5:03 Contre-plongée, léger dégradé, il fait chaud

In 1928, Adolf Loos imagined designing a house for Josephine Baker. A two-story swimming pool is at the center of the architecture and the focal point of the entryway is the pool. Josephine Baker enters, a net of small colored stones caresses her chest, they catch the light. A necklace. Short skirt that rises at her smallest movement, small gilded sandals. Josephine is the focal point of her guests, the only authorized entertainment. Large glass panes surround the pool, they deflect light at the body of the dancer. Josephine swims, Josephine dives and immerses herself, she enters the water, her skin gleams and she does not see her guests. The glass panes with their reflective surfaces prevent it. She who plays can thus behave as though she is not seen. She looks at herself in the reflection of the panes, she sees her body sliding superposed over the disembodied gazes of the shadow guests. The windows become observers, an erotic arrangement that the master Loos conceived. Josephine Baker’s body is a surface submerged in another surface. The house will never be built.

5:03 Contre-plongée, léger dégradé, il fait chaud [5:03 Low-angle shot, light gradation, it’s hot], 2015

Installation shown for 60e Salon de Montrouge, composed of two sculptural elements, a wall covered in a photograph, and a performance.

Performance: Anna Gaïotti
Curated: Stéphane Corréard, Le Beffroi, Montrouge, France
Wall’s photography: Ibrahima Mbengue
Pictures: Julien Rezette

If by animating the work the young woman endows it with life, when she disappears she becomes in her turn a ghost, an image. Her stunning body and her expressionless face give her a strangeness that raises doubts as to the reality of her presence.

— Marie de Brugerolle, 2015Read more