Etienne Chambaud
- L’Epochè Fantastique (The Fantastic Epoché), 2007
Photographic print, framed
60 x 40 cm
Series of 5, ed. 3 + 2 AP each
2007
Holes have been punched out from the negatives of a series of images taken of a full moon.
- Le Comble, 2007
(The Height / the Full / the Epitome)
Acrylic and magnetic paint on canvas, spray painted documents
200 x 130 x 4 cm
Unique
2007
“Le Comble looks like a canvas covered with black paint and black sheets of paper that have been affixed with the kind of small magnets generally used on notice boards. The work presents itself here as magnetic (...). The sheets of paper
are in fact a set of preparatory documents for the exhibition that have been sprayed over with black paint. That is, all the information that would have enabled us to reconstruct the ‘heuristic path’ taken by the artist to determine the actual form of his exhibition [Les Abîmes (The Abyss), Galerie Lucile Corty, Paris, 2007]. However, it is the very impossibility of a mise-en-abyme of the whole creative process that marks the limit of the reified work. Here everything is both given and, at the same time, refused. The occultation of the preparatory work somehow literalizes the position of the ordinary viewer. Here the preparatory work for the exhibition integrates the outer limit of the works whilst eluding the gaze.â€
Excerpt from Frédéric Wecker, Les Abîmes, Art21 n°16, feb. 2008, translated from the French by Anna Preger
Collection FNAC, Fond National d’Art Contemporain, Puteaux, France
Photo: Aurélien Mole
- Monument Ouvert, 2007
(Open Monument #1)
OSB Agglomerated wood of weeping willows (saule pleureur)
200 x 90 cm
Unico | Unique
A plank of wood processed from a tree, which name carries a certain affliction, is leaning against a wall.
Photo: Aurélien Mole
- L’Électricité, Exclusion de la Tautologie n°2, 2007
(The Electricity, Exclusion of Tautology #2)
Restored aluminium lamp
Approx. height 100 cm
Único | Unique
Una lámpara ilumina su propio enchufe | A lamp lights up its own socket.
From a series of tautologies that either exclude themselves from the realm of tautologies or are, as tautologies,
excluded from the world.
Exhibition view, The Obstacle is Tautology, Tulips&Roses, Vilnius, Lithuania, May-June 2009.
- Personne (Someone, Nobody, No Man) detail, 2008
Framed lenticular print
20 x 30 cm (framed: 40 x 50 cm)
Ed. 3 + 2 AP
An image selected from the American archives of the Farm Security Administration has been printed as a lenticular print. A hole punch in the negative signaled an image rejected, or “killedâ€, by the administration. While moving in front of the image, one can see the hole created by the punch disappear and reappear.
Personne
- Left: Appareil Cyclopéen (La Grotte)
Right: Appareil Cyclopéen (Le Pont)
(Cyclopean Masonry (The Cave), Cyclopean Masonry (The Bridge) )
Plexiglas and notched stones
Variable dimensions (approx. 80 x 50 x 50 cm each)
Series
2009
A set of colorful plexiglas pieces and notched stones is given to a child to construct the work based on architectural structures that either metaphorize dialogue or could function as its stage: the cave, the bridge, the dome, the theater, the cabin...
Assembled by Sebastian and Aurélie Macel
Exhibition view, Mais où est donc Ornicar ? , Espace Blank, Paris, June-September 2009
Photo: Olivier Dalmasso / View54
- Elephant, 2009. Lápiz sobre papel | Graphite on paper, 41 x 48 cm (16.14 x 18.9 inches)
(Serie de 7 | Series of 7)
- Girafe Assise (Jirafa Sentada | Seated Giraffe), 2009. Plumón sobre papel | Marker on paper, 41 x 48 cm (16.14 x 18.9 inches)
(Serie de 7 | Series of 7)
- Position Actuelle de l’Idéalisme, 2007-2009
with Benoît Maire
(Current Position of Idealism, postcard)
Wood raft equipped with Argos satellite tracker, world map with pin, postcard
15 x 10 cm (postcard), 90 x 60 x 8 cm (framed map)
Series
2007-2009
A raft equipped with a satellite tracker was set to drift on the Atlantic ocean. Its precise location was transmitted every other day and marked with a pin on a series of maps.
- Atlas, 2009. Libros, vidrio | Books, glass. Plintos: 80 cm de alto (Plinths: 31.5 inches ht)
- Les Coloristes Coloriées I, 2008-2009
(The Colored Colorists I #4)
Silkscreen and acrylic paint on canvas
150 x 110 cm
Series of 6
2008-2009
A series of photographs of film colorization workshops from 1905-1925 have been silkscreened on canvas. The faces and hands of the colorists have been colored with acrylic paint.
Photo: Aurélien Mole
- Les Coloristes Coloriées I, 2008-2009
(The Colored Colorists I #4)
Silkscreen and acrylic paint on canvas
150 x 110 cm
Series of 6
2008-2009
A series of photographs of film colorization workshops from 1905-1925 have been silkscreened on canvas. The faces and hands of the colorists have been colored with acrylic paint.
Photo: Aurélien Mole
- On Hospitality (i.e. Exclusion), 2010. Metal, cable de acero y piedras volcánicas | Metal, steel wire and volcanic stones
- On Hospitality (The Hors-Champ. Landscape), 2010. Impresión en duratrans y caja de luz | Print on duratrans and light box, 188 x 234 x 25 cm (74.02 x 92.13 x 9.84 inches)
- On Hospitality (The Cave of Polyphemus or The Invention of Misunderstandings), 2010. PelÃcula en 16 mm | 16 mm Film, 23 min en loop, proyección 156 x 208 cm (projection: 61.42 x 81.89 inches)
- Modèle de Exclusion, 2010
- The Siren's Stage (The Reef)/Le Stade des Sirenes (Le Récif)/La Stato delle Sirene (La Scogliera), 2010. Varios materiales (pedestal, maquina de escribir, papel | Various materials (pedestal, typewriter, paper)
- The Remains (The Siren's Stage), 2010. Madera | Wood, 80 x 40 x 40 cm (31.5 x 15.75 x 15.75 inches)
Etienne Chambaud
Mulhouse, France, 1980.
Lives and works in Paris, France.
DOWNLOADS:CVArtist StatementDeclaración del artista
Etienne Chambaud carries out a persistent exploration on the nature of a work of art: its relation to other works, its contexts, and the way artworks are used, (…) charged with meaning or endowed with a particular narrative. (…)
Chambaud’s work never functions in isolation but finds its sense or its interest in a permanent dialogue with other works. They grow mutually rich, while gradually drawing the vague contours of a constellation made of common references. They work as palimpsests, which guard the trace of a former work while proposing a new composition, thus oscillating endlessly between inescapable repetition and
continuous new horizons.
The works of Etienne Chambaud don’t deliver themselves solely through the interpretation of their form, but require recourse to an additional element, such as their titles or captions, to be circumscribed. He creates a discomforting situation by confronting the spectator with an enigmatic and seemingly mute object.
However, the hermetic nature of the work does not lean on elitism, but rather creates a certain equality between its spectators.
-Raphaël Brunel Excerpts from Etienne Chambaud, in Les Cahiers de la Création Contemporaine, Cahier d’été #2, 2009.


















