Transformation Parlor by Marie-Ange Guilleminot
IN THE PARLOR OF MARIE-ANGE GUILLEMINOT, EVERYTHING IS TRANSFORMED …
Marie-Ange Guilleminot, contemporary French artist, is the guest of Première Vision Paris and created the event of the 2016 opening season at the Première Vision Manufacturing show. For three days, her works will be featured in a space called TRANSFORMATION PARLOR, or Le Salon de transformation, dedicating it to a performance artwork around pieces all created specially for the occasion.
“Here I’m telling stories of creation and transformation, it’s the DNA of Première Vision and the backbone of my work,” says artist Marie-Ange Guilleminot.
Each work is manipulated by hands gloved with a washablewhite leather by Tanneries Pechdo (Leather, 3G4). Everything, whether tangible or digital, has a double use. Hung on the rack of a bike, the book-bag for fall 2016 (made by the Coups de Crayons workshop) changes into a desk blotter. The “life-hat” slips from the head to the neck, and was made by Emo (Manufacturing, 6V19), with an elastic tie made in the atelier of Cécile Feilchenfeldt (exhibitor at Maison d’Exceptions in February, and the face of the current Première Vision Paris campaign). So take advantage of the deckchairs covered in skin by Remy Carriat (Leather, 3F9-3G10) and France Tanneries (Leather, 3F33) to soak up the new possibilities imagined by the artist.
Discover the space and the works created and displayed by Marie-Ange Guilleminot.
Première Vision Manufacturing (Hall 6 North)
She has created a line of 8 sunbeds in taurillon skin from the Remy Carriat tanneries (Stand 3F9 – 3 G 10) and France Tanneries (Stand 3F33) to offer comfortable seating to surrender, for just a moment, to the extraordinary decor at the museum of the writer Pierre Loti in Rochefort. Thanks to a large-format photograph co-created with Jean-Luc Moulène, the dress, la Robe aux grains de beauté unfolds, lasciviously worn by its creator. Extracted from a book by the artist, Il n’y a d’urgent que le décor, which is also presented, this image reflects the harmony of a range of colours chosen by the artist herself to match the delicately velvety feel of nubuck-finish leathers. At the heart of this new space, a Spiral-bookcase wardrobe allows visitors to pass from the world of museums to that of fashion manufacturers, thanks to improvisational players who are featured alongside the artist. Indeed all the works of art, whether tangible or digital, on paper or silk, incarnate genuine surprises borne aloft by these actors who, to protect the items while handling them, wear gloves of washable white leather from the Tanneries Pechdo (Stand 3 G 4) made by glove maker Lavabre-Cadet.
Marie-Ange Guilleminot draws on her repertoire of unusual shapes, whether recognizable or imagined, flowing like treasures from this “standard or customized” item of furniture, from spiral furniture to infinite furniture, distilling its secrets.
She thus offers industry and artisanal players the keys to new proposals. The creations of the artist are set in motion by a young designer in film animation, Fabio Besse, opening a world in full transformation:
— The bookbag imagined for September 2016 will turn secretly into a blotter… among the creations in leather, made by Yann Veper at its workshops Coups de Crayons.
— The bag named sac filoche will vibrate thanks to precise work by Pact Europact (Stand 6U16).
— A pencil, adorned in a braid of cotton made by Société Choletaise de Fabrication (Stand 4E02), arises in a nod to a work by Marie-Ange Guilleminot exhibited throughout the world in numerous museums (from Louvre to Cincinnati and Kyoto…) or in the artist’s videos. This pencil will be offered to visitors as a practical souvenir of this unique experience
— Wrapped around the body, the Chapeau-Vie (the Life-hat), here in its industrial version, made in Troyes by Emo (Stand 6V19). Its surprises include an elastic tie created with the help of Cécile Feilchenfeldt (exhibitor at Maison d’Exceptions in February and featured in the new Première Vision Paris campaign) in her Parisian workshop, as well as the apron-tablet and the door-book-signet.