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1 PRINZESSINNENSTRASSE BERLIN TEL FAX INFO@KLEMMS - BERLIN.COM - BERLIN.COM

2 Strike a Pose (1), 2014, dark blue leather glove, cigarette, clay 18 x 8 x 8 cm; brushed aluminium shelf 60 x 11 x 10 cm; exhibition view Adult, Island, Brussels 2016

3 Pretty Pimpin, 2016, green/orange leather glove, clay, coin, 14 x 9,5 x 8 cm; brushed aluminium shelf, 30 x 11 x 10 cm; exhibition view Adult, Island, Brussels 2016

detail Pretty Pimpin, 2016, green/orange leather glove, clay,

4 Strike a Pose (1), 2014, dark blue leather glove, cigarette, clay 18 x 8 x 8 cm; brushed aluminium shelf 60 x 11 x 10 cm, detail Pretty Pimpin, 2016, green/orange leather glove, clay, coin, 14 x 9,5 x 8 cm; brushed aluminium shelf, 30 x 11 x 10 cm; detail

5 Sticky (blue), 2014; Sticky (golden), 2016; Sticky (green/orange), 2016; paint, leather glove, clay; exhibition view Adult, Island, Brussels 2016

6 Le voyeur, 2014, dark green painted leather glove, clay, 15 x 9 x 5 cm; brushed aluminium shelf, 16 x 21 x 10 cm; exhibition view Adult, Island, Brussels 2016

7 Desire, 2016, painted red leather glove, clay, small wig, 21 x 8 x 5 cm; brushed aluminium shelf, 30 x 11 x 10 cm; exhibition view Adult, Island, Brussels 2016

8 Apodyopsis (the mental undressing of a person), 2014, 5 pairs of heels, acrylic paint, varnish, dimensions variable; exhibition view: Zodiaco curated by Davide Bertocchi, Hopstreet Gallery, Brussels, 2015

She would have wanted to see them, she would have consented to see everything. And you, do you believe in ghosts? If I believe in ghosts? Absolutely. Now, absolutely.

9 She would have wanted to see them, she would have consented to see everything. And you, do you believe in ghosts? If I believe in ghosts? Absolutely. Now, absolutely. As soon as someone asks me to play my proper role, paradoxically instead of playing my own role, I let a ghost take my place. Could you describe this scene? Yes. [ Silence] Yes. Do you have a secret? Yes, less and less. Who is this character? Ophélia, 2015, Interview, wig, office chair; installtion view

10 A body double. An object. A personal object. When have you imagined, met, seen this character? [Silence] She was in her role, her own role. She didn t unburden herself. She said: Who are you? And you, who are you, you? It is not the question that will make her answer. Can be. The voices were watching her. [Silence] She asks, she asks : What haunts your imagination? Answer: The pure memory, the one that saves your entire life. The one that does not participate in the show of consciousness. She also says: Most trips are fake travels, the genuine ones are domestic, interior. She said: I wake up late. Tobacco, supplies, press reviews, coffee. Then I take the place of the cat. Wasting time, her time, it took her two, three hours. She worked for her own self. She archives her desires. Have you ever been afraid to be confused for someone else? She said: Everything is bearable with a return ticket. Love, dreams, are all illusions. She drawn close to her character. She said: To be close to reality, fiction, we must create fiction, don t we?! [Silence] She gave the illusion of doing it for the first time, though she had rehearsed. She was staring at someone, motionless, arms along the body. She said: The jouissance comes from a long strained silence. She had just left her character. No one wondered if it was real, her subconscious was driving her actions. [Silence] The stage was in sight, her text knew how to live without her. She begins all over, again and again. She left her face nailed in the locker room, she said: There are as many Ophelias as Ophelia readers. Have you ever noticed it?

11 Smokers, 2016, fabric-backed box, acrylic paint, 19,5 x 10 x 3,5 cm; exhibition view Adult, Island, Brussels 2016

12 The Vanishing Lady, exhibition view at Klemm s, Berlin 2017

battlefield, in fits of laughter, in front of an already evaporated silhouette protected by the glass.

13 Is it a trick? When the streets, passages and corridors are engorged with men wearing bowler hats and tweed jackets, all clustered in small grapes, exchanging loudly with the fervor of soldiers returning from the battlefield, in fits of laughter, in front of an already evaporated silhouette protected by the glass. We are at the end of the 19th century and Lyman Frank Baum, the beloved author of The Wonderful Wizard of Oz invents The Vanishing Lady. A model of bones and flesh appears and reappears in the window display, adorned with constantly renewed outfits. Boundary. Provoking disruption, displacements and drawing the eye, it pushes the curious ones to look again. Look again. Window-display is an art, not the fallacious kind. The ritual is more nefarious and esoteric; its mesmerizing effect is attracting a crowd of onlookers ready to do anything to interfere in this world. Reminiscences of Valentine Hugo s erotic objects, the sculptures are enacting a sibylline choreography as if to invoke some unknown telemic divinity escaped from an occult encyclopedia. Desire, boredom, violence, greed, and power, are alternatively evoked by crossing fingers, and replayed daily as condemned to a Sisyphean destiny. Like reptiles, their skins are capable of infinite regeneration. They are ephemeral embraces, desiring shells with volatile expectations. From their extremities, the praying bodies have vanished, reducing this landscape of gloves to a thick mist of hieratic signs. In this dismembered world, in which language breaks up at a dizzying speed, the visitor penetrates a haze where forbidden gestures are perpetrated. Due to general demand, leather carcasses exhibit their intimacies, non-heroic in terms of contemporary standards but Herculean in their suggestions. Shopping is the unfailing union between magic and fashion. An exhilarating experience where one touches, projects, and raises the gaze in an air-conditioned bubble of 72 Fahrenheit, the optimum temperature to generate fantasy. Thanks to the Gruen transfer, a metabolic symptom named after the father of the architecture of shopping malls, Victor Gruen, the act of purchase allows access to an altered state. Shopping malls are architecturally scripted so as to disorient the consumer. Windows and exits are missing. Only an artificial remnant skylight guaranties that one does not feel as trapped as he could be. As the visitor walks through the galleries of this Babylonian dream his step is becoming heavier, his jaw goes limp and his senses dizzier. In this space where vision is degraded, Cartesian laws of perspective are no longer valid. One evolves randomly, like a puppet, between abstracted volumes and seductive signs. When one looks up, as if to confront the architect who pulls the strings, our eye confronts the inaudible truth: there is no master but only hands. Take my hand and don t ask why. Follow me in an iridescent world where the folded faces dissolve, silk veils fly away as far as the white horizon reaches, wrapping surfaces, and able to regenerate. Boundary. You are a youthful beauty, full of zeal and blood, disappearing and reappearing, bewitching and caressing. Yes, it is indeed a trick. The Vanishing Lady, exhibition view at Klemm s, Berlin 2017

14 The Vanishing Lady, exhibition view at Klemm s, Berlin 2017

15 Take me for a drink, 2016, rain coat, variable dimensions The flesh for the orchid, 2014, poneytail, hanger

16 You will see the cat before your leave, 2014, MDF, canvas, shirs, collars, sweat-shirts, curtain, peacock feathers, leather glove, clay, magazine, acrylic paint, neons, dimensions variable; installation view La Ferme du Buisson, Paris, France

17 Strip (act one), 2014, sweatshirt, courtain, acrylic paint, dimensions variable

leather glove, clay, magazine, acrylic paint, neons,

18 You will see the cat before your leave, 2014, MDF, canvas, shirs, collars, sweat-shirts, curtain, peacock feathers, leather glove, clay, magazine, acrylic paint, neons, dimensions variable; installation view La Ferme du Buisson, Paris, France

19 You will see the cat before your leave, 2014, MDF, canvas, shirs, collars, sweat-shirts, curtain, peacock feathers, leather glove, clay, magazine, acrylic paint, neons, dimensions variable; installation view La Ferme du Buisson, Paris, France

20 exhibition view of It s all the gold that I have, 2014 at Klemm s, Berlin; left: A picture in mind, 2014, sweatshirt, clay, magazine, acrylic paint, chipboard shelf, 115 x 103 x 16 cm

21 The Third Party, 2014, video 4:32 min., colour, stereo, edition 5

22 exhibition view of Les actions silencieuses at FRAC Champagne-Ardenne, 2013

23 exhibition view of Les actions silencieuses at FRAC Champagne-Ardenne, 2013

24 exhibition view of Les actions silencieuses at FRAC Champagne-Ardenne, 2013

25 La Doublure, 2013, half of a jacket, coq neck feathers, clay, wooden, 72 x 23 cm

26 When have you imagined, met, reseen this character?, 2014, fur coat, tape, 99 x 80 x 18 cm

27 exhibition view of Vous arrivez trop tard - Cérémonie at Les Églises centre d art contemporain de la Ville de Chelles, Chelles, 2012

28 exhibition view of Vous arrivez trop tard - Cérémonie at Les Églises centre d art contemporain de la Ville de Chelles, Chelles, 2012

29 Élément de cérémonie no3, 2012, pedestal 30 x 30 cm x 1 m, lamb leather, black ribbon, spray paint

30 Élément de cérémonie no 5, 2012, 2 vintage wooden books end, 2 glued back to back vintage photographies

31 Élément de cérémonie no 6, 2012, mirror barber of three sheets, barenia leather, cartons

32 Élément de cérémonie no 2, 2012, three vinatge chairs, wooden stage, 300 x 400 x 20 cm, pedestral, 30 x 30 x 100 cm, fold print

33 La répétition, 2012, 16mm Film, loop, black & white, stereo; music: Pierre-Yves Macé, Dialektisches bild (extract), Passagenweg, Brocoli, ed AP

34 Vous arrivez trop tard Cérémonie GOMME n. 03 Élément de cérémonie no1, 2012, 3 blacked out novels of The House of Rendez-vous by Alain Robbe-Grillet, Minuit Editions

35 Molding my hand thinking about a new piece, 2013, vintage bedside 57,7 x 40,4 x 35,7 cm, clay 5,5 x 12 x 8,5 cm

36 Handlung 2011, screens in wood, pedestal, plexiglas, print, 250 x 170 cm each; here: performance Anodyne, activation of the installation during the opening of the exhibition Von A nach B, von B nach P at LeConfort Moderne, Poitiers on April 18, 2011

37 L acmé, 2012, fabric, 4 x 3 m, performance, costume

38 La Jalousie, 2010, 9 plywood planks, 250 x 150 cm each

39 Giselle, 2012, handcrafted leather, steelframe.180 x 290 x 45 cm

40 Giselle, 2012, detail

41 exhibition view of Evocateur Prix Fondation Ricard, Paris 2012

42 Giselle #6, #1, #7, 2012, found photographs on carton, framed, each 31,5 x 25,5 x 3 cm

43 Untitled, 2009, lambda print, felt, framed, 41,5 x 41,5 cm

44 Marathon #1+ #2, 2009, print on silver paper, felt, framed, each 25 x 25 cm

45 Live Performance, 2012, vintage photography, felt, framed, 21 x 27 cm, ed. 1+1 a.p.

46 Slow Dance, 2013, wood, flipbook, unique, 30 x 25 cm

47 Marathon #1+ #2, 2009, print on silver paper, felt, framed, each 25 x 25 cm

48 WE ARE NOT RSEPNOSBLIE FOR ANY DMAAGE WE CNANOT ACECPT ANY RESOPNSBIILITY IT'S LKIE RNUNNIG ITNO AN OLD GRIL FIREND Misunderstanding (damage), 2012, poster, 80 x 60 cm, ed. of 50

49 Biography 1980 born in Noisy Le Grand, France 2001 Master 1 with honors, PARIS 8 University Paris, FR 3rd year, Iceland Academy of Arts of Reykjavik, IS 2002 Post-diploma ARI, École nationale supérieure des Arts Décoratif, FR Master of advanced studies (Art & Aesthetic) with honors, PARIS 8 University Paris, FR DNSAP with honors, Ecole Nationale Supérieure des Beaux Arts de Paris, FR studio of Claude Closky & Jean-Luc Vilmouth ENSBA, Ecole Nationale Supérieure des Beaux Arts de Paris, FR; student of Christian Bernard Awards 2014 Special Prize of the jury AICA th Ricard Prize Nominee, Paris, FR 2010 The Audi Talents Award, FR Residencies 2012 Hermès Foundation Residencv. Paris, FR 2011 Flacc Residency, Genk, BE 2008 La Box Residency, Bourges, FR Pavillon Neuflize OBC research lab; Palais de Tokyo, Paris, FR Catalogue 2013, FRAC Champagne-Ardenne, Reims Exhibitions (selection) 2017 The Vanishing Lady, KLEMM S, Berlin, DE (s) / Back to Mulholland Drive, curated by Nicolas Bourriaud, La Panacée, Montepellier, FR / An exhibition of a dream, Fondation Calouste Gulbenkian, Paris, FR / Tainted love, Confort Moderne, Poitiers, FR / L amie de mon amie, Galerie des Multiples, Paris, FR / Zodiaco, Samy Abraham gallery, Paris, FR 2016 Duplify, Kate Werble gallery, New York, US / Happy Ending, Reims, France / Turpentine IV, Samy Abraham gallery, Paris, FR / Adult, Island, Brussels, BE (s) / Zodiaco, Hopstreet Gallery, Brussels, BE; Klemm s, Berlin, DE / Dance Dance Dance, Villa Paloma, Monaco, MC / Nuit Blanche Monaco 2016, curated by Jörg Heiser, Cristina Ricupero, Leonardo Bigazzi, Monaco, MC / Sweetie, No Conformism, Lausanne, FR (s) 2015 mon horizontalité, untilthen, St. Ouen, FR / Disappearing acts, LIAF, Lofoten, NO / The Third Party, Double Feature program, Schirn Museum, Frankfurt, DE (s) / Now, At The Latest. Videos und andere Sehenswürdigkeiten aus der EVN Sammlung, Kunsthalle Krems, Vienna, AT / PLAYTIME, 9800 S Sepulveda, Los Angeles, USA 2014 It s all the gold which I have, Klemm s Gallery, Berlin, DE (s) / Un chat est un chat, Performance, Musée de la chasse, Paris, FR (s) / Lives of Performers, La Ferme du Buisson, Noisiel, FR / Simples Gestes, Christallerie de Saint Louis, FR / Arche Noah - Tier und Mensch in der Kunst der Moderne bis zur Gegenwart, Museum Ostwall, Dortmund, DE / 30/60 works from the collection of the frac champagneardenne, Museo Marino Marini, Florence, IT / Thinking Things, curated by Frances Loeffler, CGP and Dilston Grove gallery, London, UK / L embarras, Toves, Copenhagen, DK / The Crime Was Almost Perfect, Witte de With, Rotterdam, NL / The Office Life, Prospective Cinéma, Pompidou Center - NMAM, FR 2013 Les actions silencieuses, Frac Champagne Ardenne, Reims, FR (s) / Hold-Repeat-Pause, Badischer Kunstverein, Karlsruhe, DE (duo) / Le mouvement des choses, La Ménagerie de verre, Paris, FR / The Black Moon, Palais de Tokyo, Paris, FR / Hold, Repeat, Pause, curated by Nadja Quante, duo show with Hanna Schwatz, Badischer Kunstverein, Karlsruhe, D E 2012 Giselle, Klemm s, Berlin, DE (s) / Vous arrivez trop tard, Les églises, Chelles, FR (s) / Evocator, 14th Ricard Foundation Prize, Paris, FR / This & There, Fondation d Entreprise Ricard, Paris, FR 2011 Glue your Eyelids together, Klemm s, Berlin, DE (s) / Davon Loch, Zoo Galerie, Nantes, FR (s) / La Hantise, Galerie Lucile Corty, Paris, France (s) / Mystery Initiation, Fondation Cartier pour l art contemporain, Paris, FR / De B à P, Confort Moderne, Poitiers, FR / So Schön..., curated by Sara Stehr & Elke Gruhn, Nassauischer Kunstverein Wiesbaden, Wiesbaden, DE / Shoot! Existential photography, curated by Clément Chéroux, C/O Berlin, Berlin, DE 2010 Comme on fait disparaître les miroirs, Palais de Tokyo, Module, Paris, France (s) / XXIe siècle Prospective, Frac Ile de France, Paris, FR / Von A nach B, Bielefeld Kunstverein, DE / Bild für Bild Collection of Centre Pompidou, Museum am Ostwalt, Dortmund, DE / Shoot! Fotos schießen, Museum für photographie, Braunschweig, DE 2009 L ordinaire de la multitude, Galerie Lucile Corty, Paris, FR / Beau Window #3, Confort Moderne, Poitiers, FR (s) / Silent Post, Pavement Gallery, Manchester, GB 2008 Animals can t laugh, Casino Luxembourg, LU (s) / La Reprise, galerie Lucile Corty, Paris, FR (s) / Un seul cil dans l oeil suffit à gacher le paysage, Sox, Berlin, DE (s) / Ex-Voto: Dans l art contemporain, Centre des monuments nationaux / Palais du Tau, Reims, FR 2007 À l oral, curated by Le Bureau, Kadist Art Foundation, Paris (FR) In Pompidou Center, with Pavel Althamer, Centre Pompidou, Paris, FR / L usage du monde, Museum of Modern and Contemporary Art, Rijeka, HRV / Attentifs Ensemble, Attitudes, Geneva, CH / Radio Kills the Video Stars, FRAC Champagne Ardenne, Reims, FR

The Vanishing lady. Klemm s Berlin, 2017 & presented in group show Rehearsal, Tai Kwun Contemporary, Hong Kong, 2018.

The Vanishing lady. Klemm s Berlin, 2017 & presented in group show Rehearsal, Tai Kwun Contemporary, Hong Kong, 2018. Emilie Pitoiset The Vanishing lady Klemm s Berlin, 2017 & presented in group show Rehearsal, Tai Kwun Contemporary, Hong Kong, 2018. The Vanishing Lady, the eponymous title of the famous magic trick that