For a year, all the exhibitions offer a dialogue between two artists. The intent is not to invite artist duos or couples, but to have the coming together of two artists occur through the respective work or universe of each.
The Dépliements exhibition unfolds around the work of Aï Kitahara and Daphné Nan Le Sergent (born in 1966 and 1975, live in Paris), at the borders of formal, geographical and political territories.
Japanese artist Aï Kitahara develops a topology of the invisible. Created for the occupied space, her constructions are based on tension between a visible fragility and the strength of the material.
The artist develops her project Lys (déplier-reconstruire), which stems from Japanese origami and childhood memory, the folding of a lily. Developed from unfolded folded paper, these deconstructed structures are similar to the architecture of a shelter with four points of support. Some take shape in porcelain or stoneware, while other monumental examples are made of paper.
Korean-born, Daphné Nan Le Sergent develops her work around the presence of a ubiquitous border that divides the country. She presents a set of images and objects, called frontière/ligne/tracer. It was formed around the issue of the hand and its relation to territory, in map drawing or in its power to point, to order and to have an influence on material reality. The movieMy Split Eyequestions our relationship to the delimitation of territory and border.
“Here, the one that separates the two Koreas could be thought of as both a screen and a mask. Gradually, a white rectangle moves over different images, covering not only the landscapes seen from the observatories built at the border, but also eluding archival images, memory elements, as if the economic development of South Korea, driven by the rivalry with the North, had developed a kind of blind eye, refusing to see everything the winning party has uprooted from tradition.” Daphné Nan Le Sergent