A U R E L I E   B E L A I R
WORK
TEXT
CV
CONTACT
STATE OF (A.E.I.O.U.Y), 2015 (detail)
Installation view
SMOOTH BOULDER, 2014 (detail)
Pigment, spray paint, pastel, acrylic on paper
140 x 170 cm / 56 x 68 in
IT’S BORING !, 2014 NINEBIRTHMARK, 2014
Installation view
IT’S BORING !, 2014 (detail)
Pigment, spray paint, pastel, acrylic on paper
150 x 203 cm / 60 x 81 in
SPEECH LESS, 2015
Installation view
VOCABULARY - G , 2014
Studio view
VOCABULARY - F, 2014
Studio view
MAYBE THE NEXT ONE, 2014
Studio view
jQuery Carousel


STATE OF (A.E.I.O.U.Y), 2015 (installation view)
Pigment & acrylic or spray paint on canvas / Ink on linen canvas (wood frame)
Installation of 9 x (2 x (50 x 40 cm) / 9 x (2 x (20 x 16 in)


STATE OF (A.E.I.O.U.Y) #A, 2015
Pigment & acrylic on canvas / Ink on linen canvas (wood frame)
2 x (50 x 40 cm) / 2 x (20 x 16 in)


STATE OF (A.E.I.O.U.Y) #E, 2015
Pigment & spray paint on canvas / Ink on linen canvas (wood frame)
2 x (50 x 40 cm) / 2 x (20 x 16 in)


STATE OF (A.E.I.O.U.Y) #I, 2015
Pigment & spray paint on canvas / Ink on linen canvas (wood frame)
2 x (50 x 40 cm) / 2 x (20 x 16 in)


STATE OF (A.E.I.O.U.Y) #O, 2015
Pigment & spray paint on canvas / Ink on linen canvas (wood frame)
2 x (50 x 40 cm) / 2 x (20 x 16 in)


STATE OF (A.E.I.O.U.Y) #O, 2015 (detail)
Pigment & spray paint on canvas / Ink on linen canvas (wood frame)
2 x (50 x 40 cm) / 2 x (20 x 16 in)


STATE OF (A.E.I.O.U.Y) #U, 2015
Pigment & acrylic on canvas / Ink on linen canvas (wood frame)
2 x (50 x 40 cm) / 2 x (20 x 16 in)


STATE OF (A.E.I.O.U.Y) #U, 2015 (detail)
Pigment & acrylic on canvas / Ink on linen canvas (wood frame)
2 x (50 x 40 cm) / 2 x (20 x 16 in)


STATE OF (A.E.I.O.U.Y) #Y, 2015
Pigment & acrylic on canvas / Ink on linen canvas (wood frame)
2 x (50 x 40 cm) / 2 x (20 x 16 in)


STATE OF (A.E.I.O.U.Y) #Y, 2015 (detail)
Pigment & acrylic on canvas / Ink on linen canvas (wood frame)
2 x (50 x 40 cm) / 2 x (20 x 16 in)


STATE OF (A.E.I.O.U.Y)', 2015 (installation view)
Pigment & spray paint on canvas / Ink on linen canvas (wood frame)
6 x (2 x (50 x 40 cm) / 6 x (2 x (20 x 16 in)


STATE OF (A.E.I.O.U.Y) #O', 2015
Pigment & spray paint on canvas / Ink on linen canvas (wood frame)
2 x (50 x 40 cm) / 2 x (20 x 16 in)


STATE OF (A.E.I.O.U.Y) #O', 2015 (detail)
Pigment & spray paint on canvas / Ink on linen canvas (wood frame)
2 x (50 x 40 cm) / 2 x (20 x 16 in)


STATE OF (A.E.I.O.U.Y) #U', 2015
Pigment & spray paint on canvas / Ink on linen canvas (wood frame)
2 x (50 x 40 cm) / 2 x (20 x 16 in)


STATE OF (A.E.I.O.U.Y) #U', 2015 (detail)
Pigment & spray paint on canvas / Ink on linen canvas (wood frame)
2 x (50 x 40 cm) / 2 x (20 x 16 in)


STATE OF (A.E.I.O.U.Y) #Y', 2015
Pigment & spray paint on canvas / Ink on linen canvas (wood frame)
2 x (50 x 40 cm) / 2 x (20 x 16 in)


STATE OF (A.E.I.O.U.Y) #Y', 2015 (detail)
Pigment & spray paint on canvas / Ink on linen canvas (wood frame)
2 x (50 x 40 cm) / 2 x (20 x 16 in)


SPEECH LESS #1, 2015
Pastel & spray paint on canvas
150 x 120 cm / 60 x 48 in


SPEECH LESS #1 & SPEECH LESS #3, 2015 (installation view)
Pastel & spray paint on canvas
2 x (150 x 120 cm) / 2 x (60 x 48 in)


SPEECH LESS #3, 2015
Pastel & spray paint on canvas
150 x 120 cm / 60 x 48 in


SPEECH LESS #2 & SPEECH LESS #1, 2015 (installation view)
Pastel & spray paint on canvas
2 x (150 x 120 cm) / 2 x (60 x 48 in)


SPEECH LESS #2, 2015
Pastel & spray paint on canvas
150 x 120 cm / 60 x 48 in


WITHOUT #1, 2015
Ink & spray paint on linen canvas
160 x 140 cm / 64 x 56 in


WITHOUT #1, 2015 (detail)
Ink & spray paint on linen canvas
160 x 140 cm / 64 x 56 in


WITHOUT #2, 2015
Ink & spray paint on linen canvas
160 x 140 cm / 64 x 56 in


WITHOUT #2, 2015 (detail)
Ink & spray paint on linen canvas
160 x 140 cm / 64 x 56 in


VOCABULARY, 2014 (installation view)
Pastel & spray paint on paper
5 x (150 x 245 cm) / 5 x (60 x 98 in)


VOCABULARY - F & VOCABULARY - G, 2014
Pastel & spray paint on paper
2 x (150 x 245 cm) / 2 x (60 x 98 in)


VOCABULARY - E & VOCABULARY - D, 2014
Pastel & spray paint on paper
2 x (150 x 245 cm) / 2 x (60 x 98 in)


VOCABULARY - C & VOCABULARY - A, 2014
Pastel & spray paint on paper
2 x (150 x 245 cm) / 2 x (60 x 98 in)


COLOUR AND FUGUE - excerpt
Hubert Besacier
« The painter does not paint on an empty canvas, and neither does the writer write on a blank page ; but the page or canvas is already so covered with preexisting, preestablished clichés that it is first necessary to erase, to clean, to flatten, even to shred, so as to let in a breath of air from the chaos that brings us the vision. »1


Once the creative drive desinhibited, it’s time to sort through what has emerged. Once the stake set and the cards dealt, it’s time to take the matters in hand.
During this liberating phase, it is crucial to show critical lucidity, to get a grip of oneself in order to eliminate what has unwittingly found its way on the canvas. Refine, with a sharpened mind, to get to the heart of the matter. Clear the lines of force to focus on meaning. Cool down and organize without losing the impulse, the primal energy - jaunty, vital, euphoric. The artist now must aim for a higher level of satisfaction – satisfaction of progressing on a solid ground – and the spectator wants to take part in an experiment that drives him beyond the simple visual elation.

In Aurélie Belair’s work, the transformation is quickly visible. It is quite rare – not to say exceptional – to see a pictorial discourse and the technique underlying it decant so rapidly. What appears throughout her increasingly rigorous research is directly connected to her other artistical practices – photography or installation.
In Aurélie Belair’s last photo series, the word is used for the first time. Phrases are superimposed on images. Linking writing and painting represent a logical continuation of her exploration. But, since it’s the word that connects with the painting, preference is given to the manual quality : the printed character gives way to the scription, the physical act of tracing.

(...) With VOCABULARY, Aurélie Belair’s work gets convincingly organized with full-blown rigour. Once the series’ necessity makes perfect sense, the serial process can be initiated. A creative quest is on the move, with its inherent variations. A series cannot indulge itself in the serendipitous happiness of sensation, it goes through various metamorphosis and articulations. Each new avatar is the logical consequence of the previous one.
The all-over recurrent in VOCABULARY varies in a steady way : an interlacing in white chalk or pastel scratches a coloured background at a regular and perfectly controlled rate, in a gesture of systematical obliteration.
The same technique is applied to the SPEECH LESS series (at the beginning of 2015), when the artist switches from paper to canvas.

More recently, in the STATE OF series, the two medium – writing and painting – are differentiated. The sizes are more modest. The pictorial part occupies a canvas mounted on a stretcher, which doesn’t support a gestual interweaving anymore. It’s more of a monochrome partially abraded, speckled, stained, interestingly enriched in materiality and depth. The graphic part has seceded : it’s now the second panel of a diptych. Its lines intertwine on the white surface of a marouflaged linen canvas. As if the structure of the first panel was inverted, the canvas is now embedded in a wooden frame painted in white, enhancing its difference in nature.
The script is also organized differently. The interlacing, the tracery disappear in favour of an horizontal configuration. The writing of the previous works has eventually found its own field.
The grapheme has evolved into distinct, shifting, overlapping lines. Their movement, like the lines of a fugue, contrasts with the layers of colour, the vast expanses of pigment.

The diptych can be seen as an open book separating the matter from the idea, the text from the illumination. Mirroring the surface to the groove. The caesura slicing through the superficial appearances operates between two acts. Instead of simply revealing itself, with an enticing spontaneity, the work gains a new, more nuanced, mystery. By dissociating physically, spatially, two mental images, Aurélie Belair establish a dialectic between the coloured plane and the writing, thereby duplicating the possibilities of variation for each work.

This dichotomy initiates a dialogue, an interaction between two elementary principles : colour and scription. The work is not inscribed in the moment but in its own duration – a duration set by the work itself. Thus, the spectator’s look going back and forth has the time to absorb this confrontation.
[1] DELEUZE Gilles & GUATTARI Félix, Qu’est-ce que la philosophie ? Les éditions de minuit, 1991, p. 192



Born in 1946 in France, Hubert Besacier is an art critic and curator, member of the Association Internationale des Critiques d’Art (A.I.C.A.). From 1978 to 1983, he was the codirector of the « Symposium International d’Art Performance », involving 135 international artists. From 1983 to 1996, he was the head of « A PRIORI » (exhibits, publications, artistic projects). Until 2011, he worked as a professor in various Ecoles Nationales Supérieures d’Art : Ecole d’art in Marseille Luminy, Ecole Pilote Internationale d’Art et de Recherche (Villa Arson) in Nice, Ecole Nationale des Beaux-Arts in Bourges, Ecole Nationale Supérieure d’Art in Dijon. He’s a member of the Divisional Research Fellow Curtin University (Perth, Australie), and a long-time collaborator of Gilbert Fillinger and the Maison de la culture d’Amiens, especially for the festival « Art, Villes & Paysage ».
A PREHITORY OF DISCOURSE - excerpt
Laure Jaumouillé
« This is the work of discourse within us. And this difficulty is expressed in this way : the word silence is still a sound, to speak is in itself to imagine knowing, and to no longer know it would be necessary to no longer speak. »1


If everything, in Aurélie Belair’s work, echoes the language, it’s only to emphasize the artist’s ambivalent attitude towards it. Her passionate love for words is coupled with a jubilation to denominate, while her artistic practice emerges from a deeply felt loss - for the omnipotence of signs is just an illusion. The inner experience described by Bataille exposes this mirage, and the realization that ensues necessarily questions our modalities of being. If the world defy the language, then we must find a new way to shape it.

(...) Aurélie Belair’s pictorial praxis is comparable to a descent in the abyss of the renunciation of discourse. Through its very triviality, the gesture of spreading a colored matter on a surface seems to reflect the urgency of her attachment to the world. The titles of her works denote a residual trust in the evocative power of language, each one pointing to the mark or the fragment of an irredeemable persistency.
(...) The contamination of the canvas2 by snatches of discourses half erased resonate with the vibrations of a rejected voice, the remains of the language’s dogmas. Soon, these tiny relics leave room to what can be referred to as « the allusive field of writing »3. Scribblings and erasures, through their arrangements, charts a prehistory of language. Celebrating the error as the founding act of writing, Aurélie Belair’s practice inscribes itself in a continuous aesthetical process whose conclusion eludes us.

Each of Aurélie Belair’s painting is like an aborted speech, the staging of a linguistic suicide. Nonetheless, each work is marked by a fluctuating alternation, the memory of a sentence, of its syntax, the tenderness of a prose, the harshness of an insult.
(...) In this farewell to the rustle of language eventually emerges an irreductible pleasure principle.
[1] BATAILLE Georges, L’expérience intérieure, 1943, Editions Gallimard, 2009, p. 25
[2] But Who Wants An Easy Life, It’s Boring !, 2014
[3] BARTHES Roland, Ecriture, Non multa sed multum, in Yvon Lambert, Catalogue raisonné des oeuvres sur papier, volume 6, 1973-1976, Multiplia Edizioni, Milan, 1979



Laure Jaumouillé is an art historian and critic for the review 02. She has published in Mouvement, artpress and Frog. Starting in September 2009, she worked on the Centre Pompidou Metz’s inaugural exhibition « Chefs-d’oeuvres ? » under the direction of Laurent Le Bon, before joining the programming department as a director of research and exhibitions ( « Erre, variations labyrinthiques », « Vues d’en-haut »). Since October 2012, she has followed the Experimentation in Art and Politics program founded by Bruno Latour at Sciences Po (SPEAP) while teaching cultural politics, focusing on the subject of international artistic dialogue, to Masters students in the cultural concentration of public affairs.
Born in 1987 in France.
Lives and works in Paris and Burgundy, Fr.



Solo Exhibitions
2012
Ruines, Premier Regard Gallery, Paris, Fr
2011
Utopie, Snoop Gallery, Paris, Fr

Group Exhibitions
2015
Collection Type - Y.I.A Confidentielle, Arnaud Deschin Gallery, Bastille Design Center, Paris, FR
2012
Link for Aids, Grand Palais, Paris, Fr
Biennale des Créateurs d’Images, Cité de la Mode et du Design, Paris, Fr
2011
Nofound Photofair, Garage Turenne, Paris, Fr
Premier Regard 10 ans, Bastille Design Center, Paris, Fr
Les voyages des Onironautes, Projective City Gallery, Paris, Fr
56eme Salon de Montrouge, Montrouge, Fr
Festival of young European Photography, Coté Seine Gallery, Paris, Fr
2010
Rhizhome, International Artistic Laboratory of Tarn, Fr
2009
Evolutions, Atheneum, Dijon, Fr

Education
2009
Master’s Degree of Art (DNSEP), with Honors,
at Ecole Nationale Supérieure des Beaux-Arts, Dijon, Fr
2007
National Plastic Arts Degree (DNAP),
at Ecole Nationale Supérieure des Beaux-Arts, Dijon, Fr
Price
2015
Finalist for Talents Contemporains 2015 price, François Schneider Fondation, Fr

Collaboration
2015
Early Work, Paris, Fr

Catalogs
2012
Catalog Link/Aids
Biennial Catalog of Créateurs d’Images
2011
Catalog Nofound Photofair
Catalog of 56th Montrouge Fair (solo)
Catalog of Young European Festival Photography 2011

Press (Selection)
Arts Magazine (n°59 and interview n°63)
Figaro Scope (october 2011)
Figaro Madame (n°10)
La Gazette Drouot (n°33)
Azart Photo (october/december 2011)
Images (n°48)
Telerama (september and october 2011)