The works of artist Cécile Bart will fill the premises of the Frac Bourgogne in the context of a commissioned exhibition. Since the late 1980s, Cécile Bart has induced viewers to experience seeing as an integral part of the world instead of detached from it.
As a continuation of the propositions Cécile Bart made with her exhibitions Habiter (at the Villa Arson in Nice in 1995) and Tanzen (at the Kunsthaus of Aarau in 1998), the exhibition at the Frac Bourgogne will put her paintings/screens in the space as if on stage. The paintings are sometimes décor, sometimes moving bodies, and also part of an exhibition of the scenes created by the paintings themselves, to which are added the presence of the visitors.
Indeed, Cécile Bart's paintings are sensitive tools for exploring the reality of a place and everything that gives life to it. Her painting/screen remains translucent; light passes through it and it can be seen through. It is almost impossible to look at the color alone. Everything which enters into the frame is projected onto it.
For the Dijon exhibition, Cécile Bart has worked with the panoramic vision which one has from the entrance, as well as the depth of the exhibition space and the light which bathes the place from high over head. In neither case is the spectator static, but rather can accept the invitation to move around, and let his eyes playfully explore the colored forms suspended in space. The forms in suspense remain unresolved both with regard to the space and to time, in the same way that an image of a film can be frozen -- cinema being one of the artist's favorite media.
This is why Cécile Bart's creations touch on questions of abstraction, organization of colored forms in space, pertinent to the present-day context.
As a continuation of the propositions Cécile Bart made with her exhibitions Habiter (at the Villa Arson in Nice in 1995) and Tanzen (at the Kunsthaus of Aarau in 1998), the exhibition at the Frac Bourgogne will put her paintings/screens in the space as if on stage. The paintings are sometimes décor, sometimes moving bodies, and also part of an exhibition of the scenes created by the paintings themselves, to which are added the presence of the visitors.
Indeed, Cécile Bart's paintings are sensitive tools for exploring the reality of a place and everything that gives life to it. Her painting/screen remains translucent; light passes through it and it can be seen through. It is almost impossible to look at the color alone. Everything which enters into the frame is projected onto it.
For the Dijon exhibition, Cécile Bart has worked with the panoramic vision which one has from the entrance, as well as the depth of the exhibition space and the light which bathes the place from high over head. In neither case is the spectator static, but rather can accept the invitation to move around, and let his eyes playfully explore the colored forms suspended in space. The forms in suspense remain unresolved both with regard to the space and to time, in the same way that an image of a film can be frozen -- cinema being one of the artist's favorite media.
This is why Cécile Bart's creations touch on questions of abstraction, organization of colored forms in space, pertinent to the present-day context.
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