La Fidélité, etc… (!) is a light and ironic reflection on love life. The sexual reproduction “tools” of both sexes flit from right side up to upside down.


  “(…) The guide line in Françoise Quardon’s work is its decorative aspect, stubborn and rebellious. However, despite the appearances of ‘montage’ her work is not subsidiary on the contrary, constantly in progress, it enables her in an organic mode to occupy a central position. To be more precise and quoting a Lars Von Trier film, her work is of epidemic status. Her task is a vocation; deaf towards politically right-thinking politicians and braggarts. Provocative, it aims to undermine the logical bases of formal or narrative mustering. In other words, decorative art is not a supplement, a gracious or twisted end-of-the-line prize. It is inaugural, forceful, a raging dynamic that expulses ‘sculptural’ constituents. Decorative art has a centrifugal force that threatens the spectator rather than merely acting as a mask. The same hiccough rhetoric drives Wong Kar-wai in In the Mood for Love. The unceasing interchange, not of characters, but of costumes, precludes them from having any depth and draws them into a vertiginous movement on the spot. They are the colours of a fast epoch, that of any story. (…)”

Jean Pierre Rehm, No Stairways to heaven,
Le Creux de L’Enfer, Thiers, L’Office, Dijon co edition.
18/08/01 15:45
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