Une Scène à Deux
Inkjet photograph on dibond & estriado glass panel
This edition consists of a two-sided 43,7 × 23,7 cm photograph on dibond and 60x 60 cm glass panel
Edition of 15 copies, signed and numbered by the artists on certificate
about this work
In the context of their joint publication with Zolo Press, Ann Veronica Janssens & Michel Francois collaborated on a series of fifteen reconfigurable wall works. Une Scène à Deux attests to the layered resonances between Ann Veronica Janssens’
sculptural and Michel François’ photographic practice. Janssens occludes François’ two-sided aluminium print with striated glass, distorting the image at every angle and making impossible its veridical apprehension.
Une Scène à Deux is composed of two parts: a two-sided photograph by Michel François, and an estriado glass panel by Ann Veronica. One side of Michel François’ print is a colour photograph, while the other side is in black & white. Ann Veronica Janssens’ glass panel can be placed vertically or horizontally, altering Michel François’ photograph(s) in different ways. Like this, the edition can be shown in four different configurations.
about Ann Veronica Janssens
Since the mid-1980s, Ann Veronica Janssens is developing an experimental body of work – both visual and sensory – intended to destabilize our perception of space and make light no longer an instrument but an actual subject. Through in situ installations and the use of simple or intangible materials, such as light, sound or artificial fog, and transparent elements such as glass and reflecting elements such as mirrors, the viewer is confronted with the perception of the elusive and a fleeting experience that crosses the threshold of a clear and controlled vision.
Janssens’s works are not attached to any form of monumentality; on the contrary, the means and forms are minimal, at the service of a poetic oeuvre, playing on the boundary between the visible and the invisible.
about Michel François
Michel François is a conceptual artist and makes sculptures, videos, photographs, printed matter, paintings and installations. He claims no signature style but creates a web of shifting connections between his works and in each different exhibition. The titles of his solo exhibitions often point to his interest in contemporary reality, offices, domestic environments, surveillance, psychology and the police state. To cite just a few: State of Being, Urban Placarding, Expanded Bureau, Déjà vu, Theatre of Operations and Pieces of Evidence.
The meanings in his works accumulate over time and vary according to their disposition in space, or the context. In a manner similar to that of the Arte Povera artists, François uses a great economy of means to transform seemingly uncomplicated objects and materials, or traces of past events, into deeply resonant carriers of meaning. His work can be seen as an exploration of cause and effect, and the ways in which simple gestures can change the status of an object or have important consequences. A number of recent sculptural works, without immediately revealing their origins or the way they were made, invite the viewer to consider the degree to which the hand of the artist, or chance, played a role in their formation.
(Courtesy of Xavier Hufkens)