Category Archives: Pauline Bastard

Les Adversaires. Screening in three acts.

By Pauline Bastard.

Fondation d’entreprise Pernod Ricard, Paris


Launching party on April 7th at 7pm

Screenings every day from Monday to Saturday from 5pm to 7pm until April 30th included



A group of citizens reinterpret the 2022 presidential election campaign as it unfolds.  The speeches uttered in interviews, meetings and debates become a text worked on in different workshops. The political word is repeated by unknown bodies. Deprived of its context, the speech is put back in the center of the political question, repeating it, isolating it, allows to listen to it. During the presidential election, the citizens are invited to choose among the candidates. The person who is elected has an influence on these bodies which gave (or not) their voice. The device proposes to take back the word to the candidates.


During this electoral month, the artist invests the auditorium of the foundation, unfolding a program of daily projections in three acts: the campaigns, the debate, the investiture, each day from 5 to 7 pm.


April 7: Act 1 – On the campaign trail

April 14: Act 2 – In Between

April 26: Act 3 – The End



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A Storm in a Teacup & Sideshow of a sideshow, 2012


until May 30, 2020


exposure:the fact of experiencing something or being affected by it because of being in a particular situation or place (Cambridge Dictionary)


Exposures is a series of online exhibitions that aims to reflect on topics related to the current context, and around the general idea of ‘The body and the other’.


Exposures #02
. The word 


The second proposal brings together conceptual practices around the word and the language, basic tools in our relationship with the world and with others.


The works of Erick Beltrán, Joan Brossa, Pauline Bastard, Muntadas, Javier Peñafiel, Perejaume, Teresa Solar and Anna Dot (guest artist) propose texts, phrases, messages, statements, which become resources for the analysis of reality, characterized by their critical and transforming character of the art system and society.


The works presented reflect the relationship between word and image and use various linguistic strategies. In the case of Teresa Solar‘s work, she plays with the aesthetics of phonetics and language learning posters. In other cases, language is used from a sound dimension -as in the work of Perejaume-, a sign –Javier Peñafiel– or poetic –Joan Brossa.


In the 2018 Muntadas work, the mechanisms of communication, language and the problematic relationship between the production of knowledge and economic power are analyzed. Also in the case of Erick Beltrán, through language, he dissects the world to classify it, categorize it, differentiate each of its elements in order to try to understand it.


In a more narrative line, Pauline Bastard‘s work starts from objects found casually that allow her to entrust strangers with the writing of creative fictions.


Lastly, we wanted to introduce an action carried out by Anna Dot at the Fundació Brossa in 2019, evidently for her connection with Joan Brossa, but also for her poetic reflection on the construction of words. 


This exhibition will be on view until 30 of May.


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A good Story never started with a Glass of Milk

Episodes of the series  “Alex” by Pauline Bastard
Now online on


A good Story never started with a Glass of Milk’ is a polyphonic exhibition based around the idea of the anecdote. Instead of works of art, this show will gather oral material through a serie of public live meetings with the artists. However, it will not be a question of « telling » or « describing » pieces instead of showing them, nor is it about art at all. Maybe it’s not exactly an exhibition, but since art has always been about telling stories, it still counts.The anecdote is an archaic that gathered people together around the fire, around a meal. Brief and exemplary, the anecdote is a story that comes after the fact, that interprets reality and delivers a meaning, a secret. A collection of sensations, affects, reflections, images, it punctuates the language of the philosopher who uses it to reveal the complexity of a thought; it is a « savoir-dire », a theory in action, a mnemonic. (Definition borrowed from Claire de Ribaupierre, Anecdotes, JRP 2007)


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Villa Merkel, Galerien der Stadt, Esslingen am Neckar

24.6 – 19.8.2018

Opening: Sunday, June 24th, 11 am



Pauline Bastard pursues interdisciplinary approaches, works with time-based media and creates works in the form of long-term projects and their transformations into crossover installations. Her solo exhibition on the imposing ground floor of the Villa Merkel will focus on the latest projects of the artist.


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Château de Servières, Marseille

14.02 – 07.04.2018

Vernissage le 14.02.2018 à 18h30


Les deux artistes réunis pour l’exposition Souviens-toi d’aimer sont Nicolas Daubanes et Pauline Bastard dont ce sera la 1ere exposition commune. Ils questionnent les différentes formes que l’amour revêt au sein de la famille.


Pauline Bastard travaille sur la thématique de la famille, dans une configuration inédite, celle d’une famille fictive, recomposée selon le principe du Timeshare. Quant à Nicolas Daubanes, il fait référence à l’absence de famille que ce soit dans son histoire personnelle ou dans celle des détenus… L’exposition donne ainsi l’occasion au public de découvrir un pan de sa pratique jamais rassemblé sous cet angle.


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Caminar sobre el gel

Del 30 de setembre de 2017 al 7 de gener de 2018


L’hivern de 1974, un jove Werner Herzog decideix anar caminant de Munich a París per visitar a la seva amiga i crítica de cinema Lotte Eisner, que es troba molt malalta a l’hospital. En lloc de viatjar ràpidament a la capital francesa per reunir-se amb Eisner, Herzog inicia un viatge solitari a peu que, segons ell, mantindrà la seva amiga amb vida mentre camina. La seva aventura va durar del 23 de novembre al 14 de desembre de 1974. Quatre anys després, aquesta gesta va donar peu a la publicació d’un petit assaig: Del caminar sobre hielo.

Caminar sobre el gel és una exposició col·lectiva que situa el seu punt de partida en aquest relat. El cineasta alemany descriu de manera minuciosa els paisatges, situacions i pensaments que l’acompanyen durant el viatge. Una traducció a l’àmbit de les arts visuals en què l’absència de practicitat del seu viatge obre dues possibles interpretacions: d’una banda, l’activació del paisatge a través de la performance i l’experiència directa; de l’altra, una anàlisi sobre la disfuncionalitat de l’art, un context capaç de destinar un gran esforç i energia a empreses alienes a les convencions que configuren el nostre entorn social.


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