The Michel Rein Paris gallery is pleased to present the 7th personal exhibition of Armand Jalut after Palagonia POV (2016); Just say hello and leave it behind (Brussels, 2015); A piece of lace (2014); Armand Jalut (2011); Fingers, Cannelés, Chaton (2008) and Armand Jalut (2006). 14:38 https://www.1stdibs.com/fashion/clothing/shoes/gucci-green-leather-boots/id-v_1962263 14:38 Gucci Black Polished / Glazed Leather Silver Horsebit Regent Ankle Boots Sz 36.5 For Sale at 1stdibswww .1stdibs.com 14:38 1990s Claude Montana Leather Drape Back Skirt For Sale at 1stdibswww.1stdibs.com 14:38 Sexy Vintage Yves Saint Laurent Leather High Waisted Black Pencil Skirt For Sale at 1stdibswww.1stdibs.com "Shop the Most Beautiful Things on Earth ”throne on the home page of the site where Armand Jalut gleans and collects iconography of new subjects. He zooms in and crops the images he captures, studies the descriptions, lists the characteristics and symptoms of wear: Small rub mark, Hidden side zip up the side, Button closure at waistband, Pencil silhouette, Incredible dramatic pleated curved. As the algorithms go back and forth, they weave a breadcrumb trail. All future peregrinations are haunted by a parade of skirts and boots in horizontal and vertical bands recalling recent research. These spectra follow each other in strange combinations of colors to greet you at each connection. Armand Jalut succumbs to these retinal melodies. The artist's interest in these subjects echoes the series of sewing machines invoking the world of ready-to-wear made in Los Angeles and its erotic-pop mythology. He thus looks at another type of commodity here, vintage luxury boots and skirts and questions their form of enhancement. In the light of sociological studies such as that of Luc Boltanski and Arnaud Esquerre in Enrichment, Armand Jalut is inspired by strategies to promote these objects on e-commerce platforms: storytelling, rarity, collection, staging, authenticity. In reaction to the paranoid experience that algorithms offer us by anticipating our desires, he constructs a mirror game that distorts Marxian and Freudian fetishization strategies of which goods and works of art are the object. This results in the serial representation of leather objects, becoming a pretext for games of scale, materialities, sophisticated colors and luminescence. Recalling the influence of genre cinema carried by Kenneth Anger (Puce Moment, 1949), John Waters (Polyester, 1981) or Mario Bava, the artist formulates with his painter's vocabulary the potential for ambivalence carried by the representation of luxury objects, between seduction and vanity. Painting this second-hand merchandise is a way of playing with their subjectivity. Repeats of these patterns are subject to slight variations in layout. Redundancy and symmetry punctuate the compositions like a props game. The paintings are so many windows / showcases where the gleaming accessories, authoritarian by their scale, excessively made up, affirm their stigmata, their textures, their smells. The recut paintings (Work Well With), samples of a pseudo virtuosity, play the role of decorative relics and adjustable punctuation of the hanging. Reassessing through an organic medium and a falsely expressive stylization, arranged almost arbitrarily, the image / object then deploys its own set of ambiguities. Armand Jalut (born in 1976, lives and works in Paris) has exhibited at the Musée d'Art Moderne de la Ville de Paris, Palais de Tokyo (Paris), Center d'art contemporain La Halle des bouchers (Vienne), Perm Museum of Contemporary Art (Russia), Museum of the Abbey of Sainte Croix (Les Sables d'Olonne), Les Abattoirs - Frac Midi-Pyrénées (Toulouse), Le Creux de l'Enfer (Thiers), Galerie Édouard Manet (Gennevilliers), CNEAI (Paris). His work is present in many collections, Museum of Modern Art of the City of Paris, Colas Corporate Foundation (Paris), Museum of the Abbey of Sainte Croix (Les Sables d'Olonne), Municipal Art Fund Contemporary (Paris). Armand Jalut participated in the FLAREParis // Los Angeles residency program.