galerie anne barrault
  
  

  
Anne Bourse
Lever de soleil / Coucher de soleil / Où je suis en ce moment, 2014
encre et fond de teint sur papier, bouteilles, vraies et fausses plantes, carton et images plastifiés,scotch, fond en feutrine noir
vue de l’exposition Bikini, Lyon, 2014

 

Magnifiquement Aluminium / Wonderfully aluminium
ANNE BOURSE
ÉMILIE PEROTTO


curated by Sarah Tritz
29 May - 27 June 2015

Wonderfully aluminium / purple Sun / excess.
When Anne Barrault offered me to exhibit artists of my own choosing in her gallery, I thought of a one-to-one situation, rather obvious concerning the space. I then imagined the meeting between Anne Bourse and Emilie Perrotto, as an implicit picture of my own practice. I associated them at once, because of the fundamental link that they both have with the production and the materiality of their works.
Anne Bourse works from cut out figures, collages, drawings, coloured backgrounds, printed images, silk drawings, and sometimes slightly “bust” objects she likes and trusts put together. I have in mind a precise chromatic scale: purple/ pink/ yellow/ blue/ pale green/ apple green/ black.
Each of her works has the obvious lightness peculiar to the chosen material. This materiality does tell us that what is essential in life is not in what is difficult or required.
I see in them a strategic mischievous criticism, in order to elude the chores of everyday life. Their spatial forms must not bother her. She often draws fake banknotes for her friends. Anne is able to make magic forms with hardly anything; she creates her own economy, by being able to change a piece of paper into a jewel.
Sunrise/Sunset/Where am I just now1
The installation reminds me of Japan rooms. I sat around the quilt cover I call the “twin-quilt”, adorned with cigarettes painted with silk ink. The cigarettes “dance the pattern”. On the black walls, she has lined up those soft, very sensual, faded coloured backgrounds.
Beside it, a bowing bunch of flowers, made of plastic bottles, flowers pinched from building halls and imaginary visiting cards. A petty Ikebana melancholy secretary, who should make ten appointments a day, caught up in the throes of an absurd competition.
Emilie Perotto makes sculptures on a large scale. Her shapes are built with costly material, such as stainless steel, black topan, cast aluminium. White and silvery light. I do like the excessiveness of her approach. With no concession or superfluity. Everything is excessively prepared, even locked. Being so rigorous in anticipating and spatializing a shape is rare. Emilie Perotto resorts to experts, and works regularly with a craftsman, sometimes with apprentices in iron, also with carpenters, who have made for her and with her the wished shape. When working, Emilie integrates their points of view as much as their technicalities. The sculptures are, in a way, the finalizing of working together. In this way, she elaborates her own economy, and her own production line.
Argumentativeness (capuchin sculpture) 1/22
A bunch of black swords stuck into the silver tube-body of the King. A stately sculpture would be like the abstraction of The battle of San Romano painted by Uccello. Frontal perception. The black topan swords expect to be looked at, and threaten to knock you out. Through the pattern of the sculpture, you can imagine a mechanism of ruthless movements.
It is rare, as an artist, to be able to watch other artists working and stay in the background, while you witness the encounter of shapes and languages. I did not have to persuade Anne Bourse and Emilie Perotto to show their works together. I only wished the encounter would become apparent, without overdoing anything. The practices and the materiality of their works tell something political, each in its own way. These two female artists create their own autonomy.



Sarah Tritz, January 2015

1Installation seen at Anne Bourse’s solo show, Sun rise/ Sunset/ Where am I just now, in September 2014, at Bikini art centre, Lyon.
2 Sculpture seen at the collective exhibition, Passages, Art Centre Les Capucins, Embrun.
Anne Bourse
...calm and debonair, 2014
encre, impression et crayon sur papier découpé, sol de feutrine noir,
70x100 cm
ANNE BOURSE
Born in France, in 1982, she lives and works in Lyon.
For the past few years, Anne Bourse has lived and worked in Berlin, Hamburg, Beirut, has been in residence
in Lisbon and Istanbul, then in Lyon where her studio is at present. Transient and constellar , her drawings and installations originate in this mobility.


ÉMILIE PEROTTO
Born in France in 1980, she lives and works in Lyon.
At the moment Émilie Perotto is showing her work on the site of the «Centre de conservation et de ressources du MUCEM» (the MUCEM conservation and resources Centre) as well as in the Centre of professional rehabilitation Richebois in Marseille, in the context of a residence. She is also taking part in the exhibition «Il faut maintenant construire le monde» (we must build the world now) in Poitou-Charentes FRAC (Regional Fund for Contemporary Art), as well as in the Festival des Arts Ephémères, Parc Maison Blanche in Marseille. She is reading for a doctorate in the art research Laboratory of Aix-Marseille University,
and teaches at Saint Etienne higher school of Art and Design.
Emilie Perotto
Le Dahu, 2011
bois, câble métallique
323,5 x 128,5 x 250 cm
Vue de l’exposition Passages, Centre d’art Les Capucins, Embrun, 2011
© Marie Augustin
Emilie Perotto
L’esprit de contradiction (sculpture capucine) 1/2, 2011
Topan, acier inoxydable, plexiglas
387 x 325 x 251 cm
© Marie Augustin
Vue de l’exposition Passages, Centre d’art Les Capucins, Embrun, 2011