Submission
Loucia Carlier

Deep fake


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Loucia Carlier, Deep Fake, 2021, exhibition view, lamp, gelatin, paper mache, paint
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Loucia Carlier, Hug the walls, detail view , 2021, painted paper mache, variable dimensions
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Loucia Carlier, Psilo for Lou, 2021, exhibition view, painted paper mache
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Loucia Carlier, Psilo for Lou, 2021, painted paper mache, 50 x 30 cm
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Loucia Carlier, Deep fake, 2021, exhibition view
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Loucia Carlier, Deep Fake, 2021, detail view, mix of fabrics, paint
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Loucia Carlier, Deep Fake, 2021, detail view, mix of fabrics, paint
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Loucia Carlier, Deep Fake, 2021, detail view, mix of fabrics, paint
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Loucia Carlier, Deep Fake, 2021, exhibition view
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Loucia Carlier, C13H16N202, 2021, plexiglas, plastiline, wood, polystyrene, ceramic, brambles, plaster, 102,5 × 50 × 25,2 cm
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Loucia Carlier, Hug the walls, 2021, painted paper mache, 120 x 50 cm
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Loucia Carlier, Deep Fake, 2021, exhibition view
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Loucia Carlier, je chercherai des oeufs sous les ronces, 2021, plexiglas, plastiline, wood, polystyrene, ceramic, brambles, plaster, 90 × 60 × 25 cm
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Loucia Carlier, je chercherai des oeufs sous les ronces, 2021, detail view

The armchair invented in Edogawa Ranpo’s short story (The Human Chair), allows one to hide in its lining and to feel, through the thin layer of leather, the person coming to sit on it. The fact that we can introduce inner affections to an inert chair that feels and observes the codes and signs emitted by its users, makes us producers of a parahistory that then takes on our paranoid happiness.

With Deep Fake, Loucia Carlier creates works from which we are observed and absorbed in their linings. The fake imitation leather of exterior surfaces and interior volumes, revealing the imprints of objects that never cease to exist. Caught between the object and its simulation, which would like to be embodied in images and words endowed with affections, we are at the service of an enjoyment that has dispossessed us of our libido and where our bodies are coupled to the real ones, asses on the bench, hands near the walls and glasses in the mouth.

Off-the-Cuff is a cycle that takes place in three successive parts. For each edition, Forde invites an existing play to be staged by its authors. Through this gesture of abandoning the piece to the space, it will be a question of killing the stories constructed by the exhibition and of considering them in their post-historical future: the activation of a potential that was not intended for it through its recycling and semantic fermentation. In a way, it is a second-hand market of artistic production that opens up, where the original disintegrates into its presupposed use value, a reality that turns a pastiche into a pistachio and willingly confuses productive instances, such as the artist, the dealer, the curator and the jester.