I see (and other ways of saying I see what you mean)

Julie Sas
October 5-6 2019

 

I see (and other ways of saying I see what you mean) is an installation referring to a historic fact: at the end of the 17th century, in New France (present-day Canada), playing cards were used as payment currency. At that time, to compensate for the rarity of coins, the absence of printing as well as that of paper, ordinary playing cards, either whole or cut in two or four, with the word “good” written on their reverse acted as money. This financial instrument demonstrated the first appearance of French and North American fiduciary money. It also marked the rise of falsifications of currencies.

 

At the crossroads of installation, writing and performance, the practice of Julie Sas arranges spaces and situations around games of meaning, norms and identities that demonstrate a tension with linguistic or social data. Her recent works feature objects and bodies engaged in codified situations, particularly concerning the production of public discourses, forms of self-representation and quotation exercises. Through games of setbacks and tilting of values, they engage in processes of disembodiment, artificiality and desubjectivation that are part of a reflection on issues of identity and representation.

 

Julie Sas is an artist and a writer. She lives and works in Paris. Graduated from HEAD-Geneva in 2015, her work has been presented among other places at the Geneva Contemporary Art Center, the Palais de Tokyo, the Innsbruck Kunstpavillon, the Yvon Lambert bookstore, art3, Villa Bernasconi and Salon Jeune Création. She is the author of Notes de la rédaction, published in 2017 by Héros-Limite, Winner of the “New Heads Art Awards 2015” and “Yvon Lambert's Coup de Cœur” (awarded as part of the Jeune Création 2013 exhibition), she took part in residency program at the Geneva Contemporary Art Center, Air Berlin Alexanderplatz (Pro Helvetia) and The Watch in Berlin, as well as DOC in Paris. In 2018, she participated in the “Fellowship Program for Art and Theory” at the Künstlerhaus Büchsenhausen in Austria. Since January 2017, she is a member of The Cheapest University, an experimental school created by artists. 

 

t y p e [à dire]  :

 

La composition des billets de banque est un secret. Les euros sont actuellement constitués à 100 % de fibres de coton, les mêmes que celles qui composent les vêtements. C’est cette matière qui leur confère une texture ferme et craquante, également très résistante à l’usure. Depuis 2013, une couche de vernis protecteur a même été ajoutée afin d’allonger la durée de vie des billets. Dans le courant des années 1980, sont apparus dans certains pays des billets de banque en polymères, c’est-à-dire plastifiés. Mis d’abord en circulation en Australie, ils ont été repris par le Canada ou le Mexique, et prochainement par le Royaume-Uni. Deux fois plus chers à la produire, ils sont très difficiles à déchirer et seraient censés durer jusqu’à trois fois plus longtemps.

 

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