Mimicking recalls
"Like the wolf and the dogs before, we learned how to make Aegyo to be loved" introduces a reflection on conditioned behaviors. The term "Aegyo," which in Korea refers to a cute or charming behavior aimed at attracting affection, opens up a critical dimension on how we perform endearing attitudes in order to be loved. By comparing this dynamic to wolves and dogs, it evokes the idea of emotional domestication: wolves, originally wild, adapted to coexist with humans, and their descendants, dogs, continue to adopt behaviors to elicit affection from their owners.
This work, therefore, questions how, just like domesticated animals, humans adopt codified behaviors to be accepted and loved in social contexts. The contrast between the rigid framework reminiscent of Art Deco style and the blurred representation strengthens the idea of tension between control and spontaneity, between instinctive nature and learned behaviors, raising questions about the human condition, emotional dependence, and the performance of love.
Mimicking recalls » embark on a visual exploration through the interplay of digital paintings and installations. This collection delves into the feelings of derealisation, utilizing the visual language of Signs, Strength, and Metaphysical pondering to create a dissociated experience. Each piece within this exhibition serves a Social Realism representation, capturing the mundane and the political in a dance of colors and meanings. It want to evoke a visceral response, a connection between the viewer and the inherent aspect of the subject matter. The artworks become conduits for introspection, inviting the audience to contemplate the underlying currents of our shared human experience.
The rotten smell is you groupshow
Participating artists: Nikola Balberčáková / Markéta Garai / Sophia Giovannitti / Paula Gogola / Đejmi Hadrović / Pennie Key / Anastasija Pavić / Camille Soulat
Curated by: Jelisaveta Rapaić
Curated by: Jelisaveta Rapaić
It’s a public secret we feminists have neglected a rotting issue, it lives in the same house we built, under the roof we erected, inside the walls we constructed. It spreads as a dormant illness, a psycho-somatic past lurking for the next big kill, gatekeeping the values which were laid in a stream of care, but the creek has now turned to stone. The smell is pungent, encapsulating and overpowering, a rich, juicy, leaky fruit turned to dust and neglect. It sat in the room for a while, but it was easier to open the window when air needed to be cleared, as if help would come from outside.
The ephemeral space created here houses different experiences which are causing tensions in the feminist household; viewing the movement as a family, with multiple generations living under the same roof by default. And a family should be united, chosen; through thick and thin, family sticks together, yet the reality behind closed doors is not always so peachy. These generational gaps can be seen through the waves of the movement, most notably, the often present rift between the second and third wave “elders’’ and the fourth wavers. The staging of this open house isn’t meant as an all encompassing study, nor of the fourth wave, but rather to highlight and bring back into a safe conversation these topics which are causing the most interior turmoil. Often publicly appropriated by the right, against one of our own, with the help of another one of our own. Sex work, transness and hyperfemininity, the positions on which the movement fails to stand united, fails its own offspring.
The rotten smell is you begs to address the you in the equation; and while the question of the you is more useful than answering whether the you itself is addressed to the viewer, to their positionality, or some outside element. It is a starting point and a navigational tool through the intricate web of histories, relations, power plays, politics, bodies, economies, emotions, identities, false care systems and interdependencies. The rotten smell is you demands a self-check in the first step taken in this space, the game of detecting the bad feminist in oneself. The rotten is the neglected, the unaddressed which assumes, which overlooks, or which particles will stick to the walls of your lungs, way past the point of exposure.
Thanks god, they taking us for jesters
“Thank God They’re Taking Us for Jesters”
Directed by Camille Soulat
3D animation by Sophie Mil
Post-production Camille Soulat
Music by Bug Bus Piano
Track : Beloved Musician Bug Bus Piano Tragically Explodes During Live Performance
Track : By-Products From Living
Video piece on view at 3110 Gallery on Sunset Blvd. Los Angeles
For PURE TASTE group show and curated by Xav Langton
Produced by Camille Jamet and Silent Sisters
Suburbcel
"Werewolves don't have to pay taxes" combines surrealism and social critique through a hybrid representation. At its center, a figure resembling a gothic lolita doll, with her bright pink bow and lace bonnet, long, curled eyelashes, merges with traits of a standing rat. This creature evokes a metamorphosis, both childlike and unsettling, creating a contrast between delicate ornamentation and its animalistic appearance.
In the background, a blurry parking lot grounds the image in a banal everyday reality, adding to the strangeness of the scene. The satirical title "Werewolves don't have to pay taxes" engages in a critical reflection on privilege and dynamics of exclusion within social structures. The werewolf, as a liminal creature, escapes the constraints of the established order. This commentary could also extend to how femininity, as a social construct, imposes almost invisible yet omnipresent constraints, like "taxes" that must be paid to exist within societal norms.
Suburcel, the title of her first solo exhibition with Ballon Rouge, is an invented term which corresponds to the contraction of the term "Suburb" and the word "Incel;" the word implies a hatred of coming from the suburbs, from the province, from housing estates - far from where everything seems to be happening. It echoes greediness and exclusion. Life happens elsewhere. “In between states where nothing happens” (2023) is a small bench; it’s an in-between state where you always wait for an upcoming change, a bus, a date, as hours pass. It’s a metaphor, a land of hope and boredom, of waiting.
On the back of the bench, eyes morph into a Skyline view. On the wall beside it is a print on aluminum titled “Subdivision, vision continues to divide” (2023). The windows of the subdivision lot shine bright when the sun goes down. If the grass is always greener on the other side, behind the glass it always seems warmer. Clothes and accessories are shiny artifacts, vindictive slogans on a bright color shirt, jeans, New York view imprinted in jersey fabric caught in shiny plastic resin. The clothing implies a body. Our clothes are our personality, our performance.
What cannot be said will be wept
Regularly deeply embarrassed by who we are, the journey to self-knowledge begun.
Informations
Camille Soulat grew up in Montluçon, self-taught, she uses mediums such as digital painting, writing and video installation.
Her practice revolves around an intimate form of narration. She concentrates on subjects and scenes with super-natural undertones. Through the diffuse shapes and silhouettes of her digital paintings, Camille exhibits a certain fascination for the transformation of ordinary moments into events.
Interested in notions such as marginality, class, and identity, she directs her practice around an interpretation and a celebration of the codes associated with both pop culture and counter-culture.
Contact
Personnal : Camille Soulat
Camillesoulat@live.frExhibitions
2024
Pangée booth at The Salon NADA x The Community Paris
2023
The Rotten Smell Is You, groupshow at Window in Kunsthalle Bratislava, Slovakia - curated by Jelisaveta Rapaić
Elixir, groupshow at Tlaloc Studios, Los Angeles - curated by Gabriela Ruiz
Paralleler Garten groupshow, Postdam, Germany - curated by TacuBaby
Pure TASTE groupshow, 310 Gallery, Los Angeles
Suburbcel solo show at Ballon rouge, Brussels - curated by Helene Dumenil and Nicole O'Rourke
Residence CHB - Château de la Haute Borde, Rilly-sur-Loire
2022
Creatures, groupshow at Espace Voltaire, Paris - curated by W Studio
Ne pas déranger, groupshow at Tour Orion, Montreuil - curated by Emploi Fictif
No hard feelings, groupshow at Le sample Bagnolet
IMAGE FÉTICHE, groupshow at Galerie Stephanie Kelly, Dresden
She BAM! Twist and shout, groupshow at Franz Flemming, Leipzig - curated by Lætitia Gorsy
Atlas Obscura, groupshow at 6B, Paris - curated by Zoé Chauvet and Talita Otović
What goes around comes back around, duoshow with Naïa Combary at Voiture 14, Marseille - curated by Myriam Mokdes
2021
Hypogeal, groupshow, London- curated by Jimel Lopini
Divinités, fleurs, plis et replis, Les Bains-Douches, groupshow, Alençon - curated by Sophie Vinet
Rubis sur ongle, curated by Thily Vossier and Chloé Momi, groupshow, Brussels- curated by Thily Vossier and Chloé Momi
Muselé.e2, groupshow, Montpellier
Rebel Soft, groupshow at Casa Antillón, Madrid
2020
She’s homesick with internet poisoning, solo show at Fugitif, Leipzig
Shower Lie, soloshow at Sissi club, Marseille - curated by Anne Vimeux and Élise Poitevin
2019
Participation Derniers Narcisses at Palais de Tokyo, Paris
Rhizome Parking Garage groupshow for The Wrong Biennale
French Hairgroupshow curated by Romancero Gitano x Arebyte Gallery, Marseille and London
Pangée booth at The Salon NADA x The Community Paris
2023
The Rotten Smell Is You, groupshow at Window in Kunsthalle Bratislava, Slovakia - curated by Jelisaveta Rapaić
Elixir, groupshow at Tlaloc Studios, Los Angeles - curated by Gabriela Ruiz
Paralleler Garten groupshow, Postdam, Germany - curated by TacuBaby
Pure TASTE groupshow, 310 Gallery, Los Angeles
Suburbcel solo show at Ballon rouge, Brussels - curated by Helene Dumenil and Nicole O'Rourke
Residence CHB - Château de la Haute Borde, Rilly-sur-Loire
2022
Creatures, groupshow at Espace Voltaire, Paris - curated by W Studio
Ne pas déranger, groupshow at Tour Orion, Montreuil - curated by Emploi Fictif
No hard feelings, groupshow at Le sample Bagnolet
IMAGE FÉTICHE, groupshow at Galerie Stephanie Kelly, Dresden
She BAM! Twist and shout, groupshow at Franz Flemming, Leipzig - curated by Lætitia Gorsy
Atlas Obscura, groupshow at 6B, Paris - curated by Zoé Chauvet and Talita Otović
What goes around comes back around, duoshow with Naïa Combary at Voiture 14, Marseille - curated by Myriam Mokdes
2021
Hypogeal, groupshow, London- curated by Jimel Lopini
Divinités, fleurs, plis et replis, Les Bains-Douches, groupshow, Alençon - curated by Sophie Vinet
Rubis sur ongle, curated by Thily Vossier and Chloé Momi, groupshow, Brussels- curated by Thily Vossier and Chloé Momi
Muselé.e2, groupshow, Montpellier
Rebel Soft, groupshow at Casa Antillón, Madrid
2020
She’s homesick with internet poisoning, solo show at Fugitif, Leipzig
Shower Lie, soloshow at Sissi club, Marseille - curated by Anne Vimeux and Élise Poitevin
2019
Participation Derniers Narcisses at Palais de Tokyo, Paris
Rhizome Parking Garage groupshow for The Wrong Biennale
French Hairgroupshow curated by Romancero Gitano x Arebyte Gallery, Marseille and London