If you are not automatically redirected, click here

Mark Geffriaud

Press release

A solo exhibition by Mark Geffriaud From October 29th to December 21st, 2011

All that is said is true

all the time

all the time

All that is said is true

all the time

but times change

Genesis P-Orridge

in The Ballad of Genesis and Lady Jaye

a film by Marie Losier

released on October the 26th

Mark Geffriaud's work refers constantly to somewhere else, like a rendez-vous leading from one to another. His second exhibition underlines Mark Geffriaud's wish for exchange and a constant flow between works, ideas, forms and persons.

Even the title of the exhibition 'All that is said is true, all the time, all the time (…) on October the 26th' follows this principle by quoting words from a coming-movie. Every element of its construction makes echo from an older story or to a future project, in a different space. The gallery becomes the passage in which things build themselves to exist somewhere else, the pretext to tell a story, the extract of a narrative, fragments of a memory or a module of a house.

The exhibition gathers two new works, an older work introduced in 2009 which continues to develop in a space-time still to be defined and also a performance, realized the opening day.

Geffriaud suggests with Shelter the construction of a house. He imagines a method in progress ; in every new exhibition, he will be able to build a part of this house environment: a room or an architectural element, defined by the measurement and the economy of the space which receives it. This architecture will be built day by day, in a simultaneous discussion with others, in which everyone will bring its own competence. Once assembled, these modules can find the right place to welcome the set. Having taken the imprint of a space to create the other one, it will be necessary to find a correspondence to fit into it. The system of correspondence floats between a concept of economy and an art market one, between a project with friends and the realization of a piece of art.

Shelter is transformed in the time and the space as The light that moves against the wind, 2011. The installation is composed by a lens of blowed glass filled with water, a light and a paper screen. The spectator, by penetrating into the space, moves slightly this paper screen which receives the refraction of the enlightened object. Thanks to its movement in the space, the shape's reflection on paper waves. Again, there are correspondences between the artist's breath and a draft provoked by the spectator, between an image and a sculpture, between a scientific object and the chance of a movement.

Cyrus, 2009 is the name by which Mark Geffriaud indicates an object which he stole to the artist Eric Stephany in 2009. They agreed that it could stay in Mark Geffriaud's possession as long as its owner would not know what he was missing. Once Eric Stephany realized the existence of the missing object, he will immediatel­y restitute it and the work will have no more material existence. They will not speak about it anymore and it will disappear gradually to fall again into the oversight. For now the object is sometimes confined to a curator, a museum attendant or to someone else present, with the instruction to keep it in its pocket during the exhibition duration.

During the opening Mark Geffriaud will present Nouvelle réfutation du temps, 2010 ; with Géraldine Longueville he'll propose a simultaneous lecture of two Borgès' essays. Written in 1944 and 1946, they incessantly meet and cross.

This exhibition is the receptacle of multiple narratives and exchanged words. Mark Geffriaud reveals to us a global as well as a split up vision. It is somewhere else, after the exhibition and outside of the gallery that its stakes becomes decisive.

Mark Geffriaud's work constantly refers to somewhere else, like a rendez-vous leading from one to another. His second exhibition underlines Mark Geffriaud's wish for exchange and a constant flow between works, ideas, forms and people.

Even the title of the exhibition 'All that is said is true, all the time, all the time (…) on October the 26th' follows this principle by quoting words from a coming-movie. Every element of its construction is an echo from an older story or to a future project, in a different space. The gallery becomes the passage in which things build themselves to exist somewhere else, the pretext to tell a story, the extract of a narrative, fragments of a memory or a module of a house.

The exhibition gathers two new works, an older work introduced in 2009 which continues to develop in a space-time still to be defined and also a performance, realized the opening day.

Geffriaud suggests with Shelter the construction of a house. He imagines a method in progress ; in every new exhibition, he will be able to build a part of this house environment: a room or an architectural element, defined by the measurement and the economy of the space which receives it. This architecture will be built day by day, in a simultaneous discussion with others, in which everyone will bring his own competence, in gb agency the first stone has been conceived and realized with the artist Cyrille Maillot. Once assembled, these modules can find the right place to welcome the set. Having taken the imprint of a space to create the other one, it will be necessary to find a correspondence to fit into it. The system of correspondence floats between a concept of economy and an art market one, between a project with friends and the realization of a piece of art.

Shelter is transformed in the time and the space as The light that moves against the wind, 2011. The installation is composed of four lenses of blown glass filled with water, a light and a paper screen. The spectator, by penetrating into the space, slightly moves this paper screen which receives the refraction of the enlightened objects. Thanks to the movement in the space, the shapes reflect on paper waves. Again, there is a correspondence between the artist's breath and a draft provoked by the spectator, between an image and a sculpture, between a scientific object and the chance of a movement.

Cyrus, 2009 is the name by which Mark Geffriaud indicates an object which he stole from the artist Eric Stephany in 2009. They agreed that it could stay in Mark Geffriaud's possession as long as its owner would not know what he was missing. Once Eric Stephany realizes the existence of the missing object, he will immediatel­y restitute it and the work will no longer have a material existence. They will not speak about it anymore and it will disappear gradually to fall again into the oversight. For now the object is sometimes confined to a curator, a museum attendant or to someone else present, with the instruction to keep it in its pocket during the exhibition duration.

During the opening Mark Geffriaud will present Nouvelle refutation du temps, 2010 ; with Géraldine Longueville he'll propose a simultaneous lecture of two Borgès' essays. Written in 1944 and 1946, they incessantly meet and cross.

This exhibition is the receptacle of multiple narratives and exchanged words. Mark Geffriaud reveals to us a global as well as a split up vision. It is somewhere else, after the exhibition and outside of the gallery that its stakes become decisive.

This exhibition received support from la ville de Paris.

Realisation of the lens with the collaboration of the Centre International de Recherche sur le Verre et les Arts plastiques.

News:

There must be "a right way" - group shows curated by François Aubart and Benoit-Marie Moriceau

Mosquito Coast Factory, Sept 10 - Nov 11, 2011 ; Ecole des Beaux-arts, Brest, Dec 2011

Le sentiment des choses 1 - group show curated by Elodie Royer and Yoann Gourmel

Le Plateau, Frac Ile de France, Paris, Dec 15 - Feb 26, 2012

solo show

The Room, Vilnius, January 2012

L’entremet - group show curated by Géraldine Longueville

Capri, January 2012

My brother did you come - artist’s publication

Edited by Book Works, London, Nov 2011

Exhibition views

Geffriaud suggests with Shelter the construction of a house. He imagines a method in progress ; in every new exhibition, he will be able to build a part of this house environment: a room or an architectural element, defined by the measurement and the economy of the space which receives it. This architecture will be built day by day, in a simultaneous discussion with others, in which everyone will bring his own competence, in gb agency the first stone has been conceived and realized with the artist Cyrille Maillot. Once assembled, these modules can find the right place to welcome the set. Having taken the imprint of a space to create the other one, it will be necessary to find a correspondence to fit into it. The system of correspondence floats between a concept of economy and an art market one, between a project with friends and the realization of a piece of art.

Geffriaud suggests with Shelter the construction of a house. He imagines a method in progress ; in every new exhibition, he will be able to build a part of this house environment: a room or an architectural element, defined by the measurement and the economy of the space which receives it. This architecture will be built day by day, in a simultaneous discussion with others, in which everyone will bring his own competence, in gb agency the first stone has been conceived and realized with the artist Cyrille Maillot. Once assembled, these modules can find the right place to welcome the set. Having taken the imprint of a space to create the other one, it will be necessary to find a correspondence to fit into it. The system of correspondence floats between a concept of economy and an art market one, between a project with friends and the realization of a piece of art.

Geffriaud suggests with Shelter the construction of a house. He imagines a method in progress ; in every new exhibition, he will be able to build a part of this house environment: a room or an architectural element, defined by the measurement and the economy of the space which receives it. This architecture will be built day by day, in a simultaneous discussion with others, in which everyone will bring his own competence, in gb agency the first stone has been conceived and realized with the artist Cyrille Maillot. Once assembled, these modules can find the right place to welcome the set. Having taken the imprint of a space to create the other one, it will be necessary to find a correspondence to fit into it. The system of correspondence floats between a concept of economy and an art market one, between a project with friends and the realization of a piece of art.

Cyrus, 2009 is the name by which Mark Geffriaud indicates an object which he stole from the artist Eric Stephany in 2009. They agreed that it could stay in Mark Geffriaud's possession as long as its owner would not know what he was missing. Once Eric Stephany realizes the existence of the missing object, he will immediatel­y restitute it and the work will no longer have a material existence. They will not speak about it anymore and it will disappear gradually to fall again into the oversight. For now the object is sometimes confined to a curator, a museum attendant or to someone else present, with the instruction to keep it in its pocket during the exhibition duration.

The light that moves against the wind, 2011 is an installation composed of four lenses of blown glass filled with water, a light and a paper screen. The spectator, by penetrating into the space, slightly moves this paper screen which receives the refraction of the enlightened objects. Thanks to the movement in the space, the shapes reflect on paper waves. Again, there is a correspondence between the artist's breath and a draft provoked by the spectator, between an image and a sculpture, between a scientific object and the chance of a movement.