{"id":1487,"date":"2021-06-06T14:42:29","date_gmt":"2021-06-06T12:42:29","guid":{"rendered":"https:\/\/bis-art.com\/?page_id=1487"},"modified":"2023-01-10T17:36:35","modified_gmt":"2023-01-10T16:36:35","slug":"elodie-seguin","status":"publish","type":"page","link":"https:\/\/bis-art.com\/index.php\/elodie-seguin\/","title":{"rendered":"Elodie Seguin"},"content":{"rendered":"\n
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\u00c9lodie Seguin<\/span><\/h2>\n

N\u00e9e \u00e0 Paris en 1984
Vit et travaille \u00e0 Paris<\/p>\n

Dipl\u00f4m\u00e9e de la Villa Arson \u00e0 Nice et des Beaux-Arts de Paris, Elodie Seguin vit et travaille \u00e0 Paris. Son travail a \u00e9t\u00e9 expos\u00e9 dans de nombreuses institutions telles que la Galerie Jocelyn Wolff, la galerie Marzona, au MACBA \u00e0 Buenos Aires, \u00e0 Art Basel section STATEMENT, au MUDAM, au Centre Culturel Fran\u00e7ais de Milan ou \u00e0 la Fondation Ricard. Parmi ses r\u00e9f\u00e9rences, Jason Dodge, Ann Veronica Janssens, Barnett Newman, Donald Judd ou encore Rachel Whiteread et Anne Truitt.<\/p>\n

Les \u0153uvres d\u2019Elodie Seguin r\u00e9sultent d\u2019un processus long et permanent de recherche pour trouver leur finalit\u00e9 au moment de l\u2019exposition. A quelques m\u00e8tres d\u2019un cimeti\u00e8re, sa proposition prend la forme d\u2019un volume transparent en plexiglass aux dimensions d\u2019un corps, enterr\u00e9 devant un olivier, entre le paysage et le chemin de ronde de la ville.<\/p>\n

Les mots pr\u00e9cis de l\u2019artiste r\u00e9v\u00e8lent son intention.<\/p>\n

\u00ab Donner \u00e0 voir un vide qui aurait pour contreforme le paysage. L\u2019installation vise \u00e0 maintenir la terre \u00e0 la limite de ce vide, contre lui, pour le d\u00e9finir, le dessiner.\u00a0Une sculpture invers\u00e9e, paradoxale, qui se rend visible donc au contact de ce qu\u2019elle n\u2019est pas, pour penser une unit\u00e9 qui impliquerait un espace sans limite.\u00a0<\/p>\n

Tenter de faire d\u2019une absence un lieu.\u00a0<\/p>\n

Il s\u2019agit de montrer cet espace inconnu normalement interdit \u00e0 la vue mais pourtant commun en \u00e9tant construit mentalement.\u00a0<\/p>\n

Visiblement inoccup\u00e9, il appartient \u00e0 tous ceux qui le regardent ou le pensent pour l\u2019emporter partout ailleurs. Une intervention qui ne s\u2019ajoute pas \u00e0 un paysage complet mais qui s\u2019y soustrait \u00bb.<\/p>\n

Ce refus de cette pr\u00e9sence humaine autoritaire inscrit l\u2019\u0153uvre comme un non-objet, comme une id\u00e9e. Enterr\u00e9e et translucide, la mat\u00e9rialit\u00e9 de l\u2019invisible du tombeau est permise et existe au contact de la terre. La fusion de ce mat\u00e9riau artificiel et du sol terreux signe le vocabulaire d\u2019Elodie Seguin. Cette relation est une r\u00e9ponse \u00e0 l\u2019existant et participe \u00e0 sa po\u00e9sie singuli\u00e8re exigeante.<\/p>\n

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Born in 1984. Lives and works in Paris<\/em><\/p>\n

Graduated from the Villa Arson in Nice and the Beaux-Arts in Paris, Elodie Seguin lives and works in Paris. Her work has been exhibited in numerous institutions such as Galerie Jocelyn Wolff, Galerie Marzona, MACBA in Buenos Aires, Art Basel section STATEMENT, MUDAM, Centre Culturel Fran\u00e7ais de Milan or Fondation Ricard. Her references include Jason Dodge, Ann Veronica Janssens, Barnett Newman, Donald Judd, Rachel Whiteread and Anne Truitt.<\/em><\/p>\n

Elodie Seguin’s works are the result of a long and permanent process of research to find their finality at the time of the exhibition. A few meters from a cemetery, her proposal takes the form of a transparent plexiglass volume with the dimensions of a body, buried in front of an olive tree, between the landscape and the town’s walkway.<\/em><\/p>\n

The artist’s precise words reveal her intention.<\/em><\/p>\n

“To show an emptiness that would have the landscape as its counterpart. The installation aims to maintain the earth at the limit of this void, against it, to define it, to draw it. An inverted, paradoxical sculpture, which makes itself visible through contact with what it is not, in order to think of a unity that would imply a space without limits.<\/em><\/p>\n

Attempting to make a place out of an absence.<\/em><\/p>\n

It is a question of showing this unknown space normally forbidden to the sight but nevertheless common by being mentally constructed.<\/em><\/p>\n

Visibly unoccupied, it belongs to all those who look at it or think about it in order to take it everywhere else. An intervention that does not add to a complete landscape but subtracts from it.\u201d<\/em><\/p>\n

This refusal of an authoritarian human presence makes the work a non-object, an idea. Buried and translucent, the materiality of the invisible of the tomb is allowed and exists in contact with the earth. The fusion of this artificial material and the earthy soil is a sign of Elodie Seguin’s vocabulary. This relationship is a response to the existing and participates in her singular and demanding poetry.<\/span><\/em><\/p>\n

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> Retour Artistes 2021<\/strong><\/a><\/span><\/p>\n<\/div>\n\n\n\n

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Unit\u00e9 de lieu, 2021<\/strong>
Installation 
185 x 70 x 70 cm
Courtesy de l\u2019artiste et de la Galerie Jocelyn Wolff
Copyright photo \u00a9 Elodie Seguin<\/figcaption><\/figure><\/div>\n<\/div>\n<\/div>\n\n\n\n
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\u00c9lodie Seguin N\u00e9e \u00e0 Paris en 1984Vit et travaille \u00e0 Paris Dipl\u00f4m\u00e9e de la Villa Arson \u00e0 Nice et des Beaux-Arts de Paris, Elodie Seguin vit et travaille \u00e0 Paris. Son travail a \u00e9t\u00e9 expos\u00e9 dans de nombreuses institutions telles que la Galerie Jocelyn Wolff, la galerie Marzona, au MACBA \u00e0 Buenos Aires, \u00e0 Art …<\/p>\n

Elodie Seguin<\/span> Lire la suite \u00bb<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-global-header-display":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"disabled","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"default","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":""},"_links":{"self":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/1487"}],"collection":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/comments?post=1487"}],"version-history":[{"count":2,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/1487\/revisions"}],"predecessor-version":[{"id":2319,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/1487\/revisions\/2319"}],"wp:attachment":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/media?parent=1487"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}