215 x 135 mm
For this eleventh title in the Digressions series, Baptiste Brévart and Guillaume Ettlinger discuss with Julie Sicault Maillé their artistic practice as a duo and their installation La vallée aux 120 volcans (The Valley of 120 Volcanoes) for the exhibition Atterir – La terre au centre. Here they put into perspective the history of Noisiel and La Ferme du Buisson, formerly the property of the Menier family, and Valle-Menier, the family’s 1862 cocoa plantation in Nicaragua, near the Mombacho volcano. This conversation takes place during a walk through Noisiel in July 2021, which is also an opportunity to take a look at an urban landscape; in a third, hitherto unpublished segment Brévart and Ettlinger cite quotations from artists from previous editions of the Digressions booklets, which echo their own work.
About the Artists
Baptiste Brévart (b. 1982, lives in Hanover) and Guillaume Ettlinger (b. 1987, lives in Paris) focus on the way narratives influence the world and its landscapes. In sequences combining documentary and fiction, forms and objects function as narrative tools. Among exhibitions which can be mentionned: Atterir – La terre au centre / Centre d’art contemporain de la Ferme du Buisson, Noisiel, in 2021-2022; MdCdM – Musée des Collections du Monde, saison 2 (Museum of World Collections, Season 2), at Domaine départemental de Chamarande in 2020; MdCdM – Musée des Collections du Monde, saison 1 (Museum of World Collections, Season 1) at Franciades in Massy, 2019; Carbet Chelou in Camopi / Guyana in 2017, Ateliers Médicis. They have published Wednesdays at A’s, 330 Broome St. NY 1979-1981 with Pauline Chevalier and Guillaume Loisillon, Anamosa editions. Since 2017 they have self-published the Cheptel magazine.
About the Collection
Initiated in 2017 by Julie Pellegrin and the team of the Contemporary Art Center La Ferme du Buisson in collaboration with the Captures editions, Digressions is a collection of interviews (bilingual French / English) which accompanies the programming of the Art Center. Through conversations with the guest artists, the notebooks give access behind the scenes of the projects and testify to the reflections, research, methodologies and sometimes doubts or trial and error that nourish a work process. By giving the floor to the artists, the whole collection makes very singular voices heard which nevertheless resonate with each other to explore shared questions around the performance and the writing of the exhibition, the commitment corporal and political, of the decompartmentalization of disciplines.
For each issue, there is a change in color of the cover paper with or without embossing, distinguishing the publications in relation to the artistic project. The inside pages are printed in a pantone tone and the transition to the English language is materialized by a double-page image resulting from the research work. Postcards from the exhibitions are printed and inserted randomly into the notebooks like bookmarks. The elegant and dynamic layout by Claire Moreux marries the intricacies of reflection by inviting the reader to navigate, literally, in the text.
About the Publisher
Captures’ initial priority was to publish artists’ books, an association artist, graphic designer and publisher, free of all constraints. Subsequently, with the constant desire to prioritize the artist’s voice, uncover research, differences and debates on the question of art, other collections were born: monographs, collective works and interviews.