{"id":91,"date":"2022-02-22T04:04:59","date_gmt":"2022-02-22T04:04:59","guid":{"rendered":"https:\/\/lalalande.art\/?page_id=28"},"modified":"2026-07-08T14:58:43","modified_gmt":"2026-07-08T12:58:43","slug":"home","status":"publish","type":"page","link":"https:\/\/lalalande.art\/en\/","title":{"rendered":"Home"},"content":{"rendered":"
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Requiem 2.0 <\/strong><\/div>
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A Franco-Iranian artist who experienced exile in childhood, S\u00e9p\u00e0nd Danesh finds refuge, through his painting, in the geometric representation of an angle. At the intersection of two walls lies an interval \u2014 a corner in which to withdraw, rebuild an identity, and arrange childhood memories. Within this contained space, a dead end with a closed horizon, the artist nonetheless discovers infinity. It is crossed by a vertical line that simultaneously cleaves the space in a fracture and points toward the promise of reconstruction.
Here, the destruction evoked is that of Pablo Picasso's Guernica, reconsidered through\nthe lens of S\u00e9p\u00e0nd's digital and tragicomic aesthetic, and through that of the new warmongering forces that have continued to crush the innocent to this day.\nTo the bodily deformity and fragmentation of Picasso's figures, expressing the atrocity of their suffering, S\u00e9p\u00e0nd adds their pixelated fragmentation: a contemporary equivalent of Roy Lichtenstein's Ben-Day dot, which, through the printing grid of comics, expressed the disintegration of the individual.
In S\u00e9p\u00e0nd's work, bodies thus decomposed by the pixel convey a new form of misfortune visited upon the wounded today: their media disintegration, here literally digital. The reality of their suffering is denied by the camera and its operator, who averts their gaze and redirects their attention toward the trivial ; three floating pixels, admittedly in attractive but primary colors, forming no intelligible image.
Fragments burst out of the main canvas and take the form of autonomous elements: glitches, or digital display errors. The work thus overflows its frame, in a logic analogous to the parergon described by Jacques Derrida, whereby peripheral elements participate fully in the construction of meaning. These graphic artefacts extend the fragmentation by dispersing certain details into an isolated visual space, where the figures seem simultaneously to decompose and reconfigure themselves, far from the site of their torment.
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Aur\u00e9lien Simon<\/span><\/strong><\/h6><\/div>

Domus Vacuae<\/b><\/p>


Sol\u00e8ne Ortoli draws figurative yet irrational spaces \u2014 plunging views whose perspectives compete with one another \u2014 in which nature seems to domesticate both places and bodies.
Vacant houses, yet inhabited by an inversion of the domestication process; it is now nature that transforms human habitat, through its grassy and arboreal irruption.\nInterior and exterior blur into a dialogue of forms and colours. Greenery makes its way indoors, while the outside is furnished with domestic objects. The two spaces communicate through an absence of partition walls, or through large bay windows behind which the intimacy of the figures is exposed by the transparency of the spaces.
These figures explore their animal origins, visited here by a simian silhouette, there caressing a fluid and spectral ichthyic form, or bathing in a liquid element as if to return to the source of a forgotten nature lying in the depths. Others drift in ambiguity: mermaids frozen mid-transition, held in a passage between their two states \u2014 animal and human \u2014 and their two distinct realms \u2014 the world above and the world below \u2014 connected by baths resembling burial vaults.
These water surfaces reflect another world, as do the monolithic beds \u2014 that threshold between dream and waking \u2014 and the inclined mirrors that open as many loopholes toward an inverted world, much like the \"House of the Mirror\" of Lewis Carroll's Alice. With the mirror, Sol\u00e8ne handles reflection as a material, giving shape to unsuspected landscapes. This mirror transforms and deepens our reality, overturns its horizon, and reveals to our eyes the image of our own deeper nature.
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\u00a0Requiem 2.0 \u00a0 Artiste franco-iranien ayant subi l\u2019exil dans son …<\/p>","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-91","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/lalalande.art\/en\/wp-json\/wp\/v2\/pages\/91","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lalalande.art\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/lalalande.art\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/lalalande.art\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/lalalande.art\/en\/wp-json\/wp\/v2\/comments?post=91"}],"version-history":[{"count":114,"href":"https:\/\/lalalande.art\/en\/wp-json\/wp\/v2\/pages\/91\/revisions"}],"predecessor-version":[{"id":2579,"href":"https:\/\/lalalande.art\/en\/wp-json\/wp\/v2\/pages\/91\/revisions\/2579"}],"wp:attachment":[{"href":"https:\/\/lalalande.art\/en\/wp-json\/wp\/v2\/media?parent=91"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}