Théorie Trou du Cul
Théorie Trou du Cul is a solo show held at La Tôlerie in Clermont-Ferrand from February 3rd to April 15th 2022. The exhibition is structured around a moving sculpture. Conceived as an organism, the sculpture has a front, a back, sides and inside. On one side, a wax anus communicates with the interior of the sculpture, suggesting a path of exploration/peep hole. one side of the sculpture displays the video The Drama More Show (Pilot) whilst the other side is made to welcome and announce the performance Des Fins, Des Mondes. The wheels of the sculpture allow it to turn in order to face the chairs and tables.
Images Ludovic Combe
The asshole is a path of exploration of the body. We look for things, we put things in it, we take things out. It is connected to the mouth by the digestive tract.
My mouth is-and my ass.
The anus evacuates the residues of digestion, of transformed matters. I made a sculpture that absorbs and rejects to contain stories and things, . A bit of a Carrier Bag of Fiction but in an asshole. An Existenz's hole that connects to other things - a hole : dark, final, obscene, abject.
I keep treasures in my ass.
Rough and strong translation of 'queer theory' by Sam Bourcier and Paul Preciado. Osculum Infame.
Shirime is a yōkai -a spirit- who has an eye in place of the anus.
Look at my soul through my ass.
Infortune Cookies @ Le 19 CRAC, Montbéliard
Group exhibition, Le 19 CRAC
Curated byTom Castinel et Marie L’Hours (La Tôlerie / Clermont-Ferrand)
With Ethan Assouline, Angélique Aubrit et Ludovic Beillard, Anne Bourse, Corentin Canesson, Rémy Drouard, Nitsa Meletopoulos, Anouchka Oler Nussbaum, Peggy Pehl
Théorie Trou du Cul goes to Montbélliard in an other iteration of the installation. This time static,viewers can peek inside the sculpture through two holes. One is delicately placed in the eye-asshole of a ceramic sculpture. The second let the inside light shine through an asshole cut out of a poster from the cabaret Des Fins, Des Mondes held earlier at La Tôlerie.
Over the last decade, I have been using posters to complement my performances and videos. Beyond the pragmatic function of announcing a performance or to inscribe it in a space and time once it is over, I am particularly keen on this graphic object that first holds a promise before quickly becoming a nostalgic witness. Just like my mother who recounted her sadness to discover a city covered of posters announcing a Bob Marley concert held the night before.