Céline Mathieu
‘’, [calender for daily use drawn by dear friend Andrea Zavala Folache — valued and presented as an artwork]
2024
€265,00
Offset print on 115gr Blueback paper
59,4 x 84,1 cm
Edition of 15 copies, signed & numbered by the artist
In stock
about this work
Céline Mathieu used to see the calendar her friend Andrea Zavala Folache drew almost every day, as it hung on the wall of their studio when they were in residency at the Jan van Eyck Academy in Maastricht (NL). Céline kept thinking of how she could own it without owning it. So she asked Andrea if she could present it as a work, something her friend didn’t intend as such. This calendar Andrea Zavala Folache drew follows the form of what time looks like in her mind, a snaking curved shape. Céline asked her to draw one without mentioning the months, and name her in the material list as maker.
This work is part of a series of relational works currently presented at Jester (Genk, BE). This calendar print is a third part of the original one, blown up to A1 size to fit the PLAKT series. For each of her appropriated, unintended works, Céline Mathieu asks the person what compensation they see fit; at all, or in case of sale. From this conversation on value and worth, the artist agrees on what the other proposes their respective parts of the work are worth.
This edition is the very same print you can see pasted in public space as part of our PLAKT series. We saved 15 pristine copies to present as a limited edition – signed and numbered by the artist.
about Céline Mathieu
Céline Mathieu is an artist and writer. Her practice is often site and condition specific, using sound, scent, sculpture, performance, text and different materials in performative installations. The work is both sensory and conceptual. Her work looks into the circulation of thoughts and materials. Material and economic cycles merge with hyper-personal items, resulting in fluid work that cannot quite be pinned down.
Céline Mathieu’s research Conditions for Raw Materials considers how to make exhibitions without being left with storage after the show. She looks into the subjectivity of value; how value and worth shift depending on context, sometimes pulling her own economic working conditions into the work. Lastly, the research considers the place of text as a speculative and archival tool, hoping to store the invisible labour and the layered experience of exhibition viewing in a more meaningful way.
(Courtesy of Jester)
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