Pugnaire and Raffini at the Ceysson&Bénétière Gallery

Ceysson & Bénétière - 2019 -Pugnaire & Raffini - Vues d'exposition - © Aurélien Mole

Florian Pugnaire & David Raffini - North Carolina Ave, Victorville - 2019 - Impression photographique sur ciment, grillage - 59 x 124 cm - Courtesy Ceysson & Bénétière - © Aurélien Mole

Florian Pugnaire & David Raffini - Salton city - 2019 - impression photographique sur ciment et treillis métallique - 42 x 100 cm - Courtesy Ceysson & Bénétière - © Aurélien Mole

Florian Pugnaire & David Raffini - Scale - 2019 - ciment, asphalte, goudron - 99 x 106 cm - Courtesy Ceysson & Bénétière - © Aurélien Mole

Ceysson & Bénétière - 2019 -smartymagazine-Pugnaire & Raffini - Vues d'exposition - © Aurélien Mole

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Ceysson & Bénétière - 2019 -Pugnaire & Raffini - Vues d'exposition - © Aurélien Mole
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Florian Pugnaire & David Raffini - North Carolina Ave, Victorville - 2019 - Impression photographique sur ciment, grillage - 59 x 124 cm - Courtesy Ceysson & Bénétière - © Aurélien Mole
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Florian Pugnaire & David Raffini - Salton city - 2019 - impression photographique sur ciment et treillis métallique - 42 x 100 cm - Courtesy Ceysson & Bénétière - © Aurélien Mole
Trulli
Florian Pugnaire & David Raffini - Scale - 2019 - ciment, asphalte, goudron - 99 x 106 cm - Courtesy Ceysson & Bénétière - © Aurélien Mole
Trulli
Ceysson & Bénétière - 2019 -smartymagazine-Pugnaire & Raffini - Vues d'exposition - © Aurélien Mole

#PARIS Everything here is the result of a film that Pugnaire and Raffini made during a Flat Foundation residency in California.

“Driving Through” is this filmic account of the American myth in the rhythm of a road movie, Hollywood imagery and abandoned spaces. Repetitive action develops in a path out of chronology, in a spatial disorder, in the heatwave dust of an out of world. Through an experience of destruction, the artists grasp this negativity as a dark and tragic sun that would illuminate the exposed work with its brilliance and a corrosive sense. This one is written as an illustration of this tear between reality and fiction. In this desert universe, in the reminiscences of the apocalypse, space disintegrates just as time crumbles while past and future are intertwined in the same landscape of ruins.

Pugnaire and Raffini collect the remains like shreds of imagination that nevertheless materialize the reality of a work. The rubble is then the objects of the exhibition, the skeletons of a decomposing time, a dry space in the only weed of solitude. The debris is both returned to its tragic nakedness and to the images that artists print on this destroyed material. We wander in this uncertainty between reality and fiction, matter and illustration, imagination and documentation. The objectless rage that seizes the character of the film is in the image of our artists when they are confronted with these samples of reality or darkness that bubble in their laboratory. The work then takes on a monumental, shamanic power. It is like a stele for a commemoration of a lost world.

Yet it is part of another dimension, outside our universes; its visibility is revealed both inside the film and through the fragments exposed in their dark beauty. It is embodied in these ghosts of reality where fiction is developed.

28 March-4 May 2019

Fahrenheit 134, Florent Pugnaire and David Raffini

Ceysson Gallery § Beneficiary
23, rue du Renard, 75004, Paris

www.ceyssonbenetiere.com

Michel Gathier

With a literary background, Michel Gathier developed a passion for art very early, particularly during long stays abroad. He has contributed to the magazine “L’art vivant” and now...

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