Margaux Bricler
Margaux Bricler loves volcanoes and resembles them. Her mode of making sculptures, installations, films, and photographs reactivates the subterranean and telluric narratives that we harbor and inhabit, sometimes without our awareness. Protean, her work takes shape in continuous contaminations between sculpture and video, between living and fiction, between individual experience and collective existence, the real and the dream. Her whole poiesis is crossed by the spiny theme of History — recurring forms melted in diverse temporalities, reenactment of myths in the light of the cruelty of the Present. Playing freely with analogies to translate this cultural grounding, Bricler situates herself in the horizon of post-conceptualism. Yet she stands apart from it by the final forms of her works, fully open to the interpretation of the viewer. Her practice, which stems in the gap between minimalism and an almost materiological eroticism, focuses on an object both tangible and immaterial: Memory. As such, she often relies on some of the major texts and iconography that build our collective unconscious, not as an inert repertoire, but rather as something that vibrates along the quivering present. Relying on a concept by French historian Patrick Boucheron, one could speak of an aesthetics of the In-between time. Through the constant chasms between the dull mass of the visible and the depth of thought that a critical aesthetics of European memory is forged, in order to reconnect with the thickness of the present.
François Michaud May 2019
Margaux Bricler was born in Paris in 1985.
After her studies in Italian literature and art history at the Sorbonne, she entered the Ecole Nationale Supérieure des Beaux Arts de Paris, where she followed the teachings of Giuseppe Penone, Christian Boltanski and Didier Semin. She graduated with honors in 2013.
She has lived and worked in Milan since 2018.