55(with Julien Tiberi)
2010, 5 A4 size sheets of paper, 5 A4 size framed photographic prints, 1 framed acetate sheet, 1 framed black cardboard sheet, 1 A4 size sheet of paper, pins, plastic stick set on a galalith A4 size sheet, showcase bench black stained wood, (catalogue made for the 55th art fair in Montrouge).
55 was a collaboration with Julien Tiberi carried out on the occasion of the 55th art fair in Montrouge. Answering to a call for projects, the two artists had mutually chosen five works from each other’s work. After having printed the labels, Julien Tiberi drew five of Aurélien Mole’s works and Aurélien Mole photographed five of Julien Tiberi’s works from images that were already published and then printed them on photographic paper. The application dossier that was then sent to the jury of the art fair, was composed, in the end, of authentic works.
Their application having been accepted, the artists got back their application dossier and tore up all the sheets maintained by the plastic stick that kept them together. They considered the tears in the margins of the document to constitute sculptural forms, and framed each of them as well as the front and the back cover so that the gray frame cards revealed just the torn part.
Then they set the plastic stick on an A4 size bloc of galalith (the ancestor of plastic materials) that was punctured with rectangular holes. This sculpture was placed in a showcase bench opposite the frames.
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The organising committee of the art fair in Montrouge asked to the artists to provide a visual of their work for the catalogue that would be published. Aurélien Mole and Julien Tiberi decided that the published visual would be an additional work.
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The organising committee of the art fair in Montrouge needing a visual for the press, the artists made an original drawing called “55” (visual) combining two of their works.
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“The Catalogue” was an exhibit carried out in parallel to the 55th art fair in Montrouge (2010). It represented all the works chosen by Emmanuelle Lequeux that constituted the imaginary exhibit “Manifeste pour un art d’après le renversement de l’éternité” (“Manifest for an art after the overthrow of eternity”) in Mallet-Stevens’ firm that is now the Hippocrène foundation.
For “The Catalogue”, a work called “55” (multiple) was created from two copies of the art fair’s catalogue.
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“55” (reproduction) is the transfer of a site-specific work into a new context