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Emilie Pitoiset (1980 - based in Paris) is artist, choreographer and writer produces artworks that activate a series of characters and fictions through an ongoing narrative that deals with the exhibition as a format, including elements such as film and performance. Her background is first gymnastic and dance who infused her work and problematics. She questions the absence of the body through inherited behaviours, rituals, sexuality, money... whose unfolds a surrealistic visual grammar which is both enigmatic, noir and decadent.

Pitoiset’s has also participated in numerous group exhibitions in such museums as Witte de With, Pompidou Center, Palais de Tokyo, Shirn Museum Frankfurt am Main, Kate Werble Gallery in New York, Old Bailey Galleries in Hong-Kong, 9800S Sepulveda in Los Angeles, Museo Marino Marini in Florence, to Casino, Forum d’art contemporain in Luxembourg, Villa Paloma Monaco, Badischer Kunstverein, Museum am Ostwalt in Dortmund, Nassauischer Kunstverein Wiesbaden, Bielefeld Kunstverein, Museum Ostwall, Kadist Art Foundation, Museum of Modern and Contemporary Art of Rijeka...

Her work is part now of the many collections such Mnam - Centre Pompidou, le Fond National d’art Contemporain, Frac Ile de France, FRAC Champagne Ardenne, la
collection du Musée Départemental d’art contemporain de Rochechouart. En Europe à AVN Sammlung en Autriche, DZ Bank Sammlung à Francfort, Phileria à Düsseldorf...).


Coedited with FRAC Champagne-Ardenne, Reims / Confort Moderne, Poitiers / Fondation d’entreprise Ricard, Paris
With the support of CNAP, Centre national des arts plastiques (aide à l’édition), ministère de la Culture et de la Communication

Les presses du réel, Dijon, 2013
French, english

Texts by : Florence Derieux, Dominic Eichler, Interview by : Raimundas Malašauskas


History is at the crux of French artist Emilie Pitoiset’s work yet her take I on the past is not retro. Instead she draws on largely mid 20th century I history as a moment of disruption, when the ideology and politics of
existence were being throw upside down. Often using archive materials, her work questions the status of found material. “I don’t consider them as archives or pictures founded or documents. I used them as scores mostly,” Pitoiset considers.

The physical body has increasingly become a motif in her work — both in ready made sculptures using gloves and clothing and in her two dimensional images. “I am fascinated by the resistance of body and how body nd its own circulation,” she explains. For the past two years, much of her focus has been on imagery from American dance marathons that took place during the Great Depression. These competitions would ‘offer’ money to the last couple standing. “The principal was to keep moving until exhaustion. The competition was in front of an audience, who could bet on best couple. Judges on stage were controlling and challenging them with games, like making them run in bandages to wear them out,” the artist notes. “I transposed it to today. I invented a capitalist slogan: Dance more to earn more.” For Pitoiset dance is a form of revolt.

This idea of dance as a form of resistance extends to more recent references. “Stayin' alive, to paraphrase Bee Gees’ song, was really signi cant during late 70s, when bodies resisted Aids, politics and the economic situation. Look back to how bodies reacted in '80s to the oil crisis, fall of communism, Thatcher and Reagan’s neoliberalism, Chernobyl. Bodies became monstrously strong pumped up with body- building and steroids.” In Pitoiset the slogan ‘Dance more to earn more’ is a criticism of capitalism.

Alongside her print piece, she made gure-like sculptures that ri ed on the idea. “I designed and choreographed a crowd from multicultural pop in uences and codes recognizable by clothes and details that I tailor-made. Their down-facing heads were a sign of individualism and fragile equilibrium. I displayed them into space as on stage.” Her linear structures on her conceptual dance oor imply movement. The body is here but the human is also broken and absent.

By Francesca Gavin, Twin Magazine, n°20 March 2018.

and :

Dear Emilie
by Sinziana Ravini, 2014 (English)

Penumbra and Palimpsest
by Dominic Eichler, 2013 (English)

Interview with Raimundas Malasauskas, 2013 (English)

Othello Itw with Marie Maertens (french)

Devon Loch, or how to entertain a desire of reality
Pavillon Ed., Palais de Tokyo, directed by Charlotte Moth (English / French)

Là où tout se rejoue by Laurie Merle, 2011 (French)

Janus by Claire Staebler, 2010 (English / French)