Aurélien Mole is a jack of all trades : curator, artist, critic, and exhibition photographer, the majority of his time. It's a sustained practice (between three and ten exhibitions a week), and one can only imagine the automatisms of this work. It was on the basis of this experience that STANDARDS decided to invite Aurélien Mole to put on an exhibition focusing on the issue of the archive and its use in space.
Of course, as with every invitation, this will not be the case. The archive has been set aside. Aurélien Mole is taking part in STANDARDS as an artist, keen to bring his practice to life and to respond to his desires, which echo our own: plastic, aesthetic desires, desires for objects - that's what will be.

Desires, yes. Probably centred around the material, the trinket, both banal and precious, the making of elegant images with barely concealed references. After all, that's what many would like to do. Aurélien Mole deviates from the path that has been laid out for him, and for this exhibition invents a free and infinite energy, or at least its metaphor: what he calls a martingale.
A martingale is a technique that gives the illusion of increasing the chances of winning at games of chance while respecting the rules of the game. Aurélien Mole's exhibition is as much about illusion as it is about reality - tangible, immanent and elusive.

Somewhere in the intentions of this project there would seem to be a reversal of the situation in relation to the question of the photographed exhibition (or at least of what the service of the exhibition view can produce). We approached Aurélien Mole with this photographic work in mind. What can we ask of the photographer of an exhibition if not to make the content successful? From this point of view, it is more the formal coherence and its material dimension that will attest to the success of the whole on the photograph. This dynamic, supported by the rapid inclusion of these views among other views of contemporary exhibitions, however distant they may be, is a principle of the innocent existence of contemporary art, simplified in its codes.

So... The martingale. "In this type of game, it is not possible to reverse the odds, only to minimise the probability of the player's ruin."