Vincent Debanne — No exaggeration
Past: April 28 → July 13, 2012
Taken on as resident of CPIF’s postproduction studio in 2005, Vincent Debanne has been invited to produce his first ever full scale exhibition in the Ile-de-France.
Vincent Debanne belongs to a young generation of contemporary artists which has distinguished itself through the use of digital image processing and manipulation in order to offer a point of view of the world in its economic, social and political aspect. No Exaggeration brings together several series of works by the artist: from Stationi, which was developed during his residence at the CPIF, to Battleship, which was developed for this exhibition.
In Battleship, violence descends on marinas as they become the arena to spectacular battles between luxury yachts, baptised with names reminiscent of military operations. The series Incidents depicts buildings in the periphery of Paris which are symbolic and expressive of institutional power. The solemnity of these buildings is disturbed by signs of destruction or chaos: walls riddled with bullets, flames and scars from guerrilla warfare or from potential uprisings. The series Dispositifs reveals the restrictions imposed by the layout of areas designed to manage crowd flows around large architectures, architectures which themselves, however, are to play host to shows and entertainment. The alterations, additions and effects that Vincent Debanne brings digitally to these shots taken outside of the studio suggest a restlessness passing through the world thus presented to the observer.
No Exaggeration is a facetious statement, a paradoxical manifesto and the advertisement of a brand: Debanne makes caustic use of pastiche and parodies the great pictorial genres to highlight — in the style of Wells, Verne and Huxley — a violent and latent reality.
- Rencontre entre Vincent Debanne & le philosophe Alain Brossat Meeting Saturday, June 9, 2012 at 3 PM En relation avec les séries photographiques de Vincent Debanne, le philosophe Alian Brossat et l’artiste tenteront de procéder à une description des régimes de violence contemporains, des violences invisibles et des violences surexposées, appliquée plus particulièrement aux architectures du pouvoir ou du divertissement de masse.
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