Possessed

Group show, 2020-2021
Curated by Vincent Honoré, Caroline Chabrand & Anya Harrison at MoCo, Montpellier (Fr)

Featured works : 

︎Youth Enhancement Systems I, II, III ^{videos series 2019}

Juveniles ^{Sculpture series 2019}

With Nicolas Aguirre, Kelly Akashi, Nils Alix-Tabeling, Jean-Marie Appriou, Raphaël Barontini, Sedrick Chisom, Pauline Curnier Jardin, Iain Forsyth et Jane Pollard, Laura Gozlan, Lewis Hammond, M. Mahdi Hamed Hassanzada, Anna Hulačová, Jean-Baptiste Janisset, Joachim Koester, Paul Maheke, Pierre Molinier, Myriam Mihindou, Nandipha Mntambo, Antonio Obá, Jimmy Richer, Apolonia Sokol, Chloé Viton, Dominique White.

︎Juveniles ^{sculptures 2019}
Sculpture series. Metal structure, wax, dye, glassfiber, Jesmonite, plaster, chemistry clamps
Variable dimensions

︎YES I,II,III  ^{Video series 2019}
Video HD, color, stereo sound, 5’,5’,5’

“The sound is haunting, creating a bizarre, almost worrying atmosphere - as if preparing for an obscure shamanic ritual. Yet MUM appears not to be so spiritual in action nor desire. What she yearns for, above all, is to remain young. Hence why this wacky bourgeoise, squeezed tightly into her cream-coloured suit, is determined to do whatever she sees fit to remain young. No scalpels or anti-wrinkle cream here, the remedy to eternal youth that MUM has chosen is far more obscene. The ceremonial approach she will undertake is fairly disturbing, for she prepares to get high off of the remains of a mummy. In breathing in the bodily fumes of those who have had their decay curtailed, MUM hopes to transcend her humanity, striving for immortality. Youth Enhancement Systems® might make an offhand reference to an American cosmetics brand, but hereforth acts more like a magical charm. For one must be imbued with a vast array of beliefs to embark upon such a necromantic endeavour. What here seems to be a sci-fi tale that issues fresh from Laura Gozlan's imagination, is not too dissimilar from a variety of morbid procedures undergone by some of the richest persons on the planet. Injecting the blood of teenagers and turning to cryonics are just some of the rituals practised by these bearers of absurd hope. MUM's smoking of a mummified body using a water pipe is also duly reminiscent of the "zombie drugs" that continue to make headlines today. At first glance, MUM can seem quite pathetic. Yet, this vain venture towards immortality responds to a tenacious injunction in today's society: to preserve in full measure the freshness of our youth. Women are the most likely to be subjected to this unwarranted demand. They are incessantly asked to powder that emerging new wrinkle, to dye those grey hairs, and to stay fertile. Bearers of the inevitable burden that is their "best by" date menopause - women are coerced into using whatever possible means to delay their departure to the rubbish dump. Yet, as with this worrying housewife that is MUM, she will be ridiculed if she makes of this desire for youth an obsession. The woman must stay fresh, must stay young, but without ever hinting at a sign of effort. What a magnificent pursuit of empowerment our character has embarked upon. MUM doesn't seem to care after all, about any of this. She is alone, and she alone has decided to get high. What does it matter if we beg her to allow gravity to have its effect on her breasts or face, what does it matter if she is blamed for wanting to own her body by inflating it with silicone. It is she who decides. Her body is hence removed from her ornamental personality, becoming the vehicle that will drive her to ecstasy. Thus, no one imposes upon Gozlan's character what behaviour to adopt, none can deny her autonomy and freedom of choice. What matters, is her getting high. What matters, is what she wants. What matters, is her.”

Camille Bardin, Possessed, Deviance, Performance, Resistance, exhibition catalog, ed. Silvana Editoriale, MoCo, 2020