Chambaud’s multimedia practice is interested in the general problem of the relations between continuities and discontinuities, and mainly focuses on an “Ecology of Separations”: an on-going investigation on the limits between things, their exhibitions and their perceptions.
Mulhouse, France, 1980. Lives and works in Paris.
Flat Source Negative #6 | 2014 | Photograph produced from acrylic scratched negative | Print 30 x 45 cm | Frame 90 x 123 x 6 cm
The Fractal Zoo | Additive Expression | 2013 | Bronce, steel, seeds, food colouring, birds’ droppings | variable dimensions
«An on-going investigation on the limits between things, their exhibitions and their perceptions..»
Chambaud works with exhibitions, computers, collages, photographies, neons, paintings, films, texts and situations. He has built a geolocalized raft called “Idealism” that was set adrift in the Atlantic Ocean and reconfigured world atlases; he has staged the encounter of geometrical figures and monkeys in a zoo and given human fever to inanimate objects, constrained large scale mobiles with their very exhibition space, reversed animal hides on stretchers or written on walls with inscribed stones. He has directed films like Counter-History of Separation (with Vincent Normand), which follows the common history of the guillotine and the modern art museum from the French Revolution to the late 1970′s, or INCOMPLT, which frames the copresence of thousands of butterflies, ice sculptures and musical algorithmic processes.
∩ (Fallow Deer Fawn) | 2018
∩ (Fallow Deer Fawn) | 2018 | Detail
Nameless | 2014 | Bobcat, cougar, donkey, gray fox, red deer, racoon and skunk urines on copper powder and acrylic medium on polyester canvas on wood panel | 78.74 x 59.06 x 1.18 in
Nameless | 2013
The Fractal Zoo (detail) | 2013 | Bronze and steel
The Naked Parrot | 2013 | Watercolour, food colouring and pigment on pape | 41 x 32 cm
“Atlas,” | 2012 | Modified book (El Atlas de Nuestro Tiempo, 1964) | 40 x 28 cm
Lapidation Piece (detail) | 2012 | Stones | variable dimensions
On Hospitality (i.e. Exclusion) | 2010 | Steel, crane, volcanic stones | Installation dimensions variable
The Siren's Stage (The Reef) | 2010 | Plinths, actors, writers, nude models, typewriter, A4 typescript | Dimensions variable
The Fantastic Epochè | 2007 | framed photograph | 15.75 x 23.62 inches
Selected Solo Exhibitions:
“Inexistence”, Esther Schipper, Berlin, Germany (upcoming) (2021) ; “Noeuds Négatifs”, La Kunsthalle, Mulhouse, France (2018) ; “INCOMPLT”, LABOR, Mexico City, Mexico (2016) ; “The Naked Parrot”, LABOR, Mexico City, Mexico (2013) ; "Undercuts", Forde, Genève, Switzerland (2012) ; "Contre-Histoire de la Séparation", CIAP, Vassivière, France (2010) ; "Le Musée Décapité", Sies+Höke Galerie, Düsseldorf, Germany (2010) ; "On Hospitality", LABOR, Mexico City, Mexico (2010) ; "Le Stade des Sirènes", Kadist Art Foundation, Paris, France curated by Vincent Normand (2010)
Selected Group Exhibitions:
I am Nature_On Vulnerability. Survival in a society at risk, ROHKUNSTBAU, Schloss Lieberose, Germany (2021) ; #TodosSomosHonolulu, LABOR, Mexico City, Mexico (2020) ; La Mêlée, Galerie Artemisia, ENS Lyon, France curated by Florence Meyssonnier (2019) ; Persona Grata, Mac/Val, Vitry-sur-Seine, France (2018) ; The Radical Imaginary: The Social Contract, VOX, Montreal, Canada curated by Marie J. Jean (2018) ; Summer Show, LABOR, Mexico City, Mexico (2018)