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Documentation d'artistes diplômés de l'EESAB, 2013 - 2018

Fanny Gicquel

MÀJ 23-08-2022

now, and then, 2022

now, and then, 2022, installation-performance, 3 hours
Solo show Hua International Gallery, Beijing
co-choreographer: Mengfan Wang
performers: Shuyi Liao, Dan Qian, Sihan Cai, Ryotaro Harada
composer: Delawhere
Picture: © Haiyang © Malo Legrand
Video: Zhang Shengbin

The titles refer to several concepts: the elements (Chinese), the body, time and space.


battre les ailes d'un sentiment tiède
contre ta langue
a glass belly
le montre derrière soi
an insecure hand
live as close as possible to each other
plain pleasure
Elle rentre la tête dans sa cage (H.G)
a split, again
the skin from others/one arm
the skin from others/ one arm
the skin from others/the half
the skin from others/the dreamer
the skin from others/the quiet
the skin from others/the walker
the little lost planets
UTC +2 (night)
UTC +8 (day)
light from the sea-tears of mermaids
four hours (M)
infinite score
a painting_yellow
a slow dance_black
a landscape_green
a slippery poem_brown
a space _pink
a flying sculpture_beige
a sticky skin-silver
Becoming a hut
no place to come
in a pocket
open home
passing in its head
the straps n°1-2
what your hand is telling me
imagination exercise
sensitive surface: thermotactile
sensitive surface: parrafin
sensitive surface: soap


Fanny Gicquel primarily works in sculpture and installation, typically incorporating her artworks into non-hierarchal choreographed performances that address ephemerality, fragility, and the inherent plurality of the self. A kind of porosity between the self and the other, interior and exterior, human and non-human has come to define Gicquel’s work, which imagines the world less as a space of discrete, partitioned entities than as a dynamic constellation of interminglings, crossovers, and interferences. In now, and then, Gicquel’s second exhibition with Hua International and her first in China, she presents a series of new sculptural works and performances amidst a soundscape composed by the musician Delawhere, which was composed in close dialogue and resonance with Gicquel’s sculptures. Sourced from recordings he made in public space, the sounds are transformed through processes of slowing down, layering, and multiplying to create an autonomous environment in perfect harmony with Gicquel’s sculptures.

Inspired by the Japanese concepts of Ma and Wabi-Sabi—which respectively gesture towards the distance between things and moments and the beauty of the imperfect, impermanent, or incomplete—Gicquel creates constellations of intimate objects and gestures in the exhibition space that exist in a dynamic state of becoming. The art historian Michael Lucken describes the concept of Ma as “an interval that is both moving and sacred between two signs.” This fluctuating synergy between objects and moments plays out in Gicquel’s flexible spatial choreographies: many of the objects included in the exhibition have several ways of being presented and means of relating to one another. They unfold in variations of performative and choreographic gestures that imply an inhabitation and domestication of space such as making, undoing, placing, stretching, or folding. Made from mutable materials like paraffin, soap, and thermosensitive paint, the series Sensitive Surfaces appears monochromatic and monolithic on first glance yet the gestures made by performers leave traces that last for an instant or linger forever. A series of small-scale sculptures that subjectively respond to the Wuxing elements are worn and activated exclusively on the hand through a related set of gestures—“choreographic miniatures”—that relate to the element that inspired the sculpture. The constant flow of movement and flux carries into the objects that the subtle performances unfold with and through: thermotactile painting functions as a portal between worlds, words appear and disappear in multi-lingual anagrams and palindromes, glass vessels are activated by human breath and smoke. As Gicquel herself notes of her works, “they are all active, changing, escaping a definitive form to highlight the impermanence of things around us and to testify to the fragility and multiplicity of the world.” Jesi Khadivi

Musical Composition: Delawhere- now, and then