Confort Moderne is a flagship venue on the cultural scene in Poitiers (France), a pioneering artistic wasteland that has been working since the early 1980s to decompartmentalize views and practices.
The association produces and distributes various publications, multiples and micro-editions.
A visual overview of 40 years of concerts, exhibitions and events at l'Oreille est Hardie / le Confort Moderne in Poitiers: 512 pages of photographs, flyers, and clippings, superimposed in colorful layers to compose a hallucinatory anthology of images.
This publication documents an audacious project by Julien Berthier, in the context of a workshop at Le Confort Moderne in Poitiers. The artist found a landlord willing to flip one facade of her house, in order to create a painting. The book features a text by writer and performance artist Daniel Foucard.
Halfway between the catalogue and the artist's book, this publication introduces the work of Cindy Coutant. The French artist focuses on issues involving poetics and semantics, in connection with the new technologies and the Internet imagery.
An introduction to the art of Stephen Felton, with an essay by Jill Gasparina, “On the uselessness of sophisticated discourse,” as a guiding thread to better understand a work relying on simplicity and narratives.
In more than two hundred artworks, the American artist's reference monograph focuses on the fundamentals of her painting, strongly impregnated by notions of time, profusion, systemising and commitment.
A 300 page pulp book, compiling a series of 230 short texts by Justin Lieberman in alphabetical order, as well as an essay telling the story of a now-destroyed installation piece, to which the texts were originally related: “The Corrector's Custom Pre-Fab House”. The texts, with their sarcastic tone, can be read autonomously: they are a meditation on capitalism and material culture, between poetry, description and fiction.