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Contact: Murielle Edet 00 33 6 72 82 22 78 / 00 33 9 63 03 98 84murielle.edet@centredartlelait.com

www.centredartlelait.com

Jeanne Susplugas

All the world's a stage

Exhibition

From 22 June to 27 October 2013Opening: 21 June at 6.30 pm

Curated by Jackie-Ruth Meyer

Moulins Albigeois – 41 rue Porta – 81000 Albi - FRANCEFrom Wednesday to Sunday from 2-7 pm.

Information: 05 63 38 35 91/ 09 63 03 98 84centredart@centredartlelait.com

In partnership with :

With the support of the Fondation Nationale des Arts Graphiques et Plastiques (FNAGP)

All the world's a stage

Jeanne Susplugas’s work involves society issues and present-day life styles. Relationship to self, and tothe other, forms of exchange and their spiritual and psychological dimensions, are evoked. Somewherebetween fascination and repulsion, fusion and rejection, reality and privacy, the works develop layers ofmeaning resulting from everyday uses and current social issues.

Several works are made for the Le LAIT Art Centre: a large sculpture (Light House), a variant of an alreadyexisting series, a monumental light well in which visitors can isolate themselves, become magnified, andbe projected into an artificial world; a video (Iatrogenic) with texts written by Marie Darrieussecq dealingin a tragic-comic manner with medication and more particularly with Distilbene; another video (The Top ofmy Skull) about compulsive gestures (texts by the writer Basile Panurgias); a marble and gold leafsculpture (Confinement Strategy); a ceramic piece produced during a residency at Artelineha (Containers);in the form of pharmaceutical bottles forming a sentence to be read by Frédéric Beigbeder; a piece madeof glass (Grail), produced by the master glaziers Glass Fabrik, in partnership with the Musée/ Centre d’artde Verre at Carmaux..

The main piece, and focal point of the exhibition, is titled ALL THE WORLD'S A STAGE. It consists ofmodules forming a church that can be dismantled, and adapted to the exhibition venue, calling to mindpostwar religious architecture, just at that moment when motion and speed were defining the fast trackof economic and social growth. Depnding on the place, this work can be arranged as a village, a camp, ora single structure. She is accompanied by an acoustic casing which makes inner voices resonate throughthe texts written by Basile Panurgias and Marie-Gabrielle Duc.

A last work (House to House) will be presented in the Box at the art centre. It's inspired by doll’s housesand the aesthetic of transportation crates. It contains a travelling group show which is enriched bydifferent works at each stage, works by artists selected by Jeanne Susplugas.

The exhibition’s title All the World’s a Stage is borrowed from the beginning of Shakespeare’s play As YouLike It, recited by Jaques (II, vii). This text compares life to a play, and lists the seven stages of life.

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In a dialectical movement, her work wavers between seductive aestheticism and critical distance…between poetic suspense and cutting satire.Béatrice Gross. Taken from “A la limite des choses”. Catalogue Expiry Date 1999-2007.

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Light House IIIsculpture, 2013

Aluminium, LED, Co-production Centre d'art Le LAIT / Chapelle de la Visitation Thonon les Bains,sound Eddie Ladoire

Light House is a monumental light well symbolizing a private place, where you take yourself hostage.Muffled sound and white light: the ongoing disappointment caused by addictions. Involved are medicines,compulsive behaviour patterns, it matters little what our addiction is, this well is the material form of ourconfinement. A second skin. The well is what separates us from other people, from our pleasure, andfrom all reality, when one is dependent, and refers us to a constant loneliness: the loneliness of afleeting relief. The room is seemingly open and well-lit, and this is the whole irony of these drugs: theydo not keep their promises, they confine us. Furthermore, this piece also conjures up exposure to sunlight,another addiction of contemporary society, the “society of the spectacle”, between magnified apparition,produced for the media, and disappearance of self.

The Top of my SkullVideo, 2012

7 min, text Basile Panurgias, actor Pierre Mignard

These movies results from the order of a text to the talented French writer Basile Panurgias related toJeanne Susplugas’s work on the daily rites and the "OBSESSIVE-COMPULSIVE DISORDERS". These textsrevolve around disquieting, absurd and funny attitudes.

The Top of my Skull consists of the secret of a strange little obsession, which makes a hole in thepsychic diagnosis of the person confiding: the compulsive scratching of a particular part of the skullleaves marks on this now hairless area, the ambiguous effect caused by this behavioural disorder, areassuring constraint, and the social consequences of this deviance.”Kathy Alliou in Dare, 2010, Germany.

Light House III, 2013 © photo Phoebe Meyer / Jeanne Susplugas

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ContainersCeramic, 2013Residence Artelineha, Languedoc-RoussillonText Frédéric Beigbeder.

Containers, James Ellroy

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For this ceramic piece, the artist continuesresearch embarked upon in 2007 in a series ofdrawings.

It is inspired by American “containers”, bottlesgiven to customers in pharmacies with the exactnumber of pills required for a treatment. On thesebottles are written the patient’s name, thedoctors’ name, and the name of the medicine...The names of the medicines are replaced bywords which, once put together, make sentences.These latter have come from a collection madeover the past ten years from books read by theartist.

White bottles with words which form a sentence:“Afterwards, when you go back home, you Lexomiland you don’t dream any more.”(Frédéric Beigbeder).

IatrogeneVideo, 20137 minText Marie DarrieussecqActors André Antébi, Judith Gars, Manesca de Ternay

During the seven minutes which Iatrogenic lasts, three people describe their relation to medicine andmedication, and more particularly Distilbene (a hormone prescribed to pregnant women up until 1983,which affected their children). The tragic-comic text written by Marie Darrieussecq for this film refersturn by turn to a trivialized or magical use, but also to the anxieties and beliefs raised by the issues ofmedicine and care, at a time when health scandals involving medicines are still enlivening current news.

Containers, Frederic Beigbeder, ceramic, details, 2013, (c) photoArtelinea

Confinement Strategysculpture, 2013Marble, gold leaf, wood, moss

In the globe of Confinement Strategy, several individual and collective tales are told: that of acomforting and confining cocoon, like a sectarian community, relieving its victims of their wealth, andgnawing at solid carapaces from within to empty them of their substance; that of a geode like the Earth,stripped of its resources, covered by its riches, and opened like an egg ready to be eaten. As in many ofJeanne Susplugas’s works, the transport crate and its casters invite us to imagine possible movements anddevelopments.

Confinement strategy, 2012, exhibition Stratégie de l'enfermement, Chapelle de laVisitation, Thonon les Bains (c) photo Annick Wetter / Jeanne Susplugas

Grailsculpture, 2013Crystal, co-production Centre d'art le LAIT/ Centre d'art / Musée du Verre de Carmaux, réalisationGlassfabrik, 2013

Grail depicts a Lexomil tablet (an anti-depressant medicament), here ready to be taken. It is made of glassand particularly attractive, but also conjures up the neuroses of our century (stress, depression,psychiatric disorders), the fragility of people suffering from these symptoms and illnesses, as well as thesocial vulnerability into which these people plunge.

Graal, sculpture, 2013, crystal, exhibition All the world's astage, Albi (c) photo Phoebe Meyer / Jeanne Susplugas

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ALL THE WORLD'S A STAGEInstallation, 2013Cardboard, wood, castersCo-production Fondation Nationale des Arts Graphiques et PLastiques / DRAC Île de FranceSound piece : texts by Basile Panurgias and Marie-Gabrielle Duc

In an age of technological alienation, fast food and fat-free products, drive-thru pharmacies, and so on...the creation of a church that can be dismantled, modulated, and “taken away”. This church is, on the onehand, part of a historical context connected with an urbanistic line of thinking at the end of the SecondWorld War about the notion of mobility. And, on the other hand, it is part of the reflection pursued bythe artist for more than ten years about architectural modules than can be dismantled, and aremoveable...In connecting with old nomadic societies, the postwar population became more mobile because of theway land was organized, the way the automobile developed, and the like... This new urbanistic contextgave rise to innovations where church construction was concerned: structures that could be easilydismantled, taking the form of tent-churches, inflatable churches (like the one at Montigny-lès-Cormeiles designed by the architect H.W. Müller in 1969), and “nomadic churches”, like those designed byJean Prouvé.

This piece, which has been inspired by the encounter with the Albi cathedral, will subsequently be shownin a de-contextualized way. It can be shown either in parts, or as a host of modules which will beredeployed in space to form a village. The piece is accompanied by an acoustic casing which makes innervoices resonate through the texts written by Basile Panurgias and Marie-Gabrielle Duc.

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ALL THE WORLD'S A STAGE, 2013, exhibition All the world's as stage, A1lbi© photo Phoebe Meyer / Jeanne Susplugas

There's no place like homeVideo, 2012Actress : Manesca de Ternay

The video screened in the tunnel at Les Moulins (single shot) shows a young woman saying “ there’s noplace like home” (as she tries to find her home). This sentence comes in the final scene of The Wizard ofOz, the world’s most watched film, in which the film’s heroine, Dorothy, tries to get back home. Onceagain, the house/home present in the show, be it physical or mental, is synonymous with safety andfulfillment as much as confinement and introspection.

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This house is inspired by modulable doll’s houses which open and are transformed. The artist hereappropriates the aesthetics of a transportation box or crate, well-known to artists, to make a house of anunusual size, which opens and closes at will. It becomes a small inhabitable cell which can be modulated,and which evolves.This structure turns into a “transportation crate” for a travelling exhibition presenting a group of artistswhich grows at every stage. (In 2011-2012: Paris (St. Germain itinerary); St Pée-sur-Nivelle (Berinak); Lyon(L’Attrape couleurs), based on a theme intrinsic to the box (enclosure, privacy, the modulable dwelling) inAlbi, the ruin.

Are shown in Albi :

House to house, 2013, exhibition All the world's a stage, Albi (c) photoPhoebe Meyer / Jeanne Susplugas

House to houseInstallation, 2010

Wood, wheels 116x157x129 cm

1- Vincent Mesaros,Fantôme (Demeure, Reichtag), water-basdedfelt-tip, pigmented ink on paper,, 60 x 60 cm,2013Fantôme (Demeure, Vatican), water-basdedfelt-tip, pigmented ink on paper,, 60 x 60 cm,2013

2- Françoise Petrovitch, Jeune fille au lapin,water colour

3- Jeanne Susplugas, Daily Obsessions, 2008,mixed techniques on Japanese moleskinnotebook, 14,1 x 9,4 cm

4- Sarah Trouche, Action for Macedonia, video, 2012

5- Isabelle Lévénez, Baiser, 1997, water colour, 30 x 20cm

6- Jota Castro, Untitled, 2011, baseball ball, barbed wire,mirror

7- Emmanuel Regent,Pendant qu'il fait encore jour, ink on paper, 2 juin 2013Pendant qu'il fait encore jour, ink on paper, 6 juin 2013Pendant qu'il fait encore jour, ink on paper, 8 juin 2013

8- Alain Declercq, Meeting Place, 2008, ink onpaperback, 22 x 13 cm

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Jeanne SusplugasBorn in 1974. Lives in France.Represented by : Galerie Valérie Bach, Brussels ; Rewind, New York ; Mizuma Art Gallery, Tokyowww.susplugas.com

Complete biography on request

Solo exhibitions (selection)

All the world’s a stage, Le Lait centre d’art contemporain, Albi, June 2013Stratégie d’enfermement, Chapelle de la Visitation-Art Center, Thonon les Bains, April 2013There’s no place like home, Galerie Valérie Bach, Brussels, 2012-13Sous influence, L’attrape couleurs, Lyon, 2012Un espace pour une œuvre (Ordinary Landscape), IUFM, Rouen (organisé par le FRAC Haute-Normandie), 2012Turnaround, Le Bal, Paris (with Alain Declercq), 2011Civil protection, STUDIOcollector, New York, 2011Locked-in, Galerie Charles de Jonghe, Brussels, 2010Mass Destruction (performance), Domaine départemental de Chamarande, F, 2010House to house, wharf-centre d’art contemporain, Hérouville Saint-Clair, F, 2010L’aspirine c’est le champagne du matin, B.A.R.(Bureau d’Art et de Recherche), Roubaix, F, 2009Peeping Tom’s House, La piscine-Musée d’Art et d’Industrie, Roubaix, F, 2009Home, Maison des Arts, Malakoff, F, 2009Jeux de dames, Château de Jau, Cases-de-Pene, F, 2009Side effects, Wyspa Institut of Art, Gdansk, P (curated by Roma Piotrowska), 2007Desirable effects, Magacin, Belgrade, Serbia, 2007Expiry date, Centre d’art contemporain Passages, Troyes, F, 2007Month of photography, Mestské museum/French Institut, Bratislava, 2004 (curated by Philippe Piguet)Transposition, Heresbekerei projektraum, Berlin, Germany (Monat der Fotografie Paris/Berlin/Wien), 2004Ordinary Landscapes, Florence Lynch Gallery, New York, 2004Biepackzettel, Kunst-werke, Berlin, Germany (curated by Anselm Franke) , 2003Dissolution (projection), V Tape, Toronto, 2003Dependence, MOCCA (Museum of Contemporary Canadian Art), Toronto, 2003La maison malade, ARCO (cutting edge), Madrid, 2002 (curated by Jérôme Sans),

Group exhibitions (selection)

Sous influences, La maison rouge-fondation antoine de galbert, Paris, 2013 (cruated by A. Perpère)Apo-calypse, Ancienen usine Béard, Clarens/Montreux, Switzerland (curated by Einzweidrei), 2012Nuit Blanche, Paris (commissaire : Laurent le Bon)Féminité 0.I, Maison Particulière art center, Brussels, 2011Dublin Contemporary 2011 (curated by Jota Castro and Christian Viveros-Fauné)Endism, 24HR Art | Centre for Contemporary Art, Darwin, 2011Index of/, Palais de Tokyo, Paris, 2010Omega, Margaret Lawrence gallery, Melbourne, 2010 (curated by Tony Garifalakis)Mobile archive, Art in General, New York, 2009Frasq (performances festival), Le Générateur, Gentilly, F, 2009SOS 48 (Festival Internacional de Accion Artistica), Murcia, S (curated by: Jota Castro), 2009Comic Strip, Musée de Sérignan, Sérignan, F, 2009Variation & revision, Marymount Manhattan College Hewitt Gallery, New York, 2009Those Strange Children, The shore Institute For Contemporary Arts, Long Branch, NJ, 2008

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Zeichenraum, Kunstverein, Nüremberg, 2007 (curated by Heidi Sill)De notre temps (2), Musée de Grenoble, Grenoble, 2007Giardino – Places for small stories, Pan-Palazzo delle Arti di Napoli, 2006 (curated by L. Hegyi)Essences Insensées, Parcours Saint Germain, Paris, 2006 (curated by A-P. D’Albis)Trailers and animations, Senko Frame project, Viborg, D, 2006Moving Time: Tribute to N. June Paik, Korean Culture Service, New York, 2006 (curated by Iris Inhee Moon),Media in “f”, Ewha Art Center, Seoul, Korea (curated by Iris Inhee Moon), 2005Domiciles privé/public, Musée d’Art Moderne, Saint-Etienne, 2005 (curated by Lorand Hegyi)Ipermercati del’arte, Palazzo delle Papesse, Siena, 2004 (curated by Lorenzo Fusi)Où sont les femmes, Centre Soros for Contemporary Art, Kiev (curated by L. Nuridsany & C. Bourgeois), 2004Not so cute and cuddly, Ulrich Museum of Contemporary Art, Wishita, USA (curated by E. Dunbar), 2003Tutto Normale, Villa Medicis, Roma, 2002 (curated by L. Pratesi & J. Sans)C’est pas du cinéma, Le Fresnoy Studio National, Tourcoing, 2002XXIe Biennale of Alexandria, 2001 (curated by Michel Nuridsany)

Public collections

Musée d’Art Contemporain, Sérignan, FSONS Museum, Kruishoutem, BelgiumFNAC (Fond National d’Art Contemporain), F, FFRAC (Fond Régional d’Art Contemporain) Haute-Normandie, FFRAC (Fond Régional d’Art Contemporain) Champagne Ardenne, FChocarro, Fundacio Vila Casas, Barcelona, SpainArtothèque, Lyon, F

Bibliography

Catalogs / Editions (Personal)

Jeanne Susplugas Stratégie d’enfermement, Semaine, ed. Analogues, 2013Jeanne Susplugas, ed. Voix/Richard Meier, 2013Jeanne Susplugas, ed.galerie Charles de Jonghe, 2010Jeanne Susplugas Home, Semaine, ed. Analogues, 2009Expiry date _ works 1999-2007, ed. Archibooks, Paris (texts in English & French by Alain Declercq, Béatrice Gross,Michele Robecchi, Aneta Szylak), 2007Ordinary landscapes, ed. Maat, Paris (text in English by Corinne Rondeau), 2004Anecdotes, évidemment…, ed. Papiers Libres, Milhaud (text in French by Harry Bellet), 2004L’Une, l’autre, ed. AMF, Montpellier (text in French by B. Ramade & Manou Farine), 2004Dependence, V Tape / MOCCA, Toronto (texts in English & French by A. Franke & D. Liss), 2003Addicted, Galerie Olivier Houg, Lyon, France (texts in French & English by Léonor Nuridsany), 2003Hypocondriaque, Mizuma Art Gallery, Japan (texts in Japanese & English by Masashi Ogura), 2003Made in Japan, ed. RARe, Paris (text in French by Nicolas Rey), 2002Alienation, Nikolai Fine Art Gallery, New York ; Galerie Valérie Cueto, Paris (texts in English & French by MichelNuridsany & Julian Zugazagoitia), 2000

Recent Press (Selection)

RAMADE Bénédicte, Art sous influences, L’Oeil, March 2013LORENT Claude, Soigner les maux qui rongent le monde, in Arts Libre Belgique, Nov. 2012NIN Bettie, Jeanne Susplugas (ITV), in ParisArt.comBUSING N.&KLASS H., Platz für frische Konzepte, in Artinvestor n°6, G, Nov. 2012 (Germany)MARTIN Cyril, Double efficience, in Area, October 2012Apo-calypse, in Rivierart, S, October 2012 (Swiss)Le meilleur de Nuit Blanche, in Metro, October 2012DHAINAUT Alexandrine, Jeanne Susplugas-Pharmacologue, in Lyon Capitale n°715, October 2012MARCELIS Bernard, La ville et son image, in Le Quotidien de l’art n°217, September 2012A Vevey la photo se fond dans le décor, in Le Matin, 9 September 2012 (Swiss)DERVEY Chantal, Le poids des photos, in 24heures, 1-2 September 2012 (Swiss)FUENTES Abigail, La otra mirada de Zona Maco, in Corona Boreal, June 2012 (Mexico)MAISON ROUGE de Isabelle, Couples d’artistes, in Art&, March, 2012PFEIFFER Alice, Artistic Collaboration (Couples Only) is Focus of Show in Paris, in New York Times, 2012Fallout Shelters - Alain Declercq & Jeanne Susplugas, in Else, June 2011 (Swiss)Jeanne Susplugas (images), in The Drawer, juin 2011LEQUEUX Emmanuelle, Le Paris des artistes, in Beaux-Arts Magazine, April 2011SCHEUERMANN Barbara, Jeanne Susplugas - Champagne in the morning, in Art Pulse, December 2010ALLIOU Kathy, Ein neuer zugang zum Traum, in Dare (Germany), October 2010POLONI Olivia, Omega, in UN 4.1(Australia), July 2010Conversations intimes, in Art Aujourd’hui, June 2010Exporama, in Art Press, April 2010LINDHOLM A., J. Susplugas (ITV), in Kopenhagen Aktuel Inforamtion Om Samtidskunst, 2010PFEIFFER Alice, Jeanne Susplugas - Worth the trip, in Art in America (US), March 2010SERRA Stéphanie, Pills addiction and art according to French artist J. Susplugas, in BeObjective, FebruaryPIGUET Philippe, Home, in Art Press, January 2010PFEIFFER Alice, J. Susplugas - Home is where the art is, in The New York Times (US), October 2009Iatrogène, in Les Inrockuptibles, September 2009

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Recent press (selection)

Practical informations

Jeanne SusplugasAll the world's a stage

From 22 June to 27 October 2013Opening: 21 June at 6.30 pm

Press contact

Murielle EdetCommunication(0033) 6 72 82 22 78 / (0033) 9 63 03 98 84

The institutional partners of the Centre d'art le LAIT

Direction Régionale des Affaires Culturelles / Ministère de la Culture et de la Communication, Région Midi-Pyrénées, Conseil général du Tarn et la Ville d'Albi.

Curated by Jackie-Ruth Meyer

The partners of All the world's a stage

Exhibition venue

Moulins Albigeois – 41 rue Porta81000 Albi - FRANCE

From Wednesday to Sunday from 2-7 pm.Information : 00 33 5 63 38 35 9100 33 9 63 03 98 84centredart@centredartlelait.comwww.centredartlelait.com

With the aid of the Fondation Nationale des Arts Graphiques et Plastiques

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Individual help to the creation of the Regional Cultural Affairs Directorate

Exhibition