Collapseology, end of the world, sixth mass extinction, it is no longer a media that does not tell us that we run to our loss, that the world as we know it is at its twilight. We saw hungry polar bears on a drifting pack of pack ice, dead bees by the thousands, sea turtles smothered in plastic; we listened to this incessant suspense, tensions between North Korea and the US, scared of a nuclear threat that the news predicted us.
In this alarming and sensational context I simply propose to pick up some branches for the fire, learn to tie a knot and watch the lightning fall.
This installation designed for the Barcelona Mecànic art center is conceived as a continuation of «SURVIVALISTS» the personal exhibition programmed by the French Alliance of Busan and the GoEun Museum in South Korea. A new series of twenty pieces is produced for the occasion.
On Saturdays at 12 am guided tour included in the entrance price.
Born in 1985 in the north of France, Léa Habourdin first studied printmaking at the Estienne school and then photography at the Arles school.
Attentive to the diversity of forms of life, her practice wants to draw other ways of resonating with the world, observing the relationship we have with other animals, landscapes, it summons the notions of survival, fracture, collapse and build a new image of what we call «the wild».
Exploring fields such as animal behavior, ethology and applied science research, she deploys a work in drawing and photography where the place of the book and the printed object is crucial.
His work has been shown in many festivals (Rencontres d’Arles, Photo Phnom Penh – Cambodia, Kaunas Festival – Lithuania, Lianzhou Festival – China) and was awarded several times (BnF Talent Award, House Festivals Jury Award Blanche and Boutographies). In 2014 she received the Carte Blanche PMU award in association with Thibault Brunet, in 2015 she exhibited at the Bal (Paris) and her first two monographs are published: Gun dogs (Editions Filigranes) and Immobiles (editions Le Bec en l’air ).
From the artist’s book that she deconstructs in public (Relier-Delier at the Deyrolle House in 2017) to the one she shapes as a trace of her performance (I write to you at the Czech Cultural Center in 2016), she developed the latter years a singular relationship to the printed object, multiple, performed. In 2018, she exhibited Survivalists at the GoEun Museum in South Korea and took advantage of the opening of the exhibition to launch her publishing house: Mille Cailloux where the act of publishing will be thought of as an artistic practice.
His work is in public collections (BnF, Franklin Furnace Foundation) and private (United States, Japan, France, Ireland)