<i>Email et pourri</i>, Céline Vaché-Olivieri, 2016
Email et pourri, Céline Vaché-Olivieri, 2016
I don’t know what tomorrow will bring
Céline Vaché-Olivieri

Exhibition from August 24 to September 9, 2017

OÙ exhi­bi­tion space for con­tem­po­rary art, Marseille
58 Rue Jean de Bernardy, 13001 Marseille
www.mar­seille­expos.com/blog/2016/12/12/ou-lieu-dex­po­si­tion-pour-lart-actuel-49/
Open from Thursday to Saturday from 4pm to 7pm.

Event organ­ised for Art-O-Rama, Paréidolie and #mar­seil­le­gallery­opening

Carte blanche at the con­tem­po­rary art centre Les Capucins, Embrun


Interview between Solenn Morel, director of the con­tem­po­rary art centre Les Capucins, Embrun and Céline Vaché-Olivieri

Solenn Morel. The titles you choose for your exhi­bi­tions and your pieces are never insignif­i­cant, one can even say that they act as a mate­rial in their own right in the works. With I DON’T KNOW WHAT TOMORROW WILL BRING, you make no excep­tion to the rule: for this exhi­bi­tion, lan­guage, through the mobile mate­rial it ani­mates, has nour­ished all the pieces pre­sented.

Céline Vaché-Olivieri. Yes, gen­er­ally speaking, I always work with the verbal horizon of things in mind. We name what we see, we enter into the lan­guage which is con­structed from var­ious semantic fields. There are always sev­eral ways of get­ting into my work and lan­guage is one of those pos­si­bil­i­ties.

SM. In preparing the exhi­bi­tion together, you very quickly evoked the idea of a line, the pri­mary form of writing, as a metaphor for the path of thought. How did this idea influ­ence this exhi­bi­tion?

CVO. When I work, I always have recur­ring ideas, but this is not the case with mate­rials, which are rather at the ser­vice of my thinking. I always have the sen­sa­tion of pulling a thread, which I asso­ciate with a line. When I make per­sonal exhi­bi­tions, I make sure that there is a uni­fying idea, and this time the thread has imposed itself. So a piece of the thread is pre­sented here and the idea is that I con­tinue to pull it. It’s part of some­thing that doesn’t exist yet.

SM. To com­plete this idea of a line, per­haps you could come back to the piece Lines story that you made espe­cially for the exhi­bi­tion.

CVO. This piece is made up of sev­eral ceramic lines that can be asso­ci­ated in dif­ferent ways depending on where it will be shown. It is an open series, so it can be enlarged. It is also related to graf­fiti, which has always inter­ested me, in the sense that they are traces that are con­stantly being erased, cov­ered and finally reap­pear in another form.

SM. You claim the fact that things in your work are often in the pro­cess of becoming, not to say unstable. Moreover, your pieces are very often based on a com­bi­na­to­rial prin­ciple. They are pre­sented in one form for exhi­bi­tion and another for a dif­ferent con­text.

CVO. Indeed, I do not seek to freeze my work but rather to leave it in an avail­ability by trying to create an ambi­guity in regard to the things that one looks at. Like, for example, can we touch or sit on such and such a piece? I find that in rela­tion to the atti­tude of the spec­ta­tors, it engages them more, they have to make deci­sions. It also breaks the sacred side of the works a little. Another example, I like to leave it to chance to inter­vene, like this photo I found of a teenager that I used for the exhi­bi­tion through a transfer on fabric.

SM. Adolescence, by the way, is also a common thread in your exhi­bi­tion. It embodies this state of uncer­tainty, a time of becoming. It’s beau­tiful when you say that your pieces are part of some­thing that doesn’t exist yet.

CVO. Yes, ado­les­cence is an age of life that attracts me, it’s a tran­si­tional moment and I wanted to make this series of draw­ings by putting myself in the shoes of someone else, and maybe a teenager. I was lis­tening to Fugazi when I was 15-16 and there was this doc­u­men­tary by Jem Cohen where you could see teenagers lining up to go to a con­cert. I drew some of them, but it’s an open series that I’d like to con­tinue. More than a result, I was looking for a state of being through drawing.

SM. We can finish, if you want, on the piece Words with fire, which syn­the­sises, it seems to me, this asso­ci­a­tion of drawing, lan­guage and also this state of avail­ability of the things you men­tioned ear­lier.

CVO. This is a series of tiles on which I wrote with enamel. When they are fired, the glaze melts and the dif­ferent layers mix together. The sen­tences come from pieces of music that I listen to and that I address to the vis­itor. As these state­ments can have sev­eral mean­ings depending on the con­text, they can enter into dia­logue with the sur­rounding pieces. The vis­itor, through manip­u­lating the tiles pre­sented in a box rem­i­nis­cent of a record store, can in turn create new com­bi­na­tions, as many pos­sible inter­pre­ta­tions and mean­ings of the pieces in the exhi­bi­tion.