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Alex Cecchetti <!---->
Interview with Alex Cecchetti by Julie Pellegrin.

Graphic Design: Claire Moreux.
published in November 2017
bilingual edition (English / French)
13,5 x 21,5 cm (softcover)
36 pages (b/w ill.) + postcard
ISBN: 978-2-9558778-3-8
EAN: 9782955877838
in stock
A conversation.
Drawing his inspiration from literature, philosophy, science and music, Alex Cecchetti brings enormous playfulness and wit to a poetic, gestural language that mysteriously unites his spectators and launches them into rituals that call perception and life's great existential issues into question.
The “Tamam Shud” exhibition is the outcome of two years' research. This interview looks back to the genesis of a project whose title—“This is the End” in Old Persian—paradoxically becomes a trigger for something new. It offers an insight into the way the exhibition resembles an identity quest in the form of a landscape to be crossed. This is an exhibition to be experienced and inhabited, and from which the artist emerges as a protean writer.
Digressions is a series of conversations with artists. Initiated by La Ferme du Buisson Centre for Contemporary Art in association with Captures editions, the series accompanies the art centre's exhibition programme.  Taking as their starting point a group discussion, these publications offer an insight into the thinking, the references, the methods—and sometimes the meanderings—that fuel a creative process.

Published on the occasion of the exhibition “Tamam Shud” at the Ferme du Buisson, Marne-la-Vallée, from November 11, 2017, to February 25, 2018.

Julie Pellegrin is the director of the Ferme du Buisson Centre for Contemporary Art.
Artist, poet and choreographer, creator of performances and idiosyncratic objects, Alex Cecchetti (born 1977 in Terni, Italy, lives and works in Paris) has developed a unique practice, difficult to classify, that could be called art of avoidance: tactical and poetic, aesthetic and materialistic, its system leads to produce specific situations or objects that can exist both inside and outside the traditional exhibitions. It is in this double movement of representation and conceal that it's possible to inscribe his staging of invisible choreographies of hidden nudes and sleeping dancers. His work is focused in the construction of specific narratives that are experienced both mentally and physically by the audience.