Marguerite Pilven is a art critic with a BA in Philosophy (specialization in Aesthetics) and a Masters in Art History focusing on Pierre Klossowski (the Mysteries of Roberte or the ambiguous image). and exhibition curator member of the AICA.
His exhibition curators are an extension and materialization of his critical research, itself constantly crossed by the reading of theoretical texts from the fields of philosophy, anthropology, history, literature, image and media theory. The exhibition curator is for her a privileged moment of sharing the state of her research where the untroubled thought is deposited in a configuration of chosen works.
Following Ryoko Sekiguchi "Cooking, eating, this is one of the few acts where we use our five senses'. Lthe three guest artists have in common to make the human body the center of a set of works in connection with our way of living in the world, in world of animals or plants : our feelings and the way we react to our environment depends on our body that is itself made with similar matters. Each of the artists is working in a domestic, anthropological or political way and had produced an important body of work in which the common factor is the inspiration of images from tasting, subsistence, devouring. As an expanded frame, the hotel room by proximity and reflection, suggest with contrasts an unfolding narrative. As part of the journey or trip location the room is both a living space and a space with people just passing through in which they are able to surrendering to sleep, to dream or to love...
Maike Freess was born in Leipzig in 1965, she currently lives in Berlin. For more than 20 years, Maike Freess has been developing a multidisciplinary work where the body, in its social and cultural functions, serves as a common thread for her drawings, videos, sculptures. Partly trained in France in the workshop of Christian Boltanski, his artistic culture is however Germanic and his work reveals a certain taste for deformations, hallucinating visions of Mathias Grünewald, the pathos of Baldung Grien or the caricature of Otto Dix.
Maike Freess is an artist for whom art is not an end in itself, not a play of forms or images. Instead she uses it to fundamentally question everything that seems familiar and certain to us: she presents the insanity that is held to be the logic of reality, the insecurities from which individual consciousness is composed. Her subject matter, as she puts it, is “the human being in her imperfect, limited and unstable nature, her relationship to herself, her surroundings, to other people and society, the ambiguity of the human psyche”.
Jessica Lajard works are physically connected to human body and feed. She produced in Limoges, french famous city .known worldwide for its white porcelain, several cylindarical sets personifying human body. The minimalist and similar shapes operate by an alignment system which requires some imagination because of several options of combination. Lajard keeps her design work simple with simple shapes. She uses reduction of primitive and geometrical forms as serial products. This idea is reinforced by the white industrially manufactured product from the procelain workshops of Manufacture de Limoges. The work "Eye candy," summarises an efficent suggestion between touch and see. The Bodies-cylinders are obstructed by some Chantilly cream prominences and wore a white and creamy acorn on top. Sounds as something from Marquis de Sade both lust and ludic, the Writer who wanted to put some bite back in the body, and show the bright side of Desire.
After growing up in the Caribbean Jessica Lajard moved to Paris to pursue her art studies at the École Nationale Supérieure des Beaux Arts de Paris where she recieved her diploma in 2010. Jessica Lajard’s work is a repertoire of shapes freely inspired by popular imagery which are often combined with sexual illusions that fl irt with the grotesque. Sometimes thought out in advance through drawing, her installations spread out in space just like they did during the 59th Salon of Montrouge (2014) where the artist plunged us into a textured post-card scenery, where she blended textile, ceramic elements and marble in a fizzy, pop and surreal atmosphere of shells and crustaceans. For her nomination at the Révélations Emerige 2015 she captured us in a more intimate and domestic installation with Somewhere Where the Grass is Greener. She has participated to many group shows and fairs and, after her residency at Ensa Limoges, her work was shown at the Musée National Adrien Dubouché - Cité de la céramique Sèvres & Limoges. In 2016 she had two major solo shows, Soft Spot at La Traverse, the Contemporary Art Centre of Alfortville (FR) and Out of the Blue at the François Mitterrand Cultural Centre in Beauvais (FR)
Olivier Leroi's works should be characterized by polymorphic practises, but only guided by inspirations and emotions, by walks, digressions and mind shortcuts. He enjoys using diffrent objects and stands and pay special attention to details and questions regarding the earliest origins, the meaning and the sens of acts. He operates by allegories including scaling up to associate a meaningful observation to imagination. : there the tiny look at the infinity, the personnal and the universal are much more tightly bunched. Olivier Leroi was invited by La Mauvaise Réputation Gallery to a collective exhibition about wine and proposed a work performed from Alcool, a Guillaume Apollinaire poem. Artist in residence at the la Maison Rabelais, he pretends to press the analogy between the wooden board used to put rations into the large mouth of Gargantua and the large labret, or wooden plug, in their lower lip of the Amazonian caciques. « One of Daumier’s Engraving shows Gargantua in a sequence of continuous large-scale feeding in the expression of profusion of an infinite world, into a mouth without quantitative limits. This situation is the opposite of which one recommanded by Chief Raoni from Amazonian tribe. In a resource-limited world we need to understand in a measured way that the physical world is finite. Here, The chief Raoni labret should therefore be seen as an a bridge for words, in a manner of speaking : a comprehensible language board.» Olivier Leroi
After training as a forester in Corrèze, Olivier Leroi was a student of the Graduate Institute of Plastic Arts, under the supervision of Pontus Hulten. Enlightened by this new experience, he developed a work of drawing and sculpture whose common thread is the relationship with the environment. The work takes place through an exchange which it crystallizes, it is inserted into a materiality which it probes and amplifies. Based on the economy of the gesture and a refined observation that plays with scales, it is similar to an operation of revealing reality in its sensitive, cognitive, emotional dimensions. During his travels, Olivier Leroi creates works with people he meets on his intervention sites and collects testimonies of his "lived works" through photographs and filmed performances: "First snow in Dogon country", Mali, "El Zorro blanco", Mexico, "La brigade de Chambord", "Bruno, donkey and butterflies". In the context of public procurement, it endeavors to link the contexts and the emergences experienced: "Abscisses-ordées" at the Collège du Brunoy, "A molecule of water in water" at the Lycée du Giennois, "Twenty-one stories in the wind", in college de Thiant, "Les 5 sens" Tronche-sur-Isère Neuro-science Institute, 1020 km in Mont-Gerbier-de-Jonc.