Artist Statement
Fusion of the Possible, Topographie de l’art, April 15 – June 15
2021 Video, 44’31”
In collaboration with Behind The Moons A production by Studio 13/16 – Centre Pompidou Courtesy of gallery 22.48 m2
Let me relax you by touching works of art convokes ASMR in order to experiment with post-internet artworks from the point of view of their manipulation and their power of relaxation. Caroline Delieutraz have entrusted works – hers and those of several artists – to Behind the Moons, the pseudonym of an ASMR artist who shares their videos with a large online community. Using different techniques specific to this practice, they explore their soothing potential.
By hijacking the classic prohibition of “touching artworks”, Let me relax you by touching works of art is a reaction to the anxiety-provoking context of the pandemic and the closing of exhibitions. The project plays with the constraints imposed by the current situation and puts the body and physical sensations back at the heart of the art experience in a way that is as strange as it is new.
Artists and works presented in the video:
Émilie Brout & Maxime Marion, Return of the Broken Screens, 2015
Gwendal Coulon, I lose followers everyday, ongoing series
Caroline Delieutraz in collaboration with Vincent Kimyon, Trolls Just Want To Have Fun, 2020
Carin Klonowski, HS, 2020 – ongoing
Fabien Mousse, artist created by Raphaël Bastide, Real Internet Art, 2012
Claire Williams, Spectrograms (50°36’35.7″N 3°23’34.3″E), since 2014
http://www.delieutraz.net/je-te-relaxe-asmr
I recommend watching this video with earphones or headphones to get the most out of it.
- Caroline Delieutraz lives and works in Paris, France and is represented by 22.48 m² Gallery. Through her installations, Caroline Delieutraz explores our contemporary consciousness and the modern myths on which our behaviors are based. She plays the role of a baby in a horror film at the age of two. “Delieutraz often begins with an investigation into phenomena that have both online and offline implications, such as the trafficking of an endangered species of live scorpions, the vernacular practices developing on social networks or the emergence of the disturbing figure that is the internet troll. The artist borrows collaborative and DIY culture from the internet but declines to make comment on whether its future is utopian or dystopian. (…)” _Géraldine Miquelot, independent curator