From September 6th to 23rd, 2018, the collective exhibition at the gallery Eric Dupont presents the work of four young artists: Wiame Haddad, Willys Kezi, Marie Sommer, Katarzyna Wiesiolek whose constellation of artworks sketches out (shape) imaginary territories in tense between emotion, history and politics.
In her series Blessure/Luxure, Willys Kezi, graduated from the Master of Fine Arts of Kinshasa (Democratic Republic of Congo) in 2008, questions female clichés conveyed on social networks by women themselves. She crosses/mixes humoristic scenes inspired by pictures found on internet profiles she’s following with memories from Congo where she grew up and portraits of its politicians. Her drawings, with vivid colours, are made on brown paper bags on which hashtags, luxury brands, adornments, “Destination bonheur”, are thrown like consumerist and dictatorial statements. But on the crumpled and expendable bags, the glam is flicking and the words are dismantled. Behind the raw light of these strong images appears, tender and cruel, the fragility of what can not be revealed by labels or set-ups: their political and intimate fragility.
Taken from three series elaborated around the representation of the incarceration of former political Moroccan prisoners, the photographs made by Wiame Haddad, a Moroccan and Tunisian artist, create a tension between the individual body and History. How can you give a shape to what was hidden in the darkness of the cells, censured from the collective memory by the politicians? How to unveil the outlines of an experience that takes place in an unreal space time for its unique witnesses. The objects of the refugees from the dreadful Tazmamart prison, only symbols of the reality of this missing place, the mouldings of fragments of their bodies or the portraits of Ceux qui restent like images of the passed time, are, altogether, livened up around the silent presence of a flamboyant bougainvillea. By these tensioning and openings, Wiame Haddad rebuilds a space and a time, offering a possibility to the wounded bodies to move again in the personal and collective history.
At the term of a long quest in ex-Yougoslavia, seeking for the rest of an invisible territory, Marie Sommer, who graduated from the Ecole Photographique d’Arles in 2012, discovered the library of the political School Josip Broz Tito in Kumrovec, in the north of Croatia. Hundreds books from the communist era are still there, as recumbent effigies, abandoned and forgotten. They build post-apocalyptic landscapes, deserted by humans, by these humans. In some way they convey the memory of the ideological construction of the old Eastern Bloc but also that modern history is now progressively forgotten. In this work, Les Ruines circulaires, photographs appears to be proofs of this disappearance, of this moment of History miraculously saved from oblivion by a preserved place, almost frozen in time. In the series Radium Palace, Marie Sommer brought back from Czech Republic fragments of pechblende, a radioactive mineral collected on the periphery of the silver mines of Jachymov, at the exact place where Marie and Pierre Curie isolated the polonium and radium at the end of the nineteenth century. In contact with a photographic film for a few months, the radiation is fixed on paper and, once developed, a strange light irradiates from the large argentic printings, passing on this discovery that completely disrupted the worldwide history.
Facing the radiance of the infinitely small, the black velvet of the charcoal drawings made by Katarzyna Wiesiolek gives way to the infinitely big and far. Studying in last grade at the Beaux-Arts of Paris and exhibiting at the 63rd Salon de Montrouge, she elaborates hyper realistic and intense drawings. Rejecting anecdotic or narrative scenes, brushing with abstraction, she draws backs in a very intimate way, centred on the skin and its imperfections. Beauty spots, wrinkles, marks of clothes become inversed mirror constellations of the stars.