At the border between art and design, the work of Clémence Seilles (b. 1984, lives and works in Berlin and Amsterdam) examines the role and function of matter and the way in which it represents contemporary behavior and scenarios (habitat, exhibition layout, relationship to the environment, etc.). Combining the anthropological study with an analysis of cultural customs, Clémence Seilles describes her work as “a poetic inventory of synthetic materials, which can be interpreted as a materialistic archeology of the contemporary West.”

“La Chute” invites the viewer to envision a hypothetical, speculative future. Stepping into an interrupted scene, the audience is immersed in a spectacle, their surroundings ceding their place to a synthetic décor. Using a primitive, post-apocalyptic language, this universe presents a landscape in which industrial matter has replaced natural matter. In line with authors such as Jacques Sternberg and his 188 contes à régler [188 Tales on Account] (1988), Clémence Seilles imagines a disenchanted future, a vague zone in which the consequences and echoes of the present resonate.