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« 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.
The Silence.
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.
Group show 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
Curated by Medhi Brit
Friche Belle de Mai during Marseille European capital of culture / 2013
« 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.
The Silence.
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.
Group show 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
Curated by Medhi Brit
Friche Belle de Mai during Marseille European capital of culture / 2013
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