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UCD, "collective offering another form of development and dissemination of contemporary art through a vending machine, a" gallery box ".

Shorten the art world. From the artist to the viewer, there is only one step: UCD. UCD is a collective, a machine, a mobile exhibition space and offering a token dropped a piece in your hands. A shortcut, yes, because UCD is a showcase where you visit and purchase if desired a work.
It is a distributor so similar to its congeners filled with candies and yet so different. Then as a senior in the art world than in the distribution. A being, a hybrid place.
Seen from the inside, artists face in their creation under the challenge of size, weight, fragility, a work that must be multiple. From the outside, UCD'DISTRIB is an exhibition self-sufficient, while both center and art gallery.

If the dispenser is initially manufactured, it gets a makeover thanks UCD colors and becomes subject to exposure in a single space. Out of the series, it reflects in the public space. Without altering its function is to distribute the machine regime change, from a reality to another.

The manufacturing gave way to manufacturing, as the distributor for the works.
UCD The machine decides and determines an appropriate preparation, specific. A multiple is created and crafted in series. The number is irrelevant. It is through the journey of the artist's hands into those of their owners that these objects stand out from any other product, of any other work.

Leaving aside the aspect auratic unique works, pushing the banality of mass distribution, UCD makes its way hybrid, at once strange and recognizable. A strong bond develops between the works and the machine giving a status of "infra-thin" in UCD adventure, breaching, jumping semantics.

Laetitia Bischoff

I'm Always Getting A Cold

For Claude Privet. Gourbin Didier photography.

A martyr at bay,

enjoyment of cry

agony and settle brawl

for a face to face withers wood and wax.

Ghosts approaching without ever getting lost.

Their orbits will deepen and broaden and respond with a dull sound and severe defeats to the cries of the jaws.

These vestiges of a life, these human residues fabricated bear the mark of our ancestors.

The artist makes what is left or dream what could have been staying, our bodies, our myths.

Exhumation and birth are synonymous.

The viewer is pegged to the empty, lost in history.

He does not know what to say to the skull in front of it but can not help thinking that includes the tragic, was a life of its residents.

Laetitia Bischoff

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Legembre For Valerie, small text lady

Valerie Legembre makes our silhouettes

remains fragile translucent.
boxed, layer upon layer, they are
interface becomes space
windows, skin.

Laetitia Bischoff

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For Mary Veale, visual artist. Angei

Pages glass Mary Veale or historical depth.


Each page shows a seal and torment silently buried in the glass.
The subject inserted seems so close and yet visible because of a remoteness and a frightening silence.


Glass offers a language that is well suited to the story.
It provides a depth that reveals the filiation of events and feelings, made a grammar of strata, a vocabulary of spacing.
The front and behind, embracing and embraced adjust the sentences.


The book is not finished.
It is an experience, a cluster of signs to decode it with his eyes as with his guts. Each page
to torture and loosens his way.
Sometimes a page out of the book. In profile, it continues as a drop sucking a black hole. A world holds its breath.
Then the temporal depth loses its bearings.


Laetitia Bischoff

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JP Photography For Mary Veale, painter. In his exhibition at the International House of Grenoble

A ppréhender not know

Seeing is not feeling

But the sight dovetails

And the body feel to the bottom of the cells.

Forgetting wants traces

Sciences hide

successive surfaces into place.

The movement is stronger than the end of the trip

In fact he is facing you.

Not until I see what has never been possible to see

is what I feel inside me

I one lived for dig

She, a red ppt.

Mary Veale, the artist.

I am a little of what she paints

I am a series of layers that deepen and stand in line with its textures and its travels.

I know the joy of moving, so that only the vision I believe inert.

This is the strategy of the stratum

Who exists without be seen

Who vibrates with no spaces.

Laetitia Bischoff

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For Valerie Legembre

photo V. Legembre
It builds our
avatars translucent
Met canned our ghosts
born a click
Not to flee the leak
time
We face
archaeological remnants of our
faces.
The picture freezes
horn is
is the threshold
of finitude
or disappearance.
Give a place a
a body in this space
state "on the edge."
Beyond skins Photo
is an "and"
taking shape
gathering at once
birth and death.

Laetitia Bischoff

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For Nosce at his residence and exposure to Entr'Art, Grenoble

The consistency and color derailed, take off, escape . Our skin is glossy and contains nothing. It is waterproof and it all slips. It makes us beings dishes such as posters.

is what we can say that this species placards his image without memory.

Nosce, meanwhile, practice the art of yarrow to find consistency, find a history or at least one layer.

He wanders from public to private. It concentrates which would be for us too full, recreated, which would be renamed disgusting, dégobillé, regurgitated.

Each cut, each nail, each overlay tells us not to go. Of course, we can recover, we can find the glossy texture.

Nosce model be consistent, to the RAM in the past now.

Laetitia Bischoff

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For catherine louise drève and Installation "in pieces". Heriberto Aguirre Photography.

On the walls patched catherine louise drève gives us a tour and a return in four phases.
An experience where one can hardly identify the scenes (they are there yet). The front and back are equal, bind.

1
all starts with an invitation to the unmade bed. A bed that breathes

While it could be so burdened or dig
Or freeze.

2
Can I enter an airport with squall lines. The planes are
foliage.
I'm relieved to be in a drawing.
I can not yet grasp everything
I am still very lonely
Different
Surrounded.

3
be found at the bed center, dry and ironed.
Three candles are reflected on a mirror placed on the ground.
They defy their environment to climb combative.
My heart aches and it-boulle.
This time the bed dug underground.
catherine louise drève serenity to his deputy during his backhand, whatever its name.


4 is the decline in veins of the tree to the heart.
Whoever did that contour lines can be found full-venous alive.
This awakens.
We are centrally in the hollow between two branches.
acute angles revive my arteries like this gnarled tree.



catherine louise drève transposes and our trip is the skin we are the interface between the inside and outside. All proportions. The man is scalable.
Personal experience is not said, she feels.
The artist takes us into the depths and the assumption.
No, it is not glorious.
It is raw, grainy like charcoal. She asked
ends without gaps and without remorse.
catherine louise drève plays with walls
To our mind repels
For they depart or envelop us as we passed.



Laetitia Bischoff

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For Bruno Leray, when exposed to MAPRA and more specifically for "Milestones"

Giving flesh to the invisible.

Bruno Leray recreates the lines of the faces of his ancestors.
paint smooths the wrinkles of the original document, transforms the tensions of paper facial features. They are no longer portraits but traces of memory tested.
Between thorough mastery of gesture and iconographic violence between the slow implementation and immediacy of the image, the work done exceeds that of the painter.
matter because his work digging a furrow in the eye and our experience.
They block us and we freeze in their presence, we are appalled silence.

Laetitia Bischoff

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Bougro For Candy, visual artist for whom the impossible is the most beautiful themes for

photo C Bougro

Candy Bougro or research wind lost .

It jumps up to the idea of the impossible, she faces them directly.
broken by unfulfilled adventures, she is plump and shape.

Don Quixote, she traveled to the four corners of France look for the wind to realize that it would comply not only with his photo requirements.

Major battles and ridiculous means, Candy Bougro discovers and plays with her discovery to show the physical laws and thwart unshakable it faces.

She built a small wooden boat on wheels that should come through the ventilator which is on its deck. Tension should be born on the wire between the plug and pulled the boat. But "Optimist" (the boat), goes nowhere, it does not even move.
The artist was keen to make it credible and sustainable a dream she thought possible, she finally gives us his wake.

The boundary between the feasible and the unreal turns cruel. Nevertheless, the fan turns, the sail swells in spurts. "Optimistic" persists, and we want viewers to believe the progress of this boat. The work uses forces of the absurd, it fought in the wind.

The artist believes in the reality, ignoring the truth and reveals the impossible.

Laetitia Bischoff

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Blux, on the occasion of his exhibition at the MAPRA of Lyon, in full festival of light

photos Blux

Blux
space invests and creates. The light kneading. Blux, architect, built shades, bright palettes. The work is certainly somewhere between the object and us, somewhere where the light is diffused, strikes, hides and ricochets. We have filters, agents, light cap. Blux delighted our pupils and puts us at ease. As children we can play transparencies, rediscover mixtures and interference. A architexture who can do nothing without our eyes and body, light as pure substance ... that is how one becomes a shadow.

Laetitia Bischoff