Second Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne. Installation includes blue lighting gel on windows. Photo © Martin Argyroglo

Fur Playroom (2020) acrylic on canvas, 150 x 200cm. Installation includes blue lighting gel on windows. Photo © Martin Argyroglo

Love Bubbles (2020) acrylic on canvas, 150 x 200cm. Installation includes blue lighting gel on windows. Photo © Martin Argyroglo

Second Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne. Installation includes blue lighting gel on windows. Photo © Martin Argyroglo

Detail. Photo © Martin Argyroglo

Second Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne. Includes 'Slow Burn' 2017-20). Cotton bondage rope, acrylic paint, steel rings. Installation features blue lighting gel on windows. Photo © Martin Argyroglo

Second Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne. Installation includes blue lighting gel on windows. Photo © Martin Argyroglo

Inflated Self (2020) acrylic on canvas, 150 x 200cm. Installation includes blue lighting gel on windows. Photo © Martin Argyroglo

Second Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne. Photo © Martin Argyroglo

Second Floor: Selected works (2018). Acrylic & pencil on cotton paper. Collection FRAC Champagne-Ardenne. Photo © Martin Argyroglo

Falling out of us (2017) acrylic paint & pencil on paper, 28.5 x 38cm. Collection FRAC Champagne-Ardenne

The cut out ass fitted fine (I)(2018) acrylic paint & pencil on paper, 28.5 x 38cm. Collection FRAC Champagne-Ardenne

Your hair, the sky (2017) acrylic paint & pencil on paper, 28.5 x 38cm. Collection FRAC Champagne-Ardenne

Watching, pissing, arousing for both (I) (2017) acrylic & pencil on paper, 28.5 x 38cm. Collection FRAC Champagne-Ardenne

The space inside your mouth is entirely yours, except when it’s mine (I) (2017) acrylic & pencil on paper, 28.5 x 38cm. Collection FRAC Champagne-Ardenne

SECOND FLOOR: Exhibition view, Cathy Josefowitz & Susie Green

Second Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne. Installation includes blue lighting gel on windows. Photo © Martin Argyroglo

Second Floor: Exhibition view, includes (framed on wall) 'Frou Frou Flogger (Red)' (2019). Oil paint, acrylic paint, tissue paper on paper, 38 x 28cm. Installation features blue lighting gel on windows. Photo © Martin Argyroglo

(L) Lock & Key (2020) acrylic on canvas, 150 x 200cm (R) Frou Frou Flogger (lilac), (blue) (2019). Oil, acrylic, tissue on cotton paper, 38 x 28cm. Photo © Martin Argyroglo

Lock and Key (2020) acrylic on canvas, 150 x 200cm. Photo © Martin Argyroglo

Second Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne. Photo © Martin Argyroglo

Second Floor: Untitled (I)(II) (2019) acrylic paint on cut tissue paper, each 73 x 49cm. Photo © Martin Argyroglo

Second Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne. Installation includes blue lighting gel on windows. Photo © Martin Argyroglo

Second Floor: (L-R) Dreaming Head, Lonely Mouth, Leg on Bed (2020). Watercolour on Arches cotton paper, 38 x 28cm. Photo © Martin Argyroglo

Second Floor: If They be Two (2018). Two-channel looped video installation (10'23"). Collaboration with Kim Coleman. Photo: Grégory Copitet

Second Floor: If They be Two (2018). Two-channel looped video installation (10'23"). Collaboration with Kim Coleman. Photo: Grégory Copitet

Second Floor: If They be Two (2018). Two-channel looped video installation (10'23"). Collaboration with Kim Coleman. Photo: Grégory Copitet

Second Floor: If They be Two (2018). Two-channel looped video installation (10'23"). Collaboration with Kim Coleman. Photo: Grégory Copitet

Second Floor: If They be Two (2018). Two-channel looped video installation (10'23"). Collaboration with Kim Coleman. Photo: Grégory Copitet

Second Floor: If They be Two (2018). Two-channel looped video installation (10'23"). Collaboration with Kim Coleman. Photo: Grégory Copitet

Ground Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne © Martin Argyroglo

Ground Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne © Martin Argyroglo

Ground Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne

(L) Creature of Love (III) (2019) 220 x 120cm (R) Creature of Love (II) 220 x 98cm, both acrylic paint on cut tissue paper. Photo: © Martin Argyroglo

Ground Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne © Martin Argyroglo

(L) Hood (IV) (series) (2019) 39 x 29 cm, acrylic paint, spraypaint, tissue paper, leather laces on canvas (R) Laces (series) (2019) watercolour on pierced Arches cotton paper, cut tissue paper, each 38 x 28cm. Photo © Martin Argyroglo

Ground Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne © Martin Argyroglo

Creature of Love (I) (2019)

(detail) Creature of Love (I) (2019) acrylic paint on cut tissue paper, 300 x 120cm © Martin Argyroglo

Ground Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne © Martin Argyroglo. Includes 'Kissing Seat' (2017) stained ash wood bench for audience seating, commissioned by Grand Union, UK. On moniter: 'Coming to Power' (2020) music & video made in collaboration with Simon Bayliss

Creature of Love (VI) (2020) acrylic paint on cut tissue paper & ribbon, 200 x 200cm. Phtoto: © Martin Argyroglo

Ground Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne © Martin Argyroglo

Ground Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne © Martin Argyroglo

Details: Slow Burn (2017-20) cotton bondage rope, acrylic paint, steel rings. Vinyl marking on floor: 'Epilogue'. Throughout exhibition rooms are described on gallery floor. Photo © Martin Argyroglo

(detail) Creature of Love (VI) (2020)

Ground Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne. Photo © Martin Argyroglo

Creature of Love (I) (2020) acrylic paint on cut tissue paper & ribbon. Photo © Martin Argyroglo

Ground Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne. Photo © Martin Argyroglo

Ground Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne. Photo © Martin Argyroglo

Ground Floor: Exhibition view, Cathy Josefowitz & Susie Green, Empty rooms full of love, FRAC Champagne-Ardenne. Photo © Martin Argyroglo

Creature of love (V) (2020) 180 x 140cm, acrylic paint on cut tissue paper & ribbon. Photo © Martin Argyroglo

Empty rooms full of love (2021) Cathy Josefowitz & Susie Green, FRAC Champagne-Ardenne, Reims (FR) (postponed)

Currently closed – August 2021

FRAC Champagne-Ardenne, Reims (FR)

Features solo and co-authored works by Cathy Josefowitz & Susie Green with Simon Bayliss, Claire Bushe, Kim Coleman, Romain Denis, Cathy Frost, Lisa Halse, Tess McDermott, Rory Pilgrim & Mara de Witt. Curated by Bettina Moriceau Maillard & Marie Griffay.

‘The FRAC Champagne-Ardenne is pleased to present the first institutional exhibition in France of Swiss artist Cathy Josefowitz (1956, New York – 2014, Geneva) and English artist Susie Green (b. 1979, Shrewsbury). Empty rooms full of love orchestrates the unprecedented encounter between two bodies of work that share an affinity of mediums — both exploring themes such as otherness and disguise. In both works, the use of theatrical devices is part of questioning relationship to the body, itself engaged in the intimate journey of the quest for self. This crossing of paths highlights two powerful and sensitive approaches focusing on the emancipation of the body through the gaze of two generations of female artists.

The ground floor of the exhibition, inhabited by characters dressed up, amplified, and decorated by the artists and standing for avatars of themselves, plunges the viewer at the heart of a game of gazes. It takes the form of a theatre stage where acrobats, puppets, and figures inspired by commedia dell’ arte characters, dance, run and slide along the floor. While the mood is happy, certain characters convey a sense of melancholy: “The aim is to free oneself, thanks to a simple game of appearances that one plays or goes along with, thereby allowing a hidden or bridled part of the self to be expressed.” (1)

In the second part of the exhibition, we experience physical relationships as lived, spiritual experiences that allow one to find oneself. A shift thus occurs, a transformation of being. Cathy Josefowitz’s paintings and notebooks on the Kamasutra and the erotic paintings and drawings by Susie Green give way to an abstract form of representation. In Green’s work, the bodies have almost evaporated, transformed into energy through sexual encounter, while Cathy Josefowitz’s colored skies depict the metamorphosis of thoughts into emotions. The end of this second chapter takes us into ecstasy with a hypnotic video installation by Kim Coleman and Susie Green.

Empty rooms full of love is an invitation to allow oneself to be permeated with the female gaze, which describes a feminine experience of the world. What does it mean to inhabit a woman’s body, to experience it and go beyond it? Do the empty rooms full of love refer to interior spaces, to women’s bodies, or to the museum space? Is the one that fills it with love, the person who enters this space or the one that it belongs to?’ (FRAC Press Release, 2020)

(1) Marguerite Yourcenar on Roger Caillois’s theory of play: “L’homme qui aimait les pierres” in En pèlerin et en étranger. Essais, Paris: Gallimard, 1989

 

This exhibition has benefited from the support of Fluxus Art Projects

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