This Must Be The Place
14 - 29 Jan 2011
Berlin - Paris / Galerie Dohyang Lee at PSM
THIS MUST BE THE PLACE
15 Jan 2011 - 29 Jan 2011
Chloé Dugit – Gros
Laetitia Badaut Haussmann
Marie – Jeanne Hoffner
Fleur Noguera
As part of the 2011 edition of the exchange project between galleries in Berlin and Paris, the gallery Dohyang Lee is delighted to present the exhibition This Must Be the Place, bringing together Chloé Dugit-Gros, Laetitia Badaut Haussmann, Marie-Jeanne Hoffner and Fleur Noguera, at PSM. With no restrictions of media, This Must Be the Place, expresses the distinct territory developed by each of these artists.
The video Colors is a re-envisioning of one of Walt Disneyʼs first feature length animations: Cinderella. Preserving just the chromatic palette and the duration of each original scene, an impression of activity and movement persists nevertheless. Laetitia Badaut Haussmann erases any sense of narrative, keeping, as an indicator only the duration of the film. Over 72 minutes, Colors is a sweeping procession of monochrome images in movement.
Bringing together all of the primary colors, Carbones comprises a selection of paper normally used for the reproduction of patterns. Through a crafty reversal, the object of reproduction becomes itself the subject of this same reproduction. Marie-Jeanne Hoffner renders the marks of her manipulation visible, detailing through photography a multitude of unfolded spaces.
Leaving behind bi-dimensionality, with Sans-Titre (Untitled) Chloé Dugit-Gros alludes to Malevitchʼs Black Cross. This motif, inherited from the avant-garde, appears here in sculptural form, resembling a chest with handles. Associated with Peinture Vaudou ((Voodoo Painting), Matières Premières (Raw Materials) and Prestidugitation, a formal narrative vocabulary emerges, ceaselessly playing with the back-and-forth between plane and volume.
Devonian Levels makes reference to the filming location frequented by Fleur Noguera and to the Devonian geological system, linked to the prehistoric period during which South America witnessed a huge development of its flora and fauna.
In the style of an explorer, Fleur Noguera offers a cinematographic exercise made up of a succession of scenes – low-angle, close-up and panoramic – evoking a new geography. The film, resembling an archive, offers a montage without effects, a transition through color and light, a genuinely reinvented logic, oscillating between natural science and a geology field trip project.
THIS MUST BE THE PLACE
15 Jan 2011 - 29 Jan 2011
Chloé Dugit – Gros
Laetitia Badaut Haussmann
Marie – Jeanne Hoffner
Fleur Noguera
As part of the 2011 edition of the exchange project between galleries in Berlin and Paris, the gallery Dohyang Lee is delighted to present the exhibition This Must Be the Place, bringing together Chloé Dugit-Gros, Laetitia Badaut Haussmann, Marie-Jeanne Hoffner and Fleur Noguera, at PSM. With no restrictions of media, This Must Be the Place, expresses the distinct territory developed by each of these artists.
The video Colors is a re-envisioning of one of Walt Disneyʼs first feature length animations: Cinderella. Preserving just the chromatic palette and the duration of each original scene, an impression of activity and movement persists nevertheless. Laetitia Badaut Haussmann erases any sense of narrative, keeping, as an indicator only the duration of the film. Over 72 minutes, Colors is a sweeping procession of monochrome images in movement.
Bringing together all of the primary colors, Carbones comprises a selection of paper normally used for the reproduction of patterns. Through a crafty reversal, the object of reproduction becomes itself the subject of this same reproduction. Marie-Jeanne Hoffner renders the marks of her manipulation visible, detailing through photography a multitude of unfolded spaces.
Leaving behind bi-dimensionality, with Sans-Titre (Untitled) Chloé Dugit-Gros alludes to Malevitchʼs Black Cross. This motif, inherited from the avant-garde, appears here in sculptural form, resembling a chest with handles. Associated with Peinture Vaudou ((Voodoo Painting), Matières Premières (Raw Materials) and Prestidugitation, a formal narrative vocabulary emerges, ceaselessly playing with the back-and-forth between plane and volume.
Devonian Levels makes reference to the filming location frequented by Fleur Noguera and to the Devonian geological system, linked to the prehistoric period during which South America witnessed a huge development of its flora and fauna.
In the style of an explorer, Fleur Noguera offers a cinematographic exercise made up of a succession of scenes – low-angle, close-up and panoramic – evoking a new geography. The film, resembling an archive, offers a montage without effects, a transition through color and light, a genuinely reinvented logic, oscillating between natural science and a geology field trip project.