Portfolio_Anglais_Mattenberger_Luc

Luc Mattenberger
Recent works
97 rue de Lausanne
CH-1202 Genève
luc.m@bluemail.ch
+41 76 537 46 67
www.lucmattenberger.com
------------------------------Rotwand
Lutherstrasse 34, 8004 Zürich
044 240 30 55
www.rotwandgallery.com
-------------------------------
LUC MATTENBERGER - THE TOXIC POETICS OF PETROL ENGINES
Luc Mattenberger’s Sac à dos à moteur (Backpack with Engine, 2007) arouses curiosity. At first glance, it looks like it could be used for mowing
the lawn, trimming hedges or clearing away dead leaves – or else, along totally different lines, for propelling someone skywards like a novice
astronaut. Yet, since it drives no “useful” machine, it serves none of these purposes. Nor can it be qualified as the sort of “useless” object that
the art world could label simply as sculpture. Indeed, this two-stroke engine runs – that is, produces noise, a smell and stains. As a portable
contraption that uses fuel and pollutes for nothing but its own sake, this object is incorrect both ecologically and politically. Moreover, from an
artistic point of view, it suggests a position as disturbing as it is radical with respect to the status of sculpture, (non-) performance and viewer
participation.
Sac à dos à moteur makes no claim to the poetic beauty of Panamarenko’s utopian machines, nor does it imply any consumerist criticism
in the vein of César’s compressed car sculptures. Nor again does it owe anything to the luxury fetishes of Sylvie Fleury’s bronze chrome car
engines. Then, too, it looks very different from the cars that such diverse artists as Olaf Breuning, Alain Bublex, Bertrand Lavier and Sarah
Lucas incorporate into their works. It also differs from Lori Hersberger’s intricately choreographed motorcycle-tire skid marks, Fabien Giraud’s
installations of motorcycles endowed with an artificial intelligence system or the mini-motorcycle races set up by the artist duo Sophie Dejode
and Bertrand Lacombe. No, Sac à dos à moteur is strictly straightforward, no matter how varied the origins of its component parts: the minimotorcycle engine and the weed-eater suspenders were purchased as spare parts, the exhaust pipe’s position was modified, and the gas tank
and metal support to which the various elements are attached were custom-made. Scaled to human proportion, the object is shown hanging
from a hook – yet the smell of petrol and the grease stains on the floor imply occasional usage to ends that nonetheless remain enigmatic. One
wonders whether, once running, the engine represents a danger for anyone close-by, or for the person wearing the backpack. Also, is that
person a potential rescuer or, on the contrary, a human bomb in-the-making? You might come across an individual revving up his Sac à dos
à moteur somewhere in the midst of a crowd. However, such a possibility will not provide all the answers to the questions this work brings to
mind, since this object’s power, its inherent violence, comes across above all when it is viewed during its “off duty” phase.
Another work implying potential use and a need for polluting fuel is his Disqueuse à essence (Petrol-Driven Circular Saw, 2007). The distinguishing feature here is that the object – coming from a hardware store and presented as is – remains out of the viewer’s reach. This is
because it is enclosed in a galvanized steel plate housing, into which a picture window has been pierced. On one side we see a small metallic
instrument, in red, which immediately brings to mind the “in case of emergency, break glass” warning associated with a rescue gesture in case
of accident. Here, however, to follow the emergency instructions would be to provide access to a powerful machine customarily serving to cut
through metal or pierce walls. It is an object suited to providing life-saving openings, or else to enabling prison escapes by sawing through
jail cell bars or again, in a more dramatic situation still, to spreading terror in the fashion of Jack Nicholson’s hysteria-driven antics in Stanley
Kubrick’s The Shining.
Mattenberger lives in a world of weird objects lying in wait to pounce and turn the places where they appear topsy-turvy. A mere push of
the starter button on his Excavatrice (Excavator, 2006) could enable its sharp blades to tear up a wooden floor. Likewise, and as its very title
indicates, his Baignoire à moteur hors-bord (Bathtub with Outboard Motor, 2006) can stir up a thunderous swirl in a commonplace bathtub
filled with oil-soaked water. Whatever else, the smell of petrol imbues the places where these works are displayed, lending them garage-like
overtones at opposite extremes from traditional art venues. These are no autonomous objects – we are reminded of the tanker whose driver
viewers never get to see in Spielberg’s Duel, or the 1957 Plymouth in John Carpenter’s film Christine. With Mattenberger, it is just the opposite:
although all his works are operational, their functioning is up to each of us.
Luc Mattenberger loves engines. He knows exactly how they run. He is a sculptor who explains synchronous piston movement, a painter who
describes the spurts of fuel coming out of an exhaust pipe, a musician who analyzes an engine’s noisy explosions, a perfumer who breathes
in the smell of old burned oil... His toxic petrol-engine poetics convey not only his fascination with machines destined to gradually disappear,
but also demonstrate the laughable and potentially dangerous aspect of a fascination – particularly masculine – that has, for over a century,
contaminated a good share of the world population. Before becoming a problem of global dimensions, petrol-driven machines were part
and parcel of modernism’s wildest epics – the rise of industry, the democratization of the automobile, the progress of aviation, the growth of
business trade, the advance of technology, the conquest of space, and more. Without waxing moralistic, Mattenberger’s art probes, among
other things, the idea of pollution, not only in cities and in Nature, but also in a more figurative sense, in the realm of art. One day, perhaps, it
will be considered meaningful as well in the context of an industrial and cultural heritage from a bygone era wont to quench its thirst for energy
at the petrol station.
Jean-Paul Felley & Olivier Kaeser
Directors of attitudes – a non-profit contemporary art space, Geneva and of the Centre culturel suisse, Paris
www.attitudes.ch
Translation: Margie Mounier
Tools (Revolution)
2014
Steel and stainless steel, leather, brass, Enamelled earthenware
400 x 300 x 330 cm
Down to the Limit
2014/2015
Inkjet print on paper
355 x 245 cm
Pinto Canyon
2014
HD video on flat screen
24 min (loop)
During a 3 months stay in the USA, I imposed upon myself as a single playlist for the
car radio, the songs used in Guantanamo for torture. Then, for three weeks, every
night, I took the road from Marfa to Mexico, driving down the Pinto Canyon Road.
Souffleuse
2014
Galvanized steel, led, leaf blower, fan, acrylic glass
185 x 62 x 36 cm
Grille
2014
Galvanized steel, flammable liquid, cotton, glass, leather
81 x 62 x 15 cm
Croix
2013 / 2014
Steel, chain
35 x 25 cm x variable height
Ian Wilson
The 10th Circle on the Floor, 1968,
white chalk drawing, coll. Mamco
Masque
2014
Enamelled earthenware, leather, brass
Edition Nationale Suisse
Sans titre (Restraint)
2014
rope, hand suction lifters, glass, steel
70 x 22 cm x variable height
A thin glass is sandwiched between two suction lifters. The
plate is kept in a precarious balance, requiring daily human
intervention to regenerate the suction; otherwise, the Earth’s
gravity will take over, causing the irreparable loss and breakage
of the glass plate.
Born and Raised
2014/2015
Inkjet print on PVC tarpaulin, leather, aluminium
210 x 300 cm
Ghost Tape Number 10
2013
Vinyl
18.5 x 18.5 x 0.5 cm
« Ghost Tape Number 10 » or « The Wandering Soul ».
A fictional wandering soul. Fruit of the imagination of
American brains. A war. Propaganda sound. Not just
any. A powerful sound projected above the jungle by
helicopters. A polyphony. Myth and reality. Leaves to
absorb sound, there are none left.
Drop
2012
Brass, stainless steel, water tank, amplifier
100 x 60 x 60 cm
A drop of water falls regularly on a wide brass disc.
Four loudspeakers amplify the effect. The structure
is always on the edge of feedback.
Siren Backpack
2011/2012
Steel, aluminium, electromechanical siren, battery
40 x 50 x 115 cm
Swiss Confederation Collection
Stretcher
2011
Stainless steel, steel, hydraulic pump and 5 T jack
200 x 38 x 110 cm
Flare
2012
Steel, concrete, aluminium, rubber, electric motor, galvanized steel
640 x 640 x 220 cm
Wall
2012
Concrete, brass, galvanized steel
185 x 90 x 5 cm - 250kg
Avec le soutien de PRELCO Préfabrication d’Eléments de Construction SA
Heimat
2011
Dural, stainless steel, wood, glass
22 x 33 x 8 cm
Booby Trap
2011
Engine, aluminium, F-5 Tiger tank, turbine 80 x 120 x 550 cm
Kunstmuseum Bern collection
[ ... ] la torpille de Luc Mattenberger, [ qui ] comme ses devancières imaginées par la marine japonaise à la fin de la seconde guerre mondiale,
nécessite un pilote humain pour atteindre son but.
Dans Le robot qui rêvait d’Asimov, Elvex (LVX-1) est détruit précisément parce que ses rêves, cette part humaine qui se développe en
lui, pourraient lui faire négliger les trois lois de la robotique. Voilà une
oeuvre pie. Comme l’aurait dit jadis Arnaud Amaury, archevêque de
Narbonne et légat du pape : “Cædite eos !” Shoot’em up, quoi !
in Les robots prennent le contrôle de Bâle, Le Monde, Harry Bellet
Cross
2011
Steel, stainless steel
70 x 11 cm x variable height
Black Matter
2010
EPDM rubber, aluminium, cable winch and electric drive
600 x 800cm
Prix Pasquart, Société des Beaux-arts, Bienne
A horizontal winch pull the rubber membrane until the maximum
extension point is reached and then invert the direction, in other to
let the membrane take its original shape. Before starting a new cycle.
Brancard
2010
Aluminium, stainless steel, resistor, converter
60 x 20 x 180 cm
[ ... ] Au travers des oeuvres de l’artiste le moteur
tend vers le fétiche. Moteur que l’on admire pour
ses qualités plastiques, sa beauté et sa force; tel un
objet de contemplation, une relique ou un symbole
du développement d’une société qui cherche à se
surpasser en permanence. [ ... ] Mais ces engins au
si fort pouvoir évocateur, peuvent se révéler à double
tranchant; aussi utiles que dangereux (Brancard).
Extraits de Modifier, likeyou, Boris Magrini (traduction)
Smell
2010 - 2011
Galvanized steel, barrels, filtration and distribution unit
240 x 100 x 1080 cm
IBA Stadtumbau program - Bahaus-Dessau
Used vegetable oil is proposed to be collected by the inhabitants of the
town. An organized filtration and distribution unit is set, in order to help them
to convert the old vegetable oil - a waste - into fuel that can be mix with
diesel. If the structure is used, the result will be a smell of french fries spread
over the city: a collateral cost.
go to filtration unit
slow drip with 5 µm filtration
distribution through manual
pump and 1 µm filter
oil collect
when full move to 2 weeks storage (settling)
when full move to 1 month storage
filtration diagram
go back to the beginning
after settling, go distribution unit
Luc Mattenberger
1980 Born in Geneva, Switzerland
Lives and works in Geneva
Swiss / British
Education
2007 Postgrade, Pôle CIE, Haute école d’art et de design, Genève
2006 Diplôme HES en arts visuels, avec les félicitations du jury, Haute école d’art et de design, Genève
Luc Mattenberger (*1980) is a Swiss artist who lives and works in Geneva and Berlin. He completed his
Academic degree (Hons.) and a postgraduate at the Geneva university of art and design (HEAD) in 2007. He
works essentially in the field of sculpture and installation. His works explore the multiples convinces between
man and machine, with a particular interest for the engine as vector and symbol of power. During his career,
the artist have been rewarded by several prizes, (e.g. «Prix de la Fondation UBS», «Swiss art award»,
etc.) and residency programs in Roma, Prague, Paris, Berlin and Marfa. Mattenberger is co-founder and
co-editor of the literary review Coma.
Awards and Grants
2014 Bourse 2014 de la Société des Arts de Genève
– Résidence Fieldwork: Marfa, Texas
2013 Résidence Gleis 70, Zurich
– Résidence à Berlin du département de la culture de l’Etat de Genève
2012 Résidence à l’Institut Suisse de Rome
2011 Prix de la fondation Irène Reymond 2011
– Prix fédéral d’art 2011 (Swiss Art Award)
– Résidence Pro Helvetia, Futura - Centre for Contemporary Art, Prague
2010 Prix x-mas+ 2010, Société des Beaux-arts, Bienne
– Prix de la Fondation Dr. René Liechti, 2010
2009 Bourse Berthoud en arts plastiques de la Ville de Genève, 2010
– Attribution d’un atelier à la Maison des arts du Grütli, Genève, 2010-2012
– Prix de la Fondation UBS pour la culture, Zurich
2008 Bourse de la Fondation Simon I. Patiño, Genève
– Résidence à la Cité internationale des arts, Paris, 2008–2009
– Prix d’art de l’Union européenne en Suisse, délégation de la Commission européenne , Berne
– Résidence à Berlin, Zwanzigquadratmeter, avec le soutien du Fond cantonal d’art contemporain de
Genève et de Alfred Richterich Stiftung, Berlin
2007 Prix d’art de la Nationale Suisse, Prix d’encouragement aux jeunes artistes, Bâle
Solo Exhibitions (selection)
2015 Zeitlücke *, Kunstlehrstuhl, BBB, Baden
– Double X, Wohnung, Zurich, curator : Patrick Gosatti
- Pinto Canyon, SIK-ISEA, artgenève, Geneva, avec
une sélection du fonds Olivier Mosset
– Art Rotterdam, Rotterdam
– Rotwand, Zurich
2012 The Oil, the Metal and the Drop, Rotwand, Zürich
2011 Le syndrome de stendhal, Mario Mauroner
Contemporary Art, Vienne
– Scena & Dungeon, Galeria Raquel Ponce, Madrid,
curateur : Javier Duero
– Silence Is Sexy, La rada, Locarno, curateurs :
Noah Stolz & Patrick Gosatti
2010 Black Matter, Salle Poma, Pasquart, Bienne
– The Walking Ghost Phase, Video tank, Zürich
– Dienstgebäude, Zürich, avec Daniela Droz & Pe
Lang, curateur : Boris Magrini
– Dark Matter, Analix forever, Genève
2009 Machine *, Salle Crosnier, Palais de l’Athénée, Genève
2008 Une légère odeur de frite... , Espace Kugler, Genève
– And the Wind is Blowing Away, Galerie Jeune
création, Villa Guelma, Paris
– 140 Hours Running art Gallery, Zqm, Berlin
2007 Kunstpreis der Nationale Suisse *, Liste 07, Basel
Group Exhibitions (selection)
2015 Penguin Island, Stream Gallery, New York
– Stella Maris *, divers emplacements, dont le Museo
Arte Gallarate, MAGA, Gallarate, curateur: Noah Stolz
2014 Kunst Heute, Sammlung Gegenwartskunst *,
Teil 3, Kunstmuseum Bern
– MAMCO in Fonderie Kugler, curateur: Christian Bernard
– Nirvana. Les étranges formes du plaisir *, mudac,
Lausanne, curateur : Marco Costantini
– Fundacion Teatro Odeon, Bogota, Colombie
– Swiss Art Awards, Concours fédéral d’art, Bâle
– Moviment, ‘ion’, Zurich
– Emergences *, Bex & Arts, Bex
– Folding Unfolding Space, cubus-m, Berlin,
curateur : Christine Nippe
– 29 Coups, Circa, Montréal
– Motopoétique, MAC, Musée d’art contemporain,
Lyon, curateur : Paul Ardenne
– Transform - Versuchsanordnung 3, Bern
2013 Vallée de la jeunesse, Ferme-Asile, Sion
– Dérive(s), Château de Réchy, Ecav, Sierre
– You Always Return To The Water, Rotwand, Zurich
– New Atlantis, km temporaer, Berlin
2012 La jeunesse est un art *, Aargauer Kunsthaus, Aarau
– Noir clair, Galerie Vanessa Quang, Paris
– Corruption *, Istituto Svizzero di Roma
– Prix Irène Reymond, Musée d’art de Pully
– Solidarity Action #3 – P/Act for Art, 7th Berlin
Biennale, Rome - Berlin
– LONDERZEEL, Draw me Work, Kris Van Assche, Paris
– Big Fish, Rotwand, Zürich, Switzerland
2011 OS, Karlin Studios, Prague
– Swiss Art Awards *, Concours fédéral d’art, Bâle
– Môtiers 2011 * - Art en plein air, Môtiers
– Multiples – Editions Ecav *, Musée cantonal d’art
du Valais, Sion
– ARTère, Fonds d’art contemporain de la
Commune de Meyrin
– Dessins, etc..., Analix forever, Genève
– Ailleurs *, Espace Culturel Louis Vuitton, Paris,
curateur Paul Ardenne
2010 Les Urbaines 2010, Lausanne, curateurs:
Noah Stolz & Patrick Gosatti
– AUTO/Portraits, Galerie Jeune Création, Paris
– Common Sense, St. Michael - Eppan, Bolzano
– Kunsthaus Graz *, Graz
– Drive Thru, part II *, Bauhaus-Dessau, Aschersleben
– Swiss Art Awards, Concours fédéral d’art, Bâle
– Robot Dreams *, Tinguely Museum, Bâle
– Full Vacuum *, Live in your Head, Genève
– Streamliner, Centre d’art en l’Ile, Genève
2009 Drive Thru, Bauhaus-Dessau, Aschersleben
– Inbetweenout *, Les Abris, espace d’art
contemporain, Lausanne
– Walk the Line, La Galerie des Franciscains, Centre
d’art contemporain, Saint-Nazaire
– Sammellust, Werke der Sammlung Finstral *,
Kunst Meran, Meran
– MAC, Manifestation d’art contemporain, Genève
– Bourses, Centre d’art contemporain, Genève
– NIFF, Actual Fears 2, CAN, Centre d’art de
Neuchâtel, Neuchâtel
– Dasein / Machend, MPvite, Estuaire 2009, Nantes
– Wonder Bang ! , Tokyo Wonder Site, Institute of
Contemporary Art, Tokyo
– Post Tenebras Lux, Analix Forever, Genève
2008 Zwischenlandung, Museum Franz Gertsch,
Burgdorf, curateur: Claudio Moser
– Jeune création 08 *, Grande Halle de La Villette, Paris
– Palinsesti 2008, Nodo Rete *, Castello, San Vito al Tagliamento
– Bourses des fonds Berthoud, Lissignol-Chevalier
et Galland 2008, Centre d’art contemporain, Genève
– Eden Helvète, Analix Forever, Genève
– 35th Anniversary Exhibithion *, MAM Mario
Mauroner Contemporary Art, Salzburg-Vienne
– D2 *, Interventions urbaines, Reinier
– Bijoux de famille, CAN, Centre d’art de Neuchâtel, Neuchâtel
2007 Jeune création 07 *, La Bellevilloise, Paris
– Bourses des fonds Berthoud, Lissignol-Chevalier
et Galland 2007, Centre d’art contemporain, Genève
– Plein soleil, Crac Alsace, Altkirsch
– Swiss Art Awards, Concours Kiefer Hablitzel, Bâle
– Mulhouse 007 *, Parc des expositions, Mulhouse
– Plattform 07 *, ewz-Unterwerk Selnau, Zurich
2006 Les Yeux de la nuit 2006 *, Pont de l’île, Genève
– Jury du Prix d’art 2007 de la Nationale Suisse
Assurances, Regionale 7, Kunsthaus Baselland, Bâle
– Les Vrais durs ne dansent pas *, Promenade de
Saint- Antoine, Genève
– Fais pas ci, fais pas ça *, Palais de l’Athénée, Genève,
curateurs J-P. Felley & O. Kaeser
2004 Vous êtes ici, Salle Crosnier, Palais de l’Athénée, Genève
2003 Rayon d’action, Bh9, Genève
– Walking, Thinking, Drawing... , Bh9, Genève
* with exhibition catalogue
Collections and site specific works
Collection du Kunstmuseum Bern (CH)
Collection de la Conféderation Helvétique (CH)
Over Recontruction, Genève (CH)
Fonds de la Bibliothèque Municipale de Lyon (FR)
Collection Nationale Suisse, Basel (CH)
Collection Finstral, Kunst Meran (A)
Université Bocconi, Milan - Collection Marcegaglia (IT)
Try-me, Richmond, VA, (USA)
Délégation de la Commission Européenne, Berne (CH)
Résidences du Pré-Babel | Gigon&Giger architectes, Cologny (CH)
Monograph
– Paul Ardenne, Giovanni Carmine, Irene Hofmann
(textes), No Country for Engines, monographie, Edition
Service après-vente, Fondation AHEAD, Genève, 2010
Selected Bibliography
2015 Monographie, Atelier Berlin Editions
– Luc Mattenberger : une torpille genevoise conquiert la
capitale fédérale, Kunstbuletin Nr 3, mars 2015
2012 La jeunesse est un art - JUBILAÜM MANOR
KUNSTPREIS 2012, cat. exp., dir. Madeleine Schuppli.
Argauer Kunstraum, Verlag Edizioni Periferia, Luzern
– Solidarity Action #3 – P/Act for Art_ROMA, Journal,
7th Berlin Biennale, Rome - Berlin
– Corruptions, cat. exp., dir. Luca Lo Pinto, Valerio
Mannucci, Nero Magazine, Roma
– LONDERZEEL NUMBER 3 / Draw me Work, Kris Van
Assche, Paris fevrier 2012
2011 Luc Mattenberger, Swiss Art Awards 2011,
Séverine Fromaigeat, supplément Kunstbuletin Nr 12,
Novembre/décembre 2011
– Diary 16 - issue 2011 - Through A Keyhole, pp.14-17
– Ailleurs, cat. exp., dir. Paul Ardenne, Espace Culturel
Louis Vuitton, Paris, France
– atelier multiples 10 ans d’édition, 2001 - 2011,
cat., François Locher, Sibylle Omlin, Pascal Ruedin,
Laurence Schmidlin, éditions ecav, Sierre
– « Luc Mattenberger, moteur de recherche », Pierre
Chambonnet, Hors série Arts LeTemps,
9 novembre 2011, pp.13
– Collection de la Nationale Suisse, cat., Regula
Krähenbühl, Bâle, 2011
– Môtiers 2011,cat. exp., Môtiers, 2011
2010 « Forelle blau », Villö Huszai, Neue Zürcher
Zeitung, 15. Dezember 2010
– Inbetweenout, cat. exp.,dir. Marco Costantini,
Les Abris, espace d’art contemporain, Sang bleu,
Lausanne, 2010
– Common Sense, cat. exp., St. Michael - Eppan, Bolzano
– Drive Thru, cat. exp., Bauhaus-Dessau, 2010
– Full Vacuum, cat. exp., Live in your Head, Haute école
d’art et de design, Genève, 2010
– L’Hebdo, hors série art contemporain, juin 2010
– Robot Dreams, cat. exp., Tinguely Museum, Bâle /
Kunsthaus Graz, Graz, 2010
– « Rencontre de l’estampe et du dessin. Chassécroisé dans l’art contemporain » in Julie Enckell Julliard
(dir.), Laurence Schmidlin, Voici un dessin suisse. 19902010, Musée Jenisch, Vevey / JRP Ringier, Zurich,
2010, pp. 109-110
2009 Machine, cahier, Séverine Fromaigeat, Hervé
Laurent, Julien Maret et Laurence Schmidlin (textes)
Salle Crosnier, Classe des beaux-arts du Palais de
l’Athénée, Genève, 2009
– Sammellust, Werke aus der Sammlung Finstral, cat. expo.,
Kunst Meran, Finstral, Unterinn am Ritten, 2009, pp. 88-89
– Coma, revue littéraire, divers auteurs, n° 1 à 4, 2007–2009
2008 « L’ Art en toute assurance », Roxana Azimi, Le
Journal des arts, n° 282, p. 24
– Jeune création 08, cat. exp., Grande halle de La
Villette, Particules, Paris, 2008, p. 65
– Nodo Rete, cat. exp., dir. Alessandro Del Puppo,
Denis Viva, Palinsesti, Castello, San Vito al Tagliamento,
2008, pp. 14–15 et p. 75 14–15 et p. 75
2007 « Basel : Kunstpreis 2007 für Luc Mattenberger »,
Kunst-Bulletin, n° 1/2 2007, p. 86
– « La Poésie toxique des moteurs à essence », Prix
de la Nationale Suisse, cahier. exp., Jean-Paul Felley et
Olivier Kaeser, Liste, Nationale Suisse, Bâle, 2007
– Jeune création 07, cat. exp., La Bellevilloise,
Analogues, Paris, 2007
– « Luc Mattenberger », Plattform07, cat. exp., Serena
von Lear, ewz-Unterwerk Selnau,
Kunstwollen, Zurich, 2007, pp. 36–39
– « Kunstpreis der Nationale Suisse », Liste 07, cat.
exp., Liste, Bâle, 2007, p. 4
2006 Les Vrai durs ne dansent pas, cat. exp., Ecole
supérieure des beaux-arts, Genève, 2006. pp. 146–148
– « Fais pas ci, fais pas ça », Le Journal d’attitudes (n°
29, extra muros), cat. exp., Jean-Paul Felley et Olivier
Kaeser, Salle Crosnier, Palais de l’Athénée, attitudes,
Genève, 2006