I Dwell in Possibility duo exhibition with Natalia Blanch,
Maison Losange, Brussels, 2024.
“Lucile Bertrand and Natalia Blanch take over the house of artist Evelyne de Behr and Thierry Lucas. The reference to Emily Dickinson's poem in which the writer praises poetry — a home that is far more beautiful than prose, because it is the place of all possibilities — sheds light on the relationship that these two artists have with both domus and poesis.”
Nadine Plateau, excerpt from the catalogue, September 2024.
When we accepted Evelyne and Thierry's invitation to exhibit in their home, in rooms with various functionalities, we took into account what this implies: a building and its architecture, a lived-in space that symbolizes home and domestic life (still often taken care of by women), interior and retreat, and which implies bonds, hospitality, and security. Sometimes, home rather represents a place of confinement and fear. And also, for both of us, the need to go out and engage with the world and others, through movement and travel.
Introduction to our exhibition's guided tour, November 2024.
“Through a large range of mediums, Lucile Bertrand explores the notions of physical and imaginary borders, inviting us to movement, relationships, and exchanges. She also presents the first scene of her new film, Les inoubliables (The Unforgettables), which echoes these issues—performers deliver in several languages the writings of female poets from different continents, who come together through their texts on the constraints imposed on women, which they seek to overcome with wit and complicity.”
Losange, excerpt from the press release, November 2024.
What Happened, 2019.
Photographic pigment print.
28 × 34 cm. See details.
Chanter comme des oiseaux (Singing like birds), 2020.
Music scores drawn on printed paper.
29,7 × 42 cm + music stands. See details.
Bagages de vent (The Wind's Luggage), 2001.
Gauze, synthetic hair.
Cube 8 cm each side. See details.
Photos on glass, 2020.
Photos on glass + printed and drawn text on paper.
54,7 × 41,2 cm and 41,2 × 61,2 cm. See details.
perpetratio, 2009.
Edition 30 printed artist books.
21 × 28,5 cm. See details.
Archipels (Archipelagos), 2015.
Jesmonite, metal.
110 to 120 cm × 30 to 37 cm. See details.
Film Les inoubliables (The Unforgettables), 2024.
See details.
Sacs (Bags), 2015.
Blown glass, pigments.
Various sizes. See details.
Souvenirs froissés (Crumpled Memories), 2012.
Porcelain.
Various sizes. See details.
Mondes froissés (Crumpled Worlds), 2012.
Porcelain, pigments.
Various sizes. See details.
What Happened.
Installed in the entrance hall of the house, this photo with text questions the idea that a home is necessarily a space haven.
Ground floor. Chanter comme des oiseaux (Singing like birds).
Transcription of birdsongs in duets, evoking the dialogue between our artworks in this exhibition.
Basement living room. We mixed our artworks together and discreetly scattered them throughout the common areas of the house.
Bagages de vent (Les secrets) (The Wind's Luggage, The secrets).
Three gauze cubes with hair besides a drawing by Natalia Blanch.
Photo Regular Studio - Gilles Ribero
Three gauze cubes with hair selected from the hundred cubes that comprise the series Bagages de vent (Les secrets).
Bagages de vent (Les secrets).
Two gauze cubes with hair. The material used in this work is fragile, like the refugee's condition.
Bagages de vent (Les secrets).
A gauze cube with hair besides a drawing by Natalia Blanch.
Basement living room. Bagages de vent (Les secrets).
Three gauze cubes on a windowsill.
Salon sous-sol. Bagages de vent (Les secrets).
Trois cubes en tarlatane avec cheveux sur un rebord de fenêtre.
Anaïs room. Photos on glass, book perpetratio on the table, Archipels (Archipelagos) in front the window.
Photo Regular Studio - Gilles Ribero
Archipels.
These islands, independent yet connected, remind us of the distance needed to see and listen to one another,
and the necessary relationship with others, which must be constantly renegotiated.
Photo Regular Studio - Gilles Ribero
Still from the first scene of the film Les inoubliables (The Unforgettables), projected onto a large white wall in the bedroom.
Veronica de Giovanelli recites a poem by the poet Nella Nobili in Italian.
Dining room. Chanter comme des oiseaux (Singing like birds).
Music score of endangered bird songs beneath two drawings by Natalia Blanch.
Dining room. Sacs (Bags). Fragile and ordinary, these blown glass bags placed on the table appear tired,
almost collapsed, as if they had traveled a long way.
Each Sac contains a trace of color evoking a dry or wet landscape,
a light, a scent, an intangible memory that had to be left behind.
Photo Regular Studio - Gilles Ribero
Living room. Almost invisible, three porcelain leaves, from the series Souvenirs froissés (Crumpled Memories), seem to hover in front of the wall,
next to a drawing by Blanch. A porcelain petal, from the series Mondes froissés (Crumpled Worlds), is discreetly placed on the table.
Three porcelain leaves, from the series Souvenirs froissés, on the wall, next to a drawing by Blanch.
A porcelain petal, from the series Mondes froissés, is placed on the table.
Photo Regular Studio - Gilles Ribero
Souvenirs froissés (Crumpled Memories). Extremely delicate, the three porcelain leaves seem to be barely resting on the wall, ready to disappear at any moment.
Mondes froissés (Crumpled Worlds). Fleeting thoughts, fleeting memories,
but also fragile and precious lives... as evoked by the blown glass Sacs.
Living room mantelpiece. Books by female poets featured in the film Les inoubliables (The Unforgettables),
including Emily Dickinson's work, which inspired this exhibition, are available for consultation.