Exposure
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Curator of “Crumbling the Antiseptic Beauty”, a collective exhibition with a rebellious mood, the artist has rearranged the space in his own way to accommodate a panel of grating works.
From this icy exhibition space perforated on all sides (by a long bay window on one side, by windows which overlook the platforms or the roof of the Saint-Lazare station, by ceilings that are too high, then too low ), the artist David Douard did his business better than anyone before him. Invited by the Pernod Ricard Foundation to curate an exhibition there, he hung curtains with vertical slats to draw areas (curves), created a corridor which led to a dead end and an emergency door, installed partitions with doors (open or closed) then grilles which further complicate circulation and filter the point of view. It does not warm the place, on the contrary it exaggerates its climate, dreary, falsely vast, stunted.
The works presented in “Crumbling the Antiseptic Beauty” can therefore nestle there with their heads and backs rounded, without giving in or bowing to the viewer. A simple and ridiculous little red ball rotating imperceptibly on itself allows itself to taunt him from the start. Work of the young Clémentine Adou, this kind of red clown nose, tense and pleasant by dint of so much nerve (a red nose which does not make jokes works), is adorned, somewhere, with the sardonic and squeaky smile of the Joker. And the rest of the exhibition maintains this line and this bad mood, not hostile of course, but
