Marion Tampon-Lajariette news: Spring 2019

Date March 25th, 2019

This Spring, Marion Tampon-Lajarriette presents a season of performances and exhibitions in Italy and Switzerland.

From 27 to 31 March the artist presents Caméra 1, Plan 8 (2008, main image) as part of a group exhibition at the University of Geneva celebrating and exploring the qualities and significance of water. Waterproof (À l’épreuve de l’eau) focuses in particular on video artworks involving water, and features Tampon-Lajariette alongside Ange Leccia, Jean Otth, Liisa Lounila, Jean Painlevé and Bill Viola, whose seminal work The Reflecting Pool (1977-1979) is featured. The exhibition is part of the Festival Histoire et Cité which, through a city-wide programme of events, celebrates and critically reflects on the links between past and present in Geneva.

Echo (acier, béton, plastiline, lampe, 2018)

On 29 March Tampon-Lajariette performs her work ECHOS live at the Symposium Dalla parola alle cose at the Sapienza University of Rome as part of a conference organised by the university’s Philosophy department.

From 10 May to 2 June 2019 the artist presents Mundus, an exhibition of prints on aluminium, at Photoforum Pasquart as part of the Bienne Festival of Photography (Bieler Fototage) in Biel/Bienne, Switzerland. This year’s festival theme is Flood, which focuses on overflow, overspill and fluidity, applying the terms to physical-digital and in-between spaces.

On the internet, a “flood” is an action that inundates the network and saturates digital forums, rendering them unusable. Vast quantities of information are shared every day by more than four billion internet users, whether they are aware of it or not. This constant stream of passing data has an impact on society that cannot be fully grasped, but it also presents opportunities for both individual and social development. - Bieler Fototage

Mundus presents a series of diptychs, printed on aluminium, which examines the power of caves: as gateways between worlds, as evocative of eyes or mouths, as openings where light and life can enter, as abysses where light and life are quelled. Photographed in caves in Italy and Switzerland as part of Tampon-Lajariette’s one-year residency at the Swiss Institute in Rome, the works give a glimpse into life and death at the cave-mouth, showing openings reminiscent of mouths or eyes, and evokes the power of the cave as tangible marker of the boundaries between internal and external, real and virtual, visible and invisible.