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Billboard Series #05

 

Aline Bouvy (BE)

Heavy Fuckry / I don’t need you to feed me

19/11/2016 – 28/02/2017

 

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Aline Bouvy’s multidisciplinary practice is a way of expressing her refusal to compromise and adapt to systems in our society which aim to regulate our longing, conforming it to the norms and values which shape that same society. Bouvy questions and denounces how the images we have of ourselves and of humanity are determined by this morality. Generally speaking she questions how we handle contemporary cultural production and takes a stand against norms and values society imposes upon us. The work she made for Billboard Series follows this disruptive way of thinking. Because it was commissioned for a billboard and is displayed literally within the context of the advertising billboards - where an accepted but unrealistic view on humanity is displayed so eminently – Bouvy decided to subvert these advertisement strategies.

 

Aline Bouvy started working from the concept of the car, omnipresent around the Billboard because of the proximate city ring and the surrounding parking space. She revisited the relation between men and their cars. She created an image which is absurd – even clownish: two white males lie on top of obviously fake, toy-like cars, in a position better fit for a toddler than for a grown man. The men are curled up like fetuses, wearing pants nor shoes. Scattered around the cars are pieces of bread, shaped like bones and ribcages.

 

This absurd advertisement seeks a place for itself into the evolution of the imagery of car-advertisements. These have shifted from an over-sexualized approach to a more environmental awareness. Performativity however - or a focus on how owning a specific car can shape our identity - has always remained at its core. It’s this insistence on performativity that Bouvy wants to question, and oppose to the growing deficit in human performance – or how we seem to lose our ability to truly connect to one another. This feeling of loss is also echoed in the bread – an important symbol of our evolution as a species, in which the cultivation of wheat to make bread was an important step. It’s like we still remember how to make dough, but have forgotten what bread is supposed to look like. To underline this confusion, Aline Bouvy baked bread shaped like body parts.

 

Coinciding with the inauguration of Aline Bouvy’s Billboard Series, we also invited Liège-based Diesel Project Space to curate a special one-day-only exhibition behind the billboard, inside 019. Diesel Project Space is an alternative art space located in an abandoned gas station just off the E46 in Liège. They proposed to organize a salon exhibition, entitled A Last Song for the Titanic Orchestra - a tribute to the musicians who continued playing during the sinking of the Titanic, cruising with joy towards an irrevocable end.

 

Somewhere between a sad celebration and a post-apocalyptic vision, this exhibition presented a group of artists who raise the question of our existential ecology. With works by Thomas Zipp, Aline Bouvy, Eva L’Hoest, Xavier Mary & Loup Sarion, Béla Pablo Janssen and Florance Giroud. In addition to the exhibition, there was a performative reading by Alberto García del Castillo, and a series of musical performances by Milan W. and Orrorin Daydream.

 

 

 

001_billboard_series_diesel_project_space_titanic Béla Pablo Janssen - Provoziertes Leben (2016) and Thomas Zipp - A.O.:F6 (2016)

 

002_billboard_series_diesel_project_space_titanic Béla Pablo Janssen - Provoziertes Leben (2016) and Thomas Zipp - A.O.:F6 (2016)

 

004_billboard_series_diesel_project_space_titanic Thomas Zipp - A.O.:F6 (2016)

 

005_billboard_series_diesel_project_space_titanic Thomas Zipp - A.O.:F6 (2016) and Aline Bouvy - The description doesn't fit (2015)

 

006_billboard_series_diesel_project_space_titanic Aline Bouvy - The description doesn't fit (2015)

 

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008_billboard_series_diesel_project_space_titanic Eva L'Hoest - Paréidolia (2016) and Aline Bouvy - Blood, Seeds, Flesh, Bread (2016)

 

009_billboard_series_diesel_project_space_titanic Eva L'Hoest - Paréidolia (2016) and Aline Bouvy - Blood, Seeds, Flesh, Bread (2016)

 

012_billboard_series_diesel_project_space_titanic Béla Pablo Janssen - Fragmente einer sprache der liebe (2016)

 

015_billboard_series_diesel_project_space_titanic Florence Giroud - I don't believe you (element de Opéra XXS acte 3) (2016)

 

019_billboard_series_diesel_project_space_titanic Florence Giroud - detail of Fumoir du Marine Sulphur Qieen (element de Opéra XXS, acte 2) (2012-2016)

 

018_billboard_series_diesel_project_space_titanic Florence Giroud - Fumoir du Marine Sulphur Qieen (element de Opéra XXS, acte 2) (2012-2016) and Thomas Zipp - A.0.:F6 (2016)

 

020_billboard_series_diesel_project_space_titanic Florence Giroud - I don't believe you (element de Opéra XXS acte 3) (2016) and Fumoir du Marine Sulphur Qieen (element de Opéra XXS, acte 2) (2012-2016) with Xavier Mary & Loup Sarion - Feeling Investment (2016)

 

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021_billboard_series_diesel_project_space_titanic Xavier Mary & Loup Sarion - Feeling Investment (2016)

 

022_billboard_series_diesel_project_space_titanic Xavier Mary & Loup Sarion - Feeling Investment (2016)

 

023_billboard_series_diesel_project_space_titanic Eva L'Hoest - Under Automata, 2016

 

024_billboard_series_diesel_project_space_titanic Eva L'Hoest - Under Automata, 2016

 

026_billboard_series_diesel_project_space_titanic Eva L'Hoest - Under Automata, 2016

 

 

 

All images courtesy of the artists; Galerie Albert Baronian and Mon Cheri Gallery

Photography: Michiel De Cleene, Aline Bouvy

 


 

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