg (debris mountain) is a German term for a mound made of rubble or out of a rubbish heap Many were amassed following the extensive damage from strategic bombing during World War II. These types are more specifically termed trümmerberg (rubble mountain) and are known colloquially by various namesakes such as Mont Klamott (Mount Rag), Monte Scherbelino (Mount Shard), and Scherbelberg (Shard Mountain). Most major cities in Germany have at least one Schuttberg.

http://en.wikipedia.org/wiki/Schuttberg

4 - Commande Publique (Public Commission)

2008 - 2011

VIEW THE WEBSITE FOR THE FIRST INSTALLMENT OF THE PUBLIC COMMISSION

Project Sponsor: Commune of Chemillé (Maine-et-L...

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4 - Commande Publique (Public Commission)

2008 - 2011

VIEW THE WEBSITE FOR THE FIRST INSTALLMENT OF THE PUBLIC COMMISSION

Project Sponsor: Commune of Chemillé (Maine-et-Loire)

The starting point for this project was the destruction of a building at the entrance of the city of Chemillé that had fallen into a state of disrepair. The presence of this demolition site led the municipality to reflect upon its possible transformation into a public meeting place, a task which it conferred upon Laurent Moriceau as part of a public commission.

For the artist, multiple questions concerning the identity of this future space immediately came to mind:

- On the one hand, it seemed crucial to take stock in the disappearance of a building whose history spanned 500 years in the city's memory.
- On the other, it seemed necessary to give concrete form to the prominence of civic engagement in the lives of Chevillé's residents. The city boasts a significant number of active political and social organizations.

This proposition will be divided into two parts:

- A WEBSITE that reconstructs the history of the building destroyed on the site of the future project (launched on December 19, 2009).
- The conception and realization of a public space at the entrance of Chemillé, linked to the inauguration of a new city festival (work slated to begin in 2010-11).

 

5 - Scopic Glasses

2008

MiamMiam GlouGlou Festival, la Briqueterie of Ciry-le-Noble (Saône et Loire).

At first glance, nothing intrigues the eye or even sparks our curiosity: a table covered in a white table cloth, presenting three la...

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5 - Scopic Glasses

2008

MiamMiam GlouGlou Festival, la Briqueterie of Ciry-le-Noble (Saône et Loire).

At first glance, nothing intrigues the eye or even sparks our curiosity: a table covered in a white table cloth, presenting three large glasses that contain what appears to be a cocktail...

The small sake glass, a staple in Asian restaurants, is the inspiration for Scopic Glasses and its optical particularities. The piece facilitates an intimate dialogue between the spectator and a slightly risqué image. The image or apparition is fleeting because it is visible only when the glass in not being sipped. What emerges is an association of sight and taste, or a furtive vision of a burning shot of alcohol.

Scopic Glasses recreates the optical mechanism of the sake glass on a larger scale, opening it up to create multiple vantage points. The small glass ball is recast in crystal, allowing several people to behold the representation at once. Moreover, though it may not be immediately noticeable, a scene unfolds under the table on which the Scopic Glasses have been placed. Our imagination wanders between that of a person simply serving him or herself a glass and the intriguing apparitions that suddenly surge up from inside it.

The Scopic Glasses were produced by the Briqueterie of Ciry-le-Noble (Saône et Loire). The project was also presented at the Musée des Arts Modestes in Sète (2008) and LA CUISINE, centre de création d'art et de design appliqués à l'alimentation (Center for the Creation of Art and Design Applied to Food (2009).

6 - Le Vin des Minutes

2006-2007

Le Vin des Minutes  proposes a rereading of the taste of wine via a decomposition of the elements that compose it. This decomposition is achieved by melting a variety of wine; we might therefore also c...

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6 - Le Vin des Minutes

2006-2007

Le Vin des Minutes  proposes a rereading of the taste of wine via a decomposition of the elements that compose it. This decomposition is achieved by melting a variety of wine; we might therefore also call “vin de point de fusion“ (melting point wine).

A few technical precisions: the hundreds of elements that are present in a given sample of wine do not freeze at the same temperature; conversely, they do not return to their liquid state at the same moment. Take, for example, alcohol and water, the two components of wine with the most diametrically opposed melting points. The alcohol in wine freezes at - 25° C and melts starting at - 24°, while water freezes at -1° and liquifies beginning at 0°, its melting point. If we inscribe this process in a duration of time, we discover a delay of five hours between the melting of alcohol and that of water.

Le Vin des Minutes  tasting thus lasts for the amount of time it takes for the ice blocks to melt. The wine's flavor is constantly evolving along with the thawing of its various ingredients and their manifold combinations. One might say that Le Vin des Minutes  is a wine of re-assemblage.

The presentation of Le Vin des Minutes  has two components:

- A first table, presenting the process of decomposition as it occurs in real-time (the melting of 3 ice blocks of wine)

- A second table (called the “reading table”). The real-time of Le Vin des Minutes  tasting corresponds to the time it takes for the ice to melt, i.e., from 4 to 8 o'clock. Because very few people are likely to be present for the entire duration of time, the reading table presents a summary of the experiment. Spectators are invited to sample the five principle stages of wine's dissociation. The sixth stage presents the wine in its original state, an important benchmark in gauging and appreciating Le Vin des Minutes 's varying flavors.

Explanation: the first five steps of the wine decomposition process represent five different extractions of wine. The first step is a 60-minute wine because it represents liquid collected 60 minutes into the melting process. The second step is the 120- minute wine , and third step is the 180- minute wine ...

 

7 - Le Vin des Minutes

2007

Duration: 4'13

Alliance Française, Buenos Aires, Argentina.

Laurent Moriceau's Vin des Minutes  apparatus is designed to facilitate a singular reading of wine.Take a wine of...

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7 - Le Vin des Minutes

2007

Duration: 4'13

Alliance Française, Buenos Aires, Argentina.

Laurent Moriceau's Vin des Minutes  apparatus is designed to facilitate a singular reading of wine.Take a wine of your choice, freeze it, then allow it to melt: you will obtain a wine of the melting point. The low temperatures deconstruct its composition and transform its taste. As the wine gradually returns to the liquid state, the undressing of its various identities offers us an experience of flavors in constant movement.
The artist allows us to take part in this unique experiment, tasting and comparing the different beverages that emerge from the wine's successive stages of liquefaction. With Le Vin des Minutes , Laurent Moriceau continues his singular practice of inviting each of us to participate in his works, both individually and collectively.

9 - Le vin des minutes

Rencontre-interview avec Philippe Romain et Philippe Gallais

Durée : 16' 38

Réalisée à Nègrepelisse le 12 février 2009 à l'occasion de la présentation public du vin des minutes dans le cadre de l'exposition <...

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9 - Le vin des minutes

9 - Do You Moule à Merveilles ?

Laurent Moriceau + Guests

2005

Note: In many English-speaking countries, "Merveilles" are known as "Rosettes."

The project Do You Moules à Merveilles? was born during Laurent Moricea...

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9 - Do You Moule à Merveilles ?

Laurent Moriceau + Guests

2005

Note: In many English-speaking countries, "Merveilles" are known as "Rosettes."

The project Do You Moules à Merveilles? was born during Laurent Moriceau's artistic residency at the Musée des Art et Traditions Populaires Théodore Calbet (Théodore Calbet Museum of Popular Art and Traditions) in Grisolles, with the technical support of La Cuisine, Centre de Création d'art et de design appliqués à l'alimentation (Center for the Creation of Art and Design Applied to Food) in Nègrepelisse, in the Tarn et Garonne. During the artist's first visit to the museum, configured in the manner of a cabinet of curiosities, a utensil catches his attention: an unusual metal pastry mold, consisting of one long stem with a design at one end : a mold of marvels. Its utilization is simple: the user drenches the mold in a kind of pancake batter, then plunges it into a bath of boiling oil. The pastry is thereby captured, frozen for posterity in the hardened batter; it is a stylized form. 

Beyond the initial strangeness of this object, Laurent Moriceau is taken by its frightening aptitude for rapidly generating forms, from the simple to the complex. The contraption opens up a new space of formal investigation, fertile for imagination, collaboration, distribution, and culinary indulgence.

Moving beyond a simple reinterpretation of a patrimonial object, the artist develops an expressly collective work, implicating numerous external parties (artists, designers, writers, choreographers, architects, fashion designers, critics) in the mold's reappropriation. The participants are invited to reinvent is possible uses, its forms and its contours, imagining new sensations for the eyes and the mouth, new presentations, new modes of consumption.

Yvan Poulain, Musée Calbet, Stéphanie Sagot, La Cuisine.

Guests list :

Ivo Provoost et Simona Denicolai, Olivier Nottellet, Jean-François Moriceau et Pétra Mrzyk, La Cellule eat design, Jacque Halbert , Claudine Puget, Florence Doléac , Gérard Trémolet, Michel Schweizer, Pierre Giquel, Yvan Poulain, Alain Le Borgne et Bernadette Genée, Matthieu Chollet , Cyril Lepetit , Yves Sabourin, Gérard Collin-Thiébaut, Daniel Chust Peters.

View the Evolution of this project in India

10 - A Metting with Marc Brétillot

2008

A metting with Marc Brétillot concerning the project Do you moules à merveilles ?

Conception of the mold: Marc Brétillot

Marc Brétillot websit...

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10 - A Metting with Marc Brétillot

2008

A metting with Marc Brétillot concerning the project Do you moules à merveilles ?

Conception of the mold: Marc Brétillot

Marc Brétillot website
 

11 - Offer Your Cheek as it is

Meal at the Villa Arson, Nice, 2006

Offer Your Cheek As It Is consists of an ensemble of branding irons.

The ensemble is composed of five short phrases, each divided into two parts (or two irons per sent...

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11 - Offer Your Cheek as it is

Meal at the Villa Arson, Nice, 2006

Offer Your Cheek As It Is consists of an ensemble of branding irons.

The ensemble is composed of five short phrases, each divided into two parts (or two irons per sentence). Each of these fragments can be paired with any other to create new sentences, new meanings.

The texts for this collection of ten irons were written by Pierre Giquel.
 

13 - The Diffuse Artist

2003

Second installment (soap version).

The Diffuse Artist is a representation of the artist in three different media: bars of soap, lollypops, and a life-size rendition in chocolate. At first, the project...

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13 - The Diffuse Artist

2003

Second installment (soap version).

The Diffuse Artist is a representation of the artist in three different media: bars of soap, lollypops, and a life-size rendition in chocolate. At first, the project appears to be an ensemble of self-portraits. But each of these propositions generates multiple dialogues, a play of approaches treating not only the relation between the public and the artist--and that of the public and the work of art--but also the artist’s sensual approach to the spectator’s body. Each presents a “becoming-disseminated” of the artist’s body.

12 - The Diffuse Artist

2003

Duration : 4' 43

First installment (chocolate version)
Laurent les magnifiques (Laurent the Magnificents) Palais de Tokyo, Paris.

The Diffuse Artist is a representation of the ar...

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12 - The Diffuse Artist

2003

Duration : 4' 43

First installment (chocolate version)
Laurent les magnifiques (Laurent the Magnificents) Palais de Tokyo, Paris.

The Diffuse Artist is a representation of the artist in three different media: bars of soap, lollypops, and a life-size rendition in chocolate. At first, the project appears to be an ensemble of self-portraits. But each of these propositions generates multiple dialogues, a play of approaches treating not only the relation between the public and the artist--and that of the public and the work of art--but also the artist's sensual approach to the spectator's body. Each presents a “becoming-disseminated” of the artist's body.

Many thanks to Michel Chaudun, chocolatier.
 

14 - The Permeable

1995

«The permeable, clothing made from unprinted photosensitive paper and destined not to be printed was in this way presented for the first time in 1995. This clothing was only visible in a space closed off from daylight and l...

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14 - The Permeable

1995

«The permeable, clothing made from unprinted photosensitive paper and destined not to be printed was in this way presented for the first time in 1995. This clothing was only visible in a space closed off from daylight and lit by the red inactinique light of the photography laboratory. In this context, the permeable was the support for an image to come, the point of departure for a universe of suggestion, an appeal to the imaginary and no doubt also to the visitor's unconscious. It is situated between the desire to see and an apparition. This clothing is the threshold to numerous stories or myths about that which is concealed, hidden from the gaze, about the temptations of the invisible… »

Excerpt from an interview with Jérôme Sans (in Les Perméables. Coédition, Caisse des dépôts et consignations, Frac des Pays de la Loire, éditions MeMo).

The Permeable is the starting point from the Permeable project

The Permeable project

Guest + Laurent Moriceau

This project propose to artist, faschion designers to develop the Permeable principle.

 

16 - L'atelier des Perméables

Lille Moriceau

Elian Lille, Laurent Moriceau
Boutique UR, janvier 1999, Paris.

Durée : 9'

Cet atelier a été la première étape du projet des Perméables. Le  principe d...

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16 - L'atelier des Perméables

Lille Moriceau

Elian Lille, Laurent Moriceau
Boutique UR, janvier 1999, Paris.

Durée : 9'

Cet atelier a été la première étape du projet des Perméables. Le  principe de celui-ci était de proposer à des stylistes, un travail collectif à partir du principe du Perméable*.

L'atelier de Perméables permettait aux visiteurs de  commander un Perméable sur mesure. Plusieurs vêtements ont ainsi été réalisés dont un sous-vêtement, une toge d'avocat, un tee-shirt ...

Les rendez-vous Lille Moriceau ont été coproduits par le Frac des Pays de la Loire et Unlimited Responsibility*.

*UR  est une entreprise créée en 1994 par Fabrice Hybert et dont l'objet est d'élaborer avec l'artiste de nouveaux modes de production et de diffusion d'œuvres et de projets artistiques. L'ambition de UR est de susciter des échanges entre différents domaines de compétences (art, recherche, production, diffusion) afin de mettre au point et de commercialiser de nouvelles inventions.
 

Cher Laurent et Elian, voici une chanson


                  DANS LILLE MORICEAU


La robe que tu portais
Est née d'une formule saisie dans la lumière rouge
Des doigts l'ont taillée à même l'ombre

Tu as faussé ta vue pour l'essayer
Ta vue double et trouble pour accomplir le rite

Tu te sais enregistrée
Et ton poigts n'est plus le même
Tu te sais imprimée
Et ta voix se fait plus caressante

Tu t'agenouilles
Parce que tu connais la saveur du sacrilège
Ton désir se froisse
Tu es libre
Joyeuse

Tu es toutes les femmes
Vivante
Dans la chambre éphémère

Il y a des navigations et des naufrages
Qui conduisent au don
Quand tu lève un bras
Et tu courras un jour dans une rue affairée
Dans la lumière rouge

Que la porte comme le ciel ne s'ouvrent pas
C'est tout


     Pierre Giquel
 

16 - Residency in Tokyo

The Permeables project

Laurent Moriceau + Nakagawa Sôchi (20471120). Residency in Tokyo, Yokohama Triennial, Japan 2001

The Permables project unites designers and artists in a collective e...

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16 - Residency in Tokyo

The Permeables project

Laurent Moriceau + Nakagawa Sôchi (20471120). Residency in Tokyo, Yokohama Triennial, Japan 2001

The Permables project unites designers and artists in a collective endeavor that takes the principle of the Permeable as its starting point. The exhibition at the Yokohama Triennial encompassed two different spaces: the factory in which the Permeables were produced and the “Baths” of red light. Our collaboration with the designer Nakagawa Sôchi culminated the creation of a Permeable entitled, Piece Y (“Work Y”).

Laurent Moriceau + 20471120 - Nakagawa Sochi (France/Japan)

For Yokohama Laurent Moriceau has collaborated with the young Japanese designers group 20471120. Moriceau represents a younger generation of French artists who are working between different fields. Much of his past works have included aspects of public participation, or social involvements, but for this exhibition he has developed another work which uses fashion and very specific lighting. A Red Light Bathing Space is a project in which fashion designers are asked to develop clothes using light sensitive papers and materials.

They can therefore only be seen and experienced inside totally closed, red-lit spaces. If they are exposed to the daylight, they will turn black. The work deals with very basic questions about seeing artworks. The viewer must enter a specially controlled environment to see the works, and the works cannot leave this space. Red light keeps the works safe. But with just a slight change in conditions, they are transformed from white to black.

20471120 are a fashion design group originally from the Kansai region. Rika is the chief designer and Nakagawa Sochi is their artistic director. A main theme in their work has been recycling. For instance, they re-combined the popular cheap clothes of the Uniqlo brand and made designed clothes from them. Together with Moriceau, 204 will set up recycling shop, where people can leave their old jeans to be re-designed or exchanged. Rika will design permeable clothes which can be mixed with recycled clothes in an open studio space which they will make in the Minato Mirai Gallery.

17 - The Permeables Boutique

Palais de Tokyo, Paris, 2002

The Permeables project
Laurent Moriceau + Guests

The Permables project unites designers and artists in a...

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17 - The Permeables Boutique

Palais de Tokyo, Paris, 2002

The Permeables project
Laurent Moriceau + Guests

The Permables project unites designers and artists in a collective endeavor that takes the principle of the Permeable (or “permeable raincoat”) as its starting point.

Guests list : Koji Yukisada, Van Ommeslaeghe, Gérard Trémolet, Samon Takahashi, Nakagawa Sôchi (20471120), Dorothee Perret, Tomoko Murakami, Elise Magne, Elian Lille, Floriane Liaigre, Lionel Kergot, Katrin Karadottir, Fabrice Hybert, Hanae Fujimoto, Aurore François, Joséphine Foichat, Elsa Esturgie, Maimouna Diouf/Anne Merlio, Ligia Dias, Micha Deridder, Delphine Danhier /Anne-Sophie Thomas, Christophe Legouix, Carine Altermatt.

18 - A Meal in Red Light

2003

A Meal in Red Light is a live experience in which participants are invited to dine in a site illuminated in red light. The concept behind these meals derives from an observation of the singular effects of non-actinic...

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18 - A Meal in Red Light

2003

A Meal in Red Light is a live experience in which participants are invited to dine in a site illuminated in red light. The concept behind these meals derives from an observation of the singular effects of non-actinic light on our perception. They highlight vision's influential role in our relation to food. A Meal in Red Light is at once an culinary adventure and one of great conviviality. 
 

19 - The Diffuse Directory

2000

Video : 11'

The Diffused directory is a transformation of Fontenay-le-Comte's phone directory into a volume composed of helium balloons matching the amount of subscribers in the town making 6582 phone n...

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19 - The Diffuse Directory

2000

Video : 11'

The Diffused directory is a transformation of Fontenay-le-Comte's phone directory into a volume composed of helium balloons matching the amount of subscribers in the town making 6582 phone numbers and as many ballons.

The Diffused Directory is a nomadic proposition for a town and it's inhabitants. It is notably a means for unforseeable, chance metting.

The release of the diffused directory took place on July 12 th 2000, place du 137 RI, for the oppening of the festival "parcours contemporains".

 

20 - I Just Called To Say I Love You

1999, Project room, Glasgow, uk

Dispositif : 30 printed cards presented on a table at the disposition of the public.

I just called to say I love you is a means to incite unforeseeable and chance m...

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20 - I Just Called To Say I Love You

1999, Project room, Glasgow, uk

Dispositif : 30 printed cards presented on a table at the disposition of the public.

I just called to say I love you is a means to incite unforeseeable and chance meetings.

To start with, thirty of so printed : on one side a photograph of a phone box and on the other side it's location and phone number. The chosen telephone boxes are situated in the midst of a picturesque setting or in a convivial setting, sensitizing the eye. The dense urban setting of an airport lounge, a view of a deserted beach, an animated market place : these setting giving each phone box their particular indentities, like human bodies crossing the image and occasionaly loosing oneself, the handset in hand.

Generally public phone boxes are places of transmission. Laurent Moriceau operate an interesting                     by emphazing their second nature, being also a place of reception. The numbers of the phone boxes therefor become a representation of the caller's desire. A strange extase on hearing a warm non-identified romanian voice : made possible, as the work is a proposition. Presenting a social interstice in witch a new experience of communication is offered.
For LM, surprise is the process of communication and creation. The work takes form only from a metting, in the dynamic relation that the artist proposition leads to with his network of the uncertain destined. All is premeditated to arouse the unforeseable.

Eva Prouteau
 

21 - The Diffuse Album

1997

The Diffuse Photo Album is scattered geographically due to an interference of photographs taken by tourists.

One can imagine these cliches in the most diverses domestic environement maybe in Italy, but also...

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21 - The Diffuse Album

1997

The Diffuse Photo Album is scattered geographically due to an interference of photographs taken by tourists.

One can imagine these cliches in the most diverses domestic environement maybe in Italy, but also in Korea, in Urugay ...

If my presence in the photograph is discovered, the inscription on my tee-shirt aloow the protagonist to write to me, introducing a correspondance and could also initiate new projects.
 

23 - Eva, Eva

1996- 1997

Video 11'

Eva, Eva is a festiv occasion exploring "the desir to amorously consume a loved one".

Two parts :

March 1996 : A sensual and intimate means allowing a measurement of the volume of Eva's body. T...

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23 - Eva, Eva

1996- 1997

Video 11'

Eva, Eva is a festiv occasion exploring "the desir to amorously consume a loved one".

Two parts :

March 1996 : A sensual and intimate means allowing a measurement of the volume of Eva's body. This private moment is reproduced by three texts by three people present at the time.

October 1997 : I invite a public to consume the equal volume of Eva's body in sparkling wine, being a large table of 500 flutes of vouvray.



 

24 - The festivities of Marie-Pierre

1999

Video : 11 '

Annie et Jean-Pierrre Mazard, Laurent Moriceau

The festivities of Marie-Pierre was to become the "village fête" of Eva, Eva. It is the appropriation of Eva, Eva by ru...

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24 - The festivities of Marie-Pierre

1999

Video : 11 '

Annie et Jean-Pierrre Mazard, Laurent Moriceau

The festivities of Marie-Pierre was to become the "village fête" of Eva, Eva. It is the appropriation of Eva, Eva by rural community. The festivities of Marie-Pierre is an attempt to perpetuate Eva, Eva by it's envolment in the cultural  festivities of a region.

For the festivities of Marie-Pierre, Annnie and Jean-Pierre Masard (wine producer) elected their daughter Marie-Pierre to be "affectionately consumed" by the public. This choice is related to a wine creaated by Jean-Pierre Masard : a wine tribute to his daughter, an oeonological portrait named "the vintage of Marie-Pierre".

The festivities of Marie-Pierre took place in Talairan, Corbières and was produced by the Frac Languedoc-Roussillon