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Joël Andrianomearisoa

Vendôme Luxury Show #21artist

On the occasion of the Vendome Luxury Show 3, Artsper meet with artist Joel Andrianomearisoda at the Meurice. {Artsper} What image had you of the Vendome Luxury show before you met with Carole Bona? {Joël}: To me fashion works runs at two speeds. On one hand, you will find more advanced, modern and fresh concepts and on the other hand more appropriate and accessible pieces. I wanted to know where Carole situated herself. This event its interesting because it has a history (ndrl 21st edition)and that it is embodied by Carole. It is a phase of renewal that is why Carol gave me carte blanche. The idea is to carry people away, change the rules and shift position lines. I had no attraction or repulsion for this project but it immediately caught my attention for the nature and it’s content. {A}: How long did it take between the time you met with Carole on SLICK and the finalizing of the project. {J}: Like you said, we met at the Slick art Fair. She bought a couple of my artworks, Vallauris vases that I entirely repaint in black. I was intrigued because they are not easy to apprehend. To buy an art piece like this one is a strong message. She also wanted to buy herself a still life that I did not want to sell, a work in relation with Morandi. In a way, we realized, we both were interested uin the same object. Later, she called my gallery, and we met for tea. The project came to us naturally. Our two conscious streams were clear. You should know that Carole does everything in her power to make her project happen. She carries it. I was totally free of my choices, on the installations I wanted to present. For example, the container that I am showing was a real logicitic brain wrecker, but we made it. The commitment of this project is very strong and goes beyond technical exigencies. {A} Why the Meurice ? In fact, Carole is very faithful to three locations that are always the same : Le Meurice, l’Hotel d’Evreux and the Park Hyatt. This year, the Park Hyatt will not be part of this event. Carole is used to these places that predominantly expose contemporary art. For example, it was the Meurice’s desire to elongate the event for 4 days and offer a cake related to the installations on the menu during the whole event. {A} : a cake, installations, furniture… A complete masterpice ! {J} Exactly ! The cake is an element strongly visual and I really wanted it. I also worked on the design of a Champgn label, edited in 125 copies and also 5 Magnums. The title of this work is called “Soupçon d’ivresse”. To me, being drunk has become a crime. There is also furniture, a wooden chair conceived by two architects especially for the event. Even the catalog Is a work of art, with the posters, the brochure… I like this sort of treasure hunt quality where one must assemble all of the elements to understand the artistic process. {A} Did you always want to work with fashion? {J} To me, fashion and art are two worlds intertwined. They have the same codes, the same language and are drenched in the world of show business. The influence that radiates from luxury makes art powerful also. In that way collaboration are possible and easy. What I like in fashion, is this timeless energy. Everything changes very quickly. In art everything takes more time. To me, an ex-architect, there is nothing that looks more like an architect plan than a clothing pattern. What I love about fashion is that the death of a collection leads necessarily to the birth of the next one. In art, durability is more important and you can often find yourself stuck. As for collaboration, drawing a sweater doesn’t interest me. With Carole, we are beyond collaboration, we want to shake fashion. I only conceive collaboration between art and fashion under the form of a total art. {A] You are a trained architect, it is fundamental in the constructions of your work. What relationship do you have today with architecture? {J]: Like you have said, I am a trained architect. The relationship I have with it is not clear. It exist, but I never talk about it? There is a reason why, most of my work are large installations, real constructions. In architecture you start with the base and work your way up to the branches. You have to think about everything : the building, the interior, the exterior, people who will live in it, society…There are no limits, the world is at your feet. This feeling has never left me. {A} What do you think of Artsper. {J} Artsper is an ovni in the world of art, in a good way. You are strange, not institutional, not a gallery a communicant and totally immaterial.
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Yves  Gellie, Rituel de chasse 1, Photography

Yves Gellie

Rituel de chasse 1, 2011
37.8 x 47.2 inch