Singapour Marina Bay is an installation which precisely and chronologically traces all the artworks exhibited at the Palais de Tokyo, in one of its spaces, between January 2006 and December 2011. It correspond to 38 artists interventions. Each support, lined with black spray paint, corresponds to the size of each piece and their location within the room during their exhibition. The materials used to represent each mediums were chosen after a simple protocol; the video-pieces were represented by a projection of white light. Each framed piece were represented by plywood cuts; each painting by a cotton fabric, each bracket stand fors volumes, each black angle stands for posters and drawings, each piece of aluminium tape on the floor stands for the positioning of installations and sculptures within the space.
Singapour Marina Bay / Palais de Tokyo / Paris / 2011
The performance Muses, 2015 was held at the musée de L’Orangerie in Paris, inside the room where Claude Monet’s Nympheas are permanently exhibited. The two circular rooms architecture has been conceived especially by monet to display his biggest paintings in order for them to be viewed at a 360° angle. Making the space into a cinematic one almost temple like. Monet’s lifelong had the angst of lack of inspiration. This performance interpreted the space as a temple inhabited by the 4 performers that symbolizes muses, famously creatures that brings inspiration. One of the muses is singing an opera aria, while the other one « the oracle » is in a state of meditation, the 2 other ones are creatures inviting the viewer to inhabit the temple and discover the oracle.
Collaboration with Ylva Falk choregrapher & Alex June Singer
Performance / Musée de L'Orangerie / Paris / 2015
« From past performance, only words remains, sentences appears one after the other, like a picture scroll:
It was cold, I was a flower.
The harp played, but the wind deflected its music.
The wall was white and gradually tennis balls marked it with red ocher but flowing.
The sound of the ball against the wall, the sound of the ball against the crucifix.
The Flower was dancing, unfolding.
It had to be magical.
The play of the reflections.
The fragile silk of the nightgown.
We looked at each other fixedly.
The Kiss of the deer.
My voice broke ».
In the work of Daphne Navarre, the performance is part of a laboratory which oscillates between the experience and the aesthetic formulation. The artist proposes a personal cabinet of curiosity, in which the fragments of past performances, become both objects of presentations and tools to be used for a new action. In reclaiming the footprint as a sign that defies temporality, Daphne Navarre turns the performance and its memory, into a territory constantly defying the traditional value and the dogmatic interpretation of an art piece. Mehdi Brit.
Curated by Medhi Brit
Friche Belle de Mai during Marseille European capital of culture / 2013
Exhibition Empreintes et passages à l'acte / with Anna BYSKOV, Hsia Fei CHANG, Marcelline DELBECQ, Romina DE NOVELLIS, Nicolas FENOUILLAT, F2/Francine FLANDRIN, Igor GRUBIĆ, Louise HERVE et Chloé MAILLET, Jonathan MEESE, Natsuko UCHINO, Daphné NAVARRE, Nicolas PUYJALON, Darren ROSHIER, Noé SOULIER
Follow me is a performance that offers a personal and intimate reading of the space by sharing toughts on the question of representation. With the intention to bring forward the question of feeling, of animality and of representation both in the human and the animal ... An invitation to explore the museum with different criterias than the ones proposed by the institutional visit ».
Curator: Medhi Brit
Performance. Musée de la Chasse et de la Nature/ Paris / 2013
According to the same principle as the installation Singapore Marina Bay presented at the Palais de Tokyo in December 2011, Inn recalls the memory of the passing exhibited art work presented in one of the rooms of Villa Arson Art Center.
Curators/ Jean-Michel Baconnier, Christophe Kihm, Eric Mangion, Florence Ostende et Marie Sacconi.
This installation is about the immediate history of the past exhibitions at 40mcube. By using a visual classification similar to the ones used for an archeological dig, a selection of artworks exhibited in the space are revealed. Here, the sign is a diagonal line drawn onto various medias (wood, canvas, floor) it represents the scale 1 of the location in which each work was shown. Some medias are made of original fragments of works that were presented.
This installation is designed as an archeological dig, revealing clues, fragments, shapes, whose content has diseappeared.
Installation Red Hill / Frac Bretagne & 40mcube / Rennes / 2013
Curator / Anne Langlois
Group show with Lara Almarcegui, Wilfrid Almendra, Bruno Botella, Carol Bove, Étienne Chambaud, Pascal Convert, Piero Gilardi, Ann Guillaume, João Maria Gusmão & Pedro Paiva, Louise Hervé & Chloé Maillet, Laurent Le Deunff, Beat Lippert, Benoît Maire, Mathurin Méheut & Yvonne Jean-Haffen, Benoît-Marie Moriceau, Armand Morin, Daphné Navarre, Christophe Sarlin, Lucy Skaer, Virginie Yassef
Made with the excerpts of more than sixty films of the history of cinema, Chabada-bada, restructures the actions of each excerpts to form a newly composed narrative. From its accute attention to details taken from different films, the new film invites the viewer to decipher the story an encounter.
Video / 10 minutes
Curated by Vanessa Desclaux /
Galerie des galeries at les galeries Lafayette / Paris / 2013
Exhibition In a Sentimental Mood / with Felix Gonzalez-Torres, Jiri Kovanda, Myriam Mechita, Daphné Navarre, Marylène Negro, Jack Pierson, Alessandro Raho, Jimmy Robert.
Pensée is a sculpture, a white steel structure disposed in a field near a roundabout of a country road. It apparears through the night car headlights, and as quickly disappears into the night.
Centre d'art Albert Chanot / 2014
Heartbeats is a film that oscillates between video clip and video art.
2 dancers, a song, a set.
A simple story that has no history.
Beginning with an ending that returns to the beginning , such a loop.
The transition from one world to another by the simple lighting, offers the viewer a contemplative transparency preventing the mystery and the enigma to be revealed .
Through this activation of "emptiness" the event does not occur.