January has April's showers
Le Point Commun, espace d'art contemporain•Mar 07, 2026 — May 09, 2026
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January has April's showers avec :
— Amandine Arcelli
— Sosthène Baran
— Tamaris Borrelly
— Sacha Cambier de Montravel
— Louis-Paul Caron
— Maëlys Chavant
— Cédric Esturillo Cacciarella
— Sylvain Le Corre
— Lou Motin
Empruntée aux paroles de 2 + 2 = 5 de Radiohead, équation impossible devenue slogan de soumission dans 1984, l’exposition collective January has April’s showers interroge une dissonance désormais ordinaire : celle d’un monde qui préfère l’absurde à la remise en question, le confort à l’effort de penser. L’exposition s’ouvre sur la catastrophe en cours, sur les ruines de promesses non tenues et d’idéaux pervertis. La dystopie n’est plus une projection : elle est un état. Tandis que certains continuent de jouir des plaisirs de la vie et de croire aux récits modernistes, d’autres choisissent le désordre, les marges. Quelque chose persiste.
Les vestiges deviennent matière de mémoire. Ils interrogent les formes d’archivage du monde, sa traduction en fragments. Que fait-on de ce qui reste…
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January has April's showers
Le Point Commun, espace d'art contemporain•Mar 07, 2026 — May 09, 2026
Press Release
January has April's showers avec :
— Amandine Arcelli
— Sosthène Baran
— Tamaris Borrelly
— Sacha Cambier de Montravel
— Louis-Paul Caron
— Maëlys Chavant
— Cédric Esturillo Cacciarella
— Sylvain Le Corre
— Lou Motin
Empruntée aux paroles de 2 + 2 = 5 de Radiohead, équation impossible devenue slogan de soumission dans 1984, l’exposition collective January has April’s showers interroge une dissonance désormais ordinaire : celle d’un monde qui préfère l’absurde à la remise en question, le confort à l’effort de penser. L’exposition s’ouvre sur la catastrophe en cours, sur les ruines de promesses non tenues et d’idéaux pervertis. La dystopie n’est plus une projection : elle est un état. Tandis que certains continuent de jouir des plaisirs de la vie et de croire aux récits modernistes, d’autres choisissent le désordre, les marges. Quelque chose persiste.
Les vestiges deviennent matière de mémoire. Ils interrogent les formes d’archivage du monde, sa traduction en fragments. Que fait-on de ce qui reste…
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