Avoid the trap of the group show, that impossible Grail. Discover a magic place, the symbol of an ambitious French cultural policy with directors and teams who are passionate and stable. Show it all majestically with the richness of its historical layers, revealing what is sometimes hidden Assemble partners that nothing should bring together Try to dialogue with a space not originally conceived for showing artworks Mix established and unknown artists : no youthism, no aesthetic correctness, no quotas. (...)
Laurent Le Bon
Vernissage vendredi 7 octobre de 18h à minuit
Mercredi, jeudi, dimanche : de 14h00 à 19h00 Vendredi, samedi : de 14h00 à 20h00 Fermé le lundi et mardi
Mercredi 21 décembre à 15h00 Accessible aux visiteurs de l’exposition
Tous les dimanches à 16h00 (sauf le 25 décembre) Entrée gratuite
Plein tarif : 4€ / Tarif réduit : 3€ * * Etudiants, seniors, demandeurs d’emploi, membres des amis des musées, chèque crédit loisir.
Tarifs visites guidées : 40,00 € groupe de 10 à 30 pers, 1h Sur réservation: 03 20 28 38 04 / lmenard@lefresnoy.net Gratuit pour les moins de 18 ans et pour tous, chaque dimanche
Yoknapatawpha. The name is impossible to pronounce. Its syllables express authority. They enjoin silence. What god left his last letters here? Is it because it designates an accursed land, stolen from the Indians, that this degraded tetragram struggles to hide its still water?
Yoknapatawpha, a fictive place invented for the needs of his art by the American writer William Faulkner, invites to take an infernal plunge into a tale told by an idiot, full of sound and fury, signifying nothing. Yoknapatawpha. What if, for a moment, the river suspended its flow and let us hear the voice of that troubled spirit, the silent child Benjy, for whom, need we recall, space and time are one?
Beyond the senses, it is there, once again, that the equivocal is to be summoned – that which has several voices. Here is another attempt to pull the puppet-strings of the teeming images, to suggest a gesture in the torpor of the indeterminate.
Léonard Martin is anxious to thank warmly the members of the teaching, technical and administrative staffs of Fresnoy - national Studio and specially Madeleine Van Doren and Daniel Dobbels. Thanks to the various outside contributors: Julien Aillet, Arnaud Azoulay, Antonine Case, Elvire Caillon, Xavier Collet, Mylène Ibazatène, François Mark, Basile Martin, Laurent Rochette.
Léonard Martin tient à remercier chaleureusement les membres des équipes pédagogiques, techniques et administratives du Fresnoy – Studio national et spécialement Madeleine Van Doren et Daniel Dobbels. Merci aux différents contributeurs extérieurs : Julien Aillet, Arnaud Azoulay, Antonin Boitier, Elvire Caillon, Xavier Collet, Mylène Ibazatène, François Mark, Basile Martin, Laurent Rochette.
Lives and works in Paris and Lille. He graduated with a distinction from the Ecole des Beaux-Arts in Paris where he trained in François Boisrond's studio. He participated in the 61st Salon de Montrouge. His first encounter with film was motivated by his desire to see the animation of painted forms. Not that these figures were unfamiliar with movement, the history of painting has constantly set the body in movement, but rather that these figures were waiting for a scheme, a device that would resuscitate them, for a mechanism to disrupt time. Image by image, cinema as the site of anima would appear to be ideal for such metamorphosis to take place. In more recent works, Léonard has used string puppets with a view to extending the very first moments of awakening, of birth, and the indeterminate and incipient aspects of movement.
