L’INCONFORT ACT II ;

COMING BACK HOME FOR A GENTLE SIMMER

PART 1 ; DISMANTLING AND DISTRIBUTION OF ARTWORKS.

L’inconfort act II part 1 ; Dismantling and distribution of artworks.
Happening

HD photography
2022

In this first phase of the happening L’inconfort – Act II, I begin by dismantling and breaking up the sculptures that make up the installation. This gesture, both methodical and destructive, marks the end of the exhibition, akin to a redistribution of the artwork itself. Each fragment of the sculpture becomes a piece to offer, a tangible souvenir, which I distribute to the members of the audience who have come to attend the exhibition’s closing. This act of sharing, which may seem casual, questions the notions of ownership and completion in the creative process: the artwork does not die with the end of the exhibition but is instead disseminated, fragmented, and finds a new, temporary life in the hands of those who receive it.

The audience, now carrying pieces of the installation, becomes part of the process themselves. Burdened by these fragments, which may be heavy or cumbersome, we form an eclectic, almost awkward procession, setting off toward a new stage: transporting the remains of the work to my studio, located nearby the exhibition space. This collective moving process, far from being purely utilitarian, becomes a performative act in itself—a ritual of transition where art leaves the traditional exhibition space to return to the studio, the space of creation.

The simple act of transporting these fragments together changes our relationship to the artwork and the space. This movement creates a shared experience, where everyone contributes, both physically and symbolically, to the conclusion of the artistic project. The audience, usually passive, becomes collaborators here, involved in a process of transformation and transition.

Together, we cross the boundaries between the public exhibition space and the private space of the studio, blurring the lines between creation, exhibition, and dismantling. This approach invites reflection on the longevity of the artwork and how it can continue to live, not only in the viewer’s memory but also through these scattered fragments.

L’inconfort act II part 3 ; Soup time.

Happening,

HD photography

2022

In this second phase of the happening L’inconfort – Part II, I prepare a green bean soup, generously salted. The vibrant color of the soup, almost absurd in its intensity, immediately catches the eye and contrasts with the simplicity of the act itself: serving a meal. This soup, which has patiently simmered throughout the performance, has gradually filled the exhibition space with an overwhelming briny scent, heavy and humid. The smell, both familiar and unsettling, permeates the air, creating an enveloping olfactory environment.

The act of serving, while typically associated with hospitality, takes on an ambivalent dimension here. The soup, with its excess salt, is deliberately unpleasant, almost difficult to swallow. This choice offers the audience a sensory experience that oscillates between the pleasant and the uncomfortable, inviting reflection on the blurry line between care and discomfort.

Beyond a simple meal, this act also extends the theme of discomfort, where the visitors are not only spectators but also participants in an experience where their senses—smell, taste, sight—are engaged and tested. The very act of consuming this soup in an artistic and performative context places them in an unusual situation, where each spoonful becomes a reflection on the relationship between the body and space, between pleasure and discomfort.

The soup thus becomes a symbol of interaction, a way of concluding the happening, where the nourishing aspect of art is questioned and subverted to create a moment of shared tension and ambiguity.