Fabienne Audéoud lives and works in Paris after a dozen years in London and a two years residency at the Jan van Eyck in Maastricht.
It’s after an M.A. in fine art at Goldsmiths that her work, until then mostly musical, focused around contemporary art practices and developed in the 90’s British art scene. It is concerned with power relations, in particular within langage, gender and representational issues. Humour is important as well as the notion of performativity, as theoretical and practical approaches to find and/or create spaces where the artist can intervene.
Her collaborations with John Russell and her solo work include video, performances and paintings and was shown in solo and group shows in independent spaces and institutions including: at the ICA, Camden Art Centre, South London Gallery, V&A Museum, Tate Gallery, Gaswork, Eastside Projects and Ikon Birmingham, Milton Keynes Gallery, Modern Art Oxford, Bluecoat and Tea Factory Liverpool, Karst Plymouth, Intermedia Gallery Glasgow, Ormeau Bath Gallery Belfast (UK), Sotheby’s, White Columns and Maccarone (NY), Bregenzer Kunstverein, Kunsthaus Graz (AT), Serralves Porto (PT), Art Projects Dublin, Tulca 2017, Galway (IE), CA2M, Tapiès Foundation, MACBA (SP), Moderna Museet and Konstakuten Stockholm (SE), Komplot (BE), Bergens Kunstforening (NO), Vilnius CAC (LT), BAK Utrecht, Smart Project Space Amsterdam Marres Art Centre Maastricht (NL), Museo Universitario del Chopo (MX), Fri-art Fribourg (CH), Petit Palais Paris, Confort Moderne Poitiers, Treignac Project, Sharjah Art Foundation (UAE), Triangle, Marseille, La Salle de bains, Lyon, La Villa du Parc, Annemasse, Villa Arson and La Station, Nice, (FR)…
In October, alongside her solo show at Island, she will be included in large scale exhibition on the French art scene “Future, Former, Fugitive” at the Palais de Tokyo, as well as in Avant Première (with Tonus) and Bienvenue Art Fair (with Le Confort Moderne) Paris.
She will be part of the group show “Future, Former, Fugitive” at the Palais de Tokyo in Octobre 2019, and will present a solo show at Island Brussels.

Nona. Decima. Morta. is a project inspired by the roman Parcae myth: 3 sisters born from the Night, spinning time to the rhythm of change.
Nona, the spinner, creates and holds the thread of human destiny.
Decima, the measurer, unwinds and measures the thread of life with her rod, placing it on the spindle.
Morta, the inevitable, cuts the thread, inevitably ending every mortal’s life.
For Island, Eva de Chabaneix, Pauline François and Ethel Lilienfeld present 3 exhibitions, inaugurated each week such as 3 acts.

Nona
Seizes us from within, turns towards us.
The door is half-open, she hesitates on whether or not to enter. Nona draws out the first thread of the exhibition from a semi-slumber, where strange paintings seem to take a life of their own.

Decima
The shower has passed, night has fallen, it takes all sorts to make a world. An inventory of fixtures is needed. This second act meanders through the intimate and trips between existential questions and lightness of heart.

Morta
Walks on her tip toes, a pair of scissors in her hand.
Plunges the spectator into blurry light.
Eyes closed, arms held out ahead, she is on the edge.
For her last card, her sight seems to have changed, all becomes clearer.
As she wakes, she cuts the thread.

« (…) Everyone has friends. Why would the poet not be addressing his own friends, people who are naturally close to him? The seafarer at a critical moment casts into the ocean a sealed bottle that contains his name and a description of his fate. Many years hence, I find it in the sand while roaming among the dunes, read the letter, learn the date of the event and the last will of the deceased. I am within rights to do so. The letter sealed in the bottle is addressed to whoever finds it. Being the finder, I am thereby the mysterious addressee. » ( On the interlocutor, Osip Mandelstam, translated by Philip Nikolayev).
Grégory Decock is born in 1979, he is living and working in Aouste sur Sye, Drôme, France.
He is graduated at La Cambre. He presented his work at ISELP (Picto(s), 2006), Gutenberg Museum, Fribourg (The quick brown fox jumps over lazy dog, 2009), S.M.A.K. (Prime-Eerste-Premier, 2011), Musée d’Ixelles (Explosition, 2011), l’Amicale (Tous les deux moi(s), 2012), Galerie Pannonica (Le Je-ne-sais-quoi et le Presque-rien, 2013), Le Cabanon (Nuées, 2014), Le Royal (Dalonaz, 2017), IAC Villeurbanne / Festival de la Correspondance, Grignan (A priori une bonne nouvelle, 2018), Imprints (Carte blanche, 2019).
“The art that I like to make, takes form in a city, a very defined context. It seeks to engage in a dialogue with its environment. I’m interested in the shared nature of the public space. Everyone may respond to the messages I leave or propositions I make. Extremely fragile, it exists and is retained only by the targeted viewers, residents, decision makers or tourists.”
This exhibition is part of a current project he’s working on ; drooM:
drooM is a stealth art centre project. It is a relay antenna. A temporary embassy of the artistic community. To welcome and engage in a dialogue with the inhabitants of rural areas of Drôme, different generations of Belgian and French artists to begin with.
drooM aims to build bridges between here and there, to become the engine of increasing knowledge and sources of non-fossil energy for creation.
Its challenge is to make twenty-six artists’ dreams come true from the summer of 2020 within twenty-six former service stations in the Drôme department.
Echoing Edward Ruscha’s iconic book: TWENTYSIX GASOLINE STATIONS.

For this exhibition, artists Soohyun Choi, Olivia Hernaïz and Ruth Waters question the testing of boundaries between consumption, cognition and communication. The cautionary phrase  « Don’t push your luck » is a warning to not go any further, beyond what is deemed to be currently possible. From this standpoint, the artists begin to challenge the status quo, proposing the questions: Has the time come to push one’s luck? Are we to accept only what is offered? If our generation is the first be statistically worse off, isn’t pushing one’s luck exactly what needs to be done?

UU (The Artist as Director) est un projet de recherche créé par Montecristo Project qui prend la forme d’expositions, d’essais ou encore de conférences. Inspiré par les travaux d’Ugo Ugo (1924), artiste, directeur et créateur de la collection d’art contemporain de la Collezione Ugo à Cagliari, ce projet examine le travail de nombreux artistes qui ont été fondateurs ou directeurs de lieux culturels et artistiques. Cette recherche tend à étudier la manière dont les artistes créent, programment et dirigent ces lieux en assumant le rôle de curateurs, mettant en place de nouvelles approches afin de mieux appréhender la relation entre les oeuvres, l’espace et leur contexte. La première présentation d’UU a eu lieu lors d’une exposition réunissant les fondateurs de Montecristo (Enrico Piras et Alessandro Sau) ainsi que Lorenza Boisi, artiste et fondatrice-directrice de MARS, Milan, et Ugo Ugo. Le second chapitre de la série a présenté les travaux de Sébastien Bonin, fondateur d’Island, Bruxelles, dans un nouveau lieu, spécifiquement imaginé et conçu dans un endroit reculé des montagnes Sardes. Au sein d’Island, l’exposition rassemble ces expériences en présentant les travaux de ces artistes-directeurs et un aperçu de la figure qu’est Ugo-Ugo.