• a collection of objects whose particularity is to be usable without touching them

• A wedding Exhibition

• And I laid traps for the Troubadors who get killed before they reached Bombay

• Avant-garde

• Bénin

• Double Bind

• DOVBLE TROVBLE

• Faire des fleurs

• La Demeure Joyeuse II

• Les récits de l’insu

• Liberty Taken (Apart)

• Marcelle Alix Ouverte

• Reception Area

• Riding the Frothing Thread : Notes from Paris

• ROB PRUITT’S FLEA MARKET

• Ronde sable

• Sir Thomas Trope

• Tableaux Parisiens

• The Ride

• The Working Forest (La Forêt Usagère)

a collection of objects whose particularity is to be usable without touching them

of Christophe Lemaitre

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The fourth exhibition of Christophe Lemaitre at CNEAI constitutes itself as an extension of a private collection started last year by the french artist : a set of objects that are used without touching them. A moneybox, an ashtray, a mirror, a ring holder, a vase, a clock, sometimes found, sometimes made by the artist : objects that contextualization in the symbolic space of an exhibition reveals actually how they shared probably already, in some respects, the conventional regime of existence of works of art during their domestic life. Expressed differently, these are objects whose functional program is not interrupted by their displacement within an exhibition space.

At CNEAI, taking other works as shelves (François Lancien-Guilberteau, Aurélien Mole) and fore/backgrounds (the painted door by Corentin Canesson and François Lancien-Guilberteau, the curtain by Lasse Schmidt Hansen), these objects are accompanied by several loans which extend and complement the collection, temporarily, for the occasion : the coat hook by Marc-Camille Chaimowicz, a sculpture (door stop) by Jean-Charles de Quillacq, the electrical outlets of Jean-Pascal Flavien (replacing here all the original electrical outlets of the exhibition room), the pencil box made by Odilon Boutin for his mother the gallerist Florence Loewy.

Christophe Lemaitre’s objects are scattered on the selection of a few photographs by François Lancien-Guilberteau (Views from the performance « Portrait of the curator as a geisha ») swung to ninety degrees on the walls by the brass brackets specifically drawn by Aurélien Mole.

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