October 6, 2015 - Casino Luxembourg – Forum d’art contemporain - Élodie Lesourd
October 6, 2015

Élodie Lesourd

Installation view of Élodie Lesourd, The Oracular Illusion, at Casino Luxembourg – Forum d’art contemporain, 2015. From left to right: (1) Riley Series: Nevermind the Bollocks, 2007. Acrylic on wooden panel. (2) Ornement et crime (Hvis Lyset Tar Oss), 2011. Cut group t-shirt, epoxy resin. (3) Inner (Black Metal), 2008. PU painting on steel. (4) Mi La Ré Sol Lewitt, 2007. Wallpainting, in-situ installation. Photo: Andres Lejona.

Élodie Lesourd
The Oracular Illusion

26 September 2015–3 January 2016

Casino Luxembourg – Forum d’art contemporain
41, rue Notre-Dame 
L – 2240 Luxembourg 

T +352 22 50 45   
info [​at​] casino-luxembourg.lu

www.casino-luxembourg.lu

Curator: Kevin Muhlen

Scrutinizing points of contact between art and music, interpreting myths spawned by rock or underground culture, manipulating its codes and symbols: these operations recur like leitmotifs in the art and artistic journey of Élodie Lesourd (born 1978; lives and works in Paris). Casino Luxembourg – Forum d’art contemporain is presenting the solo exhibition The Oracular Illusion from September 26, 2015 to January 3, 2016.

Élodie Lesourd uses the back-and-forth movement between art and music to develop an ontological and aesthetic reflection on each of these mediums in a dual body of work. On the one hand, it plays out in a sort of neo-conceptual approach, a means for the artist to analyze the references to rock culture through the prism of art history or with semiotic play. This can mean connecting the extremities of Norwegian black metal band logos to reveal them as mystical pentagrams, reinterpreting cult band album covers in abstract compositions, or adopting the punk DIY ethos to transform the features of the musical style (e.g., T-shirts stripped of their band logos, guitar picks assembled in the form of a flag). On the other hand, hyperrockalism, a concept invented by Élodie Lesourd, is based on the hyperrealistic reproduction of photographs of installations by other artists who reference rock. Following its rules, she works freehand to fully reproduce the photographs as paintings.

At first glance, the two approaches seem to be worlds apart: the aesthetically pleasing, flamboyantly colourful hyperrockalism stands in sharp contrast to the abstraction and muted chromatics of its more semiological counterpart. At Casino Luxembourg, Élodie Lesourd offers an atmospheric journey through this twofold yet cohesive world, where the links between the musical and visual realms by turns overtly reveal themselves or hide from view, as if to be better heard.

In the paintings of the “hyperrockalism” series, which introduce and lend rhythm to the show, the artist works within a certain protocol but with free reign (albeit relative freedom, since it is limited to choosing the photographs). The overall portrayal, fragmentation or disappearance of the original work reflects choices made by the photographers, which Élodie Lesourd then transcribes in paint. Her action challenges the sovereignty of the installation’s creator, calling into question the status of the work and its archiving. 

As the visit continues through the Casino Luxembourg galleries, the works extend beyond their frames and the exhibition becomes a composition in its own right. A wall drawing inspired by Sol Lewitt serves as a tablature for works suspended there like musical notes before turning into a new reference, this time to Frank Stella. Further on, hyperrockalist paintings hanging face to face find extension in the flat colour fields of the surrounding walls, which gradually converge to form new shades, playing on the relationship of power between the work and its support, between colour and subject matter. Next, visitors are confronted with leather strips that hamper their view and movement, creating a complex web or, once again, a mise en abyme of the visual and conceptual references orchestrated by the artist throughout the exhibition.

The exhibition offers an opportunity to see music, or at least to read it through the works’ titles, but it is also punctuated by phantom apparitions akin to ghost tracks—pieces of music that emerge at the end of an album only after minutes of silence. From philosophy to the notion of sacred to mysticism, from popular culture to abstraction, and vice versa, the rich play of contrasting references makes for a fascinating visit.

With the support of Institut Français, Luxembourg

Press contact: presse [​at​] casino-luxembourg.lu

Élodie Lesourd at Casino Luxembourg – Forum d’art contemporain
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