As part of their residency in the Development programme, French artist duo Émilie Brout & Maxime Marion will premiere their new film A Truly Shared Love, which investigates how technocapitalism can infiltrate every small aspect of our loves, and how it changes our perception of the world and of ourselves. The screening is followed by an artist talk and conversation with Clémence Agnez, co-director of Glassbox, Paris. The film was shown in the Kunsthal Gent Cinema in the weekend of 13 and 14 March.
A Truly Shared Love is a tragedy, and capitalism its curse. Émilie Brout & Maxime Marion show their true love story, surrounded by their cat and connected compagnions in their own domestic environment. Using the codes of commercial imagery of stock videos, they play with the normative and idealized representations of their genre, class and figure of artist as a model of the start-up nation that are usually conveyed there. Is there an an alternative?
This piece marks an important step in the artists’ practice. It could be summed up as an inextricable string game of relationships: relationships between partners of a couple, between intimate and public, leisure and work, data and synthesis, urban and vast “natural” spaces or even between species in the broadest sense… So many strata that are continuously contaminated at different levels. A constant and ambiguous space of negotiation is emerging, where the protagonists – like two drops evolving in an abyssal and paradoxically supersaturated void – desperately seek to preserve something singular beyond inaccessible representations, something that would escape any form of quantification or capitalization.
A Truly Shared Love was produced with the support of the Fondation des Artistes, CNC/ DICRéAm and Magnetic Bordeaux.
The practice of Émilie Brout & Maxime Marion (1984 and 1982, living and working in Paris) focuses on the culture and use of the web: they often work with and around the internet. Their work takes shape in different media, but they particularly explore the medium of video, whose boundaries they explore through non-linear storylines, endless videos, and the context in which the work is shown. Through careful deciphering, they try to identify the economic, political and legal specificities of existing systems or structures before infiltrating them, leaving traces or reporting on them in their work, sometimes with narrative forms.
Émilie Brout & Maxime Marion started their collaboration at the Ecole Nationale Supérieure des Arts Décoratifs de Paris. Their work was included in the Young Art Triennale, Casino Luxembourg (2021), the 5th Moscow Biennale for Young Art (2016) and numerous group exhibitions including those at Haus der Kulturen der Welt, Berlin;,Centre Culturel Canadien, Parijs (2020), Prix Sciences Po pour l’art contemporain, Parijs (2019), Redline Contemporary Art Center, Denver (2018), Le Loft, Brussels (2017), OCAT Shenzhen (2016), Seongnam Art Center (2015) and Palais de Tokyo, Paris (2014). They have had solo exhibitions at 22,48 m², Parijs (2013, 2015, 2017, 2019, 2021), La Chaufferie, Straatsburg; Pori Art Museum (2019), Villa du Parc, Annemasse (2018) en Steve Turner, Los Angeles (2017).
After completing a double degree in Philosophy and Fine Arts, Clémence Agnez joined the artist-run space Glassbox (Parijs) in 2011 and became its co-director in 2014. She is preparing a thesis in aesthetic and political philosophy at Paris X Nanterre under the supervision of Anne Sauvagnagues, entitled “Displacement and predation, contemporary museum techniques and desubjectivation of the figure of the artist”. She teaches philosophy and topicality of art at the Duperré School of Art, at the Université Paris VIII Saint-Denis and at the Beaux-Arts de Montpellier (ESBA-MoCo), collaborates from time to time with the magazine Zérodeux and intervenes in various art schools and universities.