Bruno Botella
11 Apr - 17 May 2015
© Bruno Botella
Oborot, 2012
Silicone, hair.
Courtesy de l’artiste et de la galerie Samy Abraham, Paris. Photo : Rebecca Fanuele
Oborot, 2012
Silicone, hair.
Courtesy de l’artiste et de la galerie Samy Abraham, Paris. Photo : Rebecca Fanuele
BRUNO BOTELLA
Les Modules - Fondation Pierre Bergé - Yves Saint Laurent
11 April - 17 May 2015
Curator: Julien Fronsacq
The experiments of Bruno Botella (b. 1976, lives and works in Paris) could be compared to cinematic devices that have been subverted, truncated, often even literally absent. For example, he defines a cartoon as “a drawing without paper as much as it is a film without a camera.” In one of his artworks presented in the exhibition “Oborot” in 2012, he manipulates a piece of clay with hallucinogenic properties: its molecules, once they are absorbed into his skin, induce a state of trance. The result is reject-artworks in the form of bags of clay. More recently, the artist combined a rehabilitative method for people having undergone an amputation and the use of an anaesthetizing paste that he manipulated blindly. Both the matrix and the result derive from a process that rests on a dynamic of appearance and disappearance: Problème pédagogique (White Peephole) [Pedagogic Problem (White Peephole)] (2014) and Problème pédagogique (Dans le noir la boue tout bas les bribes et ce miroir (film)) [Pedagogic Problem (In the Dark the Mud Very Low Fragments and this Mirror (Film)] (2014).
Many of the artist’s works rely on a principle of blindness and seek a fleeting appearance. In his work, obscurity, blurred or impeded vision are the condition to any phenomenon, whether optical, mental or sensory, as well as the factors and revealers of an imposing physicality.
Les Modules - Fondation Pierre Bergé - Yves Saint Laurent
11 April - 17 May 2015
Curator: Julien Fronsacq
The experiments of Bruno Botella (b. 1976, lives and works in Paris) could be compared to cinematic devices that have been subverted, truncated, often even literally absent. For example, he defines a cartoon as “a drawing without paper as much as it is a film without a camera.” In one of his artworks presented in the exhibition “Oborot” in 2012, he manipulates a piece of clay with hallucinogenic properties: its molecules, once they are absorbed into his skin, induce a state of trance. The result is reject-artworks in the form of bags of clay. More recently, the artist combined a rehabilitative method for people having undergone an amputation and the use of an anaesthetizing paste that he manipulated blindly. Both the matrix and the result derive from a process that rests on a dynamic of appearance and disappearance: Problème pédagogique (White Peephole) [Pedagogic Problem (White Peephole)] (2014) and Problème pédagogique (Dans le noir la boue tout bas les bribes et ce miroir (film)) [Pedagogic Problem (In the Dark the Mud Very Low Fragments and this Mirror (Film)] (2014).
Many of the artist’s works rely on a principle of blindness and seek a fleeting appearance. In his work, obscurity, blurred or impeded vision are the condition to any phenomenon, whether optical, mental or sensory, as well as the factors and revealers of an imposing physicality.