Artists in residence

INTERVIEW

A residency in Montmartre, at the Cité internationale des arts, how is it? 

“Actually, it’s quite unreal. Living on top of a hill overlooking Paris, in the middle of a hidden garden with a special atmosphere, you quickly feel very lucky to be there.
The configuration of the premises and the residence has made it very easy to exchange with the other artists, some of whom I now count among my friends, and with whom we have many conversations, often over coffee or a pastis.”

What are your current projects?

“At the moment, I am working on several projects at the same time. 

I am continuing my experimental and sculptural work, for example, by taking an interest in the circulation of electric current in a gold thread embroidery, in the distillation of cigüe from the city’s gardens, or in producing functional neon lights from crystal waste.

The exhibition Bad Girls Do It Well was also the opportunity to present the first essays related to my research on bismuth crystallization or Fitzroy’s barometer system, as well as the beginning of a collaboration with Rebecca Topakian, resident of workshop G1.”

BIOGRAPHY

“Sabotage considered as one of the fine arts.

During her studies at Villa Arson, Jeanne Berbinau Aubry incorporated a varied series of microknowledge in chemistry, biology, physics, etc. This appetite for knowledge was not carried this way by a pure desire for science, a desire to contemplate some celestial ideas outside the world, but by the almost inverse obsession to derail all things in his direct surroundings. His practice is the closest to a systematized sabotage (aesthetic) enterprise. Jeanne Berbinau Aubry’s interest in electrical circuits or the process of crystallization was not to understand the mechanisms of the universe but to create a magical infernal lantern or a neon that conspired to its own extinction. His libido sciendi is above all a libido delendi (in beauty). And his ambition in this field is constantly expanding as his latest projects involve the roof of the Opéra Garnier and plants transformed into luminaires. To both of us, Paris! And to both of us Nature!”

Patrice Blouin, 2016

“Each of my projects is based on the dissection of phenomena as a pretext to dig deeper and deeper into my approach to cognition. These phenomena allow me to deploy protean materials that go through dance/performance, drawing, video/photographic images and that I will connect in order to define the quality of a language, highlight these issues and find the expressive specificity of the project. This search for phenomena is a challenge that allows me to create a link between an experience of the world and the need for the artistic gesture that inhabits me.

The territory of the body in a space and its context is the subject of an inexhaustible interest in me, which at the same time serves as a reference point for me to constantly re-engage the work and affirm its positioning within what already exists.

My physical practice is based on immediate reactions and a sensitive hyper-availability to allow myself to be grasped and crossed by a certain experience of the present while seeking to detach myself from a social construction and therefore from a judgment. From there, the transgression comes into play and opens the way to delay, surprise and simply to thwart preconceived ideas. My work navigates within the limits of belonging, whether social, physical, historical or identity, and draws its strength from (fertile) destabilization, vulnerability, alchemy, humour, sincerity and sensuality.

Always immersed in the artistic world, since the daughter of a visual artist, dance has become my main mode of expression and I have studied it in several institutions, including TrinityLaban in London and the e.x.e.r.c.e. master’s degree in Montpellier. To continue to nurture my practice, it is essential for me to maintain a relationship between choreographer and performer, whether in my own projects or for other artists.”