Gaelle Choisne (1985, FR) lives and works in Paris.
Sensitive to contemporary issues, Gaëlle Choisne’s practice takes into account 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...
She has also participated in a number of biennials and triennial: 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's present in several collections such as FRAC Champagne-Ardenne, FRAC Nouvelle-Aquitaine MECA, CNAP, MACVAL, Lafayette Anticipations - Fondation d'entreprise Galeries Lafayette, Musée Fabre - Fondation Typhaine, KADIST
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 2021 she is the recipient of the Aware Prize. In 2019 she is nominated for the Ricard Foundation Prize and the Sam Art Project.
She is currently presenting a long-term project entitled Monument aux Vivant·e·s at the Palais de la Porte Dorée which will take place in different parts between 2022 and 2023. This proposal is part of the "Mondes Nouveaux" project supported by the Ministry of Culture.
Gaëlle Choisne is represented by the galleries Air de Paris, Romainville (FR) and Nicoletti Contemporary, London (UK).
Referring as it does to the thread that links the spider to its web and lets it know when an event has just occurred, this title is a metaphor for the curator’s relationship with her environment. It also evokes the attention we give to a context, dynamically and alertly!
The question raised by the Fondation d’entreprise Ricard Prize exercise is rewarding because it proposes to distinguish the work of artists as so many promises. I myself have chosen to answer it by providing a snapshot of the multiplicity of voices being expressed, testifying to the vitality of the French art scene and the strength of the debates it raises.
It welcomes all practices and all forms of plastic expression, from painting to performance, from sculpture to furtive works, from drawing to photography and video, without any hierarchy — quite the contrary.
All of the artists who make up “Le fil d’alerte” are attentive to the world and activate consciousness through sensitive and activist gestures. In music we wold say it is polyphonic, that is, it assembles voices without prejudging their nature. Their artistic projects convey precise positions, whether they be that of the anthropologist-artist, the activist, the smuggler, the researcher, the evoker or the critic, for whom orality, ecology, the colonisation of territories and/or bodies, the cosmological vision of the world, identities, feminism, economics and the queer have a stake in their work.
But it can also be said that some of them also endeavour to get away from these concepts, which they view as restrictive categories whose contours the artistic work seeks to redraw.
Although it is not set up as thematic group exhibition, since the exhibition context raises a completely different type of question, “Le fil d’alerte” will be, I hope, a choral exhibition (stemming from a spiral vision) that establishes “community”.
Claire Le Restif
Marcos Avila Forero
Estefanía Peñafiel Loaiza