<i>Jaquette n°1</i>, Crash-test, 2016, Photo : Rémi Dal Negro
Jaquette n°1, Crash-test, 2016, Photo : Rémi Dal Negro
Visiteurs du soir, Nice

With the participation of Matthieu Bertéa, Juliano Lacave & Morgan Patimo (Moju Moju), Clémence Marin & Marguerite Reinert, Fanny Spano

Saturday, June 3, 2017, between 4:30pm and 6pm
5pm: Moju Moju con­cert in front of the Eva Vautier gallery.
4 cars at the same time works and places of exhi­bi­tion: 2 cir­cu­lating in the streets of Nice and 2 parked in front of the gallery Eva Vautier.

On the occa­sion of the Visiteurs du soir- an ini­tia­tive of the Botox(s) net­work - the con­tem­po­rary art centre invites CRASH-TEST to invest in the streets of Nice.

BAS-CÔTÉ, a pro­posal of CRASH-TEST.

Having a vehicle at your dis­posal has the poten­tial to provide you with an enjoy­able autonomy. Whoever owns a car, is able to escape and set off, to con­quer and desert.

The con­texts which we flee, and those for which we take to the road, bear wit­ness to these moments of exile. In the end, this time of travel is just the vacancy of these two posi­tions and there­fore has a unique tran­si­tional char­acter.
In the eyes of the law, the inte­rior of the car is pri­vate prop­erty. Between four walls, a place of inti­macy, the sheet metal of the vehicle sep­a­rates the occu­pant from the dense public space. The driver is the only master on board and is free to escape the weight of an increas­ingly stan­dard­ised world.
What are the dif­ferent ways of appro­pri­ating this pri­vate space, what activ­i­ties develop there? What are the impli­ca­tions and con­se­quences?

CRASH-TEST uses the vehicle as a space and a dis­play device, with its con­straints and its assets. A reduced space, con­noted but which allows research or a pro­posal to travel. As an acces­sible space, light and free from the con­straints related to the man­age­ment of a con­ven­tional place, it facil­i­tates and enhances ephemeral and fluid prac­tices and exper­i­ments.

CRASH-TEST is a pro­ject that ini­tially com­bines cars and fab­rics. It extends to other forms like here for Bas-côté, but keeps these two basic com­po­nents as the iden­tity of its appear­ances.

Clémence Marin