215 x 135 mm
This fifth number of Digressions finds Céline Ahond returning to her driving obsessions – presence, dexterity, movement, interpersonal encounters – and the challenges posed by the composition of an exhibition. Her conversation with Julie Pellegrin leads to fragmentary considerations with Anne Kawala, Sophie Lapalu, Elodie Petit and Lidwine Prolonge. Fuelled by spells of walking, reconnoitring and encounters, Ahond’s work is a blend of collaborative ventures, engagement with the urban, mental images, and narratives. Much appreciated for her performance-lectures involving narratives of all kinds, printed and projected images, video systems and presentations of objects, at La Ferme du Buisson she is offering her first major exhibition in the form of a book designed in association with a graphic artist.
About the Artist
The distinctive practice of Céline Ahond (b. 1979, Clermont-Ferrand) finds expression in art venues, books and public spaces—in the form of collective experiences. She drew critical attention in the early 2000s with performance-lecturess involving narratives of all kinds, printed and projected images, video systems and presentations of objects. She followed up with “film performances” with evocative titles like You See What I Mean?, What Film Are We Living in? and Playing at Really Pretending. On the fine line between documentary and zany fiction, these are real-fake reconstructions whose role-playing blurs identities and the relationship between the real and the imaginary. Ahond is a past master in constructing situations that open up territories for action, speaking out and inventing a specific language; and in doing so she explores the way “the encounter generates art”.
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.