In some cases Ingrid Luche's works take their inspiration directly from the exhibition context. Sometimes making play with persistence of vision relating to places she has known or simply fantasised, her intriguing pieces endlessly challenge our spatial perceptions, notably by generating a kind of intermediate time frame: a no longer extant present, a déjà vu future.
As with her fourth solo exhibition, which took as its pretext a venue where she had already shown, it was after taking photographs of the space she would later use that the artist realised that the vibrations of the fluorescent lighting at Air de Paris set the gallery undulating. She then decided to alter the frame of reference by using another artist's exhibition views as part of her project. The works on show here are the outcome of this use of curved space, creating a new vision by, among other things, bringing points in space closer than they were before – something already theoretically feasible in the field of cosmology. Among the works specially created for the exhibition is a new, cosmic kind: Maquette pour une robe à partir de l’œuvre Sternenhimmeltuch (1968) de Sigmar Polke, paraphée I. Luche not only involves borrowing and reusing an enigmatic title, it is also a reproduction of a constellation in which Sigmar Polk wrote his name in 1968. Here Luche overlays her own name and transforms this space cloth into the latest-born of her Ghost Dresses series. After all, why not use one's stars as adornment? Also to be found in this exhibition is a blow-up of a book inscribed with a drawing of Achilles. The common factor is doubtless right here, in the world: the base he deliberately left so as to see himself plunge into the river… It is sometimes hard to tell if the cosmos conjured up by Ingrid Luche actually exists, or if we have dreamed it together. In the end, though, this disconnection is of little importance; what counts is the pleasure of discovery, of this new journey into space.
For over fifty years now Belgian artist Jef Geys has been building an oeuvre based on an ongoing challenge to art and its definition. Rejecting both the veneration of art and the reproduction of his works in catalogues, since 1971 he has opted for publishing his own journal – Kempens Informatieblad – to accompany each of his exhibitions.
For his second solo show at Air de Paris, Geys is continuing a series begun in the grounds of the museum in Middelheim, Belgium, in 1999: a scattering of wooden panels on which delicate drawings inspired by erotic engravings of the early 18th century were accompanied by the logos of products in fields including fashion, chemicals, luxury goods, travel and food. For the title of each drawing the artist used the name of a flower picked in the museum grounds; the flowers now make up a herbal and are added to each original drawing to form a diptych.
The semantics of the vegetal world is a regular part of Geys's output, as in Quadra Medicinale, the installation he created for the Belgian pavilion at the Venice Biennale in 2009. For this work he asked four city dwellers to make a list of the wild plants growing in the immediate vicinity. Here this same semantics is present in the form of a painting of a packet of seeds titled Brussels Sprouts, the latest addition to an ephemeris Geys has been ritualising since 1962 in works including Viola Alpina (Reuze Alpenviola/Pensée géante des Alpes), Oeillet d'Inde Légion d'honneur (Tagetes patula nana/afrikanen Erekruis) and other pleasures for the eye.