New Galerie and Galerie Ben Kaufmann participate in an exchange during the Paris-Berlin galerie-swap initiative. Bertrand Planes will have a solo-show at Galerie Ben Kaufmann in Berlin. All of the works will be made on site in the gallery and are part of an ongoing series called The Places We’ve Been.
A broken disco ball lies on the ground while the cable from which it hangs continues to rotate in the ceiling. On the walls, the shards of light flicker, the party continues. The title of this piece from the series The Places We’ve Been is Where I Met Her.
The Place We’ve Been is a series of environments, of construed situations. They evoke an almost abstract melancholy, the melancholy of sentimental love songs. Bertrand Planes sets up dreamlike scenes whose purpose is to be explored, simply.
In the room at the back of the gallery, Bertrand Planes realizes a Bump it!, a procedure developed and applied recurrently in a series of artworks by the artist. An object or a group of objects is uniformly painted white, and a video-projection then re-colors, re-textures the surfaces. The action directly evokes cybernated modes of thinking and practice in which the constitution of a digital object is de facto realized in two steps: a neutral volume is created whose surfaces are then dressed. The absolute distinction of surface / volume, so evident on a computer screen, takes place in 'real space'.
Formally, the volume is a 'white-on-white' sculpture: the constant looped reminder of its original texture makes it abstract to the extreme. Applying the Bump it! allows digital methods to decompose the properties of an object, and to join and modernize the 'classical' thought process of the perception of its innate properties; but the Bump it! is also a surface of projection able to undergo infinite variations.
Bertrand Planes uses technical, even technological, means that he develops himself. He calls his practice 'high low tech' – the utilization of technology that is accessible and widespread, but whose possibilities are deployed by the artist. Echoing multiple social changes, of these new tools, of these new points of view. A certain number of installations employ trompe l’oeil tropes, as well as mental scenes and experimentations that perspective in painting have proffered throughout history.