ROYAL CAMÉE - Exhibition from June 6 to 24, 2018 - Opening Wednesday June 6 at 6.30 p.m.

in Darwin - Ecosystem, 87 Quai des Queyries in Bordeaux

Free entry from Wednesday to Sunday from 1 p.m. to 7 p.m.

In addition to this, you will need to know more about it.

ROYAL CAMÉE is the name of a bar, a fictional café in which Florence Carala (Jeanne Moreau) waits in vain for the return of her lover Julien Tavernier (Maurice Ronet), throughout Louis Malle's film Ascenseur pour l'Ecaffaud ( 1958). A moist atmosphere emanates from alcoholic sweats from young people intoxicated with games and “Le Royal” cocktails. The decor is then made up of voiceless pinball machines on which livid players struggle to take any pleasure in them. Jeanne Moreau, lonely but distraught, finally walks towards a mirror at the back of the bar, where she tries to catch her own fleeting gaze. She finally manages to concentrate on the reflection of one of the pinball machines in the troquet, whose image is duplicated, and whispers to him thus:

“I lost you last night, Julien. "

The Les Ortigues company designs spaces, signs and ephemeral furniture that highlight commercial products during advertising fairs. The lifespan of these spaces / projects / objects is then conditioned by the time of the event. As soon as they no longer have any commercial utility, the materials are destroyed.

It is during the last three months that the young artist Rémi GROUSSIN has been received within this company in order to conduct an immersive creation residency. The first step was to recycle and transform the non-inevitable condition of the company's rejects. The artist has developed a specific project there that fits contextually into a functional cycle. He gradually deployed an artistic approach around the notions of challenge, surpassing, otherness and individuality specific to the joint rules and languages ​​of the business world and that of the game. within Ortigues, he has structured his work around a complex but emblematic object: The Flipper, which he advocates as a metaphor for spatio-temporal and social relationships linked to the world of work. The formal aspect of the Flipper constitutes a space modeled like a miniature model from which the artist has been able to implement the various skills of the company. He was then supported in his work by the design office, signage and wood and metal construction workshops.

In order to celebrate the initiative of this singular project, he imagined an installation principle integrating questions of storage as artistic gestures. Assigned to concerns of the workshop, space management and productivity, these gestures will guide the choice of assemblies in a series of sculptures that resemble pinball machines. It is at the heart of the Darwin ecosystem that the artist offers ROYAL CAMÉE: an exhibition presenting a disparate collection of pinball machines composed without distinction, scrap materials, custom-made adhesives and scraps of reflective materials. These objects become generic forms sweeping a symbolic field of vast and vague states, ranging from vestige to social transitional object, including technical ingenuity. at the sight of these sculptures, the gaze is disturbed by shimmering materials and by the interplay of optical and luminous mechanisms questioning this notion of commercial “lighting”. Bringing together this series in a single exhibition space, the artist re-enacts the idea of ​​events by imagining a unique platform taking the shape of a pinball machine silhouette. Closely similar to a classic catwalk catwalk, this oversized plinth dramatizes the work and once again embeds it in its role of promotional product where what is to be promoted remains indefinable.