École polytechnique fédérale de Zurich (Zürich)
Kunst am Bau
2024
Musée d'art de Pully (pully)
Collective
2024
Galerie C (Paris)
Solo
2023
MEP Maison européenne de la photographie (Paris)
Solo
2023
Vontobel (Zurich)
Collective
2023
Gymnase de Bussigny (Bussigny)
Kunst am Bau
2023
Museo dei Cedri (Bellinzona)
Collective
2023
Victoria Hall (Genève)
Performance
2023
Petit Théâtre (Lausanne)
Collective
2022
Les 6 Toits (Genève)
2022
Musée Jenisch (Vevey)
Solo
2022
KKL (Luzern)
Performance
2022
La Source HES (Lausanne)
Performance
2022
Rhodanie 58 (Lausanne)
Kunst am Bau
2022
Galerie C (Neuchâtel)
Collective
2022
La Souce HES (Lausanne)
Kunst am Bau
2022
Grand théâtre (Genève)
Performance
2021
Westerpark (Amsterdam)
Performance
2021
Westerpark (Amsterdam)
Solo
2021
Tableau Zürich (Zürich)
Solo
2021
Musée des beaux Arts de Lausanne (Lausanne)
Performance
2021
Kali Gallery (Luzern)
Solo
2021
Place Pestalozzi (Yverdon)
Performance
2021
Rotonda la Mobiliare (Locarno Film Festival)
Collective
2021
Museo Villa dei Cedri (Yverdon)
Collective
2021
Duflon-Racz (Bruxelles)
Solo
2021
Fondation Mère Sofia (Lausanne)
Collective
2021
Valentin 61 (lausanne)
Collective
2021
nomadicartprojects (Olten)
Solo
2020
Stiefels Hopfenkranz (Luzern)
Solo
2020
SUDPOL (Luzern)
Performance
2020
Quartier Général (La chaux de fond)
Solo
2020
Quartier Général (La chaux de fond)
Performance
2020
Salle des merveilles La Mobilière (Nyon)
Solo
2020
Duflon Racz (Bern)
Solo
2020
Henie Onstad Kunstsenter (Norway)
Collective
2020
NEST (The Netherlands)
Collective
2020
Edition VFO (Zürich)
Performance
2019
Edition VFO (Zürich)
Collective
2019
Stiftung Binz 39 (Zürich)
Collective
2019
Locarno Film Festival (Locarno)
Collective
2019
La Mobilière Headquarters (Bern)
Solo
2019
ARSENIC (Lausanne)
Performance
2019
ARSENIC (Lausanne)
Kunst am Bau
2019
Musée des beaux-arts de Lausanne (Lausanne)
Kunst am Bau
2019
Mattatoio (Rome)
Collective
2018
Centre Pasquart (Bienne)
Collective
2018
APPROCHE Paris (PARIS)
2018
twenty14 contemporary (Milano)
Collective
2018
Cité Internationale des Arts de PARIS (PARIS)
Solo
2018
Cité Internationale des Arts de PARIS (PARIS)
Performance
2018
South Tanks - Tate Modern (London)
Performance
2018
Le Commun (Genève)
Collective
2018
Festival CONVIVENICA (Toulouse)
Collective
2018
Tate Modern (London)
Collective
2018
Galerie Kernweine (Stuttgart)
Collective
2018
Despacio (San José Costa Rica)
Solo
2018
DISINI Visual Arts Festival (Singapore)
Collective
2018
Vitrine Gallery (Basel)
Solo
2017
Vitrine Gallery (Basel)
Performance
2017
Abattoirs de Toulouse (Toulouse)
Performance
2017
Lily Robert (Paris)
Solo
2017
Médiathèque des Abattoirs de Toulouse (Toulouse)
Kunst am Bau
2017
Aldama fabre gallery (Bilbao)
Collective
2017
Barraco Cultural (Puerto Alegre)
Collective
2017
Kunsthaus Langenthal (Langenthal)
Collective
2017
Kunsthaus Langenthal (Langenthal)
Performance
2017
Lily Robert (Paris)
Collective
2017
Seen Fifteen (London)
Performance
2017
Seen Fifteen (London)
Installation
2016
Motel Campo (Genève)
Collective
2016
Centre Culturel Suisse (Librairie) (Paris)
Performance
2016
La Filature (Mulhouse)
Solo
2016
Galerie Olivier Robert (Paris)
Solo
2016
Fotofestival Verzasca (Sonogno)
Collective
2016
LILY ROBERT (PARIS)
Collective
2016
Halle 4 // Messeplatz Basel (Basel)
Collective
2016
Palais de Tokyo (Paris)
Collective
2016
Quai 1 (Vevey)
Solo
2016
Art Genève (Genève)
Solo
2016
le Commun (BAC Genève)
Collective
2016
Photo50 - London Art Fair (London)
Collective
2016
Sonnenstube (Lugano)
Collective
2015
Musée des Beaux-Arts de Lausanne (Lausanne)
Collective
2015
FOTOFESTIVAL (Sammlung Prinzhorn, Heidelberg)
Collective
2015
Espace Arlaud (Lausanne)
Installation
2015
Project Space : Centre d’Art Contemporain (Genève)
Collective
2015
Project Space : Centre d’Art Contemporain (Genève)
Collective
2015
Tate Modern (London)
Performance
2015
Project Space : Centre d’Art Contemporain (Genève)
Solo
2015
Sonnenstube (Lugano)
Kunst am Bau
2014
Centre d'art Circuit (Lausanne)
Collective
2014
Centre pour la photographie (Genève)
Collective
2014
Saint Valentin (Lausanne)
Collective
2014
Villa Bernasconi (Genève)
Collective
2014
LOKAL INT (Bienne)
Collective
2014
Galerie Azzedine Alaïa (Paris)
Collective
2013
Le commun, BAC (Genève)
Collective
2013
Centre Pasquart (Bienne)
Collective
2013
serre du jardin botanique / Nuit des musées (Genève)
Collective
2013
Centre de la photographie Genève (Genève)
Collective
2013
Fotomuseum Winterthur (Winterthur)
Collective
2012
USINE KUGLER (Genève)
Collective
2012
Festival Images (Vevey)
Collective
2012
FOTOHOF Salzburg (Salzburg)
Collective
2012
Abstract (Lausanne)
Collective
2012
galerie Edouard Roch (Ballens)
Collective
2010
Standard-deluxe (Lausanne)
Collective
2010
Rencontre de la photographie (Arles)
Collective
2008
VFG (Zürich)
Collective
2008
VFG (Genève)
Collective
2008

A ROCK IS A RIVER Lily Robert

,

Lily Robert (Paris)

19.10.2017 - 02.12.2017

solo show

Maya Rochat's surfaces are simultaneously magmatic and evanescent; flat and riddled with cavities and bumps. Porous. Scrutinizing them, one seems to recognize here and there the legacy of expressionist painting, before thinking better of it: the process put to work is undoubtedly organic and natural, the Devil of reference encouraging us to identify various connections to art history. From the outset, if one wants to see clearly, one needs to get rid of the tenacious habit of wanting images to fit together like the links of a chain. Out with post- modernist conceptual sedimentations where "art becomes the best reading of art".

Maya Rochat's surfaces, where the image becomes soaked in an abrasive and harmful reality, are indeed porous. And at the same time, fiendishly attractive, bustling with iridescent, charred and sprinkled patterns. Yet, this texture is the thing in itself. Essence, the ultimate object of the philosopher's quest, a word which is homonymous in French with essence, as in the gasoline whose fumes escape from exhaust pipes to spread all over the wet tarmac, shimmering and rainbow-colored. Inextricably tied, layers of reality are no longer superimposed; they burn and devour each other as soon as they confront one another. Everything is in everything. And this has been happening for a shorter period of time than it is suggested by the eternal saying. Thus, in Maya Rochat's work, elaboration of form begins with the realization that matter is currently changing in a world also going through changes. Beyond its digitization, the world's very composition is being altered by toxins, polymers, and other hyperobjects. How is it possible then to carry on creating according to ancient models, according to the binary opposition between nature and culture inherited from modernity? Up to which point and up to which volume level is it possible to make a critical load resonate without it flushing out the legibility of form? One thing is certain, it's impossible to be contemporary without taking this new order into account.

The meaning that emanates from Maya Rochat's surfaces would then be that of a psychoanalysis of the matrix. On their surface, fragmented pictures of drifting glaciers, thirty- year-old slides from her parents' collection and digital textures are floating. Mouths, cacti, bleach, bare shoulders and barely dry painted flat tints. Oblivion, tie-and-dye, acid flashbacks and Photoshop layers. Through the emphasis placed on affect and the viewer-reader's interpretation latency, another moment from the history of creation comes to mind. A similar moment of anti-academia, of paradigm change where the creative forces of a coast, the USA’s West Coast, struck a momentary deal: not one movement or one school without a manifesto or group claim. But a spontaneous and disordered reaction to a radical paradigm shift in the course of post-war disorientation, during which a realization of humankind's destructive power and its irreversible impact on the environment occurred. Halfway through the previous century, an unprecedented moment of synchronicity made creative fields echo in unison -poetry, painting, sculpture, cinema-, illegitimate heirs of European situationism.

"Astronauts of the inner space" as they were described by art historian Anne Giffon-Selles7 according to the Situationist International's catchphrase, with these actors engaging in inclusive and under-the-influence syncretism. Their artworks, she explains, are born out of "journeys undergone in concentric circles according to centripetal movement, from a critical exploration of American society, of its American culture and Californian territory to a deep dive into a dilated and visionary space". "The boundaries that need to be transgressed are more and more internal, intimate or spiritual", she explains.

This movement keen on expressive and brutal aesthetics, blending media and potential energies captured along the process nonetheless has a common feature that allows it to be named: assemblage. As seen in Maya Rochat's work, and as an indirect heir of this state of mind, another relationship to assemblage is at play, it overflows from the human sphere, transposing her illustrious predecessors' movement to the new millennium. In her art, the human vestiges that float here and there like free hand painted signs on the wall of a cave no longer dictate the law. They are simply one of the multiple components of this unique and totalizing conglomerate. The assemblage no longer ties together artefacts made by man, but only replicates on the artwork's scale the post-industrial era's violent and abrasive chemical techniques. Except that this scale, that of the artwork, of the book, of the printed page, is the only one where one might hope to become aware of a phenomenon with a much more global magnitude. By freely assembling forms in order to extract their use value, Maya Rochat turns her artworks into haunted and preoccupying sites, breaking in the same gesture with the tradition of resemblance. This is not art about the anthropocene or any other label that may be used in an attempt to distance, like an object to be studied, a reality that seeps in through all of our pores. Everything has already coalesced and is attractive as much as it is repulsive, with beauty revealing that it can take on the deleterious face of an ecstatic dance on the brink of an impending catastrophe.

— Ingrid Luquet-Gad, critique d’art.
Texte extrait du livre A rock is a river, 2017, Self publish, be happy

Artworks

META RIVER (2017)

154 x 103 cm, Dodeka Inkjet print on silver paper, with hand made spray paint, framed
Unique
private coll.

META CARROTS (2017)

154 x 103 cm, Dodeka Inkjet print on silver paper, framed
Unique
private coll.

META CAVE (2017)

154 x 102 cm, Dodeka Inkjet print on silver paper, inkjet print on transparent plastic, with handmade cuts, framed
unique
private coll.

META CUTS (2017)

A Rock is a River - META CUTS
154 x 103 cm, Dodeka Inkjet print on silver paper, inkjet print on transparent plastic, with handmade cuts, framed
Edition 1/1

META TIME (2017)

134 x 102 cm, Dodeka inkjet print on mat paper with handmade spray paint, with inkjet print on transparent plastic, with handmade cuts, framed
Unique
private coll.

META ICE (2017)

108 x 73 cm, Dodeka inkjet print on silver paper, with handmade spray paint, framed
Edition 1/1
private coll.

GIVE ME SPACE (2016)

4,3 x 3 m, Inkjet on wallpaper
Unique

Melting Memory (2017)

70 x 50 cm, Dodeka inkjet print on silver paper, on alu dibond
Unique
private coll.

Melting Time 2 (2017)

A Rock is a River - Melting Time
70 x 50 cm
Dodeka inkjet print on silver paper, on alu dibond
Unique
private coll.

Burning Time (2017)

70 x 50 cm, Dodeka inkjet print on silver paper, on alu dibond
Edition 2/3

RAIN BOW (2017)

70 x 50 cm, Dodeka inkjet print on silver paper, on alu dibond
Unique
private coll.