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Julien Crépieux– Portfolio |

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Born in 1979, Julien Crépieux lives and works in Paris.

Julien Crépieux

Julien Crépieux, Microfilm, 2012



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 par-ticularly support his video work.

His work was shown in several exhibitions in France at Le Plateau -FRAC Ile-de-France in Paris, Palais 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, SouthLondon Gallery, (EN), Museum of Contemporary Art in Bergamo (IT), Art Center of Nizhny, (RU).



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



Barbe Bleue, 2014Acrylic on canevas115 x 115 cmUnique artwork



Altostratus d’après «Possession Bay in the Island of South Georgia» de William Hodges (1977), 2014Silkscreen ink and salt on medium tintedUnique artwork



Exhibition View at the Jerôme Poggi Gallery 2014Crédit Aurélien Mole



The Maltese Falcon, 01:39:21, 2014Collage on paper



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

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.



Clos Quand Apparu, 2013Video installations, two benches, two screens, two videoprojectors, sound, loudspeakers Color video (11min25sec) Variable dimensionsEdition of 3 + 1 AP Exhibition view at the Carré d’art de Nîmes, 2013



L’opérateur, 2013Video installation, steel structure, video-projector, loudspeaker and rope, 12 min 15 secEdition of 3 + 1 APExhibition view at the CEAAC, Strasbourg, 2013



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 leave 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 defined but the rules of which get out of hand. Which of the two, the camera or the child, is playing, by trying to pursue 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 ca-mera’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, ParisEdition of 6 + 1 APCollection FRAC Île-de-France / le Plateau

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



Sans titre (Spaceship Earth), 2011Color video sounderHDV (16:9), 62 minEdition of 5 + AP

Exterior daytime. A close-up shot on arid ground scattered with sparse vegetation. The sha-dow of an electricity pole desi-gnates 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.



Re : wind blows up could be somewhere between a photo fiction, a cinema novel, and a radio play, by identifying with the pro-jection 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.

Re: wind blows up, 2010Color video sounded, HDV (19:9), 105 minÉdition de 5 + 1 APCollection FRAC Languedoc-Roussillon



Exhibition View « La quatrième dimension » au MAMAC à Nice, 2013



Microfilm, 2012Video HD black and white, 77 minEdition of 5 + 2 AP



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, 24 min 51 secEdition of 5 + 2 APCollection FRAC Île-de-France / le Plateau



In folio, 9/16, 2010Color video sounded, HDV (16:9), 5’30’’Edition of 5 + 1 AP Collection du FRAC Haute-Normandie

«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 re-corded 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 mea-sure 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’,Edition of 5 +1 AP



«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 percep-tion. 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 proceeded 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, 2005Color video, 2 min 40 secEdition of 3



Rien ne bouge Tout fout le camp, 2011Watercolor paintings42 x 60 cm



Exhibition view, «Les Etablis» au CRAC à Sète, 2012



Assemblage, collage and folding the original pages of book Alice’s Adventures in Wonderland by Lewis Carroll.

Alice Opened Out, 2011Collage, 260 x 210 cmUnique artwork



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



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



Exhbition View «Rien ne bouge», Galerie, Jérôme Poggi 2012



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 cmEdition of 5 + 2 AP



Coincé dans ce trou je m’ennuyais ferme, 2011Photographic print13 x 9,5 cmEdition of 5 + 2 AP



Exhibition view, Galerie Jérôme Poggi, 2012

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