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.