215 x 135 mm
For this title, Virginie Yassef chose to talk with Mathieu Copeland and Philippe Quesne about the preparation of The Veldt. This double interview exposes round trips of exchanges with the curator and the director around the theatricality, the transition from the exhibition to the stage, the treatment of sound, scenography, time and the score and around the search for a new work methodology.
Since the 1990s, Virginie Yassef has explored several mediums (video, painting, photography, sculpture) in a constant back and forth between physical and mental construction, between science fiction and play – a game without rules which contributes to defining a space of potential experimentation between the surface of reality and a fantasy projection. In 2018, she adapted a play by Ray Bradbury, The Veldt, of which she presented a first version at the Ferme du Buisson.
About the Artist
Since the 1990s Virginie Yassef (born 1970 in Grasse, lives and works in Paris) has been exploring media including video, painting, photography and sculpture. Flushing out our buried emotions and our capacity for wonder with a witty inventiveness all her own, she creates worlds in which everyday acts take on a fantastic dimension as registers, references, historical strata and levels of interpretation all overlap. From one scenario to another the forms she devises reappear and mutate in line with her narrative variations. She constructs hypotheses just as she constructs buildings, in a constant oscillation between the mental and the physical—a game without rules that helps define a potential space for experiment somewhere between the surface of reality and fantastical projection.
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.