In spring 2016, Signe Havsteen and Anna Vestergaard Jørgensen launched in Copenhagen the online platform EverythingSolid, whose overall idea is to create a forum for projects and exhibitions outside the institutional contemporary art loop. Over invitations, and the own curiosity of its creators, EverythingSolid aims to connect artists, curators and writers from around the world. By proposing awareness about what is going on beneath the surface, it creates more established connection between the young art scenes in these places.

In this edition, Aurélie Vandewynckele talks to artist Lara Vallance about the method in her practice, which deals with possible intersections between the analogue and the digital, taking place in the field of photography, illustration and video. 

 The whole discussion { here   

her websites { here or { there

Her { Insta Creations 

All that remains is a territory of tales : texts on Dimitri Robert Rimsky's work

Dimitri Robert-Rimsky is a visual artist; his work primarily concentrates on the mediums of video and installation. He studied at the Institut Supérieur des Arts de Toulouse and in Germany at the Hochschule für Bildende Künste, Brunswick in the studio of Candice Breitz. Throughout his training, which was mainly orientated towards a reflexion on the use and dissemination of images and rich in written production, he developed a significant interest in media related images, their mythologies and evolutions. In 2013, after receiving his MFA, he moved to Paris, while maintaining close contact with the Toulouse city network. In 2015, he co-founded the studios Rotolux, situated in an old printing factory in Bagnolet, Paris, welcoming designers and visual artists. Later in 2016, he was awarded a place on the Experimental Programme in Political Arts (SPEAP), directed by Bruno Latour at Sciences Po, Paris. He continues to work on various current projects, both collaborative and independent. 

Since 2015 Aurélie Vandewynckele has collaborated various times with Dimitri Robert-Rimsky.





Dimitri Robert-Rimsky conceives a dialogue in which videos, images and texts make us question the production, distribution and reception of images within media cartography. The following corpus of works creates a dialectical resonation in the minute fractures of the memory and experience, the material and the immaterial.

The constructions of contemporary mythologies are at the heart of his work, as he creates perspective through their underground structures, and the way we understand it. Putting forward their fictional aspects, DRR evades the collective vision, which is often amnesiac, if not opaque. Exploring the semantic differences, he deconstructs the narrative strata that form the virtual network. In this sediment, like cracks, his pieces expose another landscape, sweeping the common towards the sublime. They operate like sequences, the pictures switching into the scenery of a fictional and spectacular society.


Somehow, the images can be used to foresee approaching times[1].


Multiple realities are engraved into the work of DRR, they work together on different levels of temporality, fusing together with poesy. Bringing to light the mass use of images in today’s society, his pieces are conceptualized by the evolution of new representations and in the construction of the knowledge of these. In highlighting the subliminal political structures, his compositions put into perspective the body of collective imagination like an incontestable truth and question our capacity to speculate over our new legends.


What is a landscape if not a text?
All that remains is a territory of tales.


[1] Georges Didi-Huberman, Sentir le grisou, Les Éditions de Minuit, Paris, 2014.




Elsa Delage wrote a text about Réjean Peytavin's work.
Since 2015, they have collaborated various times.


Réjean’s work fits the context of everyday-life acts and thoughts. His approach is based on a delicate perception of daily routine, through an ergonomic and dream-like perspective on objects. However, the scenarios that lead to the crafting of these objects, whether they are realistic or purely fictional, also stage typically fictional situations.

He distorts the basis of modern design, with the idea of form influencing function. But his work remains the result of designer research, as it still pursues an aim of functionality. As he designs specific shapes to meet specific requests, his work is more what one would refer to as “useful sculptures”, and in certain cases as forms that range between works of art, manufactured objects and handicrafts.

The simple fact of assuming an “artistic” design keeps him in the framework of research and experimentation. In this way, he acquires traditional know-how in an empirical manner, such as the art of faience, woodworking, sewing and daub and wattle. These techniques become working tools, which he then uses to develop new paths. His approach is thus close to that of handicraft, in that it relies on manual, non-industrial work to create limited series of objects.

The whole article {

Translation: Louis Boivin



Aurélie Vandewynckele published a review regarding the exhibition Avenir Avenue (Prequel) by Emmanuel Galland & François Lalumière at Centre Clark in Montreal from August 28th to October 4th 2014 in Inter : art actuel , n°120, pp. 82-83, 2015.



In autumn 2014, Emmanuel Galland and François Lalumière reiterated their collaboration by presenting AVENIR AVENUE (PREQUEL) at the Centre CLARK in Montréal. Having already left their mark as visual acrobats at Articule with the intervention Retourne-moi /  Invert Me Out in 2010, the mischievous duo struck again with this new exhibition. The title, which could almost be mistaken for a personal development program posted on YouTube, immediately suggests a perplexing path and indicates the distortions ahead.

The exhibition took shape in a broken up white cube space bathed in stark bright light. This radical and neutral ambiance was combined with an array of dispersed works installed all over the place, from floor to ceiling, in complete disregard of museum display conventions. Left simply as they are, the various productions were not accompanied by any explanatory information. Hard to miss, there were also the retractable belt “crowd control” barriers structuring the viewer’s path through the space, though anyone could move or bypass them if they so desired. The exhibition gave one the impression that the entire gallery has been transmuted into a work of art, or that of being confronted with an ironic retrospective. The display baffled visitors, while at the same questioning notions pertaining to copyright in our contemporary society.

The predominant piece of the exhibition comprised a series of photographs and drawings about transforming the Mount Royal cross into an arrow. Echoing the artists’ penchant for contradiction, this arrow points to a non-path, as it guides us towards a future and the unknown. The redefinition of this symbol is relayed in other works, leaving us with a sense of doubt before these sensory detours, which are no longer constitutive of independent entities in the absolute. Playing on notions of non-places and overlaps, Galland and Lalumière test the limits of our imagination and memory. The duo insist on this point by exploring the superposition and deconstruction of the narrative principle. The idea of a timeline, whether it be one on the level an exhibition’s space-time or on the scale of a lifetime and its decisions, is reworked here.

Formally AVENIR AVENUE (PREQUEL) also recalls explorations, essays and other tinkering virtuosos such as Fischli& Weiss; but under its pseudo DIY guise the proposal is more political than it appears. The restricted movement and the constant reminder of rules put an entirely different twist on this display in which we are, in a way, caught in a trap. Moreover, the space is dominated by portraits of the artists, the size and mounting of which recall the conventional photographic representation of political candidates. Both by way of the visual propositions, which seek to redefine rules, and by the repeated presentation of these in the gallery space, this exhibition becomes the contradictory prism of conventions.

It was indeed quite tempting, for artists who like to work with what is already given—often through interventions in an architectural context—to play with the narrative potentials inherent in the gallery space and their respective practices. That being said, our sole disappointment is that the AVENIR AVENUE (PREQUEL) experiment did not step outside of the confines of the institutional space so as to expand the notion of reversibility at the core of this abundant body of work.


Elsa Delage published a review regarding the exhibition Cage's Satie: Composition for Museum which took place at the Musée d'art contemporain de Lyon from September 28th to December 30th 2012 in Esse arts + opinions magazine, n°78, pp. 62-63, 2013.

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‘Cage’s Satie: Composition for Museum’

In autumn 2012[1], the Museum of Contemporary Art Lyon presented an exhibition that addressed the recurring presence of the French composer and pianist Erik Satie (1866-1925) in the work of John Cage (1912-1992), an influential figure in contemporary music who was at the heart of the American avant-garde. Best known for his work on the deconstruction of structure and musical harmonies and his thinking on the idea of subjectivity in interpretation, Satie was a crucial influence for Cage.

Titled ‘Cage’s Satie: Composition for Museum’, the exhibition was conceived as a piece of music by John Cage paying homage to Erik Satie. The curator of the exhibition, Laura Kuhn, director of the John Cage Trust in New York, rose brilliantly to the challenge of exhibiting music. The works co-exist without getting in the way of each other, so that the very conception of the exhibition echoes the process of composition in which Cage was so interested. We find an open space, polished and unified, in which twenty or so chaise-longues are placed, inviting you to sit down to listen to pieces of music or watch the various videos. The sound loops respond to the video loops in a total harmony of the senses. The pieces of music written by Cage using works by Satie are in dialogue with reproductions of the scores, enlarged manuscript notes, poems and drawings by the American composer as well as videos of the choreography of Merce Cunningham. The accent is placed on the graphic aspect of the notes and scores, which become signs. Above all, it is a question of transcribing a language. Music is a language and the writing of music is a conceptualisation of sound.

An entire room is given over to the work The First Meeting of the Satie Society (1985-1992). Cage invited numerous artists to fill a suitcase with their words and images, collected in eight books made by hand. On this suitcase made of cracked glass and metal directly inspired by Marcel Duchamp, there are twenty quotations by Satie, punch-marked on the outside. Artists such as Jasper Johns, Robert Rauschenberg, Sol LeWitt, Robert Ryman and Merce Cunningham collaborated on the illustration of these books. This project is conceived as a series of presents, intended for Satie. Each book brings together mesostics by Cage. These poems, which have a very specific form, are a perfect reflection of Cage’s ambition to deconstruct all syntaxes, linguistic, musical or pictorial. Unifying poetry, performance, typography, visual art, sculpture and music, this collaborative work does not only bear witness to Cage’s desire to create a synthesis of the arts and thus push back the boundaries that separate them, it also underlines the relevance of this original poetic form.

Another room is dedicated to the work James Joyce, Marcel Duchamp, Erik Satie: An alphabet (1982), by Cage. This was originally a radio piece for a single voice. Working with the principle of collage, Cage assembled an imaginary programme with fourteen individuals, including James Joyce, Henry David Thoreau, Marcel Duchamp and Erik Satie, whom he invites to participate in a dialogue. Their conversation is made up of literary citations, liberally adapted historical texts and phrases that were quite simply written by Cage. In 2001, the idea of adapting it for the theatre raised the question of how it could be transferred to the stage. The solution was to create Alphabet, a kind of installation-performance where the text is spacialised and the time, sequence and movement are relegated to the background. The relatively static aspect of this form aims to imprint the essence of the image onto the work. Placed within a wooden structure, the actors essentially remain still. The music, a mix created digitally, includes both continuous background noises as well as intermittent sounds. Mikel Rouse, a New York-based composer, created it based on scores left by Cage in unfinished manuscripts. The sounds are as varied and suggestive as the dialogues themselves: a lawnmower, X-rays, an earthquake, a photocopier… Photographs of various performances as well as the recordings of Alphabet are also exhibited. In the same room, an installation refers to non-intentional composition, a route explored by Cage, and his interest in free sounds. Different sounds are broadcast in the space and the visitor can participate in this sonic environment by intervening using one of the four pianos installed in the middle of the room. Each key triggers a noise that lasts for a maximum of five seconds and that refers to a concrete action (a bell, a cymbal, a bicycle bell, the sound of scrawling, the noise of a spring, that of a page turning, that of two glasses clinking together…). We don’t know when someone will come to trigger a sound or which sound it will be, or if they will be alone or accompanied. The composition is different every time, and is executed in an undetermined way. This participative proposition thus seems to be particularly adapted to the idea of the aleatory, which was so dear to Cage.

Presented on the centenary anniversary of John Cage’s birth, this exhibition offers a new view on his art, revealing a practice based on a constant dialogue with those whom he admired, through playful references, borrowings, reprisals and echoes of all kinds. The exhibition allows us to approach the work of the composer through the interest he had, notably, in Henry David Thoreau, in Marcel Duchamp, in James Joyce and, of course, in Erik Satie. Between Satie and Cage, we see interconnections, closely linked material, music which has the same phrasing, the same rhythms, but which remains nevertheless completely distinct and original. The influence of Satie was essential to Cage’s structural, formal and methodological experiments with musicological material. The exhibition at the Museum of Contemporary Art Lyon thus emphasises the decisive influence that he had on the life of Cage and the recurring homages that Cage paid to him in his works.

[1] From 28 September to 30 December 2012

Translation by Elizaveta Butakova-Kilgarriff.


On the occasion of the reopening of the Palais de Tokyo in 2012, Palais Magazine devotes a special issue to the history of the Palais de Tokyo from 1937 to nowadays.

Akiko Miki and Elsa Delage had talks with Meschac Gaba. Together, they came back to the virtual Museum of African Contemporary Art he built between 2007 and 2012.

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