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Art & Company Residence
Rémi Groussin - Les Ortigues
Residence from January 4 to March 30, 2018 - Les Ortigues (Peujard, 33)
It is through the articulation of the interests shared between the company Les Ortigues , its employees and the artist Rémi Groussin that Zébra3 designed this residency project with the help of the DRAC Nouvelle-Aquitaine. It opens up the opportunity for Rémi Groussin to develop a project based on the company's specific skills and know-how. This artistic and experimental approach initiates a new relationship between the company's teams and their own work tool and reciprocally provides the artist with a body of techniques and conceptual notions capable of integrating his creative processes.
Based in Peujard in the north of the Gironde, the company Les Ortigues, specializing in the design, implementation and decoration of events, has four trades: tents and covered structures, general installation and stand, rental of furniture, image and signage, which testify to a wide range of skills. It is these skills that the artist Rémi Groussin puts to work in his work during this 3-month residency, drawing on the specific technical, material and human resources of this company.
He approaches this artist residency in a very contextual way, by questioning the notions of object and space, and of object in space, the notions of challenge and collective surpassing linked to the game as a metaphor for the rules that govern the company. The main stake which conditions his residence is not the production of a work conceived in advance, but a total immersion of the artist who progresses in his work accompanied by the company. It offers employees who so wish, from the design office to carpentry, printing and management, to contribute through their skills to the development of a new object or series of objects. From the recovery of scrap or offcuts from wood, dibon, pvc ... produced by the company but also from its specific know-how (printing on glass, lighting of products, carpentry, ironwork ... .), the idea is to design an installation imagined as a Show Room questioning the part of “social” play in the work. A space designed to demonstrate and present all the technical capabilities of the company through the world of a game room.
This residency is based above all on reciprocity, a time of exchange during which employees will have the opportunity to discover contemporary creation, and the artist will be able to rely on the advice and experience of seasoned professionals to enrich his practice. . This daily presence of the artist in the company, beyond the question of the production of a work, is the opportunity to initiate a dialogue with and between employees, to initiate a sharing of cultures and skills, and to reappropriate singularly the universe of the company.
This residency will give rise to several restitution times throughout 2018. Within the company, during the inauguration of La Fabrique Pola in Bordeaux, and at the artist's gallery. Les Ortigues will subsequently be the custodian of one of the works produced, witness to the artist's outlook on the company, which will be part of its permanent show room.
In addition to this, you need to know more about it.
Some of the works produced during the creation residency are presented during Rémi Groussin's personal exhibition TILT from February 24 to March 17, 2018 at the UN-SPACED Gallery.
In addition to this, you need to know more about it.
This project receives support from the "Artist residences in companies" program: 2017-2018 program from the Ministry of Culture - Drac Nouvelle-Aquitaine.
GOLD RUSH - End of residency restitution on March 29, 2018 at 5 p.m. in Les Ortigues, Bois de Lion 33240 Peujard
In addition to this, you need to know more about it.
The company Les Ortigues creates, invents, develops spaces for meetings and exchanges, scenography of objects that highlight commercial products. When these spaces / objects are no longer useful, she bones them and destroys them.
The presence of an artist within such a production chain questions Lavoisier's idea "Nothing is lost, nothing is created, everything is transformed". Artistic creation is then like an uninterrupted cycle of transformation and interpretation.
Installed in the company for a period of three months during which his workshop is relocated within the carpentry construction spaces, Rémi Groussin is developing a specific project that fits contextually into the environment of the company. He gradually deploys his approach around the notions of challenge, surpassing, teamwork and individuality specific to the rules and languages of the business world. More specifically to the trades developed within Ortigues, he articulates his work around an object: The Flipper, as a metaphor for the organization of human relationships within an organized system to achieve the best score.
The Flipper constitutes a scenographic space in a miniature volume, like a model from which the artist puts to work the various skills of the company, relying on the design office, signage and construction workshops. Through this central object in his experimentation, Rémi Groussin shares a view of the world by creating an allegorical loop, perpetually oscillating between what is chosen and what is suffered, what is built and what is destroyed.
On the basis of this postulate, he imagines an installation principle integrating questions of storage as an artistic gesture. Assigned to concerns of the workshop, space management and productivity within the company, these gestures will guide the choices of space production. In the form of the “Show Room”, he produced an installation presenting a disparate collection of materials, plates and pinball remains in different states of composition or even of decomposition. Indiscriminately using scrap materials, custom-made adhesives, scrap materials, the pinball machine becomes a generic form sweeping through a symbolic field of vast and vague states, ranging from vestige to social and technological object.
The installation offers in place and place of "show room", a backstage space, amalgamating the gestures of sorting, storage, assembly, grouping, as a sculptural object.
ROYAL CAMÉE - Exhibition from June 6 to 24, 2018 - Opening Wednesday June 6 at 6.30 p.m.
in Darwin - Ecosystem, 87 Quai des Queyries in Bordeaux
Free entry from Wednesday to Sunday from 1 p.m. to 7 p.m.
In addition to this, you will need to know more about it.
ROYAL CAMÉE is the name of a bar, a fictional café in which Florence Carala (Jeanne Moreau) waits in vain for the return of her lover Julien Tavernier (Maurice Ronet), throughout Louis Malle's film Ascenseur pour l'Ecaffaud ( 1958). A moist atmosphere emanates from alcoholic sweats from young people intoxicated with games and “Le Royal” cocktails. The decor is then made up of voiceless pinball machines on which livid players struggle to take any pleasure in them. Jeanne Moreau, lonely but distraught, finally walks towards a mirror at the back of the bar, where she tries to catch her own fleeting gaze. She finally manages to concentrate on the reflection of one of the pinball machines in the troquet, whose image is duplicated, and whispers to him thus:
“I lost you last night, Julien. "
The Les Ortigues company designs spaces, signs and ephemeral furniture that highlight commercial products during advertising fairs. The lifespan of these spaces / projects / objects is then conditioned by the time of the event. As soon as they no longer have any commercial utility, the materials are destroyed.
It is during the last three months that the young artist Rémi GROUSSIN has been received within this company in order to conduct an immersive creation residency. The first step was to recycle and transform the non-inevitable condition of the company's rejects. The artist has developed a specific project there that fits contextually into a functional cycle. He gradually deployed an artistic approach around the notions of challenge, surpassing, otherness and individuality specific to the joint rules and languages of the business world and that of the game. within Ortigues, he has structured his work around a complex but emblematic object: The Flipper, which he advocates as a metaphor for spatio-temporal and social relationships linked to the world of work. The formal aspect of the Flipper constitutes a space modeled like a miniature model from which the artist has been able to implement the various skills of the company. He was then supported in his work by the design office, signage and wood and metal construction workshops.
In order to celebrate the initiative of this singular project, he imagined an installation principle integrating questions of storage as artistic gestures. Assigned to concerns of the workshop, space management and productivity, these gestures will guide the choice of assemblies in a series of sculptures that resemble pinball machines. It is at the heart of the Darwin ecosystem that the artist offers ROYAL CAMÉE: an exhibition presenting a disparate collection of pinball machines composed without distinction, scrap materials, custom-made adhesives and scraps of reflective materials. These objects become generic forms sweeping a symbolic field of vast and vague states, ranging from vestige to social transitional object, including technical ingenuity. at the sight of these sculptures, the gaze is disturbed by shimmering materials and by the interplay of optical and luminous mechanisms questioning this notion of commercial “lighting”. Bringing together this series in a single exhibition space, the artist re-enacts the idea of events by imagining a unique platform taking the shape of a pinball machine silhouette. Closely similar to a classic catwalk catwalk, this oversized plinth dramatizes the work and once again embeds it in its role of promotional product where what is to be promoted remains indefinable.
