Medal of Honor Pollock Seven Red Paintings
2011, oil on canvas, 300x190cm, image courtesy: Wilkinson Gallery

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Ed Ruscha Things Oriental 3X-I,  2011
Oil on canvas, 220 x 150 cm

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installation view at the Wilkinson Gallery

Aluminium Mesh Sheets, 2012, 
Photographic print on metallic paper, Dibond composite, pearl paper, foamex PVC, corex PVC, clear polycarbonate, opal polycarbonate, Microtiplo cardboard (70 × 50 cm each)

40 Ed Ruscha Things Oriental, 2012 
Oil on canvas (100 × 40 × 4 cm each)

Shanghai Gesture 2 Soundtrack and Squid Ink on Silk on Struc-Tube, 2012 
iRiver Candy Bar music player, headphones, silk, squid ink and aluminium tubes (153 × 200 × 50 cm, silk in 2 parts: 130 × 43 cm each, soundtrack duration: 7 mins 38 secs)

Shanghai Gesture 2 , 2012 
Two channel video, mute (Duration: 4 min 5 sec / 12 min 48 sec)

Portrait de Jean-Baptiste Belley et Guillaume Raynal, 2012 
PVC, steel wire, brick, aluminium mesh sheets, cardboard, flags (Banner: 130 × 150 cm, installation dimensions variable )

all images credit: Wilkinson gallery

40 Ed Ruscha Things Oriental, 2012 
Oil on canvas (100 × 40 × 4 cm each)

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installation view, Circus Berlin, 2011

De Kooning/ Motherwell/ Mitchell, 2011
Oil on canvas, 160 x 220 cm

Joan Mitchell’s Hemlock, Landscape Ting on Struc-Tube, 2011
Oil on canvas, aluminum tubes, 180 x 192 x 200 cm

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De Kooning/ Motherwell/ Mitchell, 2011
Oil on canvas, 160 x 220 cm

Cyborg Manifesto, 2011
poster for bpigs

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Joan Mitchell’s Hemlock, Landscape Ting on Struc-Tube, 2011
Oil on canvas, aluminum tubes, 180 x 192 x 200 cm

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Tho, the Great, the Great, the Great, 2009
Oil on canvas, 120 x 160 cm

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project for “Les Urbaines” in collaboration with AUDE PARISET, 2012
Courtesy of Les Urbaines, Lausanne

all images courtesy of the artist (unless stated otherwise)

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JULIETTE BONNEVIOTis a french artist who uses conventional forms like painting and sculpture to construct images questioning the value of visual representation reformed by Internet.

I think my work mirrors this characteristic of the internet age, which also is reflected in and conditions my research process.

This conditioning applies not only to images but to information in general, I treat the two as the same. This flattening of values allows me to make art historical and sociological connections that scholars wouldn’t necessarily consider making. However, I don’t view my research process as a new thing relevant only to the internet age.

I’m also interested in comparing the idea of wandering through images and informations on the web to WALTER BENJAMIN’s idea of the flâneur and his experience of modernity. The term describes the experience of leisurely walking through urban space while observing various aesthetic and sociological patterns in the XIXth century Paris.  

Recently I came across an article by Evgeny Morozov called “The Death of the Cyberflâneur,” adressing this same parallel with Benjamin’s flâneur and explaining how the cyberflâneur would disappear for similar reasons as those of the XIXth century flâneur—the internet becoming more and more enclosed in the world of social media, shopping activities, or separated apps. Benjamin also explains how the flânerie got caught in being conditioned by the economy and the market when the recently born commercial strategies of that time started using the flâneur and his casual attitude as a marketing tool. Benjamin notices how the flâneur began to occupy a politically ambiguous space, in which he is simultaneously being conditioned by this system and reacting to it. 

This ambiguity is exactly what I am interested in, both as a phenomenon to observe and talk about and an attitude to embody in my work process. I think as the Flâneur in XIXth century Paris would experience and think modernity, cyberflânerie and its limitations are an interesting way to get a better understanding of our post industrial world. For instance, when I am using software I am not trying to make novel things with it. Instead, I try to emulate things people usually make and extrapolate from their attitudes. At this point, I can interject other observations I find during the virtual experience of wandering through aesthetic, historical and sociological phenomena. – JULIETTE BONNEVIOT in conversation with ORIT GAT

And good news: on the occasion of the festival Les Urbaines in Lausanne, JULIETTE BONNEVIOT and AUDE PARISET along with LUCKY PDF will present a special project at Curtat Tunnel (Lausanne), on view until december 2, 2012.

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