25 June > 27 June 2010
A project by Benoit Ménard
Art direction & curating: Zirkumflex
Graphic design: Zirkumflex
Taste Statement is an installation by Benoit Ménard. It is an anamorphosis lettering obtained by spreading rat poison on the floor.
3 questions to Benoit Ménard
What does your work consist of ?
My work questions on our relationship with painting by thinking it in a spatial and temporal dimension. Most of the time, I use toxic or short-lived materials which have an action, a reaction in the time. They are heterogeneous (oil paint, tar, insecticide, rat poison, paracetamol, paint for special effects SFX, spotlights), and I also mix sculpture, installation and video to elaborate my work.
What Taste Statement means ?
Taste Statement is an expression coming from social networks in which a list of cultural and personal informations makes you identify a person and what he likes. It is refered to the artistic statement and to the esthetical taste but also to the sensorial taste. The exhibition at Zirkumklex is an installation that shows a word inspired by the logo of a heavy metal group.
What is Reditus ad Futurum ?
It is the edition, produced in collaboration with Zirkumflex, presented together with the installation. The title, Reditus ad Futurum, is the latin translation of the movie “Back to the Future”.
Twelve perforated graphic stories.
by Benoit Ménard
Published by Pollen in collaboration with Zirkumflex
Editorial concept: Benoit Ménard
Graphic Design: Brice Delarue
Printed by Les Parchemins du Midi
Print: Full color
Size: 18 × 16 cm
Reditus ad Futurum is an editorial project of Benoit Ménard, published by the artist-in-residence program Pollen in collaboration with Zirkumflex.
Inspired by LSD blotter paper; made up of twelve printed and perforated sheets of papers within a folder. Benoit Ménard introduces his frame of references and his thematic imagery through the gathering of images from various influences, from Mondrian to the metal band Anthraxs’ guitars.
Reditus ad Futurum is a french language edition published in 1200 copies and distributed in the french institutional network, FRAC (Fond Regional d’Art Contemporain).