plots & notes for an institutional comedy
Suzanne Lafont’s exhibition presents a series of new works using the image as a research material.
The artist explores different sources of visual production, notably using artificial intelligence.
She is interested in forms derived from dialogue, linking the exchange of ideas to movement, here specifically questioning the notion of the cultural institution.
The exhibition in the CCC OD Black Gallery follows the trajectory of her recent projects, acting as a complementary opus to the artist’s overall body of work.
This occurrence is structured around three installations:
- The 6 slideshow screens Plots
- The 15 light tables Notes for an Institutional Comedy, featuring a fictitious dialogue between two art institutions, an art school and a museum (all generated by artificial intelligence)
- The Indexes, image-data reservoirs projected regularly in the auditorium adjacent to the Black Gallery
A publication, in the format of a folded leaflet, extends the exhibition. It includes an interview between Suzanne Lafont and Sabeth Buchmann.
Sabeth Buchmann is an art historian and critic. She teaches modern and postmodern art history at the Academy of Fine Arts, Vienna. She is a member of the editorial board of the journal Texte zur Kunst. Her recent publications include Kunst als Infrastruktur (2022), Broken Relations: Infrastructure, Aesthetic, and Critique (edited volume, 2022), and Putting Rehearsals to the Test. Practices of Rehearsal in Fine Arts, Film, Theater, Theory, and Politics (edited volume, 2016).
30 x 15 cm (folded) / 30 x 100 cm (unfolded)
Graphic design: Saskia Gevaert / Suzanne Lafont
With the support of the Centre Photographique d’Île-de-France (CPIF)
The publication is available at the CCC OD bookstore
suzanne lafont
Suzanne Lafont (born in Nîmes, 1949) lives and works in Paris and Brussels.
She turned to the visual arts after an academic background in literature and philosophy, which led her to focus on language and its situational use.
The artist’s project develops within an expanded field of photography, incorporating elements of theater, performance, cinema, and literature.
Her photographic work initially relies on the participation of model-performers and focuses on the depiction of time and movement in the still image. Later works incorporate language and non-human figures. Her most recent works examine institutional infrastructures.
Suzanne Lafont participated in Documenta 9 and 10 (Kassel, 1992, 1997). She has exhibited at the Jeu de Paume (Paris, 1992), MoMA (New York, 1992), Pinacoteca do Estado (São Paulo, 2005), and Mudam (Musée d’Art Moderne Grand-Duc Jean, Luxembourg, 2011). A solo exhibition was devoted to her work at Carré d’art (Nîmes) in 2015.
Suzanne Lafont’s exhibition presents a series of new works using the image as a research material.
The artist explores different sources of visual production, notably using artificial intelligence.
She is interested in forms derived from dialogue, linking the exchange of ideas to movement, here specifically questioning the notion of the cultural institution.
The exhibition in the CCC OD Black Gallery follows the trajectory of her recent projects, acting as a complementary opus to the artist’s overall body of work.
This occurrence is structured around three installations:
- The 6 slideshow screens Plots
- The 15 light tables Notes for an Institutional Comedy, featuring a fictitious dialogue between two art institutions, an art school and a museum (all generated by artificial intelligence)
- The Indexes, image-data reservoirs projected regularly in the auditorium adjacent to the Black Gallery
A publication, in the format of a folded leaflet, extends the exhibition. It includes an interview between Suzanne Lafont and Sabeth Buchmann.
Sabeth Buchmann is an art historian and critic. She teaches modern and postmodern art history at the Academy of Fine Arts, Vienna. She is a member of the editorial board of the journal Texte zur Kunst. Her recent publications include Kunst als Infrastruktur (2022), Broken Relations: Infrastructure, Aesthetic, and Critique (edited volume, 2022), and Putting Rehearsals to the Test. Practices of Rehearsal in Fine Arts, Film, Theater, Theory, and Politics (edited volume, 2016).
30 x 15 cm (folded) / 30 x 100 cm (unfolded)
Graphic design: Saskia Gevaert / Suzanne Lafont
With the support of the Centre Photographique d’Île-de-France (CPIF)
The publication is available at the CCC OD bookstore
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