Delphine Reist and Laurent Faulon
Les produits fatals (Fatal products)

Delphine Reist and Laurent Faulon
Les produits fatals (Fatal products)

LE CAP - Centre d’arts plastiques de Saint-Fons

Laurent Faulon, Chevrolet, intérieur cuir, 2014. Mousse polyuréthane expansive. © Laurent Faulon.

November 14, 2014

21 November 2014–17 January 2015

Opening at the BF15: Thursday, 20 November, 6:30pm
Opening at the CAP Saint-Fons: Friday, 21 November, 6:30pm

Le CAP Saint-Fons
Espace Léon Blum
Rue de la Rochette 
69195 Saint-Fons 
France


La BF15
11, Quai de la Pêcherie
69001 Lyon
France

lecap-saintfons.com
labf15.org

Curated by Anne Giffon-Selle and Perrine Lacroix

Because their artistic output revolves around a common interest in the transfiguration, manipulation and activation of objects, Delphine Reist and Laurent Faulon have regularly exhibited their works together. But instead of adhering to the pristine nature of the manufactured object, the artists’ approach is to short-circuit the market-oriented flow of the object and divert it for their own artistic purposes.

The project takes its title, Les produits fatals (Fatal products), from industry-specific terminology. This double exhibition shows by-products appearing “fatally” in the manufacture of products by reconstructing a production line in a contaminated movement. Like two ends of a manufacturing process, both art spaces are linked together; on one end, the industrial setting of the CAP Saint-Fons, located on the periphery of the chemical valley and where raw materials are tested and developed for products destined to be sold in the city centre, and on the other, a former shop located in the heart of the city centre and now occupied by the BF15. Under the same heading but in two different places, in a singular and collective approach; both the artists’ works and the setting of these contemporary art spaces are contaminated; each becoming “fatal products” of the other.

The processes used for the exhibition, Les produits fatals (Fatal products), operate shifts and interactions between fixed boundaries that separate the different areas of human and economic activities. It is not, however, the artists’ intention to compensate for certain social-economic difficulties, neither to establish a participatory approach or co-authorship, each remains in his/her own place. The main objective is not to “confiscate the primary function from the users” (Laurent Faulon), but to equally share the skills and their transformations, to diversify and multiply the intention of the artwork and generate new aesthetic encounters that so many of their collective actions generate.

One such example is Delphine Reist’s collaboration with the company KEM ONE, whose research laboratory has made long-length tubes from extruded PVC and which the artist has chosen to show the different phases of their production. Despite the spatial constraints of the CAP’s exhibition space—measuring 10 to 15 metres—the potentially infinite length of the tubes create a symbolic link between the industry and the physical proximity it shares with the art centre. While continuing to be art, that is to say, imaginary, the symbolic and tangible link will be activated by a ritualistic-like transfer of the tubes between the company’s employees and a strange procession that will then see them carried on foot to the exhibition space. 

Despite the harsh realities of our dysfunctional market production system with its planned obsolescence, its limited ideology based on exponential growth, the consequences of company relocations, and so on, the work of Reist and Faulon continues to reveal fantasy in the real and generate wonder in aesthetic encounters and human quirkiness. If the artistic vocabulary seems at first glance to be limited, even poor; the methods that result: movement, intoxicating and undulating forms, overflowing theatrical beauty, are well and truly Baroque in essence. Masks of monsters imagined and made by children during a workshop given by Laurent Faulon, abandoned Christmas lights left by local communities and recuperated by the artist; Reist’s magical animated objects; the unexpected encounter of a Hip-Hop dance company and a local municipal band during the opening of an exhibition, melancholy and anxiety also give way to wonder that each onlooker can receive and share.

Since 1986, CAP art centre in Saint-Fons has had a twofold mission of encouraging public interest in contemporary art and supporting artistic creation. An active space for exhibitions and artistic production, the CAP also organises exhibitions outside its walls in order to provide different ways of discovering and engaging with contemporary art. Its exhibitions, artistic residencies, art lending collection, resource materials and workshops testify to the breadth and plurality of today’s evolving artistic concerns and practices, while maintaining close ties with a territory, a landscape and its inhabitants. Strategically situated at the southern entrance of greater Lyon, the CAP is located in a working-class neighbourhood that overlooks an industrial valley.

La BF15 presents artistic proposals that interrogate our contemporary world. It is a showcase that highlights reflection, creation, artistic research and experimentation. It offers committed, singular, political, poetic perspectives. The mission of La BF15 is to support creation via the production of original works and to help artists to manage their projects. La BF15 provides artists with tools for the presentation and dissemination of their pieces. It then ensures that they are confronted with the widest possible public so that this perpetual challenge caused by new plastic and poetic languages becomes common and public.


La BF15 and Le CAP Saint-Fons are supported by the Lyon City Council, the Rhône-Alpes Area and the Ministry of Culture/DRAC Rhône-Alpes.

This exhibition is suported by Pro Helvetia, KEM ONE, Bluestar Silicones, Demolition Autos-motos SA Peney-Geneva, the recycling centre of Espace Créateur de Solidarités, l’Industrielle Harmonie of Saint-Fons and Mix of Styles.


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