Artist
Etienne Chambaud
See images of Work

INCOMPLT
Video and sound
32 minutes
2016

INCOMPLT is a film about the apparatus of cinema and the apparatus of the natural park; it deals with the coexistance of those informational stratas and spaces within the space of the screen. It describes a multistable world that layers natural phenomena, decors, modes and conditions of conservation, representation and exhibition; and invokes an equally multistable perception.

Flat Source Negative #6
Photographic print
30 x 45 cm
2015
The negative of the photography of a landscape —or of the image of a landscape— is crossed-out with a blade. After printing the image (Flat Source Negative), the negative is sealed in an aluminium box and buried at the exact location marked by the cross on the image. The box constitutes a work (Flat Source) under the conditions described on the certificate of authenticity engraved on it.

Fractal Zoo
Installation view
Bronze and steel
2013

In the exhibition space, a self-supporting structure with no fixed shape has emerged: the Fractal Zoo. It is composed of abandoned and forgotten bronze human figures crossed over by industrial beams. On this fragile yet massive structure built as an arrested fall, between the plinth and the cage, the farm and the theater stage, birds have lived, yet are gone. What remains of them in the show are sketches of their feathers unaddressed expressions and traces of their induced colored feces. The Fractal Zoo lays empty — vacant habitat of the Naked Parrot — crossed only by human presence. The time of the exhibition is not the time of the Naked Parrot.

Fractal Zoo
Installation view
Bronze and steel
2013

In the exhibition space, a self-supporting structure with no fixed shape has emerged: the Fractal Zoo. It is composed of abandoned and forgotten bronze human figures crossed over by industrial beams. On this fragile yet massive structure built as an arrested fall, between the plinth and the cage, the farm and the theater stage, birds have lived, yet are gone. What remains of them in the show are sketches of their feathers unaddressed expressions and traces of their induced colored feces. The Fractal Zoo lays empty — vacant habitat of the Naked Parrot — crossed only by human presence. The time of the exhibition is not the time of the Naked Parrot.

The Naked Parrot
Watercolor, food coloring and pigment print on paper
2013

The Naked Parrot, the first addressee of the eponymous exhibition at Labor, is a modern chimera, a being fully constructed from the outside. Here this construction is not based on mythological grounds or scales, but on the very process of creation of figures that we inherited from modern machines such as the zoo and the museum. Domestication and conservation are indeed stitching techniques that endlessly attempt to heal the wound of the cuts their very existences are based on. The Naked Parrot is thus an assemblage of exogenous intentions collapsing on their sutured understandings and misunderstandings: the idea of a human talking animal in a falling pigeonhole. To be naked, to lay bare, the parrot had to be dressed up by this theater of the outside. What is laying bare if not precisely this deluded work: the private seriousness within the beaming positivity of deceit? — The only way to fabricate truth out of error.

Nameless
Bobcat, cougar, donkey, grey fox, red deer, racoon, and skunk urines on copper powder and acrylic medium on polyester canvas on wood panel.
200 x 150 x 3 cm
2014

The basis for the Nameless series is a mixture of varnish and bronze or copper dust applied on stretched linen canvas. Different animal urines –squirrel, mink, wolf, coyote, zebra, bear, lama, deer, dog, puma, lynx, etc.— set randomly on the linen canvas oxidize the metal, thus creating motifs that alter the monochromatic background.
Departing from the heroic or ironic figure of the artist urinating on his paintings (from Pasolini’s Teorema or Warhol’s Oxidation Paintings), the oxidations that compose each canvas are the shapes constituted by the digestive processes of anonymous individuals from disparate species. If for human eyes this only produces an anamorphous image, which reveals nothing of each individual that participated, these oxidations preserve, at least during the time the series is fabricated, the animal expression (scent, pheromones, proteins) contained in each of the urines. Indeed, these possess a “semiotic” quality tied to the marking of territory, social hierarchy, or the signs of coupling belonging to each individual and to each species, but inaccessible to human understanding. Crystallized by the oxidation process, the sum of animal expressions that do not address the spectator, become a thing without name or shape, an improbable chimera that can only be mentally reconstituted through the list of species that participated in each canvas.

Atlas
40 x 28 cm
2012

A series of atlases from different periods and parts of the world have been modified by cutting holes into their pages.

On Hospitality (i.e. Exclusion)
Steel, crane, volcanic stones
Variable dimensions
2010

On Hospitality (i.e. Exclusion) is a mobile that doesn’t fit within its own exhibition space. Composed of raw industrial elements and volcanic stones, its totality can never be experienced. Going through the entire building of the gallery, without ever touching it and even suspended from outside (by a crane parked next door to the gallery), its objecthood is always challenged by the mental image it must necessarily conjure in order to exist as a whole.

The Sirens’ Stage (The Reef)
Plinths, actors, writters, nude models, typewriter, A4 tapuscript
Variable dimensions
2010

At once a monument in ruins, a stage under construction and a support for absent objects, The Reef is a group of empty plinths. All of them are named after abstract figures, conceptual characters, places, usual objects or objects of thought. Some are especially designed and produced for the exhibition, others are plinths used by the Foundation for its collection.
Actors come on The Reef to memorise and rehearse a written script.
Created for the exhibition, this written script includes theoretical and descriptive monologues, and excerpts from books or movies. The script is not public: it solely exists in the actors’ performances. Thus, the time of the exhibition precedes the time of a performance that will never occur. Some plinths form the places or show the traces of more specific actions (from time to time a nude model poses on The Missing Part, others refer to future or potential uses (The Hanger).

Lapidation piece
Inscribed stones
Variable dimensions
2012

Etienne Chambaud’s Lapidation Piece consisted in nearly 400 stones engraved each with one letter forming the caption of the work including the very description of its process of exhibition. The installation of the Lapidation Piece consists in throwing the stones one by one against a wall. The stack formed on the underneath floor and all the remaining impacts on the wall constitute the exhibition of the work.

Lapidation piece
Detail
Inscribed stones
Variable dimensions
2012

Etienne Chambaud’s Lapidation Piece consisted in nearly 400 stones engraved each with one letter forming the caption of the work including the very description of its process of exhibition. The installation of the Lapidation Piece consists in throwing the stones one by one against a wall. The stack formed on the underneath floor and all the remaining impacts on the wall constitute the exhibition of the work.

L'Epochè Fantastique
Graphic print
40 x 60 cm
2007

Holes have been punched out from the negatives of a series of images taken of a full moon.

Bio

Mulhouse, France, 1980.
Lives and works in Paris and Milan.

The main focus of his work is an "Ecology of separations", that is, a continuous investigation of boundaries between forms, objects, and discourses. In his work, diverse spaces, scientific fields, modes of capture, conservation and transmission are united and intersected.

His work is based on exhibitions, collages, photographs, neon, paintings, films, texts and situations: such as a geolocalized raft, entitled "Idealism", which was adrift in the Atlantic Ocean seven years ago, with the intention of Reconfiguring the world atlas; The staging of the encounter of geometric figures and monkeys in a zoo; Feverish objects; Mobile phones restricted by architecture; Or animal shelters inverted. Chambaud directed Counter-History of Separation (in collaboration with Vincent Normand), following the traditional history of the guillotine and the Museum of Modern Art in Paris, from the French Revolution until the late 1970s. The last two years he has worked continuously in The Untamed Night, an experimental documentary that analyzes the creation of the modern concept of "nature", the unnatural ecologies and their relation between the categories of "the human", "the nonhuman" And the "inhuman".

Download CV

Exhibitions
The Circular RuinsJul 10, 2017
INCOMPLTNov 15, 2016
The Naked ParrotApr 01, 2013
Sinking IslandsJul 14, 2012
On HospitalityJul 03, 2010
Hypnotic ShowDec 16, 2009
LABOR, LABOR.Nov 01, 2009
<
>