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Studio view. Photo taken by Mimosa Echard
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Lies is the first monograph dedicated to the the work of Mimosa Echard. Working across diverse media, the artist draws from biological research, the history of experimental cinema, and her personal biography to create works that intertwine sexuality, perception, and artifice. Attentive to the invisible—or latent—potential of her materials, her assemblages and installations probe the limits of language in apprehending her objects, opening space for unprecedented and non-normative associations.
Co-published by Mousse Publishing and Galerie Chantal Crousel, with the support of gallery Martina Simeti, Lies includes previously unpublished texts that invite readers to engage deeply, and from multiple perspectives, with Echard’s practice. Essays by Amelia Groom and Devrim Bayar provide historical, critical, and theoretical insights; Daphné B. contributes a poetic introduction; and a dialogue between Mimosa Echard and Dominique Gonzalez-Foerster enriches the book with an artist-to-artist exchange. The volume also features a reprint of Quinn Latimer’s essay on Echard, originally published on TextWork, the editorial platform of the Fondation Pernod Ricard.
Below you can read an excerpt from the conversation between Dominique Gonzalez-Foerster and Mimosa Echard, featured in the publication.
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BOOK LAUNCH
In Paris for Art Basel or Paris Internationale? Join us for the launch of Mimosa Echard: Lies together with the artist!
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Friday, October 24, 7pm
at After 8, Paris
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Lies, exhibition view at Galerie Chantal Crousel, 2024. Photo taken by Mimosa Echard
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Dirty Girl Color
Dominique Gonzalez-Foerster
in Conversation with
Mimosa Echard
MIMOSA ECHARD
You were in my dream last night. Your hair was a bit longer and completely fluoro yellow, like Simpsons yellow. Your top was the same color, paired with red tartan overalls. It was beautiful.
DOMINIQUE GONZALEZ-FOERSTER
It’s funny you say that because I actually wanted to talk about color with you today. When I went back to see your exhibition Lies (Galerie Chantal Crousel, 2024), I was really struck by the omnipresent green. It was a green that made me think of oxidized copper, both liquid and dripping. Marcel Duchamp used a similar almost phosphorescent green in some of his works, as though it were a form of radiation. And then there’s the pink. Its relation to the green reminded me of Couleurs [Colors, 1908] by Remy de Gourmont, where each color becomes a chapter of the book. I thought we could maybe start with that: what is this green for you?
MIMOSA
You’re right, the green appeared through processes of oxidization, through applying water and acid to electromagnetic shielding fabric. I wanted to work with this material because for me it crystalizes the entanglement of information and abstraction, invisibility and paranoia. I wanted to make this protective material porous, vulnerable. When I work with a color, I don’t really choose it, it chooses itself. Often they’re “found” colors, the result of certain political or economic dynamics. We could even call them “readymade” colors.
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Back and front cover of Time Magazine, June 26, 1995
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DOMINIQUE
But in this case, this green is really chemical.
MIMOSA
Yes, an acidic green, but also a green we associate with cities, roofs, oxidized sculptures—, it’s almost architectural or monumental. A green that bleeds. I like the idea of bleeding colors.
DOMINIQUE
Bleeding color, it sounds vampiric, but I like it. So after the green, I saw the pink. Green and pink. I love this combination, mainly because of a particular samba school in Rio, in Brazil, which was also Hélio Oiticica’s favorite school. This pink-green association runs through all the carnival parades, and of course, I’m drawn to it. In your exhibition, it was in different proportions, but I had already seen pink in your work before. So, what is pink for you?
MIMOSA
Pink . . . It’s vast.
DOMINIQUE
Yes, cosmetic, erotic.
CONTINUE READING
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Studio view. Photo taken by Mimosa Echard
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