For its fourth CARTE BLANCHE, Bendana | Pinel Art Contemporain asked Sandra Mulliez, collector, philanthropist and founder of SAM art projects, to be the curator of the exhibition. Her choice of artists : Bianca Argimon, Theodora Barat and Vahan Soghomonian. Through a selection of videos, sculptures, drawings and installations, the three artists create a meaningful and original dialogue.
There is no synopsis, no summary. Product of a word, a piece of scenery, action or even a character Bianca Argimon builds drawings. Inspired by facts and historical events that she mixes with current elements and contemporary culture, she draws an unstable environment impregnated with a slight cynicism, which mobilizes the world of the imagination. Everything is possible in the drawings of Bianca Argimon, she creates between her characters a network that links them together to orchestrate an excessive panorama, a pandemonium where coexist a disbanding of scenes that challenge established values without fear of transgression. In her eccentric fables, which are close to the improvised theater, fiction and reality meet in under an unattainable dream open to interpretation.
Combining installation and video, Théodora Barat’s works find references in the universe of American film. Stemming from the «black box» and the «light projection», the artist reaserch reaches around the roads crisscrossing the american great spaces. Theodora Barat follows the path of the wandering eye, the visual movement; the scrolling of the image encompasses and absorbs the viewer (passenger). The work is the development of a nocturnal atmosphere, urban, industrial, based on the seizure of fleeting sensations. Space refers to time, duality between implantation and loss, conquest and abandonment, desertion and housing...
The identity within Vahan Soghomonian’s work is played in the way he mobilizes the images he produces and the media through which they pass, in the way of implementing a constellation of elements each of which can be moved and combined. These generate situations that constantly renew the circulation of ideas and forms he manipulates. Vahan develops a production floor, a mobile and dynamic building , a system of signals that he combines to acheve an equilibrium between the jubilation of a discovery and the accuracy of sight, between tenderness and cruelty, between the joy caused by game and a more critical thought that may seem more rigurous.
