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Laurent Pernel
Bliss krieg
- Atlas Exhibition from 21 March to 09 May 2015
Private Preview
Saturday 21 March 2015 from 4.00 p.m.
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Bliss krieg
- Atlas -
For this new exhibition, and on the occasion of his first solo-show in Paris, Laurent
Pernel, French artist formed by the ENSBA of Lyon (School of fine art), alllows us to
discover a very new set of drawings, prints and film.
L’atlas alternatif de Laurent Pernel
The Laurent Pernel new exhibition at the Galerie Houg underlines an intense period of work. In residence in
Montreal in 2012, he achieved Topographie, Pas de deux, and Map is a drawing, a video trilogy in which he shows
his interests for action in the public space and the use of handiwork as a developer of the urban landscape. Then he
started a movie shooting in Bucharest in collaboration with Phoebé Meyer. This predominance of mounting labor
motivates perhaps his need to go back to practice of drawing, his dynamics of production is usually based on the
alternation between various media and action beats. Slidings and reports of scale between practices - from the hand
to the body, the model to the architecture, the individuality to the politics, the map to the landscape - through this
exhibition that brings together six large drawings on paper, a corpus of eighty-nine drawings presented as video, a
photography and an artist’s book.
To enter in the territory drawn by these works, it is helpful to tell the story. After the Burn Out drawing series
in pyrography on paper, Laurent Pernel looking for free his gesture and free himself of a picky representation. He
begins to prepare a bundle of paper sheets funds by applying a blue and green wash (generic colors of the landscape)
through lace. This search for «background» is nothing trivial if we consider the multiple meanings of the term.
Before turning into the line, he built a box to contain them. An intimate relationship commits with this set already
inseparable, he will soon named them Les dessins en colère (hungry drawing). The point is to develop the practice of
freedom in his studio, a daily outflow from his environment, a method to let the subconscious arise and allow himself
to «re-act», the post-production gradually taking precedence over the recorded action in his work. Throughout the
pages and in the emotion of the moment, various forms and techniques are deployed. Words also appear, making a
chaotic syntax. This series is talkative, at least noisy; it is a kind of partition that could not be shown other than in the
form of film manipulation. The vocabulary use takes its source in the database made by the artist (sketchbooks, image
collection, newspaper clippings, collected objects stolen election envelopes ...)*. His readings also come feed his research,
particularly his interest in the movement of «radical mapping» following the radical geographers who emerged in the
1960s in the United States and claimed the situationism. Hence the term «Atlas», subtitle of the exhibition. Note in
passing that beyond the cartographic or botanical collection, this word means the first cervical vertebra supporting
the head, referring to the giant of mythology condemned by Zeus to carry the celestial sphere on his shoulders. One
can also think of the Mnemosyne Atlas of Aby Warburg.
During the formation of the drawings corpus, Laurent Pernel also feels the need to deploy the experience of
large format, passing by a measured gesture to a physical commitment. By various techniques (slapping paint rubbed
charcoal, pen to doodle, folding), he composes enigmatic images, precariously, or ruined, as taught Univer having lost
his S or the rise point of Vilvoorde 3100 to remember the disappointment struggle of Renault workers.
Although even formally far away Les dessins en colère, the photography of Marianne #2 and Carne edition have
in common a way to call with strength and humor our relationship to the body, memory and language. During the last
presidential campaign, Laurent Pernel calls to collect hundreds of electoral campaign flyer. Each document consists
of a photographic portrait of the candidate and campaign text. By analyzing them, he is struck by the reflection of
political strategies on graphics and images composition, erased wrinkles or heavily charged makeup for some,
natural light to others, symbolic of the funds that are encrusted by their faces, etc. He decides to insert in the hollow of
each spread a closer view of his own body, a fragment of skin, hairy, without artifice. Is created then an astonishing
relationship between speech, portraits and the flesh of the artist. Then the leaves are connected by a manual red
sewing thread, second custom signature transforming these mass communication tools in precious objects.
Generally, the relation to the body is one of the basis of Laurent Pernel work, by his physical involvement or an
ability of his works to convene the body of the viewer. In L’image survivante. Histoire de l’art et temps des fantômes
selon Aby Warburg, Georges Didi-Huberman analysis Warburg’s hypothesis that the image transmission power lies
in their incorporation power, that is to say, their propensity to engage empathically the body of the viewer.
In the words of the artist, his latest works are marked by a form of «reasoned pessimism.» This is, however, not
resignation, because by involving his anger out , by recycling campaign promises or constructing new images on the
ruins, he develops his productive responsiveness, as the title indicates Bliss Krieg that we could literally translated as
«war of happiness.» A semantic shift of the Blitzkrieg offensive strategy towards the image of happiness as Windows.
The subjective mapping proposed by Laurent Pernel tracks symbolic boundaries - between content and form, theory
and practice, economic interests and individual desires, political discourse and social body - defining an alternative
geography, where personal history and collective history together.
* Recents Readings: Eloge des frontières, Régis Debray ; Peuples exposés, peuples figurants, Georges Didi-Huberman ; Le Capital, Karl Marx ; articles d’Hervé
Le Bras, démographe ; text by Philipe Rekacewicz, cartographer and journalist for Le Monde diplomatique.
written by Lélia Martin-Lirot _ artistic co-director of FLAC
Mars 2015
U n i v e r s - 2015
Acrylic and ink on paper
110 x 80 cm
P u b l i q u e F r a n ç a i s - R é p u b l i q u e F r a n ç a i s e - 2015
acrylic, envelopes voting on graph paper
50 x 65 cm
M a r i a n n e # 2 - 2015
C-print mounted on dibond
30 x 40 cm
edition of 3
Others projects realized with Galerie Houg
Exhibition views of V a n i s h i n g P o i n t , Galerie Houg - Lyon Fr, 2014
Bowindow
in situ installation on the building Douanes de Lyon,
Biennale d’art contemporain de Lyon 2011
Exhibition view of B u r n O u t , Galerie Houg - Lyon Fr, 2011
Drawings
G r i l l e # 2 - 2012
Ink and wax-resist drawing
65 x 50 cm
C h i m i e - 2012
Duplicate of lace, watercolor and ink on paper
50 x 32 cm
R é s e r v e # 1 - 2013
watercolor pencil
17 x 22 cm
Burn Out
126 pyrography drawings on paper
variable size, 2011
Installations in situ
Monument 1, Stonehenge
installation view at Montbéliard, 2010
6 photographies set on urban property
L’ i m a g e d e s c h o s e s
Installation views at centre d’art La Halle, 2009
Glasnost
Installation views at centre d’art Espace Vallès, Saint-Martin-d’Hères, 2009
LILIPUT
highlighting project for public space, 2007
Copier / Coller
Installationviews at BF15, 2007
survival blanket and scotch
Mirage
Fort Vitor Emmanuel - Art Residence with IAC of villeurbanne, 2006
J’hybride
Centre d’art le LAIT, Albi, 2006
Vidéos
Finnland
7.34 min, 2011
Finnland was born of an encounter during an artistic residency at FIAC, in the Tarn
in 2011. Each guest artist was hosted by a family. The first morning at breakfast,
a teenager appears shyly. This is Finn, abundant hair, angelic face. A feeling that
installs between the artist and the child with the stroke of brief exchanges between
cereals, boiled eggs and tea. A proposal to make a film together and answered,
«Yes, I think it is a good idea.» It will Finnland. A film whose plot unfolds around
a young teenager. The silence of the countryside making visible proof of its
isolation. Only the notes of his guitar and his quad engine backfiring, testify to his
presence. Farewell Children go through teenage rebellion, but also by the abyss
of loneliness.
Plan your escape
9 min, 2009
Édition de 3 + 1EA
This video book measuring the actual action of work: give the viewer how to always see something other than what is shown. Man mountain climbs on his back, no blinding light, a circular
plane mirror. Then his body stops, revealing in the fixed plane returned horizon outfield of the
mountain behind the camera when no body is up in the visible.
Mounting connects scenes filmed in the real landscape and in the reconstituted inside the art
center of the Market in Port-en-Royans. Around its star (the climber), there is no narrative
mobilized outside that announced by the title. But the break, too fragmented, runs out in his
scaffolding. The film tries to initiate a topic, but the image of the immobilized climber in the
net of the hammock, he remains a prisoner of his illusions.
Topographie
27 min 30 sec, 2012
édition de 3 +1EA
These two films made 10 years apart talk about travel, architecture and landscape. Like the impressionist painters working on the ground, here the camera is in the heart of the landscape is transformed before our eyes. The
surface of a glass or mirror becomes sensitive area on which a line of play, and masking comes redial the initial
framing. A form of vocabulary, color and materials are the basis of a set of gesture revealing the simplest things
around us.
Although his video resume the creation of the digital image processes, the practice of Laurent Pernel yet cultivates a «low tech» approach or «made low,» which takes down high-tech interfaces that have invaded our daily
lives better qualify it. These short videos contain within them the approach of the artist: they infiltrate us and
the world a screen that does not mean it but trouble, complicates the report, without saying anything, a space as
possible.
Fait Main
22 min, 2001
édition de 3 +1EA
Curriculum Vitae
Moments de travail dans le flux de la circulation, chaque intervention, loin d’être des performances, sont à mes yeux des actions qui interrogent ma relation au cadre bâti de la ville et de
sa puissante détermination sur mon (notre) quotidien.
C’est parfois au travers du sport et dans un mode d’apparition burlesque que j’utilise l’infrastructure des villes comme terrain de jeux du possible.
Parallèlement à ce type d’activité brève et radical, des opportunités de travail me permettent
de mettre en place des projets spécifiques pour le lieu qui me reçoit, on peut alors parler de
travail « in situ ». Le choix de matériaux et son mode d’utilisation (son détournement) vont
agir sur l’espace et en modifier sa perception pour mieux nous leurrer.
Moments of work in the flow of circulation, each intervention, far from being performances,
are in my eyes of the actions which question my relation with the framework built of the city
and its powerful determination on my (our) daily.
It is sometimes through the sport and in a burlesque mode of appearance that I use the infrastructure of the cities as play-ground of the possible one.
Parallel to this type of activity short and radical, of the work appropriateness specific projects
for the place enable me to set up which receives me, one can then speak about work “in situ”.
The choice of materials and its mode of use (its diversion) will act on space and will modify of
it its perception for better deluding us.
Born in 1973 at Cucq.
solo Exhibitions
2014 - Vanishing Point, Galerie Houg, Lyon-Fr
2013 - Finnland, Galerie Houg / Project Room, Paris-Fr
2011 – Bowindow, Installation d’une oeuvre à la Sucrière sur le bâtiment des Douanes, en Résonance avec la Biennale d’art contemporain de Lyon et en partenariat avec Olivier Houg Galerie,
Lyon
- Burn Out, Olivier Houg Galerie, Lyon
2010 – Collision, Galerie d’art des lycées de la Borde Basse et le Centre d’art le LAIT, Castres - Monument 1, Stonehenge, Centre d’art Le 19, Montbéliard. Oeuvre dans l’espace public dans le cadre
de l’ANRU (Agence Nationale pour le Renouvellement Urbain)
2009 – Game Over, Le Flac, www.leflac.fr
- Glasnost, Espace Vallès, Saint-Martin-d’Hères
- L’image des choses, La Halle, Pont-en-Royans
2007 – Copier/coller, La BF15, Lyon
2005 – Gezichtwerpen, Galerie Roger Tator, Lyon
2003 – Great Pink Rock, Galerie In and Out, Grenoble – Dans le cadre des Galeries Nomades avec
le soutien de l’Institut d’Art Contemporain Villeurbanne / Rhône-Alpes
2002 – Fin de Chantier, Les Subsistances, Lyon
Group shows
2014 - Suprême (performance), projection vidéo, programme «Contrechamp», Le Cinématographe,
Nantes
2013 - Carne Vale, Fluxfactory, New York
- Drawing Now - Le salon du dessin contemporain, représenté par la Galerie Houg, Carrousel du
Louvre, Paris
- IZI, Frac Languedoc-Roussillon, Montpellier
2012 - Exposition de Noël, Le Magasin-CNAC, Ancien musée de peinture, Grenoble
2011 – 2 cm mehr / 2 cm de +, Centre d’art Le Lait, Albi
- Anarchisations, Conspire aujourd’hui / Inspire demain, FIAC+ si Affinités, Tarn
- I see the sea, and the sea sees me, avec Christine Laquet, La Plate-Forme, Dunkerque
- Plutôt que rien : démontages, Maison populaire, Montreuil
2010 – Aller à Ouessant, Sémaphore du Créac’h, Ouessant
- Tri-séléctif, Les palissades, P10, Centre culturel Onyx, Saint Herblain – Intervention réalisée en
collaboration avec Christine Laquet.
2009 – Chronique Urbaine, Centre d’art contemporain le 19, Montbéliard
- Loops Barcelona, Barcelone, Espagne, Galerie Olivier Houg
2008 - Superflux 08, Galerie Roger Tator, Lyon
- Vidéosalon 3, Galerie 10m3, Sarajévo, Croatie
2007 – Superflux, Galerie Roger Tator, Lyon
2006 – Anatopies les lieux décalés, Centre d’art le LAIT, Albi et Castres
- Mirages, Fort Victor-Emmanuel – Invitation de l’Institut d’art contemporain Villeurbanne /
Rhône-Alpes et de l’Agglomération de Modane
2005 – Just what is it that makes today’s homes so different, so appealing ?, Les Subsistances, Lyon
- Ouest, épisode 1, Musée Géo-Charles, Echirolles
- Paramour, Galerie Olivier Houg et Georges Verney-Carron, Espace 45, La sucrière, Lyon
2004 – Territoires, Villa du Parc, Annemasse – Travail réalisé en collaboration avec Phoebé Meyer
2003 – Augurales, Centre d’Art Contemporain de Brétigny sur Orge
- Happy-end, La Caserne, Pontoise – Réalisation en collaboration avec Christine Laquet
- L’expo l’extraordinaire, Fort du Bruissin, Francheville
- La lutte finale, In Fact, Paris
- Vidéorium 01, Les Abattoirs, Toulouse 2002 – 1 /12 12 /1, Les Subsistances, Lyon
- Circu(s)lations, Zoo Galerie, Nantes
- Crash Test, Galerie Olivier Houg, Lyon
- Les Enfants du Sabbat 3, Centre d’art contemporain Le Creux de l’enfer, Thiers
2001 – Connexion-Déconnexion, Art dans la ville, Saint-Etienne – Invitation du Magasin, Grenoble
- Rencontre vidéo, Galerie Française Piazza Novonna, Rome
SCENOGRAPHY
2006 - Scénographie du festival science et cinéma « A vous de voir », Théâtre de la Renaissance,
Oullins
DIVERS
2005 - Projet itinérant, Le Magasin, Grenoble – Travail en collaboration avec Phoebé Meyer
http://www.projetitinerant.com
2003 - Projet Pontoise – Etaples T.U.B, En collaboration avec Phoebé Meyer – Partenariat avec le
Centre d’art Cimaise & Portique, Albi, l’Ecole Nationale des Beaux-Arts de Lyon et la Ville d’Etaples
sur mer
commissioned public art
2009 - 1% artistique, Foyer de la petite enfance, Privas
- Signalétique de l’école St Joseph, Lyon-Fr – En collaboration avec Yannick Hoffert architecte,
Atelier 43
2006 - Réalisation de la banque d’accueil de la médiathèque de Francheville - Fr
ReSIDENCES
2011 - Résidence de recherche jeune création art3 / Optica, Montréal, Québec
- Anarchisations, Conspire aujourd’hui / Inspire demain, FIAC+ si Affinités, Tarn
- I see the sea, and the sea sees me, avec Christine Laquet, La Plate-Forme, Dunkerque
2010 - City switch, Institut français de Bucarest et Galerie Roger Tator, Bucarest
2009 – 2010 - Centre d’art le 19, Montbéliard – Dans le cadre du projet de l’ANRU
2007 - La BF15, Lyon
2004 - Villa du Parc, Annemasse
2002-2003 - La Caserne, Pontoise
Publications MONOGRAPHIC
- Semaine, Texte : Corinne Rondeau – Edition : Espace Vallès, Lieu d’art La Halle, L’Ecole des
Beaux-Arts de Lyon.
- Projet itinérant, Texte d’Anne Langlais Devanne, Edition Le Magasin, Grenoble
- T.U.B (Tout Un Bazar), Texte de Marie de Brugerolle, Edition Institut d’Art Contemporain Villeurbanne / Rhône-Alpes
artistic interview
- Entretien avec Laurent Pernel, Le FLAC, www.leflac.fr
collective Publications
Mathieu Latulippe vision documents de recherches
laurent Pernel Théâtre de Verdure
co-édition art3 | optica, 2014
Plutôt que rien démontage.
Exposition collective à la maison du peuple.
Raphaêle Jeune et Frédéric Neyrat
Editeur : La maison du peuple
Anarchisation. Conspire demain/inspire aujourd’hui
Catalogue de l’édition 2011 de Fiac (Tarn)
-04
Texte : Florence Meyssonnier.
-Connexion-Déconnexion
Texte : Marie Vallier Savigne – Edition : Ville de Saint Etienne.
-Les Enfants du Sabbat 3
Texte : Marie de Brugerolle – Edition : Le Creux de l’Enfer.
-1/12 12/1
Texte Cyrille Bret – Edition : Ecole Nationale des Beaux-Arts de Lyon.
Formation
-DNSEP Ecole Nationale supérieure des beaux-arts de Lyon
-Licence d’aménagement urbain – Lyon
-Académie Royale des Beaux-Arts de Bruxelles
-4 années d’étude d’Architecture à l’ISA - Saint Luc – Bruxelles
Education & workshop
-Depuis 2007, professeur de dessin au cours du soir de Ensba de Lyon.
-Workshop au musée d’art contemporain de lyon
-Workshop Ensa Limoge