Ballardian House

Jean-Pascal Flavien
September 8 – October 21, 2017
ballardian four, 2015–17
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)
Jean-Pascal Flavien has constructed a life-size house within the exhibition space. Set in the midst of a sandy ground with a number of rocks, the environment evokes a desert. 
 
meeting stones, 2017 (foreground)
Freckle stones
Two rows of small boulders that have been cut in halves recall an archaic meeting place but also incorporate an instance of mirroring. The symmetrical alignment evokes the ancient tradition of associating meaning with found constellations of stones and of marking significant locations by creating pattern from them. 
 

entangled chairs, 2017 (background)
Metal

Nestled together, the two chairs are forever connected, connoting both intimacy and commitment. Jean-Pascal Flavien's altered domestic objects draw attention to the way in which design and architecture shape our experience of space but also how they can more fundamentally determine our experience of ourselves and of others.

 
Photo © Andrea Rossetti
ballardian four, 2015–17
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)
Made of two near identical structures, posed at an angle and apparently held by a central hinge, Ballardian House addresses a notion of doubling, coupling, and splitting. The two parts constitute separate but connected elements: while one section of the house is accessible and may accommodate a living inhabitant, its double is inhabited only by a stone.
 
replaced by words (shower), 2017 (inside the house)
Soft PVC foil, Plexiglas, velcro
The work evokes a utility (a shower), a site (the place of this utility), and a fictional location. The words (taken from J. G. Ballard's texts) are in place of the missing object: "...white teeth, hips drawn in a sleeping smile. The shower now in the bathroom, a soft spatter like distant rain...". 
 
cul-de-sac, 2017 (inside the house)
3D printed lamp, LED light
Combining aspects of a pyramid and a cone, the work is a functioning lamp. Its shape alludes to a conical beam of light emitted yet gives it an apparently solid green form, reversing the orientation.  
 
Photo © Andrea Rossetti
ballardian four, 2015–17
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)
Made of two near identical structures, posed at an angle and apparently held by a central hinge, Ballardian House addresses a notion of doubling, coupling, and splitting. 
 

entangled chairs, 2017 
Metal

Nestled together, the two chairs are forever connected, connoting both intimacy and commitment. Jean-Pascal Flavien's altered domestic objects draw attention to the way in which design and architecture shape our experience of space but also how they can more fundamentally determine our experience of ourselves and of others.

 

meeting stones, 2017 (detail; left)
Freckle stones
Two rows of small boulders that have been cut in halves recall an archaic meeting place but also incorporate an instance of mirroring. The symmetrical alignment evokes the ancient tradition of associating meaning with found constellations of stones and of marking significant locations by creating pattern from them. 
 
Photo © Andrea Rossetti
ballardian four, 2015–17
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)
Made of two near identical structures, posed at an angle and apparently held by a central hinge, Ballardian House addresses a notion of doubling, coupling, and splitting. 
 
meeting stones, 2017 (right)
Freckle stones
Two rows of small boulders that have been cut in halves recall an archaic meeting place but also incorporate an instance of mirroring. The symmetrical alignment evokes the ancient tradition of associating meaning with found constellations of stones and of marking significant locations by creating pattern from them. 
 

replaced by words (horizon), 2017 (on the wall)
Soft PVC foil, Plexiglas, wood

The work evokes a concrete phenomenon (the horizon line), the notion of landscape, and a fictional location. The words (taken from J. G. Ballard's texts) are in place of the missing phenomenon: "...I tried to leave by this last door of the horizon the same queasy perspectives would unravel in front of me...." 

 
Photo © Andrea Rossetti
meeting stones, 2017
Freckle stones
Two rows of small boulders that have been cut in halves recall an archaic meeting place but also incorporate an instance of mirroring. The symmetrical alignment evokes the ancient tradition of associating meaning with found constellations of stones and of marking significant locations by creating pattern from them. 
 
Photo © Andrea Rossetti
ballardian four, 2015–17 
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)

Made of two near identical structures, posed at an angle and apparently held by a central hinge, Ballardian House addresses a notion of doubling, coupling, and splitting.

 
Photo © Andrea Rossetti
ballardian four, 2015–17 
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)

Made of two near identical structures, posed at an angle and apparently held by a central hinge, Ballardian House addresses a notion of doubling, coupling, and splitting.

 
meeting stones, 2017 (background)
Freckle stones
Two rows of small boulders that have been cut in halves recall an archaic meeting place but also incorporate an instance of mirroring. The symmetrical alignment evokes the ancient tradition of associating meaning with found constellations of stones and of marking significant locations by creating pattern from them. 
 
Photo © Andrea Rossetti
ballardian four, 2015–17
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)

Made of two near identical structures, posed at an angle and apparently held by a central hinge, Ballardian House addresses a notion of doubling, coupling, and splitting. The two parts constitute separate but connected elements: while one section of the house is accessible and may accommodate a living inhabitant, its double is inhabited only by a stone.

 
meeting stones, 2017 (left; background)
Freckle stones
Two rows of small boulders that have been cut in halves recall an archaic meeting place but also incorporate an instance of mirroring. The symmetrical alignment evokes the ancient tradition of associating meaning with found constellations of stones and of marking significant locations by creating pattern from them. 
 
Photo © Andrea Rossetti
ballardian four, 2015–17 
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)

Made of two near identical structures, posed at an angle and apparently held by a central hinge, Ballardian House addresses a notion of doubling, coupling, and splitting.The two parts constitute separate but connected elements: while one section of the house is accessible and may accommodate a living inhabitant, its double is inhabited only by a stone.

 

entangled chairs, 2017
Metal

Nestled together, the two chairs are forever connected, connoting both intimacy and commitment. Jean-Pascal Flavien's altered domestic objects draw attention to the way in which design and architecture shape our experience of space but also how they can more fundamentally determine our experience of ourselves and of others.

 

meeting stones, 2017 (left; background)
Freckle stones
Two rows of small boulders that have been cut in halves recall an archaic meeting place but also incorporate an instance of mirroring. The symmetrical alignment evokes the ancient tradition of associating meaning with found constellations of stones and of marking significant locations by creating pattern from them. 
 
Photo © Andrea Rossetti
ballardian four, 2015–17
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)

Made of two near identical structures, posed at an angle and apparently held by a central hinge, Ballardian House addresses a notion of doubling, coupling, and splitting. The two parts constitute separate but connected elements: while one section of the house is accessible and may accommodate a living inhabitant, its double is inhabited only by a stone.

 
Photo © Andrea Rossetti
ballardian four, 2015–17 (detail)
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)
Made of two near identical structures, posed at an angle and apparently held by a central hinge,Ballardian House addresses a notion of doubling, coupling, and splitting.
 
Photo © Andrea Rossetti
ballardian four, 2015–17
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)

Made of two near identical structures, posed at an angle and apparently held by a central hinge, Ballardian House addresses a notion of doubling, coupling, and splitting. The two parts constitute separate but connected elements: while one section of the house is accessible and may accommodate a living inhabitant, its double is inhabited only by a stone.

 
Photo © Andrea Rossetti
ballardian four, 2015–17 
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)

Made of two near identical structures, posed at an angle and apparently held by a central hinge, Ballardian House addresses a notion of doubling, coupling, and splitting. The two parts constitute separate but connected elements: while one section of the house is accessible and may accommodate a living inhabitant, its double is inhabited only by a stone.

 

entangled chairs, 2017
Metal

Nestled together, the two chairs are forever connected, connoting both intimacy and commitment. Jean-Pascal Flavien's altered domestic objects draw attention to the way in which design and architecture shape our experience of space but also how they can more fundamentally determine our experience of ourselves and of others.

 

replaced by words (horizon), 2017 (on the wall)
Soft PVC foil, Plexiglas, wood

The work evokes a concrete phenomenon (the horizon line), the notion of landscape, and a fictional location. The words (taken from J. G. Ballard's texts) are in place of the missing phenomenon: "...I tried to leave by this last door of the horizon the same queasy perspectives would unravel in front of me...." 

 
Photo © Andrea Rossetti
ballardian four, 2015–17
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)

Made of two near identical structures, posed at an angle and apparently held by a central hinge, Ballardian House addresses a notion of doubling, coupling, and splitting. The two parts constitute separate but connected elements: while one section of the house is accessible and may accommodate a living inhabitant, its double is inhabited only by a stone.

 
Photo © Andrea Rossetti
ballardian four, 2015–17
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)

Made of two near identical structures, posed at an angle and apparently held by a central hinge, Ballardian House addresses a notion of doubling, coupling, and splitting. The two parts constitute separate but connected elements: while one section of the house is accessible and may accommodate a living inhabitant, its double is inhabited only by a stone.

 
Photo © Andrea Rossetti
ballardian four, 2015–17
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)

Set in the midst of a sandy ground with a number of rocks, the environment evokes a desert. Made of two near identical structures, posed at an angle and apparently held by a central hinge, Ballardian House addresses a notion of doubling, coupling, and splitting. The two parts constitute separate but connected elements: while one section of the house is accessible and may accommodate a living inhabitant, its double is inhabited only by a stone.

 
meeting stones, 2017 (foreground)
Freckle stones
Two rows of small boulders that have been cut in halves recall an archaic meeting place but also incorporate an instance of mirroring. The symmetrical alignment evokes the ancient tradition of associating meaning with found constellations of stones and of marking significant locations by creating pattern from them. 
 

entangled chairs, 2017 (background)
Metal

Nestled together, the two chairs are forever connected, connoting both intimacy and commitment. Jean-Pascal Flavien's altered domestic objects draw attention to the way in which design and architecture shape our experience of space but also how they can more fundamentally determine our experience of ourselves and of others.

 
Photo © Andrea Rossetti
ballardian four, 2015–17
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)

Made of two near identical structures, posed at an angle and apparently held by a central hinge, Ballardian House addresses a notion of doubling, coupling, and splitting. The two parts constitute separate but connected elements: while one section of the house is accessible and may accommodate a living inhabitant, its double is inhabited only by a stone.

 
Photo © Andrea Rossetti
ballardian four, 2015–17
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)

Made of two near identical structures, posed at an angle and apparently held by a central hinge, Ballardian House addresses a notion of doubling, coupling, and splitting. The two parts constitute separate but connected elements: while one section of the house is accessible and may accommodate a living inhabitant, its double is inhabited only by a stone.

 
cul-de-sac, 2017
3D printed lamp, LED light
Combining aspects of a pyramid and a cone, the work is a functioning lamp. Its shape alludes to a conical beam of light emitted yet gives it an apparently solid green form, reversing the orientation.  
 
replaced by words (shower), 2017
Soft PVC foil, Plexiglas, velcro
The work evokes a utility (a shower), a site (the place of this utility), and a fictional location. The words (taken from J. G. Ballard's texts) are in place of the missing object: "...white teeth, hips drawn in a sleeping smile. The shower now in the bathroom, a soft spatter like distant rain...". 
 
Photo © Andrea Rossetti
ballardian four, 2015–17
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)

Made of two near identical structures, posed at an angle and apparently held by a central hinge, Ballardian House addresses a notion of doubling, coupling, and splitting. The two parts constitute separate but connected elements: while one section of the house is accessible and may accommodate a living inhabitant, its double is inhabited only by a stone.

 
replaced by words (shower), 2017
Soft PVC foil, Plexiglas, velcro
The work evokes a utility (a shower), a site (the place of this utility), and a fictional location. It includes a text passage by J.G. Ballard: "...white teeth, hips drawn in a sleeping smile. The shower now in the bathroom, a soft spatter like distant rain...". 
 
replaced by words (toilet), 2017
Soft PVC foil, Plexiglas, velcro
The words (taken from J. G. Ballard's texts) are in place of the missing object: "...her high-heeled shoes as he dropped dollar bills into the toilet Friday night at the Iroquois...."
 
cul-de-sac, 2017
3D printed lamp, LED light
Combining aspects of a pyramid and a cone, the work is a functioning lamp. Its shape alludes to a conical beam of light emitted yet gives it an apparently solid green form, reversing the orientation.  
 
meeting stones, 2017 (background)
Freckle stones
Two rows of small boulders that have been cut in halves recall an archaic meeting place but also incorporate an instance of mirroring. The symmetrical alignment evokes the ancient tradition of associating meaning with found constellations of stones and of marking significant locations by creating pattern from them. 
 
Photo © Andrea Rossetti
ballardian four, 2015–17
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)

Made of two near identical structures, posed at an angle and apparently held by a central hinge, Ballardian House addresses a notion of doubling, coupling, and splitting. The two parts constitute separate but connected elements: while one section of the house is accessible and may accommodate a living inhabitant, its double is inhabited only by a stone.

 

replaced by words (sink), 2017
PP plastic

The material of the work connotes an an-organic, slightly futuristic aesthetic yet at the same time the bright color gives it a playful, toy-like quality. The everyday elements in Flavien's work function to heighten the spectators’ awareness of the habitual expectations brought to public and to private spaces and to question these categorizations.

 

replaced by words (horizon), 2017 (on the wall outside)
Soft PVC foil, Plexiglas, wood

The work evokes a concrete phenomenon (the horizon line), the notion of landscape, and a fictional location. The words (taken from J. G. Ballard's texts) are in place of the missing phenomenon: "...I tried to leave by this last door of the horizon the same queasy perspectives would unravel in front of me...." 

 
Photo © Andrea Rossetti
ballardian four, 2015–17
Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)

Made of two near identical structures, posed at an angle and apparently held by a central hinge, Ballardian House addresses a notion of doubling, coupling, and splitting. The two parts constitute separate but connected elements: while one section of the house is accessible and may accommodate a living inhabitant, its double is inhabited only by a stone.

 
replaced by words (shower), 2017
Soft PVC foil, Plexiglas, velcro
The work evokes a utility (a shower), a site (the place of this utility), and a fictional location. The words (taken from J. G. Ballard's texts) are in place of the missing object: "...white teeth, hips drawn in a sleeping smile. The shower now in the bathroom, a soft spatter like distant rain...". 
 
Photo © Andrea Rossetti
replaced by words (shower), 2017
Soft PVC foil, Plexiglas, velcro
The work evokes a utility (a shower), a site (the place of this utility), and a fictional location. The words (taken from J. G. Ballard's texts) are in place of the missing object: "...white teeth, hips drawn in a sleeping smile. The shower now in the bathroom, a soft spatter like distant rain...". 
 
Photo © Andrea Rossetti

replaced by words (sink), 2017

PP plastic

The material of the work connotes an an-organic, slightly futuristic aesthetic yet at the same time the bright color gives it a playful, toy-like quality. The everyday elements in Flavien's work function to heighten the spectators’ awareness of the habitual expectations brought to public and to private spaces and to question these categorizations.

 

ballardian four, 2015–17

Plasterboard, glass, metal (house)
Shower curtain, metal rod, camp bed, soft PVC foil, Plexiglas, velcro (inside the house)

Made of two near identical structures, posed at an angle and apparently held by a central hinge, Ballardian House addresses a notion of doubling, coupling, and splitting. 

 
Photo © Andrea Rossetti
cul-de-sac, 2017
3D printed lamp, LED light
Combining aspects of a pyramid and a cone, the work is a functioning lamp. Its shape alludes to a conical beam of light emitted yet gives it an apparently solid green form, reversing the orientation.  
 
Photo © Andrea Rossetti

replaced by words (horizon), 2017
Soft PVC foil, Plexiglas, wood

The work evokes a concrete phenomenon (the horizon line), the notion of landscape, and a fictional location. The words (taken from J. G. Ballard's texts) are in place of the missing phenomenon: "...I tried to leave by this last door of the horizon the same queasy perspectives would unravel in front of me...." 

 
Photo © Andrea Rossetti

replaced by words (horizon), 2017
Soft PVC foil, Plexiglas, wood

The work evokes a concrete phenomenon (the horizon line), the notion of landscape, and a fictional location. The words (taken from J. G. Ballard's texts) are in place of the missing phenomenon: "...I tried to leave by this last door of the horizon the same queasy perspectives would unravel in front of me...." 

 
Photo © Andrea Rossetti

entangled chairs, 2017
Metal

Nestled together, the two chairs are forever connected, connoting both intimacy and commitment. Jean-Pascal Flavien's altered domestic objects draw attention to the way in which design and architecture shape our experience of space but also how they can more fundamentally determine our experience of ourselves and of others.

 
Photo © Andrea Rossetti

Ballardian House

Jean-Pascal Flavien
Opening Reception: September 15, 6 – 9pm
September 8 – October 21, 2017
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Esther Schipper is pleased to announce Ballardian House, Jean-Pascal Flavien's second solo exhibition with the gallery.

 

Jean-Pascal Flavien has constructed a life-sized house within the exhibition space. Set in the midst of a sandy ground with a number of rocks, the environment evokes a desert. Made of two near identical structures, posed at an angle and apparently held by a central hinge, the house, entitled ballardian four, addresses a notion of doubling, coupling, and splitting—processes that continue throughout the exhibition. The two parts constitute separate but connected elements: while one section of the house is accessible and may accommodate a living inhabitant, its double is inhabited only by a stone. The landscape thus enters the building and becomes trapped in this museum-like space: like a vitrine, the closed-off structure holds its contents in a state of being looked at. Building and landscape are contingent, organizing one another in a reciprocal exchange of qualities.

 

Ballardian House creates a concrete setting, while evoking an entire fictional universe. Dissolving demarcation between mental space, built structure and surrounding landscape, Jean-Pascal Flavien's house draws on the writings of J.G. Ballard whose highly charged dystopian scenarios often displace psychological and existential conditions onto buildings and landscapes. The house will include custom-made furnishings, specific to its premise, drawing both on Jean-Pascal Flavien's formal vocabulary and on a condensed Ballardian world. New sculptural works inside the building will also draw on texts: represented by conglomerates of citations from Ballard's writing, these works are neither real nor abstract but exist at once in multiple fictional locations and realities—as if the words were bringing to completion what is not physically present. In addition, the landscape outside the house will include a pair of entangled chairs that echo the house's act of doubling yet also invoke the presence of inhabitants, just as doubling rows of small boulders recall an archaic meeting place but also incorporates an instance of mirroring. The sculptures can appear to shift between states: at times present as discrete objects, at others fusing more resolutely chameleon-like into the fantastic landscape Ballardian House conjures up.

 

Jean-Pascal Flavien’s practice combines elements from architecture, sculpture, and the performative. The artist's houses are based on imaginary settings imposed by the artist and/or requirements determined by function and imagined site. Each house bespeaks certain circumstances (technical, aesthetic and existential) but in turn may also itself produce such conditions. The structures are conceptual entities, representing ideas, locations, and events in which the architectural conditions can determine the behavior of its inhabitants (and vice versa).

 

Jean-Pascal Flavienwas born in 1971 in Le Mans, France. He studied Fine Arts in Rennes, Bologna, Lorient, and participated in the Graduate Program of the University of California, Los Angeles. The artist lives and works in Berlin.

 

Flavien’s recent solo exhibitions include: dancers sleeping inside a building, Les Ateliers de Rennes – Biennale d’Art Contemporain, Musée de la Danse, Rennes (2016); folding house (to be continued), NMNM – Nouveau Musée National de Monaco (2016); folding house, NMNM – Nouveau Musée National de Monaco (2015); statement house (temporary title), RCA, London (2015); night house at daytime, textes de nuit, Angle Art Contemporain, Saint-Paul-Trois-Châteaux (2013); Cinonema, no drama cinema, South London Gallery, London (2012); breathing house, la maison respire, Parc Saint Léger, Centre d’art contemporain, Pougues-les-Eaux (2012); Jean-Pascal Flavien, Kunstverein, Langenhagen (2012), and PLAY, HEDAH/Jan van Eyck Academie, Maastricht (2011).

 

Recent group exhibitions include: The Way We Perform Now, Ujazdowski Castle – Centre for Contemporary Art, Warsaw (2017); Meeting Points 8, Beirut Art Center, Beirut (2017); Variable Dimensions – Artists and Architecture, MAAT, Lisbon (2017); The House of Dust by Alison Knowles, The James Gallery, New York (2016); Jump, CAC Brétigny – Centre d’Art Contemporain, Brétigny-sur-Orge (2016); L’Esprit du Bauhaus, Musée des Arts décoratifs, Paris (2016); De toi à la surface, Le Plateau – FRAC Ile-de-France, Paris (2016); La collection des objets que l’on utilise sans les toucher, CNEAI, Chatou (2015); All that falls, Palais de Tokyo, Paris (2014); Was Modelle können, Museum für Gegenwartskunst Siegen (2014).

 

The life-sized project folding house (to be continued) was acquired for the collection of the NMNM – Nouveau Musée National de Monaco and inaugurated in July 2016 on the museum’s outside terrace.

 

In November 2017, the Heidelberger Kunstverein will present the artist's it says (twitter house). Also in November, at the Marta Herford Museum for Art, Architecture, Design in Herford, Jean-Pascal Flavien will exhibit his statement house, first built in London at the Royal College of Art in 2015.

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