35h. or an exhibition no longer conceived in terms of a space dedicated to art, but as a temporary testing ground.
The 35h. programme can be approached from different angles. Firstly, it takes a stance on different exhibition models in the current art context. By highlighting the devices that usually make up an exhibition, the 35h. emphasise a format for display, questioning it and putting it to the test through different proposals and hanging sequences. Rather than being an illustrative exhibition, this project is based on a short time frame, which makes it even more limited, and on a number of heightened themes relating to the issues of working time and leisure time.

The aim of this undertaking is to question both the limits of the exhibition and the status of the artist, the “cultural worker” and the visitor as they emerge in contemporary consumer society. The project attempts to crystallise the function of each individual within a testing timeframe of 35 continuous hours. The title also functions as a temporal limit: by transposing the exhibition into this salaried unit, the artist, the institution and the visitor establish a fixed-term agreement whose conventions interact by questioning the linearity of any exhibition, the activity/passivity of the viewer and the viewing time specific to the work.

Subject to a wide range of artistic proposals, both completed and in progress, the exhibition is based on a selection of works put together for the occasion and presented throughout the exhibition in the form of a visible reserve, welcoming visitors to the Laboratoires space. This reserve embodies the infinite potential of possible hangings, with a clear desire to highlight what is usually implied and constitutes the “tools” for making an exhibition. The reserve is made up of nearly one hundred works in a variety of media.

From this reserve, the Bureau has set up a refrain, as a basis for the work and as a point of reference that will be repeated throughout the various proposals for the 35h.

This refrain is punctuated by distinct phrases that come together, confirm or refute it, like a repositioning after each thematic proposal: in turn, work, consumption, abstraction, nature and leisure. These phrases all have their own discourse, hanging protocols and bias in relation to the refrain.

Drawing on notions of movement, rupture, becoming, stopping, appearing and disappearing, the modulated - deferred - arrangement of the pieces through hanging, installation, performance, projection, degradation and unhooking overflows the spatial limits of the venue, creating a mechanical rhythm to the exhibition.

with Caroline Bouissou, Claude Cattelain, Raphaël Dallaporta, Thierry Dardanello, Frédéric de Goldfiem, Pierre-Philippe Freymond, Jérémie Gindre, Katarina Kúdelová, Playdoh, Olivier Soulerin, Pierre Alféri, Wilfried Almendra, Armelle Aulestia, Elisabeth Ballet, Joël Bartoloméo, Robert Breer, Elsa Clément; Daniel Dewar & Gregory Gicquel, Daniel Dezeuze, Philippe Durand, Carole Fekete, Eric Hattan, Jacques Julien, Harri Koskinen, Edouard Levé, Mark Lewis, Anthony McCall, Tracey Moffat, Nicolas Moulin, Bruce Nauman, Guillaume Paris, Joan Rabascall, Ed Ruscha, Claude Rutault, Fred Sandback, Joe Scanlan, Franck Scurti, Alberto Sorbelli.
Exhibition curated by the Bureau des 35h. (Guillaume Baudin, Marc Bembekoff, Marie Gabreau, Quiterie Guéniot, Aurélien Mole, Alexandre Neveu, Julie Pagnier, Céline Poulin, Jean-Philippe Roinsard)