The ‘Pause-Clope’ series begins when the artist stops smoking.  Each work explores the ritual of the ‘fag break’ as a relational act, underlining the authoritarian aspect of the fragmentation of working time and breaks in our bureaucratic world. These creations take the form of small altars or mausoleums evoking cigarettes as a symbol of addiction, a colonial and slave heritage, and a Freudian, sexual and erotic dimension. Through this diversion, the artist establishes a link with the spirits and ancestors who enjoyed smoking and drinking, thus fuelling a reflection on the impact of this addiction on our societies.

Lorna Simpson is the mentor of artist Gaëlle Choisne for the third edition of the 2023 Reiffers Art Initiatives mentorship program. The exhibition will be presented at the Reiffers Art Center on the occasion of Art Basel Paris.

For this latest edition of its Mentorship Program, Reiffers Art Initiatives will present an exhibition by artist Gaëlle Choisne, accompanied by her mentor Lorna Simpson – a pioneer in the 80s of conceptual photography that closely links text and image – whose work has been exhibited in numerous prestigious art institutions and events, including the Venice Biennale in 1990. Born in Cherbourg and living in Paris, Gaëlle Choisne is a French artist whose artistic approach is guided by multiple inspirations. In her installations, created at the crossroads of sculpture and photography, she evokes her relationship with her Haitian origins. Represented by Galerie Air de Paris, the artist has already exhibited internationally, notably in London, Kyoto and the United States.

Gaëlle Choisne will present the Frankfurt debut of her long-term project “Temple of Love” (2018-ongoing) and transform the historic Villa 102 into an art space. A meticulous collector of objects acting at the margins of photography, the artist weaves individual memories with social observations to create eclectic installations, videos and performances. Drawing on her personal history and French-Haitian heritage, Choisne’s works often delve into themes of self-healing, spirituality and social interaction. Choisne regards her artistic practice as part of a network of ideas and people, frequently engaging in collaborations and integrating literary and scholarly allusions into her work. For the “To Hide” edition of the long-term project “Temple of Love”, the artist once again refers to a chapter from Roland Barthes’ “A Lover’s Discourse: Fragments”. The site-specific installation takes on a new form with each presentation. Choisne developed the exhibition for the first time during her one-year residency at Künstlerhaus Bethanien, Berlin, in cooperation with KfW Stiftung.

The precession of the equinoxes is an astronomical concept that describes the displacement of the axis around which our planet rotates, affecting the position of the stars as seen from Earth. It returns to its original point every 26,000 years: in astrology, this cycle is broken down by the twelve constellations of the zodiac to associate them with a particular era. So, we are in the process of leaving the age of Pisces for the age of Aquarius, with its virtues of abundance, transformation and hope. Under these cosmic omens, Gaëlle Choisne invites visitors to the Marcel Duchamp Prize to enter a large- scale installation showcasing her work as a video artist, sculptor and painter.

An indefatigable creator of artistic environments that go beyond the exhibition to include banquets, workshops, gardening, body treatments, concerts and performances, Gaëlle Choisne has been building an experimental, multi-faceted archipelago- work for the past ten years. Resolutely curious, her practice embraces a multitude of media and skills, which she hijacks creatively without concern for canon or tradition. A devotee of kitsch aesthetics, her works sweep everyday objects along with them (coins, cigarettes, key rings, false nails), talismans and other carefully collected finds. A builder trained in scenography, she manipulates industrial materials (plaster, concrete, silicone), ceramics and precious metals with the same affection. From this position of referential impurity2 that runs through her work, she deals with the question of the image and the archive as a ‘self-ethnographer’, in other words by tampering with colonial systems of representation through a practice of video and photography that is both reflexive and anthropological. In her films in particular, she allows herself to borrow the voice and tone of the coloniser, while at the same time hijacking its objects of study. Infused with Caribbean diasporic imaginations and a Haitian and French family history, Gaëlle Choisne’s work resonates with the Black Fantasy movement imagined by the British curator Ekow Eshun in a book and exhibition entitled Black Infinity. It brings together artists who find a generative tension between the everyday and the extraordinary to produce new narratives of Black potential. Black fantasy ‘testifies to the conviction that African cultural beliefs and practices are worthy of sincere, rather than sarcastic, consideration as sources of knowledge and creative inspiration’3.

At the Centre Pompidou, Gaëlle Choisne presents an immense carpet of ‘poured cork’ flooring on which five monoliths represent beehives, burrows or termite mounds. Adorned with intricate metalwork, chains and shells, these promontories house small video theatres showing five films made by the artist since 2020 during her travels in Haiti, the Caribbean and Latin America. Initially trained in the dramatic arts, this gesture of miniaturisation reflects her interest in Brecht’s reflections and in epic theatre, which aims to make the spectator aware of his position within the work. From this stellar observation station that plays with scale, the audience can examine a range of human activities: in L’école des actes, the collective fantasising and reclamation of journeys into exile in the Paris region; in Accumulation Primitive, a political and poetic feminist fable about Haiti; in Creole garden in Normandie, sensual gardening in which the plants are the main characters. At the back of the room, the huge paintings on wood from the Safe space for a passing history-Age of Aquarius 99999 series combine pictorial surges, glyphs and talismans with AI-generated faces of strangers. At once a tribute to the activists of the black liberation struggles and a fictional family tree, they act as a cosmogonic cartography that keeps us asking: where are we?

THOMAS CONCHOU