julien crÉpieux€¦ · julien crÉpieux- galerie jÉrme poggi, paris + travelling kid, 2011, is a...

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JULIEN CRÉPIEUX PORTFOLIO

JULIEN CRÉPIEUX- GALERIE JÉRÔME POGGI, PARIS

+ BIOGRAPHY

Whether making films, installations, or collages, Julien Crépieux’s work proposes original devices through the appropriation of images, films, texts, and music, of which he then twists the modes of appearance, giving rise to works that are marked with a formal as well as poetical dimension.

Born in 1979, Julien Crépieux is a young artist whose work has gained growing attention in recent years from critics and curators including Elodie Royer, Yoann Gourmel, Jean-Marc Prevost, Judicaël Lavrador, Pascale Cassagnau or Karen Tanguy, and collectors such as Jean-Conrad and Isabelle Lemaitre who particularly sup-port his video work.

His work was shown in several exhibitions in France at Le Plateau -FRAC Ile-de-France in Paris, Pa-lais de Tokyo in Paris, CAPC in Bordeaux, Contemporary art center of Quimper, the space of art concrete Mouans-Sartoux or at the CRAC Sète and abroad at Hermes und der Pfau (DE) French Institute, South London Gallery, (EN), Museum of Contemporary Art in Bergamo (IT), Art Center of Nizhny, (RU).

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+ EXHIBITIONS

2013 How High the Moon, galerie Jérôme Poggi, Paris (FR) La quatrième dimension, Musée d’Art Moderne et d’Art Contemporain (MAMAC), Nice (FR) Pens(é)z Cinéma, Centre d’art de Meymac, (FR) Doppelgänger 3/3, CEAAC, Strasbourg (FR) 2012 YIA, Art fair, solo show of the galerie Jérôme Poggi Hapax Legomena, Mercer Union-Centre for Contemporary Art, Toronto (CA), Cur Elodie Royer and Yoann Gourmel The eyes of soul, Fondation GODIA, Barcelone (ES), Cur. Nathalie Viot Rien ne bouge, solo show, Galerie Jérôme Poggi, Paris (FR) Du Monde Clos à l’Univers Infini, le Quartier, Centre d’art Contemporain de Quimper, Cur. Marc Bembekoff (FR) Les Etablis, CRAC Languedoc Roussillon, Sète (FR), Cur. Judicaël Lavrador Les Analogies Aléatoires, Maison des Arts de Grand Quevilly, Cur. Karen Tanguy (FR) The human board, Parc culturel de Rentilly/Centre photographique d’Île-de-France (FR), cur. Michel François Flea market, Hôtel de la Monnaie

2011 Le sentiment des choses, FRAC Île-de-France, Le Plateau, Paris (FR), Cur. Yoann Gourmel and Élodie Royer Art et Bicyclette, Espace de l’Art Concret, Château de Mouans, (FR) Cur. Paul Ardenne and Fabienne Fulchérie Livret III, Motive Gallery, Amsterdam (NL) Impression, soleil, 6B, Saint-Denis (FR), Cur. Stéphanie Cottin VIDEO, VIDI, VISUM – Galerie Poggi& Bertoux Associés, Paris (FR)

2010 Hermes Und Der Pfau, Stuttgart (DE). Cur. Yoann Gourmel and Élodie Royer Neighbors, French Institute, London (UK). Cur. Pascale Cassagnau Séance Catalogue, South London Gallery (UK). Cur. Florence Ostende Catalogue magazine, Morceau choisi par Isabelle and Jean-Conrad Lemaître Sunday Screening, galerie Schirman et De Beaucé, Paris (FR). Cur. Esther De Beaucé and Caroline Schirman Les Interlocuteurs, École des beaux-arts de Toulouse (FR). Cur. Mathilde Villeneuve The Crystal Hypothesis, GAMeC, Bergamo, (IT). Cur. Yoann Gourmel and Élodie Royer VidéoClub, Paris (FR). Cur. Stéphanie Cottin and Bernard Guégan Des Mondes Possibles, Centre d’Art de Nijny, (RU). Cur. Elena Belova and Jean Marc Prevost Cinémas, cinéma. Cinéma Le Lux, Caen (FR). Cur. Pascale Cassagnau

2009 Deux Fois La Même Ville, Nevers (FR). Cur. Géraldine Longueville Les Feuilles, Palais de Tokyo, Paris (FR). Cur.Royer and Yoann Gourmel Vidéo Club, Paris (FR).Cur. Stéphanie Cottin and Bernard Guégan

2008 L’homme est un enfant né à minuit: quand il voit le soleil, il croit qu’hier n’a jamais existé, La Vitrine, Paris (FR). Cur. Géraldine Longueville L’Anomalie d’Ararat, Irma Vep Lab, Châtillon sur Marne (FR). Cur. Élodie Royer and Yoann Gourmel La Promesse de l’Écran, Paris (FR). Cur. Pierre Leguillon Katamari, 220 Jours, Paris (FR). Cur. Élodie Royer and Yoann Gourmel La Promesse de l’Écran, CAPC Bordeaux (FR). Cur. Pierre Leguillon Rien n’aura eut lieu que le lieu, excepté peut-être une constellation, 220 jours, Paris (FR). Cur. Élodie Royer and Yoann Gourmel


2007 Voir La Nuit, d’Arles (FR). Cur. Émeline Girault.

2006 One Night Stand #0, Berlin (DE). Cur. Emanuele Guidi City Scape, Shake & Bake Les Chantiers Boîte Noire, Montpellier (FR). Cur. Christian Laune Retour de Naples, espaceculture, Marseille (FR). Cur. Dominique Thévenot

2005 Julien Audebert/Mark Geffriaud/Julien Crépieux, Vasistas Galerie, Montpellier (FR). Cur. Jean-Paul Guarino Autant de Mathématiques que de Petites Filles, Galerie Aperto, Montpellier (FR). Cur. Patrick Perry Biennale des Jeunes Créateurs de la Méditerrannée, Naples (IT). Cur. Dominique Thévenot

2004 Royal Wedding, MAMCO, Genève (CH) Cur. Katia Anguelova, Julien Blanpied, Albane Duvilier, Thierry Leviez, Guillaume Mansart and Clément Nouet C’est Vraiment Dépaysant, École des Beaux-Arts de Montpellier (FR). Cur. Pierre Joseph and Jordi Collomer

+ MONOGRAPHS PUBLICATIONS - ARTICLES

2012 ESTÈVE Julie, Julien Crépieux, Images in & out, Le Journal des Arts n°365, 16 mars 2012 EDLINGER Thomas, Julien Crépieux, Images about vision, EIKON n°79, septembre 2012, LAVRADOR Judicaël, Lutte d’éclats, Les Inrocks, 21 mars 2012 LEQUEUX Emmanuelle, Les jeux de Crépieux, Le Quotidien de l’Art n°100, Vendredi 2 mars 2012, ROYER Elodie et GOURMEL Yoann, texte sur le travail de Julien Crépieux, Galerie Jérôme Poggi, mars 2012 LEMAÎTRE Isabelle et & Jean-Conrad, Julien Crépieux, Timeline, 2005, Catalogue Magazine, Numéro 2, Dé-cembre 2009

+ PUBLIC COLLECTIONS

Frac Île-de-France / Le Plateau (FR) FRAC Haute-Normandie (FR) FRAC PACA (FR) GAMEC, Musée d’art moderne et contemporain de Bergame (IT) Fondation KADIST (FR)


Reprise de volée, 2009Installation, 3 carousel slide projectors and timers, 3 televisions and wooden shelves, 180 slides


Reprise de volée, 2009Details (film still)

+ Slide shows on televisions. The projected images are photograms that are extracts from films coming from various periods of the history of cinema. It dealswith images that, on the one hand, are characters that are blinded by a light and where, on the other, the camera, focused on a character, receives the images with backlighting or contra-jour. The Carousels and screens are placed on bases of various heights.


Exhibition view, «Rien ne bouge» at the Jérôme Poggi Gallery, 2012


+Travelling Kid, 2011, is a sequence shot in a landscape. In broad daylight, camera tracking along a forest, suddenly a child bursts into the camera’s shot. Filmed full-length, the child stares at the camera with full intention not to lea-ve it, even when the latter tries to get away by attempting to get ahead of him. But the child follows it, runs after it in order not to leave the field of vision of the shot. It’s therein that lies all its action, within that game a priori de-fined but the rules of which get out of hand. Which of the two, the camera or the child, is playing, by trying to pur-sue the other in that moment in which no one seems to control the frame. Stressed disorder by the experienced trouble faced with the desynchronized gestures by the child in the flowing of the dolly shot. Filmed with a high-speed camera (120 images per second), this sequence underwent several operations in editing recomposing afterwards a regular but uneven tracking. It’s that which renders two movements in contradiction, that of the camera’s recording, horizontal and flowing, and that of the child’s body, vertical and jerky by its slowing-down and speeding-up.

Travelling Kid, 2011Color video loopCoproduction FRAC Ile-deFrance / Le Plateau - Galerie Jérôme Poggi, Paris

Exhibition view «Le sentiment des choses», FRAC Île-de-France, Le Plateau, 2011


Sans titre (Spaceship Earth), 2011Color video sounderHDV (16:9), 62 min

+Exterior daytime. A close-up shot on arid ground scattered with sparse vegetation. The shadow of an electricity pole designates a cross the intersection of which appears at the center of the image. Time passes, the world turns and the shot slowly enlarges onto the natural surrounding landscape, following the displacement of this shadow on the ground the intersection of which remains rigorously at the center of the image. The precision of this plan of approach forces attention onto the detail and the minute variation of events happening within the shot, in a narrative reduced to its very simplest expression. The subject of the film – if one might speak of subject in this regard – remains nonetheless a monumental undertaking. Gathering its title from Buckminster Fuller who compared the planet to a spaceship for which he wished to establish and share the instruction manual, this film actually records the very movement of the earth. Filmed in a single sequence shot, it imposes patience as the requisite quality for the contemplative experience for its reception.


Sans titre (Spaceship Earth), 2011Color video soundedHDV (16:9), 62 min


+Re : wind blows up could be somewhere between a photo fiction, a cinema novel, and a radio play, by iden-tifying with the projection of the film byMichelangelo Antonioni, Blow-Up. The video starts in the dark before a printer (off screen) turns out the reproduction of a first photogram from the film, which in turn is placed in a long box with mirrored walls and in the format of an A4 sheet. The image falls slowly in the air, and during its fall, multiplies itself to become an abstract repetitive motif, while at the same time the impression of the next photogram can be heard. This adaptation, both minimaland pop, underlines the essential qualities of the art of cinema: the art of recording, the art of illusion, the art of multiplication of the mechanical image to the point of vertigo.

Stephanie Cottin, Videoclub (2010)

Re: wind blows up, 2010Vidéo couleur sonore, HDV (19:9), 105 minutes


Re: wind blows up, 2010Color video sounded, HDV (19:9), 105 minutes


Cardinal Roussel, 2004Installation, 4 carousel slide projectors and 4 paper flags

+Four Carousels are placed on the floor in a closed circuit, each in the direction of a point of the compass. The air coming from the ventilators blows the “flag screens” that receive the light from the previous Carousel.


+A man is walking facing the camera carrying as baggage a monitor that is broadcasting Welles’s The Trial. The simultaneity of both actions, that of the man whose movement develops step by step the film area, and that elliptical action already there from the film by Welles, changes the rapport of the image in fundamental sound and visual dissymmetry from the moment of the recording to that of cinematographic construction.

Timeline, 2005Color video sounded, 24’51 DV PAL


+1/4 de Degré Tribord, 2008Inkjet prints and graphite on paper21 x 29,7 x 78,5 cm,

+ This work is made up of a block of1440 A4 sheets placed on the floor, on which are printed the coordinates of a sea map. On each page is traced a cape starting from the center and veering from one to the next by a quarter degree to the right. Thus is formed on the edges or border a spiral drawing sweeping the 360 degrees of this map, which has become a volume by accumulation.


In folio, 9/16, 2010, Color video sounded, HDV (16:9), 5’30’’

+ «We have a spatial memory of the book. It so happens we are able to find a passage, an image, because of its simple position in the work: rather at the end, on the right-hand page, at the top of that page… I asked several persons to select, from memory, an image taken from one of the books in their library and which they’d like to show me. Each entertains a particular corporal rapport (rhythm, posture…) with the book. The film is that of this research.»

Julien Crépieux


+A character moves along a country road. He’s wearing slung across his shoulder a ghetto blaster that’s playing In a Manner Of Speaking, piece by the Californian group No Wave, Tuxedomoon. Each time the cyclist passes by the camera and a little before entering the field of vision, the recorded music undergoes a modulation: its tonality lowers and its tempo slows down. Among diverse descriptions of this acoustic phenomenon called “Doppler effect”, in the name of the scientist having analyzed it, we find this «time lag of the frequency of a sound wave between the measure of the emission and the measure of its reception, when the distance between emitter and receptor varies during time.»

Sans Titre (Pour ainsi dire), 2009Color video, DV PAL (4-3), 5’, Ed. de 5 ex


+«I wrote a sketchy narration that fits within the recto/verso format of a paperback book page. The inside edge of this page, with the numbers 41 and 42, has been torn by hand, as if it had been torn out of a book. Upon the occasion of show openings, the page was placed discretely in the pockets or bags/handbags of spectators. The text figuring thereupon is the tale of a night related firsthand and incorporating the spec-tator at the heart of a plot with gaps, in a mise en abyme of his own situation at the moment the page is discovered. »

Julien Crépieux

Nouvelles données, 2004Print front / back on paper (10x18 cm)


+«Made up of a sequence shot of clouds on a blue sky, the video Corpusculum Flotansby Julien Crépieux seems to imitatethe movements of the human eye sweeping across the area all the whileexecuting some very brief panoramic views. The subjectivity from the adopted viewpoint is reinforced by some black spots, “twigs and twisted filaments” slowly gliding within the image without ever settling. Reproducing a physiological optical phenomenon (entoptique– the visualization of internal elements of the eye) Julien Crépieux’s video thus enables seeing that which habitually remains within the order of individual perception. The means of the video’s diffusion itself, the light source of the projection can for that matter reveal the spectator’s “floating bodies”, maintaining as of that moment a confusion between that which is his own and that which is shown through the image. To quote the artist’s terms, this video can thus be seen as an absolute foreground procee-ded by nothing, except the eye, and from which one can’t escape. Each image ofCorpusculum Flotansthus appears as the fragment of a barely fabulous reality.»

Yoann Gourmel

Fluctuans Corpusculum, 2005Vidéo. 2’40Edition de 3


Rien ne bouge, 2011Watercolor painting42 x 60 cm

Tout fout le camp, 2011Watercolor painting42 x 60 cm


Exhibition view « Rien ne bouge» at the Jérome Poggi Gallery, 2012


+ Assemblage, collage and folding the original pages of book Aice’s Aventures in Wonderland by Lewis Carroll.

Alice Opened Out, 2011260 x 210 cm


+This imaginary sea map represents a fragment of the sea in which only the notations of the water’s depth figure, notated by pairs of numbers (the first for meters and the second, smaller, for decimeters). The constel-lation thus formed represents a hidden relief, sort of a negative of the terrestrial map with its sections of alti-tude, and numerical materialization of an invisible land, lost beneath the waters.

How high the moon, 2008inkjet print on folded paper25 x 120 cm


+The trestles are deviated from their stability function by means of “grafting” a rocking chair device made out of the same wood. A thread connects each of them to the extremity of the turntable of a record player, brin-ging about their slow rocking in space.

Very early, 2004Installation, record players, trestles and elastics (number and size variables)


Microfilm, 2012Black and white video77 min, Edition de 5 + 2 EA


Bittorent, 2011Photographic print on canvas stretched on frames100 x 150 cm


Up_And_Downloading_(038xl), 2012Photographic print on canvas stretched on frames135 x 90 cm

Up_And_Downloading_(Sasha), 2012Photographic print on canvas stretched on frames135 x 90 cm


Exhibition view of «Rien ne bouge» at the Jérôme Poggi Gallery, 2012

+Some photographs of erotic or pornographic nature have been downloaded from a chat site called BitTorrent. This protocol of transfer of data enables recomposing a file by fragments coming from various users scattered across a computer network. The images are recuperatedbefore the complete downloading of the file, thus creating errors, missing parts, segmentation and other colored distortionsthat become the ingredients of a random pictorial formal composition.


Up_And_Downloading_(3178064), 2012Photographic print on canvas stretched on frames135 x 90 cm


Manifestement on ne se comprenait pas très bien, 2011Photographic print13 x 9,5 cm

Coincé dans ce trou je m’ennuyais ferme, 2011Photographic print13 x 9,5 cm


Il faut bien qu’il y ai eu une raison, 2011Photographic print9,5 x 13 cm

julien crÉpieux€¦ · julien crÉpieux- galerie jÉrme poggi, paris + travelling kid, 2011, is a...

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