PARIS.- Audrey Cottin, a young French artist based in Brussels, enters Jeu de Paume space as a crowd. Her appearance is colorful, sculptural and spinning. She shares comfort and uneasiness of being in the company of people who don’t stop keeping this world as a continous creative experiment. Thus Audrey Cottin’s exhibition completes a set of subjectivities that were intentionally displayed throughout the series of Satelite 4.

Inspired by Robert Filiou’s belief that “everybody is perfect” Audrey Cottin has been searching for a perfect collaboration with people she encounters. This search may include experts of various knowledges, skills and perspectives. The methods of collaboration are often defined by what kind of resonanse is created between those people (writers, sculptors, all kinds of impressarios, etc.) and Audrey herself. The realm of resonance is continuously explored in Audrey Cottin’s Clapping Groups. These performances that last around 20 minutes engage a group of people into a collective exercise of shared rhythm. It is pre-individuation patterns that are being played back and forth in these groups.

For Satellite series Audrey started several collaborations with her peers engaged in notions of authorship, form and performance. As a first gesture to asses what this potential collaboration may entail Audrey carried a series of lifthing exercises: she shifted the position of object in space suspending it in air for a second and becoming like an antenna between several parallel presences. Those several presences will form the flexible core of her exhibition.

ALEX CECCHETTI & MARK GEFFRIAUD
Alex Cecchetti is an obsessive interrogator of the ways world comes to us. He cannot stop wondering why things emerge, why they strike us with a power of lighting and leave us blind in consequence, and why some of the images they make remain after we die. Many of his inspirations are coming from literature and philosophy. It is in this library of Babel where his dialogue with Mark Geffriaud usually takes place. “Why sculptures need to breathe?” Alex could ask, and Mark, playing along the lines of geometry, music and history of chance, would approach the story. He often searches for overlaps and lapses, time-warps and greyholes of history. Making art for him is similar to production of tools of thinking or perceiving space. Yet when I’ve proposed Mark Geffriaud and Alex Cecchetti to collaborate to Satellite presentation I didn’t expect that the two would decide to embark on adventure to bring a flame of fire from Yanartań Mountain to Jeu de Paume and animate a series of sculptures with it.

JESSICA WARBOYS
Mountain, sun, galaxy, people from the past, poetry, are all collaborators. Shadows and curtains are characters. Heart has language; rhythm moves ink. Something is certain, something is deeply precarious. Ritual breaks time open. Imagine this coming together to form a story, and you will enter the world of Jessica Warboys. Often she manages to capture invisible forces fluctuating between aspects of the self and non-human domains. The representing of images on the cusp of the concrete and the ephemeral - results in her films and object constellations being inhabited by both intricate patterns and simple visual forms. Recently she has been collaborating with both the sea and the sun on a series of large scale, canvases.In her sea paintings: through immersing canvas into the sea, waves and wind move through pigment applied by hand leaving the trace of their movement. In her cyanotype/photograms: the negative image is the shadow left by various forms, momentarily placed onto photo-sensitive canvases exposed to the sun. The passage required for one thing to transform into another is extended in her work. In movies as in magic we see it in one jump cut, in Jessica Warboys’ films we are allowed to follow the process of transformation. In doing so the greater transformation takes place in our own perception and expectation.

FRANCE FICTION
Founded in 2004 France Fiction is both a curatorial and artistic endeavor. It is a collective that sees itself as one person, individually inventing collective event horizons. Or perhaps I should put it differently: France Fiction is an event in and of itself, which originally began with a marble club at the gardens of Palais Royal in Paris. France Fiction is also an exhibition space and a magazine. Convinced by the entanglement of reality and the imaginary, the group is a process of self-narration in the works. Its objects, installations and publications are both collectively and individually signed. They practice mystic meetings and encyclopedic dispersals. Utopias and science-fiction are some of their key interests as well as fresh traces of the forgotten figures of the past, unwritten futures and blind-spots of knowledge. Besides playing marbles, they practice poetic-scientific subjectivity at large exploring the occult and melancholic dimensions of life. For Satellite series this and other aspects of France Fiction are going to be translated into events and practices inside of the body of Jeu de Paume. France Fiction is Stéphane Argillet, Marie Bonnet, Eric Camus, Lorenzo Cirrincione and Nicolas Nakamoto.

AUDREY COTTIN
Audrey Cottin loves materiality of things passionately: the immediacy of the moment and the irreducibility of the present are among her deepest vocations. Yet while she disperses her multiple fascinations into kaleidoscopic journeys across gender, forms and protocols it inevitably brings her to several places at once. Herewith the present turns multiple, and keeps turning. Same applies to her relationship with media: traditional casting, interactive performance and academic conceptualism are called into question. She understands that a major part of art practice is about finding her own voice, yet she knows that voice is multiple and only being heard in a process of becoming. Recently she did experiments with a group clapping as an expression of a collective voice. “How do you cast a question?” she asks and lifts a plaster cloud above her head, literally. Its weight is similar to moral and cultural values: while being heavy, it may turn weightless under a certain circumstances. Doubt remains one of her favorite sculpting tools.