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

This is the time of sweet sweet change for us all, C-A-L-M Centre d’art la Meute - Gaëlle Choisne

This is the time of sweet sweet change for us all, C-A-L-M Centre d’art la Meute, 2024

A proposal by Oriane Emery & Jean-Rodolphe Petter

group exhibition with the artists:

Elie Austin
Salomé Chatriot
Gaëlle Choisne
Chloé Delarue
Rebecca Horn
Yein Lee
Emma Passera

Featured artwork :
Temple of Love – To be Ascetic (Tolalito), 2021.
Set of 9 hand-painted flags. variable dimensions

Exhibition view, photo: Théo Dufloo / Courtesy of the artist, Air de Paris gallery and CALM – Centre d'Art La Meute.
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CALM – Centre d’Art La Meute invites you to discover the first exhibition of its 2024-2025 cultural season. The title of the exhibition refers to the film “Born in Flames”, directed by Lizzie Borden (Detroit, Michigan, USA) in 1983.

The film had a profound effect on us, so we decided to design and build an exhibition around its narrative and environment. It depicts a clandestine women’ s army developing in a dystopian New Y ork. As social unrest shakes the streets, brigades of women on bicycles roam the grim urban landscape, fending oﬀ rapists in particular . But much of the dramatic tension stems from the efforts of women – racialized and white, queer and heterosexual, working-class and elite – to understand each other and work together .

Considered by cinema to be in the science fiction genre at the time of its release, its discourse is utterly contemporary and real forty years on. Its radicalism, typical of the essay genre, challenges and stimulates reflection on the workings of our society and the place violence occupies within it.

This exhibition brings together women who, in their respective work, bear witness to political links with film or aesthetic links with the genre of science fiction and under ground cultures. The exhibition’ s scenography is an urban mise en abyme, between dense and open spaces, oppressive and liberating, from the grid, a reproducible module, to open squares. The aim was to integrate the primordial and the futuristic, following the example of the generic city model (Rem Koolhaas) that is Manhattan.

A proposal and text by Oriane Emery & Jean-Rodolphe Petter