The armchair invented in Edogawa Ranpo’s short story (The Human Chair), allows you to hide in the interior of the lining and to feel, through the thin sheet of leather, the person coming to indulge in its activities. Being able to introduce inner affections to an inert chair which feels and observes the codes and signs emitted by its users, makes us producers of a parahistory which is then charged with our paranoid happinesses.
With Deep Fake Loucia Carlier draws up pieces from which we are observed and absorbed in their doublings. The fake leather imitation of the external surfaces and the interior volumes reveal prints of objects which do not end up not existing. Stuck between the object and its simulation, which wishes to be embodied in images and words invested with affections, we are at the service of a pleasure which does not belong to us any more and where our bodies are then coupled to the real, the ass on the bench, the hands on the walls, the glass in the mouth.
Off-the-Cuff is a three-part cycle. For each edition, Forde invites an existing piece to be staged by its authors. Through this gesture of abandoning the piece to the space of Forde, the idea is to kill the narratives that have been assembled by the exhibition and to consider them in their post-historical development: the activation of a potential that was not intended in the first instance, 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 pistache and willingly confuses productive instances, such as the artist, the dealer, the curator and the buffoon.