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CÉCILE BEAU

WORKS | BIOGRAPHY | NEWS | PRESS TEXTS PORTFOLIO | 22,48 m² EXHIBITIONS : #22 - #29- #30


ORBIS, 2016, Cécile Beau and Nicolas Montgermont, installation, Ateliers Vortex, Dijon. Photo credit: Cecilia Philippe 
ORBIS, 2016, Cécile Beau and Nicolas Montgermont, installation, Ateliers Vortex, Dijon. Photo credit: Cecilia Philippe 
ORBIS, 2016, Cécile Beau and Nicolas Montgermont, installation, Ateliers Vortex, Dijon. Photo credit: Cecilia Philippe


Composed of sounds, images, and objects in varied and close relations, Cecile Beau's installations are driven by the play of contradictory vanishing points. Here, the visible and the invisible mix. The pure and the impure intersect. Perception's radars are dazed, dazzled by enigmatic and timeless murmurs. These are forests, rivers, horizons, and hazes that breathe as in the earliest hours of the day. These are factories, machines, mechanisms, illusions, and extracts, all testifying to a quasi-clinical interest in things. The blade of her scalpel slices open sensorial perspectives beneath a steady light and with a depth of field that is hallucinatory to say the least. 
And with a certain modesty, but not without a touch of malice, she seems to be trying to conceal her toolbox-full, one imagines, of digital and electronic devices. She buries these instruments under tree roots and beach pebbles, in cloud vapor, and dresses them up in organic and inorganic matter that has been distilled, diverted, decontextualized. The organic materials soon take on an air of mystery within the empty spaces that welcome them. Their austerity becomes necessary. Her work is stripped of human presence, saturated with air, water, and mineral, until only the viewer's body remains truly discernible, now elevated to the rank of protagonist, invited to get lost among a network of felted and muffled stimuli. The real world can be detected-but just barely-through weave of sound samples. The sounds themselves are perfectly ordinary, but the process of amplification, dissimulation, spatialization, and infiltration completely transforms them.
Unlike many contemporary installations, there's no question here of playing with different ways to immerse or envelope the viewer. The visual and acoustic phenomena, once worked over by Cecile Beau, remain distanced, like the beings in a microscopic biotope that we've never even dreamed of. The perceptive tool follows them like an autofocus, making ever-finer distinctions, scrutinizing the inaudible. The eyes open. The eardrums relax. Cecile Beau takes a variety of approaches in gathering her materials, including collecting, recording, and splicing. She scours reality for her supply of fragments, which she then selects, positions, connects, and juxtaposes until she achieves the strange hybrids that she offers to her viewers. The resulting spaces sparkle with the emptiness they contain. The sounds call out across the silence that enfolds them. Unreal, almost mutant, her atmospheres function as containers, trapping the investigating consciousness. Here time and space collide, as in film, in which fluid sequences are brusquely solidified and precipitated into materiality.
Cecile Beau's works appear less as spectacles created by internal theatricality and decorative effects than as experience, defined as a personal putting-to-the-test of a thing, a material, a structure, or a phenomenon. Each new series, each new project sets off in a different direction from its antecedents, yet nonetheless remains connected to them by a kind of resonance. In a certain way, they all enjoy a privileged relationship with contemplation, revealed in the rhythm that they communicate to those who confront them. Though this contemplation takes on incredibly various forms and instances, it almost always requires the patience and the availability of the body, which sets up an oscillation between inside and outside. The rustling confusion of ideas, memories, and desires hurtles up against presence and the sensory apparati of objects and phenomena. The senses open and close. Memory whispers unprecedented impressions. The intellect hums as words link up with gestures. The viewer's amnesia begins swaying like a backwash, or a tide that, in pulling back, finally lets one glimpse enigmatic traces. 
Emile Soulier, translated by Cole Swensen


Thalle #13, 2014, print on concrete, 67,7 x 49,7 cm 
Thalle #13, exhibition view, galerie 22,48m2,  France
Frangula, 2014, Racine, 170 x 230 cm,"SUBSTRAT", Galerie 22,48 m²
ART-O-RAMA, Marseille 2015, solo show, prix Roger Pailhas
Particules, pierres, sabliers, 2015
En collaboration avec le laboratoire Géosciences Paris Sud, Paris
Particules, pierres, sabliers, 2015
En collaboration avec le laboratoire Géosciences Paris Sud, Paris
Particules, pierres, sabliers, 2015
En collaboration avec le laboratoire Géosciences Paris Sud, Paris
Particules, pierres, sabliers, 2015
En collaboration avec le laboratoire Géosciences Paris Sud, Paris
"Renaissance", 2015, Lille 3000, Tripostal, Lille

"Renaissance", 2015, Lille 3000, Tripostal, Lille
Virga, 2015, Motor, water, variable dimensions
Virga, 2015, (detail)
Erosion, 2014, Ceramic, sound system, wood structure, 90 x 45 x 45 cm, "SUBSTRAT", Galerie 22,48 m²
Erosion, 2014, "SUBSTRAT", Galerie 22,48  m²
Thalle, 2014, Print on concrete, variable dimensions, "SUBSTRAT", Galerie 22,48 m²
 Cidade, 2014
Cidade, 2014
 Sporophores, 2014, tree trunks, mushrooms (tinder conk), coarse salt sound system
Sporophores, 2014
Sporophores, 2014



  Erosion, 2014, ceramics, sound system,wooden structure

  Erosion, 2014

  Erosion, 2014 
Météorite, 2014,  ceramics, wood, black painting, variable dimensions
Météorite, 2014
Météorite, 2014
Souche, 2014, wood, black painting, variable dimensions
Souche, 2014
Cosmogonie2012, made with Nicolas Montgermont
charcoal, celluloid, engine, variable dimensions
 Radiographie , 2011-2012 , made with Nicolas Montgermont
decametric antenna, frequency amplifier, video projection, 460 x 210 cm





Radiographie2012/2013








Specimen2012-2013, glass cubes , sound system, water, black ink, vegetal, chemical or stones, bases, 50 x 50 x 120 cm






Specimen2012-2013
Specimen2012-2013

Empreinte, 2012, cement, ink, 50 x 50 cm
Empreinte, 2012

Sillage, 2012, made with Nicolas Montgermont
seismic data (Chili, 15h12, 12/03/2008, 18min), wood, chinese ink, sound system, 145 x 100 x 20 cm
Sillage, 2012
Sillage, 2012


Concretion, 2012, frigorific system, copper, ambient humidity, 50 x 20 cm
Fodere, 2012, concrete, ink, 125 x 60 cm

Fodere, 2012
Sablier, 2012, frigorific system, copper, ambient humidity, 70 x 30 cm / 60 x 40 cm
Produced with  the support of Crystal Group

L'envers, 2010-2012, trees, variable dimensions
Chondrite, 2012, carved stone, 70 x 20 cm
Zibens, 2011, neons, steel structure, sound dispositive, 70 x 200 cm 
produced by "L'Usine Utopic"
Canopé, 2011, quarry tile, roof structure, windows, streetlight, fir tree, sound dispositive, 450 x 320 x 140 cm
 produced by "L'Usine Utopic"
Suma, 2010,wood structure, mixed vegetation, digital recording, 160 x 120 x 120 cm
Suma, 2010
Suma, 2010
Cimes, 2010, photographic diptych, each 37 x 80 cm, digital recording
Vallen, 2009, sound installation, wood, chinese ink, digital recording, 100 x 120 x 10 cm
produced by "La BOX"
White Rabbit, 2009, made with Bertrand Rigaux, hazelnut tree roots,  5 m in diameter
Akmuo, 2009, ase, stones of variable size, sound system, 200 x 240 x 50 cm
produced by "L'ensam de Caen" 
Akmuo, 2009





C=1/√ρχ, 2008, sound installation, wood structure, laboratory glass, sound system, 240 x 280 x 60 cm

produced by the Studio National d'arts contemporain, Tourcoing

C=1/√ρχ, 2008

Białe, 2007, four gelatin silver prints mounted on aluminium, each 80 x 160 cm
produced by the Studio National d'arts contemporain, Tourcoing
Białe, 2007
Białe, 2007
Nebbiu, 2007, digital prints mounted on aluminium, each 50 x 75 cm
Amé, 2006, sound system
Amé, 2006
Xie Zhen, 2006-2008






































Xie Zhen, 2006-2008