Mimétisme du mimosa
Exhibition view
Mimétisme du mimosa
Exhibition view
Mimétisme du mimosa
Exhibition view
Mimétisme du mimosa
Exhibition view

Mimétisme du mimosa

10.06.2011 - 30.07.2011

Main space

Download exhibition press release


One day, Véronique Boudier said: “I’m going to make a film”, then, she disappeared for six months, almost a year, into the Savoy forest, we have since learned. It’s strange, because she had already used video in several pieces, but here she said “a film”. And what a film! At the end of 2008, the first public screenings of “Nuit d’un jour” revealed a gem, a miracle; this film is a gift, an almost one hour long sequence-shot, during which an old-looking piece of decor catches fire, burns and collapses in on itself, revealing the clearing where it had been, the real film set that it was, glowing with a heavenly aura that steadily grows as the embers die. Without a hint of trickery, of course, because Véronique Boudier never cheats, or else so obviously as to deliberately get caught.

One day, Véronique Boudier said: “I’m going to make a film”, then, she disappeared for six months, almost a year, into the Savoy forest, we have since learned. It’s strange, because she had already used video in several pieces, but here she said “a film”. And what a film! At the end of 2008, the first public screenings of “Nuit d’un jour” revealed a gem, a miracle; this film is a gift, an almost one hour long sequence-shot, during which an old-looking piece of decor catches fire, burns and collapses in on itself, revealing the clearing where it had been, the real film set that it was, glowing with a heavenly aura that steadily grows as the embers die. Without a hint of trickery, of course, because Véronique Boudier never cheats, or else so obviously as to deliberately get caught.

After “Nuit d’un jour”, Véronique Boudier got a well deserved taste of the delights of having produced a piece of work whose beauty was truly appreciated. The film was shown and bought all over, which is deserved. Then she said: “I’m going to make another film”. This time we listened very carefully, because Véronique Boudier, as a sculptor, comprehends cinema like the form of sculpture. For her, the script, the decor, the actors, the setting, the film posters, the title, the lighting and even the screening are sculptor’s materials that she kneads, carves, melts and arranges in her own way.

In “Futur Film”, she steers this logic to its point of maximum incandescence. At any given point you might ask yourself (like the lettrist Maurice Lemaître, in 1951) if “the film has already started?” In the gallery Véronique Boudier effectively installs a “decor». But this decor is itself a part of the setting of the “films” being shown and opens with its poster. Also being shown, on a table, stuck to a vinyl coated tablecloth which is also glued, is the blue notebook containing the script for “Futur Film”, but whose pages are all stuck together, neighbouring an open set of tarot cards...”Futur Film” discusses a search, the search for a man: but perhaps it is he who seeks himself.

“Does one have a chance at least to see one’s own madness?”: the question that Véronique Boudier has put at the very end of the (temporary) synopsis of “Mimétisme du mimosa” conveys the lofty heights to which she assigns art. A dizzying Russian doll, “Futur Film” picks up narration at the level that the best Hollywood productions such as “Mulholland Drive”, “Inception”, or “Eyes Wide Shut” left off, at the limits of understanding permitted by entertainment and scatters them to the four corners of post-Duchamp art.

“As a first step“ of “Futur Film”, the installation “Mimétisme du mimosa” is Véronique Boudier’s first solo show in Paris since 2008, and her first at the Christophe Gaillard Gallery. Introduced at the exhibition “L’hiver de l’amour” organized by Purple Magazine at the Museum of Modern Art City of Paris - ARC, in 1994, Véronique Boudier is a unique and important artist who follows her path without a need to produce, or perhaps only thoughts as manifest forms.

Stéphane Corréard