The catalogue of the duo's exhibition at CAPC, featuring a new
site-specific work and a series of performed or filmed actions. A project
about situations of reversal, confronting the exogenous realities of the
enterprise, the working-class, and the museum.
, the installation conceived for the CAPC's central
nave, stages situations of reversal or upheaval, both figuratively and
literally: a monumental conference table that has been tilted on its side
is echoed by less spectacular but equally violent gestures of spilling and
Emphasizing the underlying dichotomy in their work – which has been
described as simultaneously ethereal and terrestrial, fictional and
functional, transcendent and immanent, or even metaphysical and
political – Marie Cool Fabio Balducci harness the architectural
partition of the CAPC's central space to stage a mirror situation of
construction and deconstruction, of doing and undoing.
The 64-page publication was designed by Studio
. It brings together an ensemble of exhibition views
and an interview with the artists.
Published following the eponymous exhibition at CAPC,
Bordeaux, from March 8 to May 19, 2019.
Since de 1990s, Marie Cool Fabio Balducci (born 1961 in
Valenciennes, France, born 1964 in Ostra, Italy, live and work in Paris
and Pergola) have been developing—under a double name voluntarily without conjunction—an unclassifiable body of work between sculpture
and live practice based on short, often repetitive actions carried out at first only by Marie Cool, but later also by others in confined spaces (studio, exhibition space) using common objects from standard work environments
(sheets of A4 paper, adhesive tape, pencils, office tables) and natural elements such as water or sunlight. Carried out in silence, these actions take the form of simple gestures and short interventions: moving pencils at a regular rhythm, holding two sheets of paper against each other, pouring a bottle of water on a desk, or following the sun reflected by a glass. The themes of ownership, precariousness, and the subjection of the body to the material world underlie their rigorous and modest work. Their practice has recently taken on an installative dimension in relation to the exhibition space, thus offering the audience a space for exchange and reflection in relation to the stakes of today's society and the experience we make of it.