March 15 > 30 | Galerie Claire Gastaud | 5/7 rue du Terrail
Free access (Tuesday > Saturday) 2 pm > 7 pm
Projections and video installations
A proposal by Galerie Claire Gastaud
The Claire Gastaud Gallery presents a series of projections and video installations by Delphine Gigoux Martin.
Delphine Gigoux-Martin creates her cartoons frame by frame, at a rate of twelve per second. His animated charcoals, take up the central theme of his work, the question of nature and animality. A first room will immerse us in a moving octopus aquarium, hypnotizing us. In a second space, video installations of animals locked in crates will respond to his large charcoals and inks on paper.
Delphine Gigoux-Martin – Born in 1972, lives and works in Durtol (Puy-de-Dôme)
Delphine Gigoux-martin’s artistic work takes the form of installations, drawings, videos and sculptures where questions of nature and animality are very present. In 2013, as part of a CNAP research grant, she made a trip to Brazil where she discovered rituals and social stories related to animals… In 2014, she collaborated with chef Yves Camdeborde for a performance-dinner at the Musée de la Chasse in Paris, where she staged a meal served in a bull’s carcass, the latter being a receptacle filled with food, which was discovered when the chef removed the animal’s back. In 2016, it rehabilitated the fountain at the Monastery of Ségriès, in the Alpes-de-Haute-Provence, as part of the New Sponsors program mandated by the Fondation de France, a project that develops a dreamlike marine collection designed in porcelain. In 2017, she participated in the exhibition Herstory, archives at the time of postfeminists, interviews filmed at the Maison des arts, a contemporary art centre in Malakoff. That same year, it joined the Documents d’artistes5 network in Auvergne-Rhône-Alpes. In 2018, she was awarded the “Découvert à Arles” prize. These works are present in many public collections, FRAC, Languedoc Roussillon, Les Abattoirs, FRAC Midi-Pyrénées, FRAC Auvergne, Bibliothèque Nationale de Luxembourg, Bibliothèque Centrale de Strasbourg, CNAP, Paris.
“Art traditionally uses animal figures to talk about man, whose image they reflect like distorting mirrors. This is nothing like it. While the animals in Delphine Gigoux-Martin’s works do have a narrative function, they are however not meant to stand in for us, thus establishing a barrier between us and them, preventing us from becoming emotionally involved. Contrary to the work of most contemporary artists, the animal is not there to trigger empathy. Must we therefore regard Delphine Gigoux-Martin’s fictions as purposeless tales, as fables devoid of morality? By systematically combining various techniques of expression, the artist offers a new development of the process of collage, which was very popular with early 20th-century artists.”
Extract from the Preface of Claude d’Anthenaise, 2011
Published in the monographic catalog Mémoires minuscules, éditions Lienart, Paris, 2011