Julien Discrit
Embossed notebook page
7,9 x 4,9 in
Each Diagram offers the story of a selected dream made by the artist, realised on a notebook page. By removing the ribbon from a typewriter, the paper has been carved to create the letters and the words which make these scripts visible for our eyes.
Exhibitions:
- Le souvenir des pierres, Galerie Anne-Sarah Bénichou, 2016
- Territoire Hopi, Galerie Ygrec, Paris, 2015-2016
Diagramme n° 070412-080412 "Papier calque"
Je suis dans un magasin de fournitures de
beaux-arts. Je cherche du papier, du papier
calque. Je ne sais pas lequel choisir et demande
toutes sortes de références à la vendeuse. Je
finis par en acheter de plusieurs sortes.
Une fois sorti du magasin je me retrouve dans une
école primaire désertée. Je sors une feuille
transparente et la tiens à bout de bras devant
moi. C’est en fait une caméra, une surface
photosensible à travers laquelle je regarde et
filme en même temps la cour, les salles.
J’effectue des mouvements très lents et flottants,
tout en regardant à travers la feuille.
Au détour d'un couloir je découvre des photos de
classes punaisées au mur. Je suis présent sur
plusieurs d'entre elles, je dois avoir autour de
5 ou 6 ans.
Je comprends alors que la feuille de calque est
ce qui permet de filmer mon passé.
8,5 x 181,1 in
4,6 milliards d’années sont matérialisées par une ligne de 4,6 mètres.
Une fois ce rapport d’échelle installé, il en découle qu’une année est égale à un nanomètre. On peut aussi en déduire qu’il y a un milliard de nanomètre dans un mètre.
Variable dimensions
First realization of a serie, Decalques attempts to reproduce an moment and a specific place with a record of the light spectrum. These data, here collected July 27th, 2015 at 7:58 p.m., enabled exact reproduction of the ambient light by combining color filters commonly used in cinema industry.
12,9 9,4 x 1,4 inches
Simply composed by a plexiglas block placed on a photograph, Ce qui nous regarde (literally “what stares at us or what is our concern”) is a piece with double meaning, as the display hides and reveals in the same time the image of a absent look.
Variable dimensions
This piece is composed by a brass shaft directly inserted into a wall and a halogen spot light. This produces a shadow on the wall, the word NOW is written underneath.
Variable dimensions
Vue de l'exposition "What is not visible is not invisible", Musée national de Singapour, Singapour,
Collection Frac Lorraine, Metz, France
Exhibitions:
- Persona Grata, MAC VAL, Vitry-Sur-Seine, France, 2018
- Mondes flottants, Biennale de Lyon, curator Emma Lavigne, Musée d'Art contemporain, Lyon, 2017
- What is not visible is not invisible, National Museum of Singapore, Singapore, Song Eun Art Space de Séoul, South Corea, and BACC of Bangkok, Thailand, 2016-2017
- La consistance du visible, Prix Fondation d’entreprise Ricard 2008
Collection Frac Lorraine, Metz, France
Variable dimensions
Vue de l'exposition "What is not visible is not invisible", Musée national de Singapour, Singapour,
Collection Frac Lorraine, Metz, France
Exhibitions:
- Persona Grata, MAC VAL, Vitry-Sur-Seine, France, 2018
- Mondes flottants, Biennale de Lyon, curator Emma Lavigne, Musée d'Art contemporain, Lyon, 2017
- What is not visible is not invisible, National Museum of Singapore, Singapore, Song Eun Art Space de Séoul, South Corea, and BACC of Bangkok, Thailand, 2016-2017
- La consistance du visible, Prix Fondation d’entreprise Ricard 2008
Collection Frac Lorraine, Metz, France
Variable dimensions
Vue de l'exposition "What is not visible is not invisible", Musée national de Singapour, Singapour,
Collection Frac Lorraine, Metz, France
Exhibitions:
- Persona Grata, MAC VAL, Vitry-Sur-Seine, France, 2018
- Mondes flottants, Biennale de Lyon, curator Emma Lavigne, Musée d'Art contemporain, Lyon, 2017
- What is not visible is not invisible, National Museum of Singapore, Singapore, Song Eun Art Space de Séoul, South Corea, and BACC of Bangkok, Thailand, 2016-2017
- La consistance du visible, Prix Fondation d’entreprise Ricard 2008
Collection Frac Lorraine, Metz, France
40,9 x 98,4 x 42,5 inches
Cette oeuvre sera exposée dans la galerie Backslash - 29 rue Notre-Dame de Nazareth 75003 Paris dans le cadre de SESSION#2 du 9 au 18 juin 2016.
15,7 x 29,5 x 0,8 inches
Exhibition:
- "ZONES SENSIBLES. La carte fait-elle le monde ?" 24 juin au 23 octobre 2016, Frac Lorraine, Metz.
23,6 x 28,7 x 0,8 inches
29,3 x 15,9 in
Taking up the rules used in the building of Micronesian stick charts, Carte mémoire (Memory Card/Map) offers a primitive and personnal cartography of the city of Montreal. Built on an oversimplified pattern, with no respect of distance, it sets up a support to the memorization of space and it flows, representing the remembered spots as islands of an intimate achipelago.
Exhibitions:
- Espaces intuitifs, L'abbaye, Espace d'art contemporain, Annecy-Le Vieux, France, du 17 September au 27th November 2016
- Le souvenir des pierres, Galerie Anne-Sarah Bénichou, Paris, 21st May-16th July 2016
23,6 x 15,7 inches
Exhibition:
- Le souvenir des pierres, Galerie Anne-Sarah Bénichou, Paris, 21st May-16th juiy 2016
- Loin des yeux, Centre d'art contemporain de Montréal, du 16 avril au 11 juin 2016
Variable dimensions
Exhibition:
- Le souvenir des pierres, Galerie Anne-Sarah Bénichou, Paris, 21st May-16th juiy 2016
Embossed notebook page
7,9 x 4,9 in
Each Diagramme offers the story of a selected dream made by the artist, realised on a notebook page. By removing the ribbon from a typewriter, the paper has been carved to create the letters and the words which make these scripts visible for our eyes
Exhibition:
- Le souvenir des pierres, Galerie Anne-Sarah Bénichou, Paris, 21st May-16th july 2016
Diagramme n°071214-081214"Mont Viso"
Je marche sur un sentier de montagne avec un ami.
Notre objectif est d'atteindre le sommet du Mont Viso.
Au bout d'un moment nous arrivons enfin à la minuscule plate-forme qui constitue le sommet.
Nous nous reposons un instant pour profiter du panorama.
En voulant m'asseoir je fais basculer une grosse roche qui tombe sur le sol et se brise
immédiatement en deux, presque en son milieu.
Je me rends alors compte que sur une des deux faces mise à nu est inscrit quelque chose; un mot est gravé dans la pierre.
Je me demande comment ce mot a bien pu être gravé à l'intérieur de la roche.
Je m'approche pour pouvoir le déchiffrer, je n'arrive pas à le lire.
69,8 x 46,8 inch
Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.
Exhibitions::
- Prix Meurice pour l'art contemporain 2016, Hôtel le Meurice, Paris
- Le Souvenir des pierres, Galerie Anne-Sarah Bénichou, 21 mai- 23 juillet 2017, Paris, France
35,4 x 23,6 in
A thousand Mississippi series is based on elevation datas, in other words topography. They show real areas of the Mississippi valley, from which we can observe the infinite curves and former bends. Thanks to a subtil color grading, the picture reveals the former paths of the river, engraved in the ground of the valley.
Exhibitions:
- Mapping at Last, Gallery Eric Mouchet, 04th febr- 25th march 2017, Paris, France
-Le Souvenir des pierres, Gallery Anne-Sarah Bénichou, 21 may -23 july 2016, Paris, France
35,4 x 23,6 in
A thousand Mississippi series is based on elevation datas, in other words topography. They show real areas of the Mississippi valley, from which we can observe the infinite curves and former bends. Thanks to a subtil color grading, the picture reveals the former paths of the river, engraved in the ground of the valley.
Exhibition:
- Le souvenir des pierres, Galerie Anne-Sarah Bénichou, Paris, France, 21st May- 23rd July 2016
31,5 x 31,5 in
These maps representing French Guyana have been produced by the French national geographic institute. Surprisingly, in some areas the map shows lack of information where it is written 'nuages' (clouds). These blank spaces have been cut, as the inverted representation of the cumulus passing over the rain forest, the day the institute took aerial pictures.
Exhibitions:
- L'Atlas des nuages, Fondation François Schneider, Watwiller, France, June, 23rd - September, 30th, 2018
-Le Souvenir des pierres, Gallery Anne-Sarah Bénichou, 21 may -23 july 2016, Paris, France
- Territoire Hopi, Gallery YGREC, Paris, 4th december 2015- 23rd january 2016.
- La mesure du possible, Gallery Thomas Henry Ross. Montreal, Canada, 2nd- 30th august 2014.
31,5 x 31,5 in
These maps representing French Guyana have been produced by the French national geographic institute. Surprisingly, in some areas the map shows lack of information where it is written nuages (clouds). These blank spaces have been cut, as the inverted representation of the cumulus passing over the rain forest, the day the institute took aerial pictures.
Exhibitions:
- L'Atlas des nuages, Fondation François Schneider, Watwiller, France, June, 23rd - September, 30th, 2018
-Le Souvenir des pierres, Gallery Anne-Sarah Bénichou, 21 may -23 july 2016, Paris, France
- Territoire Hopi, Gallery YGREC, Paris, 4th december 2015- 23rd january 2016
- La mesure du possible, Gallery Thomas Henry Ross. Montreal, Canada, 2nd- 30th august 2014
11 x 14,9 x 3,5 in
As a between-two surface, an uncertain line of contact, Inframince (Mont-Blanc) is a white stele topped by a transparent and luminescent block of resin. That subtle glow underline the thin opaque membrane which seems to divide the block in two, and draws an uneven relief, miniature size. This tiny thickness materializes, inside the block, the impalpable limit between sky and mountain.
Collection FRAC Lorraine, Metz, France
25'59''
Sediments shows the double journey of an isolated young men, walking around a small town which seems to be abandonned, on the ocean front. Through his investigations in this landscape, he discovers a peculiar object which leads him to continue his researches, across remains of the past.
With Antoine Loubry
Director of photography: Charles Devoyer
Sound engineer: Alexandre Lemore
Director of photography assitant: Rémy Peslouan
Script: Amélie Forestier
Production management: Thomas Merret
Color correction: Richard Pelmar
This film has been produced thanks to DRAC Île-de-France and Direction des affaires culturelles de la Ville de Paris.
©2013 Julien Discrit
25'59''
Sediments shows the double journey of an isolated young men, walking around a small town which seems to be abandonned, on the ocean front. Through his investigations in this landscape, he discovers a peculiar object which leads him to continue his researches, across remains of the past.
With Antoine Loubry
Director of photography: Charles Devoyer
Sound engineer: Alexandre Lemore
Director of photography assitant: Rémy Peslouan
Script: Amélie Forestier
Production management: Thomas Merret
Color correction: Richard Pelmar
This film has been produced thanks to DRAC Île-de-France and Direction des affaires culturelles de la Ville de Paris.
©2013 Julien Discrit
25'59''
Sediments shows the double journey of an isolated young men, walking around a small town which seems to be abandonned, on the ocean front. Through his investigations in this landscape, he discovers a peculiar object which leads him to continue his researches, across remains of the past.
With Antoine Loubry
Director of photography: Charles Devoyer
Sound engineer: Alexandre Lemore
Director of photography assitant: Rémy Peslouan
Script: Amélie Forestier
Production management: Thomas Merret
Color correction: Richard Pelmar
This film has been produced thanks to DRAC Île-de-France and Direction des affaires culturelles de la Ville de Paris.
©2013 Julien Discrit
25'59''
Sediments shows the double journey of an isolated young men, walking around a small town which seems to be abandonned, on the ocean front. Through his investigations in this landscape, he discovers a peculiar object which leads him to continue his researches, across remains of the past.
With Antoine Loubry
Director of photography: Charles Devoyer
Sound engineer: Alexandre Lemore
Director of photography assitant: Rémy Peslouan
Script: Amélie Forestier
Production management: Thomas Merret
Color correction: Richard Pelmar
This film has been produced thanks to DRAC Île-de-France and Direction des affaires culturelles de la Ville de Paris.
©2013 Julien Discrit
35,4 x 23,6 in
A thousand Mississippi series is based on elevation datas, in other words topography. They show real areas of the Mississippi valley, from which we can observe the infinite curves and former bends. Thanks to a subtil color grading, the picture reveals the former paths of the river, engraved in the ground of the valley.
Exhibitions:
- L'air vibre du bourdonnement des insectes, Musée départemental d'art contemporain, de Rochechouart, 07th October - 17th December 2017, Rochechouart, France
- Mapping at last, Gallery Eric Mouchet, 4th february - 25th march 2017, Paris, France
- Le Souvenir des pierres, Gallery Anne-Sarah Bénichou, 21st may- 23 july 2016, Paris, France
35,4 x 23,6 in
A thousand Mississippi series is based on elevation datas, in other words topography. They show real areas of the Mississippi valley, from which we can observe the infinite curves and former bends. Thanks to a subtil color grading, the picture reveals the former paths of the river, engraved in the ground of the valley.
Exhibitions:
- L'air vibre du bourdonnement des insectes, Musée départemental d'art contemporain de Rochechouart, 7th october- 17th December, Rochechouart, France
- Le Souvenir des pierres, Galerie Anne-Sarah Bénichou, 21th May- 23rd July 2016, Paris, France
23,6 x 31,5 in
La série Mont Analogue prend pour objet le jeu sur les rapports d’échelles. Il s’agit de portraits de petits cailloux collectés pour leur potentiel de ressemblance à des ensembles montagneux. La prise de vue accentue la perte de repère spatiaux et le rapport d’échelle entre relief naturel et microcosme.
31,5 x 31,5 in
These maps representing French Guyana have been produced by the French national geographic institute. Surprisingly, in some areas the map shows lack of information where it is written 'nuages' (clouds). These blank spaces have been cut, as the inverted representation of the cumulus passing over the rain forest, the day the institute took aerial pictures.
Exhibitions:
- L'Atlas des nuages, Fondation François Schneider, Watwiller, France, June, 23rd - September, 30th, 2018
- Au loin une île, Mains d'Oeuvres, Saint-Ouen, France, February 1st, March, 14
- Mapping at Last, Gallery Eric Mouchet, 04th febr- 25th march 2017, Paris, France
-Le Souvenir des pierres, Gallery Anne-Sarah Bénichou, 21 may -23 july 2016, Paris, France
- Territoire Hopi, Gallery YGREC, Paris, 4th december 2015- 23rd january 2016.
- La mesure du possible, Gallery Thomas Henry Ross. Montreal, Canada, 2nd- 30th august 2014.
9,4 x 12,6 in
On may 3rd 1836, the person by the name of D.Julien engraved his name on the banks of the Labyrinth canyon, along the Green river in the south of Utah. With this maiden action, he gave the first testimony of a white men in this distant zone and at the same time, he opened the way for other signatures. 173 years later, the artist is looking for this double. This photograph tells us this experience, linked with identity, time lapse and the importance of trace.
Variable Dimensions 8,7 x 6,8 x 5,1 in
La série Sédiments s’attache à rendre compte de phénomènes microscopiques. C’est le fruit d’une sédimentation, au sens propre comme au figuré, d’un lent travail du temps sur des éléments qui se combinent et se transforment pour créer un «objet fossile», le souvenir d’une expérience passée et la trace d’un sédiment futur.
4,7 x 6,3 x 1,8 in
In july 2009, during a trip into Mojave desert the artist filled two empty 135mm color roll film boxes with earth sample. Back in France he found these two boxes again, among other relics. Thanks to a riddle system of different sizes this earth has been sorted and put into test tubes in order to discover what the desert is made of.
1 x 0,5 x 0,4 in
L’opale est une pierre cristalline dont les cristaux ne se forment qu’en pseudomorphose, c’est-à-dire par transformation d’un solide existant, les plus fréquentes étant celles du bois, des coquillages et des os. Cette idée de lente transformation de la matière osseuse en minéral est reprise ici par le façonnage d’une opale blanche en forme de dent humaine, comme le résidu d’un squelette fictif ou la création d’un fossile du futur.
Lambda print
3,5 x 4,7 in
Exhibition :
- SESSION#1, galerie Backslash, 2016, Paris, France
Lambda print
3,5 x 4,7 in
Exhibition :
- SESSION#1, galerie Backslash, 2016, Paris, France
Lambda print
3,5 x 4,7 in
Exhibition :
- SESSION#1, galerie Backslash, 2016, Paris, France
Lambda print
3,5 x 4,7 in
Exhibition :
- SESSION#1, galerie Backslash, 2016, Paris, France
Lambda print
3,5 x 4,7 in
Exhibition :
- SESSION#1, galerie Backslash, 2016, Paris, France
Embossed notebook page
8,3 x 5,1 in
Each Diagram offers the story of a selected dream made by the artist, realised on a notebook page. By removing the ribbon from a typewriter, the paper has been carved to create the letters and the words which make these scripts visible for our eyes.
Exhibition:
-Entre deux infinis, Galerie Anne-Sarah Bénichou, Paris, France, 2017
Diagramme n°020208-030208 - "Histoire de l'univers"
Noir. Un flash aveuglant. C’est le big bang.
Les images défilent comme devant un film documentaire. L’histoire de l’Univers défile sous mes yeux en accéléré; la formation des premières étoiles, des galaxies, des planètes, du système solaire. Le temps s’écoule à toute vitesse.
La Terre est maintenant visible, les continents se déplacent. Nous approchons.?Comme vu d’un satellite on apercoit l’Europe, puis la Suisse, puis le Lac Léman. Le zoom se poursuit, de plus en plus rapide.
Nous voici dans la salle des commandes du CERN, à Genève, en 2009. Tous les scientifiques et les physiciens sont réunis pour procéder au lancement du grand accélérateur de particules. Le décompte est lancé, 10...9...8...
Tous les regards se portent vers les écrans de contrôle, la tension est palpable.
6...5...4...
L’opérateur s’apprête à appuyer sur le bouton, ...1...0.
Il appuie.
Noir. Un flash aveuglant. C’est le big bang.
Embossed notebook page
8,3 x 5,1 in
Each Diagram offers the story of a selected dream made by the artist, realised on a notebook page. By removing the ribbon from a typewriter, the paper has been carved to create the letters and the words which make these scripts visible for our eyes.
Diagramme n°190812-200812 - "Philippe Parreno"
Je rencontre Philippe Parreno. Il me parle de ses films.
À un moment donné il dit que dans ses films il cherche à se passer de musique. Je lui dis que dans ses films il cherche même à se passer d'images. Il se retourne et me dit que la question est très vaste, que ce n'est pas le bon moment pour en parler.
On en discutera plus tard.
Cyanotype on paper
23,2 x 15,7 inches
This work uses a photographic process that leads to the origins of photography. The cyanotype shows the ephemeral and immaterial birds? chirping, in a graphic shape produced by sound analysis.
Exhibition:
- Partition du silence, Galerie Anne-Sarah Bénichou, 05th november- 23 december 2016, Paris, France
9'32
© Paul Litherland
While the strip remained an object of fascination for mathematicians throughout the 19th century, it was quickly taken up by some very influential thinkers in the human and social sciences. Lacanian psychoanalysis, for instance, uses the Möbius strip as a spatialization model for the work of the unconscious.
As for formal dimensions of Discrit?s video, they refer to a series of drawings and woodcuts produced by M.C. Escher in the early 1960s depicting nine red ants crawling along a Möbius strip, usually placed vertically.?Following a precise contortion, the Möbius strip?which becomes a felt space in the video? reveals the cyclical relationship between the physical elaboration of a mathematical concept, its reuse in the social sciences, its potential artistic representations, and the experience it can afford as a physical phenomenon.
Daniel Fiset
Exhibitions :
- Supergreen, Hôtel Cinq Godet, 8th September- 22nd October 2017, Paris, France
- Nature. Culture, Centre d'art contemporain Optica, Montréal, Canada, 1er sept- 8 oct 2016
Embossed notebook page
8,3 x 5,1 in
Each Diagram offers the story of a selected dream made by the artist, realised on a notebook page. By removing the ribbon from a typewriter, the paper has been carved to create the letters and the words which make these scripts visible for our eyes.
Text
Je suis à Berlin, la ville est composée en croix avec de chaque côté des collines assez hautes. En haut de l?une d?elles, dans un hôtel de luxe, se tient une exposition. Pour s?y rendre le bus emprunte des routes de montagnes très escarpées, en passant les virages je vois des affleurements de roche blanche très particuliers, puis des roches translucides, comme du quartz rose et vert. C?est absolument magnifique. Au centre de l?exposition se trouve un grand crâne en silicone transparent. À l?intérieur de celui-ci on distingue l?empreinte d?un autre crâne. L?ensemble forme donc une sorte de membrane. À côté se trouve une paire de longs gants, sur ce même principe. Pour me montrer la finalité de son projet, l?artiste Christian Anderson enfile cette sorte de cagoule et je vois donc sa tête à l?intérieur de cette gangue, se superposant au profil du crâne dont il a fait le moule. La cagoule, ainsi que la paire de gants sont présentées dans une caisse en bois, où des cavités recueillent les objets.
Cyanotype on paper
23,2 x 15,7 inches
Exhibition:
- L'oeil musical, Galerie Natalie Seroussi, Paris, France
Cyanotype on paper
23,2 x 15,7 inches
Exhibition :
- L'air vibre du bourdonnement des insectes, Musée départemental d'art contemporain de Rochechouart, 07th October - 17th December, Rochechouart, France
Cyanotype on paper
23,2 x 15,7 inches
Exhibition :
- L'air vibre du bourdonnement des insectes, Musée départemental d'art contemporain, de Rochechouart, 07th October - 17th December, Rochechouart, France
69,8 x 46,8 inch
Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.
69,8 x 46,8 inch
Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.
69,8 x 46,8 inch
Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.
16,9 x 27,8 inches each
These images have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.
Exhibition:
- Mapping at last, Galerie Eric Mouchet, du 4th February- 25th March, Paris, France
- La mesure du possible, Galerie Thomas Henry Ross, Montréal, Québec, August 2014
34 x 36 inches
10'47''
Oeuvre produite avec le soutien de la FNAGP
Avec le soutien à une recherche/production artistique du CNAP
Ce projet bénéficie du soutien de Lafayette Anticipations - Fonds de dotation Famille Moulin, Paris
Collection of Institut d’Art Contemporain, Rhône-Alpes
Exhibition:
- Mondes flottants, 14ème Biennale de Lyon, curator Emma Lavigne, La Sucrière, Lyon, 20th September- 7th January 2018
10'47''
Oeuvre produite avec le soutien de la FNAGP
Avec le soutien à une recherche/production artistique du CNAP
Ce projet bénéficie du soutien de Lafayette Anticipations - Fonds de dotation Famille Moulin, Paris
Collection of Institut d’Art Contemporain, Rhône-Alpes
Exhibition:
- Mondes flottants, 14ème Biennale de Lyon, curator Emma Lavigne, La Sucrière, Lyon, 20th September- 7th January 2018
10'47''
Oeuvre produite avec le soutien de la FNAGP
Avec le soutien à une recherche/production artistique du CNAP
Ce projet bénéficie du soutien de Lafayette Anticipations - Fonds de dotation Famille Moulin, Paris
Collection of Institut d’Art Contemporain, Rhône-Alpes
Exhibition:
- Mondes flottants, 14ème Biennale de Lyon, curator Emma Lavigne, La Sucrière, Lyon, 20th September- 7th January 2018
10'47''
Oeuvre produite avec le soutien de la FNAGP
Avec le soutien à une recherche/production artistique du CNAP
Ce projet bénéficie du soutien de Lafayette Anticipations - Fonds de dotation Famille Moulin, Paris
Collection of Institut d’Art Contemporain, Rhône-Alpes
Exhibition:
- Mondes flottants, 14ème Biennale de Lyon, curator Emma Lavigne, La Sucrière, Lyon, 20th September- 7th January 2018
10'47''
Oeuvre produite avec le soutien de la FNAGP
Avec le soutien à une recherche/production artistique du CNAP
Ce projet bénéficie du soutien de Lafayette Anticipations - Fonds de dotation Famille Moulin, Paris
Collection of Institut d’Art Contemporain, Rhône-Alpes
Exhibition:
- Mondes flottants, 14ème Biennale de Lyon, curator Emma Lavigne, La Sucrière, Lyon, 20th September- 7th January 2018
10'47''
Oeuvre produite avec le soutien de la FNAGP
Avec le soutien à une recherche/production artistique du CNAP
Ce projet bénéficie du soutien de Lafayette Anticipations - Fonds de dotation Famille Moulin, Paris
Collection of Institut d’Art Contemporain, Rhône-Alpes
Exhibition:
- Mondes flottants, 14ème Biennale de Lyon, curator Emma Lavigne, La Sucrière, Lyon, 20th September- 7th January 2018
10'47''
Oeuvre produite avec le soutien de la FNAGP
Avec le soutien à une recherche/production artistique du CNAP
Ce projet bénéficie du soutien de Lafayette Anticipations - Fonds de dotation Famille Moulin, Paris
Collection of Institut d’Art Contemporain, Rhône-Alpes
Exhibition:
- Mondes flottants, 14ème Biennale de Lyon, curator Emma Lavigne, La Sucrière, Lyon, 20th September- 7th January 2018
59 x 59 inches
Cette œuvre prend comme point de départ des données d'élévation, c'est-à-dire des relevés de terrains, des relevés topographiques... L'image est traitée par des variations de couleurs assez fines, en fonction de l'altitude (les couleurs varient tous les 30 cm d'élévation). Cette image montre une zone du grand Canyon dont la particularité est la grande variété des couches de roches et des reliefs. L’image ainsi obtenue créée une sorte de palimpseste de volutes de tous les reliefs du Grand Canyon sur quelques milliers d’années.
Reconstituted stone
7,8 x 4,7 x 3 cm
Exhibition:
- Entre deux infinis, Galerie Anne-Sarah Bénichou, Paris, France
Reconstituted stone
Exhibition:
- Entre deux infinis, Galerie Anne-Sarah Bénichou, Paris, France
Cyanotype on paper
23,2 x 15,7 inches
Black tit song uses a photographic process that leads to the origins of photography. The cyanotype shows the ephemeral and immaterial birds? chirping, in a graphic shape produced by sound analysis.
Cyanotype on paper
23,2 x 15,7 inches
White fronted redstart song uses a photographic process that leads to the origins of photography. The cyanotype shows the ephemeral and immaterial birds? chirping, in a graphic shape produced by sound analysis.
Cyanotype on paper
23,2 x 15,7 inches
Green woodpecker song uses a photographic process that leads to the origins of photography. The cyanotype shows the ephemeral and immaterial birds? chirping, in a graphic shape produced by sound analysis.
Cyanotype on paper
23,2 x 15,7 inches
Black woodpecker song uses a photographic process that leads to the origins of photography. The cyanotype shows the ephemeral and immaterial birds? chirping, in a graphic shape produced by sound analysis.
15'40'' min
Crédit photo Julien Discrit-And Factory,
Courtesy de l'artiste et galerie Anne-Sarah Bénichou
Collection Musée d?art Moderne de la ville de Paris
A young man emerges from a tunnel. His running is punctuated by his voice, he is talking to himself. The city he is running through seems to be deserted. It forms behind him a luminous and ghostly background. His monologue starts rather curiously; it is about toys, primary school… What he is talking about, as his running continues, is the story of his life. A life we do not know at first whether it is only fantasized or really true. Through this narration in the first person, he unfolded with each new stride, the story of his life.
Exhibitions :
- Entre-temps, MOCA. Chengdu, China, 2014
- Entre-temps, Taïpei. Taïwan, 2011
- Entre-temps, Minsheng art Museum. Shanghai, China
- Entre-temps, LoftProject Etagi. Saint Pétersbourg, Russia, 2010
- OI Futuro, Rio de Janeiro, Brazil, 2009
- Entre-temps, MIS Sao Paulo. Brazil, 2009
- Territoires en expansion, FNAGP. Nogent-sur-Marne, France, 2007
- L'usage du monde, Rijeka, Croatia, 2006
- L'atelier, Galerie Nationale du jeu de paume, 2006
- Pilot:2, International art forum. London, U.K, 2005
69,8 x 46,8 inch
Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.
Exhibition:
- Bit By Bit, The World is Growing Together,, Alexander Levy gallery, Berlin, Germany, 2018
69,8 x 46,8 inch
Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.
69,8 x 46,8 inch
Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.
69,8 x 46,8 inch
Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.
69,8 x 46,8 inch
Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.
69,8 x 46,8 inch
Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.
69,8 x 46,8 inch
Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.
8,3 x 5,1 in
Each Diagram offers the story of a selected dream made by the artist, realised on a notebook page. By removing the ribbon from a typewriter, the paper has been carved to create the letters and the words which make these scripts visible for our eyes.
69,8 x 46,8 inch
Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.
69,8 x 46,8 inch
Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.
69,8 x 46,8 inch
Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.
69,8 x 46,8 inch
Inverted Sates series have been created thanks to elevation data files and show monochromatic landscapes, rivers and mountains from the United States territory. Unless here after changing the light direction and so relief shading, the artist created an inverted landscape. Valleys became crests and mountains became depressions. So instead of offering the classic bird-eye view these maps gives us an exclusive view from underneath.
8,3 x 5,1 in
Each Diagram offers the story of a selected dream made by the artist, realised on a notebook page. By removing the ribbon from a typewriter, the paper has been carved to create the letters and the words which make these scripts visible for our eyes.
8,3 x 5,1 in
Each Diagram offers the story of a selected dream made by the artist, realised on a notebook page. By removing the ribbon from a typewriter, the paper has been carved to create the letters and the words which make these scripts visible for our eyes.
N38W084 met en évidence des motifs à partir de relevés topographiques, ici ceux d’un vaste territoire américain. Dans la continuité de la série Mille Mississipi, le traitement des données chiffrées obtenues et le travail de la couleur révèlent une multitude de réseaux hydrographiques de ruisseaux, fleuves et rivières, métaphores ou prétextes à rêver face à des figures qui deviennent des arborescences, des connexions neurologiques, des formes végétales ou encore électriques...
2,6 x 4 inch
Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018
23,6 x 27,5 inch
Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018
Résine polyuréthane, mousse P.U, Peinture acrylique
57 x 36,2 x 3,5 inch
Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018
4,6 x 5,5 x 1,8 inch
Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018
Résine polyuréthane, mousse P.U, Peinture acrylique
57 x 31 x 3,3 inch
Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018
Résine polyuréthane, mousse P.U, Peinture acrylique
55,5 x 36 x 3 inch
Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018
Polyurethan resin, acrylic painting
55,5 x 36 x 1,6 inch
Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018
Résine polyuréthane, mousse P.U, Peinture acrylique
56 x 36,2 x 4 inch
Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018
Résine polyuréthane, mousse P.U, Peinture acrylique
57,9 x 36,9 x 3,5 inch
Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018
Résine polyuréthane, mousse P.U, Peinture acrylique
55 x 36 x 3,5 inch
Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018
Reconstituted stone, polyurethane resin
3,5 x 7,7 x 4,3 inch
Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018
44,5 x 37,2 x 3,7 inch
Exhibition :
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018
Reconstituted stone
5 x 5,3 x 4,1 inch
Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018
Reconstituted stone, polyurethane resin
5 x 4 x 3 inch
Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018
Reconstituted stone
5,5 x 4,7 x 4,3 inch
Avec cette nouvelle série, Julien Discrit poursuit et croise deux réflexions qui sont au coeur de son travail: l'une sur les pierres, les minéraux, les cristaux, et l'autre sur les rapports d'échelle, spatiaux, géologiques et temporels de l'homme dans son environnement. Comme de futurs fossiles, ces sculptures de mains d'homme tenant des roches fixent un geste presque archaïque de préhension. En un instantané, elles proposent un « devenir pierre » qui se joue à la fois des matériaux - organique et minéral mêlés l'un à l'autre en un autre encore formé de pierre reconstituée - mais aussi des pratiques artistiques et historiques au sens où il s'agit d?inventer une esthétique contemporaine à partir d'une ruine archéologique artificielle. Il révèle ainsi les formes esthétiques déjà données dans notre environnement comme ces pierres qui sont en elles-mêmes des formes sculpturales finies.
Reconstituted stone, rock
4 x 5,9 x 5,1 inch
Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018
Reconstituted stone
5 x 4 x 2,9 inch
Exhibition:
- Le discret et le continu, Galerie Anne-Sarah Bénichou, Paris, France, 2018
Geography, as an attempt to "describe the world" is, for Julien Discrit, French visual artist, an important source of reflection. His works evoke spaces both physical and imaginary, and try to install a dialectical tension between the visible and what is hidden. The experience of time, through the path and the story is also essential in his practice that extends from installation to performance, from photography to video.