At the invitation of the EDF Group Foundation, the artists Fabrice Hyber and Nathalie Talec have imagined a crossing of emotions. A common project of immersive exhibition around shared sensations, singular wanderings, multiple experiences, poetic and mental experiments, constantly renewed ". Love at first sight "is a total, intense and brief work of art exhibition, astonished and lasting in its effects, where the visitor no longer becomes the simple spectator of things, but the protagonist of new stories to be lived, of an infinity of possibilities, behaviours and desires, offered by an artistic device encompassing all of the Foundation's 500 m2. Paintings, costumes, drawings, projections and furniture punctuate a journey designed by the two artists: from "Chassé-croisé" in the basement to "L'extase" on the first floor, via "La rencontre" on the ground floor introduced by a ballroom, the exhibition is designed to encourage love at first sight...
Por the time of the exhibition Love at first sightFabrice Hyber and Nathalie Talec, whose paths have often crossed, have chosen to combine and combine their different worlds, their know-how, their mutual interest in all fields of knowledge and cognitive sciences, their aesthetic experiences, their taste for the multiplicity of practices as well as their own position in the world of art and in our contemporary society. Coup de foudre is the place of elective affinities, intended for all audiences, all generations, which transforms two individualities into a joint common name: HyberTalec. A duo exhibition for four hands, it invites the visitor to experience and follow it as a joyful and tragic "exquisite corpse", made of chain reactions, movements interwoven with emotions, repetitions of experiences, agglutination of forms, objects and costumes, passing stories and performative actions.
Fabrice Hyber and Nathalie Talec have designed a convivial and lively device, open to surprise, the unexpected and metamorphosis, designed to provoke, combine and add all sorts of emotions in visitors: astonishment, shock, pleasure, fear, joy, unpleasantness and pleasure, love at first sight... So many proposals and spaces to be tested by the visitor, who will be invited to experiment and use all sorts of objects placed at his disposal, to don or try on all sorts of costumes, then to wander, without constraint, dressed in a new appearance, bits of characters from the two artists themselves, throughout the Foundation's spaces, from the basement to the first floor.
A journey through "emotions
Fabrice Hyber and Nathalie Talec have "emptied", almost "stripped" the interior spaces of the EDF Group Foundation, creating strolls and breaks, structuring their scenography in three moments of emotion: "Chassé-croisé" in the basement, "La rencontre" on the ground floor, and "L'extase" on the first floor. They totally played with the 19th century architecture of the building, which they see as an old-fashioned ballroom where people from all social backgrounds met, crossed paths, sketched the beginnings of feelings...
The visitor will enter the exhibition space like in a ballroom, with varnished floor, chairs, benches. A ground floor that looks like a dance floor surrounded by "fitting rooms" (or "emotion rooms") where the visitor can begin to discover costumes and clothes, ready to be tested or worn, to play their role of triggering sensations, desires and emotions. If in the basement, the visitor, during his wanderings, will be able to meet, in a game of hide-and-seek of disappearance/appearance, the avatars of the two artists projected in 3D between the corridors and the doors, he will experiment, contemplate, on the floor of "L'extase", the large paintings created by Fabrice Hyber and Nathalie Talec in the form of "exquisite corpses" which will gradually cover all the walls. The exhibition Coup de foudre (Love at first sight) will metamorphose in contact with all possible scenarios, and will develop throughout its duration into a veritable "pavilion of amazement", on every floor, for both artists and visitors.
With a scientific background before entering the École des Beaux-Arts in Nantes, Fabrice Hyber conceives his work in the form of a gigantic rhizome. From the practice of drawing and painting, he invests all modes of expression and spreads his work from one medium to another. Fascinated by the viral mode of functioning, his paintings see cellular forms unfolding, trees with multiple ramifications, hybrid beings suggesting infinite recycling. The playful dimension also permeates all of Fabrice Hyber's work, particularly in his famous POF (Prototypes of Working Objects). At the end of the 1980s, he developed the term and notion of artist-entrepreneur, and in 1994 he created Unlimited Responsibility, UR, sarl intended to encourage the production and exchange of projects between artists and entrepreneurs.
In the same perspective of generating new behaviors, in 2012, he initiates with the Institut Pasteur the "Organoid" project which brings together researchers and artists, in order to offer the general public a new vision of biomedical research and its issues. He is currently pursuing this same commitment with the training programme "Les réalisateurs", conducted in collaboration with art and business schools in Paris, Nantes and Rabat to bring young artists to find new means of production.
In 1991, Fabrice Hyber made the biggest soap in the world (Translation), then his Hommes de Bessines swarmed all over the world. In 1995, he transformed the Museum of Modern Art of the City of Paris into a Hybermarket and, in 1997, received the Golden Lion for having turned the French Pavilion at the Venice Biennale into a recording and broadcasting studio for television programs. In 2002-2006, he created L'Artère - le jardin des dessins, in the Parc de La Villette, a perennial work created at the request of Sidaction. In 2012-2013, he exhibits at the Palais de Tokyo (Raw Materials), the Maeght Foundation (Essential, Homeopathic Paintings) and at the MAC/VAL, Museum of Contemporary Art in Vitry-sur-Seine (Prototypes d'objets en fonctionnement).
In 2015, first retrospective of 500 paintings at the CRAC Sète, and in 2017, creation of the Marcel Duchamp prize trophy. In 2018, he created the glass roof of the Lutétia, in Paris, Les 2 chênes du "Beaupassage", and Ted Hyber-Coool, an outdoor sculpture for the Osaka train station, in Japan.
Since the beginning of her career, Nathalie Talec has focused on minute and fragmentary forms of reappropriation of objects, natural elements, traditional metaphors, hydrations, in a diversity of techniques, practices and modes of expression: painting, watercolour, sculpture, decorative objects, videos, installations, performances. Nathalie Talec's work maintains a thematic motif, constantly taken up and declined: cold, snow, and physical perception. In her protean work, disparate, familiar, everyday, decorative elements are juxtaposed and brought together in a certain melancholy and dreamlike way.
Nathalie Talec is also attached to the processes of research, experimentation, aggregation, sorting, travel, expeditions, affirming a form of scattered multiplicity, on the lookout for the possible. She has exhibited at "Aperto" during the 40th Venice Biennale (1990), at the Centre Pompidou (Regard Multiple, 1992), at the MuHKA, in Antwerp (Comme rien d'autres que des rencontres, 1993), at Crédac (My Way, 2002; Le Travail de rivière, 2009), at the Plateau/Frac Île-de-France (Des voisinageages, 2003), at the MAC/VAL-museum of Contemporary Art in Vitry-sur-Seine (Occupations #1, 2004 ; L'Effet Vertigo, 2016), the Grand Palais (La Force de l'art, 2006), the Palais de Tokyo (Notre histoire, 2006), the Musée d'Art et d'Histoire de Saint-Denis (Le Vif et le Furtif, 2007), the Parvis, Pau (Fantômes domestiques, 2010), La Friche la Belle de Mai, Marseille (Des images comme des oiseaux, 2013), the Villa du Parc, Annemasse (Le Dernier Flocon, 2016).
In 2008-2009, she presented a monographic exhibition, Nathalie Talec, at the MAC/ VAL; in 2012, a solo show at the Yerba Buena Museum, in San Francisco; in 2016, a retrospective exhibition at the Frac Franche-Comté (Vingt mille jours sur terre), as well as at the Musée d'Amiens (In search of the miraculous), and a solo show at the Lily Robert gallery, in Paris (Here is always somewhere else). Nathalie Talec has participated in numerous public commissions, the latest of which is Le Secret du monde, at the Musée de la Céramique de Lezoux, inaugurated in June 2018.
Exhibition "Coup de foudre" at the EDF Group Foundation - 6, rue Récamier - 75007 Paris (M° Sèvres-Babylone), until October 20, 2019
Free entry from Tuesday to Sunday 12h-19h (except public holidays)