Solo show

Gäelle Choisne (1985, FR) lives and works in Paris. Sensitive to contemporary issues, Gaëlle Choisne’s practice considers the complexity of the world, its political and cultural disorder, whether it be the over-exploitation of nature, its resources, or the vestiges of colonial history, where Creole esoteric traditions, myths and popular cultures mingle. Her projects are conceived as ecosystems of sharing and collaboration, pockets of «resistance» where new possibilities are created, notably with the «Temple of Love» project. Initiated from Roland Barthes’ original essay on love, «Fragments d’un discours amoureux» (1977), Gaëlle Choisne adds a political dimension to the concept of love by paying homage to invisible bodies, minority and fragile souls, and dispossessed hearts. «Temple of love » is an evolutionary project defining itself through its modes of appearance and genesis according to its invitations and its location. The works/installations of Gaëlle Choisne have been exhibited in many institutions: (Vitry-sur-Seine), Centrale Powerhouse (Montreal), CAFA Museum (Beijing), Pera Museum (Istanbul), MAM - Musée d’art moderne de Paris, Musée Fabre (Montpellier), Zacheta Gallery (Warsaw), The Mistake Room (Los Angeles), Bétonsalon (Paris), Gr_und project space (Berlin), MAMO - Centre d’art de la Cité radieuse de Marseille, La Villette x Pompidou (Paris), Centre d’art contemporain La Halle des bouchers (Vienne), Musée archéologique Henri-Prade (Lattes), Musée des Beaux-Arts de Lyon etc. She has also participated in several biennials and triennials: 15th Gwandju Biennial (2024), 3rd Toronto Biennial of Art (2024), 5th New Museum Triennial (2021), 11th International Biennial of Contemporary Art (GIBCA), 13th International Biennial of Lyon (2015), 12th Havana Biennial (2015), Sharjah Biennial 13 (2017) and 14th Curitiba Biennial (2017). She has been part of many residency programs in France and internationally such as “Meeting Points collaboration” with CCA -Campus Caraïbéen des Arts (Martinique), Bethanian-KW (Berlin), the Rijksakademie (Amsterdam), Atelier Van Lieshout (Rotterdam), the Cité Internationale des Arts de Paris and OPTICA & Art3 Valence (Montreal). In 2024, Gaëlle Choisne won the Marcel Duchamp Prize and, in 2021, the AWARE Prize. In 2019, she is nominated for the Ricard Foundation Prize and the Sam Art Project. Gaëlle Choisne is represented by the gallery Air de Paris, Romainville (FR).

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Aquarium Biennial Fair Fruits Installation Love Performance Plants Sculpture Shells Stèles Temple of Love Videos Workshop

Bye bye memory, 2024

Digital colour print on marble
90 x 58, 118 x 55, 81 x 44, 65 x 45, 65 x 30, 117 x 45 cm

Image Credits: Installation view „Gaëlle Choisne. Temple of Love - To Hide” at KfW Stiftung, Villa 102, 2024, © KfW Stiftung, VG Bild-Kunst, Bonn 2024, Photos: Jens Gerber

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On her first trip to Haiti in 2012, the medium of photography took on a new significance for the artist. As a child of the diaspora growing up in France, Choisne had always been familiar with Haiti despite never having visited before. It was only during her travels there, accompanied by her camera, that she recognised the profound connection between her artistic work and Haiti. She describes the aesthetics of her art and the fragility of her installations as “organised chaos”, a reflection of Haiti’s diverse and often improvised ways of life – a form of subconscious knowledge she aimed to explore through photography. With each subsequent visit, she expanded her photographic archive, capturing similarly unexpected perspectives and fleeting moments in other locations as well. In Choisne’s work bye bye memory, these images are printed on marble slabs and displayed in the exhibition space like archaeologically unearthed memory fragments. The artist contrasts luxurious marble, a material historically prized in Europe for its hardness and durability, used in monuments, with the fragmented memories that have shaped her understanding of Haiti and, ultimately, her own diasporic identity.

Steles – Gwandju Biennale - Gaëlle Choisne

Exhibition view, 15th Gwangju Biennale(2024). Image courtesy of Gwangju Biennale Foundation. Photo: Studio Soozip

Exhibition view, 15th Gwangju Biennale(2024). Image courtesy of Gwangju Biennale Foundation

Steles – Gwandju Biennale, 2024

15th Gwangju Biennale, Gwandju, South Korea, 2024
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Conflictual borders, anti-migration walls, confinement, social distance, segregation policies—these seemingly dissimilar topics share a common point: space and its political organization. The main effect of climate change is the apparition of a new world map in which carbon dioxide and urban life, desertification and migration, deforestation and social struggles, destruction of animal ecosystems and vegetal invasions, have become brutally interconnected.

PANSORI: A Soundscape of the 21st Century is an operatic exhibition about the space we live in. But as any landscape is also a soundscape, this exhibition is built as a narrative connecting musical and visual forms. Having emerged in 17th century Korea, pansori is a musical genre deeply rooted in its native land. In Korean,pansori literally means « the noise from the public place, » which could also be understood as the voice of the subalterns. The 15th Gwangju Biennale intends to recreate the original spirit of pansori, with artists that try to re-think the space shared between humans, machines, animals, spirits, and organic life— our relational space.