Category Archives: realisations

Marie-Ange Guilleminot in Gaillac

The Space Between!

“An artist could invent a work for the children that we receive to introduce a minimum, vital, of disorder that provokes thought.” The Medico Pyschological Centre for children and adolescents – independent of the hospital – is an interface of social ties and the psyche, of the social and clinical subjects: A place of circulation and of interception of flux from the vast world, of suspension also…The waiting room appears as an intermediary space between the treatment itself and the outside world, officiating like these anti-chambers where one whispers before speaking. To think of a work for the CMPEA would be to allow children who are dealing with digital technology too soon and too much – often impoverishing thought – an unedited emotional and intellectual encounter.”

Washitsu or Cabin in Time

Sculpture with dismountable architecture in wavy maple. Installed in the current waiting room, it compliments Meuble-spirale (Spiral Furniture). Its minimal conception around the unit of a tatami (rush-covered straw mat forming a traditional Japanese floor covering) creates a unique space for the child. It is based on the attentive observation of the Japonese washitsu tradition, from which the artist sought essential form, with a single module….To preserve the spirit of the place – tokonomo – or the space for art – shoji –sliding doors in wood and Japanese paper reinforced with, here in felt, removable shutters.

…du meuble spirale au meuble infini…(…from spiral furniture to infinite furniture…)

Placed in the reception area, the Meuble-spirale (Spiral Furniture) aims to transform and be placed freely in the CMPEA location. Both a piece of furniture and a sculpture, hexagonal in shape, it is made out of fourteen mobile elements with colourful sides, with multiple, playful uses: library, drawing table, little theatre. The work is open to appropriation by its users; it is an invitation to creativity.

L’objet-étalon (Measuring Object)

Similar to the Meuble-spirale at life-size scale, L’objet-étalon is composed of fourteen autonomous elements. The idea of the scale is to be able to think with the object in your hands, of all sorts of combinations applicable to the furniture-sculpture. It is created with fourteen types of wood: refer to the colour chart for positioning the sides of the Meuble-spirale according to colour.

Production

Washitsu or Cabin in Time: Yutaka Kawahara and Renaud Vergnais (carpenters), Cécile Feilchenfeldt and Géraldine Odeyer

…du meuble spirale au meuble infini: Jacques Vignon
L’objet-étalon: Patrick Belle

Advice/ coordination: Paule Guérin, Murielle Hladik, Sabine Laurent, George-Henry Ser
Games/ spinning tops: Philippe Dyon
Contribution to choice of books: Les Trois Ourses

Press folder, February 2017 – pdf

Patrons: CMPEA team, Gaillac – Karine Beziat, Éric Bousquet, Daniel Delbes, Sylvie Faure, Marie-Claude Garros, Sophie Mahenc, Fabienne Maviel, Marie-Josée Medale, Maria Puech-Maurel, Laurence Quercy, Pauline Ricard, Catherine Scarpulla, Sabine Vialettes, Vassiliki Xenoyanni

Funding: Fondation de France, Daniel and Nina Carasso Foundation

Fondation Bon Sauveur d’Alby

2017

Credits: Marie-Ange Guilleminot

Camille Henrot in Pailherols, Cantal

My montagne

Since the height of Antiquity, the Cantal mountains have been part of farmers’ lives by providing them with summer pastures for their livestock. For four months, men aged between 12 and 70 watched over the herd and the quality of cheese produced in a grandiose landscape with a harsh climate. These cowherds or “buronniers” were masters of a pastoral economy that has now disappeared.

Farmer Jean-Paul Soubeyre, wanted to honour the memory of these buronniers who left a deep mark on the social and economic life of these lands known as summer pastures or transhumant. Convinced of the need to “make an act of recognition” for these men, the Pailherols Commune and the Sauvegarde des burons du Cantal association joined forces to support him with his project.

The artist Camille Henrot was invited to imagine a work that bears witness to a powerful human story and to the close link between man, animal and landscape. This contemporary work is neither a monument to the dead nor a folkloric endeavour, but a part of the universal history of pastoral farming.

At the entrance to the village, in an enclosed garden, Le Vestiaire du berger (The Shepherd’s Hut) marks a symbolic departure point for a trek up to the summer pastures. Forms suggestive of familiar objects recall the buronnier’s universe and work. The Vestiaire emphasizes the fact that these traditional objects are no longer in use, but also the possibility that this is only a temporary state. Then, like an invitation to roam, My Mountain spreads out along a hiking trail into the countryside. The artist created around forty sculptures inspired by the form of the fence or movable barrier used by the cowherds to corral their herds. Their forms reference the Trigrammes of I-Ching (The Book of Transformations), in which there are sixty-four combinations that describe the states of the world and their evolution. Here, in a confined space, the sculpture park appears as a constellation that recalls the universal contemplation of the starry heavens and sends us back to infinity. White in colour, the fences disappear into the snowy landscape in winter only to reappear again each spring.

Press release, June 2016-pdf

Patrons: Association pour la sauvegarde des burons du Cantal and the Pailherols Commune.
Mediation/ production: Valérie Cudel and Mari Linnman for the New Patrons Programme initiated by Fondation de France.
Funding: Fondation de France (New Patrons Programme), Fondation Carasso, Minister of Culture and Communication under Public Commission in partnership with DRAC Auvergne Rhône Alpes, Pailherols Commune, Cantal Department, Cère and Goul Communauté de communes, Association pour la sauvegarde des burons du Cantal.

Inauguration: June 2016
Press release, June 2016
Photographic credits: Phoebé Meyer

Christophe Terlinden, Emmanuel Lambion et Iwan Strauven à Beaumont, Puy-de-Dôme

Pietro

The Beaumont municipality invited Christophe Terlinden and the TILF collective to rethink the connections that unite the city with its residents. In 2003, reflection began on the identity of this commune in the Clermont agglomeration, then in full evolution. This would comprise mixed housing construction, the creation of a green path, the Maison des Beaumontois, and an extension of the Chataigneraie (chestnut grove) protected wooded area.

These changes engender the need to re-qualify public spaces – in particular the historic centre – and to take action towards breaking the image of a dormitory town, open up neighbourhoods and encourage residents to rediscover their town.

Building on the recently created green path, Christope Terlinden teamed up with Emmanuel Lambion and Iwan Strauven to create a sculptural drawing that connects the city’s different strata. The PIETRO is a combination of pedestrian and metro. It constitutes four routes that are marked out by disks of enamelled lava, laid out like an urban network. Each path is identified by a separate colour – blue, red, yellow or white.

The routes are shown in the form of a metro map that is embedded in benches, placed at crossings and at the end of paths. The map also appears in a publication, a fold-out leaflet that presents a subjective perception of the Beaumont sites with eight drawings by Christope Terlinden on the verso.

PIETRO is a playful work with the ambition of promoting a different reading of the city for Beaumont residents as well as the occasional visitor.

press folder, November 2007 – pdf

plan du pietro, dessins verso Christophe Terlinden

Patrons: elected officials from the Beaumont municipality and members of the Ideas for Beaumont association.

Funding: Fondation de France (New Patrons Programme), Minister of Culture and Communication (DAP-DRAC Auvergne), the town of Beaumont.

2007

Cécile Bart in Thiers

And rain, the sun

Located in the countryside in the locality of Chassignol near Thiers, Maison Arc-en-Ciel welcomes around fifty children from families in difficulty, all aged between 4 and 15 years old. The purpose of the institution is educational – to promote the well-being of children facing a difficult stage of life. Aware that the grey, walled-in façade of the institution conveys a negative image of confinement, the staff took collective action to restore the institution’s true social function.

The patrons discern that the surrounding wall – a transitional place between interior and exterior – should reveal the beauty inherent in their mission and not arouse rejection. Given the imbalance of the architectural structures, the entire complex must be harmonized to express a feeling of balance and peace. Maison Arc-en-Ciel must concretely rediscover the dimensions of colour and light – symbols of life reflected in its name.

The project’s various participants unanimously accept Cécile Bart’s proposal, and opt for changing the colour of the different buildings within the institution, choosing from a significant chromatic range. The blues and greens echo the natural park adjoining the institution; the red-browns create a structuring environment conducive to the hoped-for psychic reconstruction taking place within; the yellows bring their warmth and energizing potential. Each colour family comes in a gradient that runs along the buildings, not cutting them off from one another and strengthening the unity of all the constructions while taking into account their integration into the site.

Patrons: staff members of Arc-en-Ciel children’s home.

Funding: Fondation de France, Ministry of Culture and Communication for public procurement (DAP/ CNAP, DRAC Auvergne), Les Sœurs de la Charité de Nevers, Department of Puy-de-Dôme, Auvergne region, ADSEA, ADSEA works council, Proctor & Gamble France, Savings Bank of Auvergne and Limousin, Keim mineral paints.

2003

book link

Following the creation of the work, rather than a catalogue, Cécile Bart wanted to design an artist’s book for children, those who first experience the work: And Rain the Sun! with contributions from Mona Thomas and Pierre Leguillon, édition art3.

Photographic credits: Audrey Marlhens, Catherine Savary