JUDITH DESCHAMPS

Née en 1986 à Paris, Judith Deschamps vit et travaille à Londres.

La métamorphose est un processus qui est au coeur du travail de Judith Deschamps.

À travers la production d’objets, de textes, et de vidéos, qu’elle agence pour donner lieu à des installations et à des performances, sa démarche convoque les restes d’une histoire qui nous a été imposée. C’est en les travaillant, en les retraduisant, qu’elle tente d’en désamorcer la portée et la continuité.

 


 

Born in 1986 in Paris, Judith Deschamps lives and works in London.

Metamorphosis is a process that is at the heart of Judith Deschamps’ work.

Through the production of objects, texts, and videos, she leads to installations and performances; her approach invokes the remains of a history that has been imposed on us. It is by excavating and re-translating them that she attempts to stop their scope and continuity.

 

 

2017, disappearance certificate, inkjet on paper, metallic box and fragments of works, unique work
̶T̶I̶T̶R̶E̶ ̶D̶E̶ ̶L̶’̶O̶E̶U̶V̶R̶E̶ 2017, disappearance certificate, inkjet on paper, metallic box and fragments of works, unique work
2017,disappearance certificate, inkjet on paper, metallic box and fragments of works, unique work
̶T̶I̶T̶R̶E̶ ̶D̶E̶ ̶L̶’̶O̶E̶U̶V̶R̶E̶ 2017,disappearance certificate, inkjet on paper, metallic box and fragments of works, unique work
2017, disappearance certificate, inkjet on paper, metallic box and fragments of works, unique work
̶T̶I̶T̶R̶E̶ ̶D̶E̶ ̶L̶’̶O̶E̶U̶V̶R̶E̶ 2017, disappearance certificate, inkjet on paper, metallic box and fragments of works, unique work
2017, disappearance certificate, inkjet on paper, metallic box and fragments of works, unique work
̶T̶I̶T̶R̶E̶ ̶D̶E̶ ̶L̶’̶O̶E̶U̶V̶R̶E̶ 2017, disappearance certificate, inkjet on paper, metallic box and fragments of works, unique work
2017, disappearance certificate, inkjet on paper, metallic box and fragments of works, unique work
̶T̶I̶T̶R̶E̶ ̶D̶E̶ ̶L̶’̶O̶E̶U̶V̶R̶E̶ 2017, disappearance certificate, inkjet on paper, metallic box and fragments of works, unique work
2017, disappearance certificate, inkjet on paper, metallic box and fragments of works, unique work
̶T̶I̶T̶R̶E̶ ̶D̶E̶ ̶L̶’̶O̶E̶U̶V̶R̶E̶ 2017, disappearance certificate, inkjet on paper, metallic box and fragments of works, unique work
2017, casting in stainless steel (from the company ThyssenKrupp), from a MRI scan of J. Deschamps’ amygdala, 5.76 CM3, edition of 30 for the Frac Nord-Pas-de-Calais
5.76 CM3 OF OBSCURITY 2017, casting in stainless steel (from the company ThyssenKrupp), from a MRI scan of J. Deschamps’ amygdala, 5.76 CM3, edition of 30 for the Frac Nord-Pas-de-Calais
2017, casting in stainless steel (from the company ThyssenKrupp), from a MRI scan of J. Deschamps’ amygdala, 5.76 CM3, edition of 30 for the Frac Nord-Pas-de-Calais
5.76 CM3 OF OBSCURITY 2017, casting in stainless steel (from the company ThyssenKrupp), from a MRI scan of J. Deschamps’ amygdala, 5.76 CM3, edition of 30 for the Frac Nord-Pas-de-Calais
2017, casting in stainless steel (from the company ThyssenKrupp), from a MRI scan of J. Deschamps’ amygdala, 5.76 CM3, edition of 30 for the Frac Nord-Pas-de-Calais
5.76 CM3 OF OBSCURITY 2017, casting in stainless steel (from the company ThyssenKrupp), from a MRI scan of J. Deschamps’ amygdala, 5.76 CM3, edition of 30 for the Frac Nord-Pas-de-Calais
2016, performance, 30′ min, 









3D avatar made from the body and the voice of Judith Deschamps, questions the conditions of its existence. Belonging to the digital and virtual world, having no sex or any particular gender, it speaks to us about its status and function of object. 
This performance examines the codes and representations which condition our sexual identities, but also the devices that technology offer to or impose on our bodies, our thoughts, our identities.
 
Written with the help of Maxim Kares & Pierre Mercier. 
Designed by Paul Guilbert.
Staged with Sarah Kellal and Nathanaël Ruiz de Infante.
NE PLUS ÊTRE DANS VOTRE REGARD, C’EST DISPARAÎTRE 2016, performance, 30′ min, 3D avatar made from the body and the voice of Judith Deschamps, questions the conditions of its existence. Belonging to the digital and virtual world, having no sex or any particular gender, it speaks to us about its status and function of object. This performance examines the codes and representations which condition our sexual identities, but also the devices that technology offer to or impose on our bodies, our thoughts, our identities. Written with the help of Maxim Kares & Pierre Mercier. Designed by Paul Guilbert. Staged with Sarah Kellal and Nathanaël Ruiz de Infante.
2016, video HD, 20’38 min, edition of 3 + 2 AP.

3D avatar made from the body and the voice of Judith Deschamps, questions the conditions of its existence. Belonging to the digital and virtual world, having no sex or any particular gender, it speaks to us about its status and function of object.
This video examines the codes and representations which condition our sexual identities, but also the devices that technology offer to or impose on our bodies, our thoughts, our identities.
NE PLUS ÊTRE DANS VOTRE REGARD, C’EST DISPARAÎTRE 2016, video HD, 20’38 min, edition of 3 + 2 AP. 3D avatar made from the body and the voice of Judith Deschamps, questions the conditions of its existence. Belonging to the digital and virtual world, having no sex or any particular gender, it speaks to us about its status and function of object. This video examines the codes and representations which condition our sexual identities, but also the devices that technology offer to or impose on our bodies, our thoughts, our identities.
2015, performance given for the Nouveau Festival 2015 at the Centre Pompidou of Paris.
By creating a new space-time continuum, the performance allows us to encounter the artist Judith Deschamps at different times of her life: in 1995, 2015, 2035 and 2065. Four ages, four periods, four relationships to the body, technologies and creation, leading to a common ambition : explore the buried areas we all have inside us. Those areas that nourish imagination, desire, and allow metamorphosis.


With Rosalie Adam, Judith Deschamps, Véronique Viel & Dominique Jayr.

Thanks to the support of Dominique Agostini, Dorith Galuz, Thierry Gontier, Michel Poitevin.

Written in collaboration with François Hébert.
Staged in collaboration with Sarah Kellal and Rana Fadavi.
METAMORPHOSIS 2015, performance given for the Nouveau Festival 2015 at the Centre Pompidou of Paris. By creating a new space-time continuum, the performance allows us to encounter the artist Judith Deschamps at different times of her life: in 1995, 2015, 2035 and 2065. Four ages, four periods, four relationships to the body, technologies and creation, leading to a common ambition : explore the buried areas we all have inside us. Those areas that nourish imagination, desire, and allow metamorphosis.
 With Rosalie Adam, Judith Deschamps, Véronique Viel & Dominique Jayr. Thanks to the support of Dominique Agostini, Dorith Galuz, Thierry Gontier, Michel Poitevin. Written in collaboration with François Hébert. Staged in collaboration with Sarah Kellal and Rana Fadavi.
(PHASMATODEA N°1), 2015, in collaboration with the artist Matthieu Raffard, digital photographs and certificates, including an upcoming performance, 30 x 40 cm, unique work.


A series of 4 photographs representing a woman, hidden by a piece of plaster. They are presented with framed certificates, stating that once all of the photographs will have been purchased by public or private collections, a performance will take place.

By taking possession of Phasmatodea n°1, 2, 3 or 4, the collector tiggers the existence of the work. Like the stick insect, which is able to mimic its environment to perfection, the photograph escapes from the frames which are usually attributed to it.
PHASMATODEAS (PHASMATODEA N°1), 2015, in collaboration with the artist Matthieu Raffard, digital photographs and certificates, including an upcoming performance, 30 x 40 cm, unique work. A series of 4 photographs representing a woman, hidden by a piece of plaster. They are presented with framed certificates, stating that once all of the photographs will have been purchased by public or private collections, a performance will take place. By taking possession of Phasmatodea n°1, 2, 3 or 4, the collector tiggers the existence of the work. Like the stick insect, which is able to mimic its environment to perfection, the photograph escapes from the frames which are usually attributed to it.
(PHASMATODEA N°2), 2015, in collaboration with the artist Matthieu Raffard, digital photographs and certificates, including an upcoming performance, 30 x 40 cm, unique work.
PHASMATODEAS (PHASMATODEA N°2), 2015, in collaboration with the artist Matthieu Raffard, digital photographs and certificates, including an upcoming performance, 30 x 40 cm, unique work.
(PHASMATODEA N°3), 2015, in collaboration with the artist Matthieu Raffard, digital photographs and certificates, including an upcoming performance, 30 x 40 cm, unique work.
PHASMATODEAS (PHASMATODEA N°3), 2015, in collaboration with the artist Matthieu Raffard, digital photographs and certificates, including an upcoming performance, 30 x 40 cm, unique work.
(PHASMATODEA N°4), 2015, in collaboration with the artist Matthieu Raffard, digital photographs and certificates, including an upcoming performance, 30 x 40 cm, unique work.
PHASMATODEAS (PHASMATODEA N°4), 2015, in collaboration with the artist Matthieu Raffard, digital photographs and certificates, including an upcoming performance, 30 x 40 cm, unique work.
2014-2015, book-object containing Le Débarras in its script version, an interview with the art historian François Trahais, and a white book, anticipating an interview the artist will experience with the collector of this piece. Edition of 8 + 1AP.

Design and technical production: Pierre Martin-Vielcazat & Atelier Dreieck
LE(S) DÉBARRAS 2014-2015, book-object containing Le Débarras in its script version, an interview with the art historian François Trahais, and a white book, anticipating an interview the artist will experience with the collector of this piece. Edition of 8 + 1AP. Design and technical production: Pierre Martin-Vielcazat & Atelier Dreieck
2014-2015, book-object containing Le Débarras in its script version, an interview with the art historian François Trahais, and a white book, anticipating an interview the artist will experience with the collector of this piece. Edition of 8 + 1AP.

Design and technical production: Pierre Martin-Vielcazat & Atelier Dreieck
LE(S) DÉBARRAS 2014-2015, book-object containing Le Débarras in its script version, an interview with the art historian François Trahais, and a white book, anticipating an interview the artist will experience with the collector of this piece. Edition of 8 + 1AP. Design and technical production: Pierre Martin-Vielcazat & Atelier Dreieck
2014-2015, book-object containing Le Débarras in its script version, an interview with the art historian François Trahais, and a white book, anticipating an interview the artist will experience with the collector of this piece. Edition of 8 + 1AP.

Design and technical production: Pierre Martin-Vielcazat & Atelier Dreieck
LE(S) DÉBARRAS 2014-2015, book-object containing Le Débarras in its script version, an interview with the art historian François Trahais, and a white book, anticipating an interview the artist will experience with the collector of this piece. Edition of 8 + 1AP. Design and technical production: Pierre Martin-Vielcazat & Atelier Dreieck
2011, theater piece written and played for Olivier Grasser, in the hope of obtaining the storage room of the Frac Alsace and using it as a practice studio.
LE DÉBARRAS 2011, theater piece written and played for Olivier Grasser, in the hope of obtaining the storage room of the Frac Alsace and using it as a practice studio.
2011, theater piece written and played for Olivier Grasser, in the hope of obtaining the storage room of the Frac Alsace and using it as a practice studio.
LE DÉBARRAS 2011, theater piece written and played for Olivier Grasser, in the hope of obtaining the storage room of the Frac Alsace and using it as a practice studio.
2011, theater piece written and played for Olivier Grasser, in the hope of obtaining the storage room of the Frac Alsace and using it as a practice studio.
LE DÉBARRAS 2011, theater piece written and played for Olivier Grasser, in the hope of obtaining the storage room of the Frac Alsace and using it as a practice studio.
2011, theater piece written and played for Olivier Grasser, in the hope of obtaining the storage room of the Frac Alsace and using it as a practice studio.
LE DÉBARRAS 2011, theater piece written and played for Olivier Grasser, in the hope of obtaining the storage room of the Frac Alsace and using it as a practice studio.
2014, installation including 3 digital photographs (20 x 27 cm) created from the ‘Untitled Film Stills’ series by Cindy Sherman, a super 8 video (2’01 min), and a digital contact sheet (21 x 27 cm), edition of 4 + 2AP
UNTITLED FILM STILLS #2, 1978 2014, installation including 3 digital photographs (20 x 27 cm) created from the ‘Untitled Film Stills’ series by Cindy Sherman, a super 8 video (2’01 min), and a digital contact sheet (21 x 27 cm), edition of 4 + 2AP
2014, installation including 3 digital photographs (20 x 27 cm) created from the ‘Untitled Film Stills’ series by Cindy Sherman, a super 8 video (2’01 min), and a digital contact sheet (21 x 27 cm), edition of 4 + 2AP
UNTITLED FILM STILLS #2, 1978 2014, installation including 3 digital photographs (20 x 27 cm) created from the ‘Untitled Film Stills’ series by Cindy Sherman, a super 8 video (2’01 min), and a digital contact sheet (21 x 27 cm), edition of 4 + 2AP
2014, installation including 3 digital photographs (20 x 27 cm) created from the ‘Untitled Film Stills’ series by Cindy Sherman, a super 8 video (2’01 min), and a digital contact sheet (21 x 27 cm), edition of 4 + 2AP
UNTITLED FILM STILLS #2, 1978 2014, installation including 3 digital photographs (20 x 27 cm) created from the ‘Untitled Film Stills’ series by Cindy Sherman, a super 8 video (2’01 min), and a digital contact sheet (21 x 27 cm), edition of 4 + 2AP
2014, installation including 3 digital photographs (20 x 27 cm) created from the ‘Untitled Film Stills’ series by Cindy Sherman, a super 8 video (2’01 min), and a digital contact sheet (21 x 27 cm), edition of 4 + 2AP
UNTITLED FILM STILLS #2, 1978 2014, installation including 3 digital photographs (20 x 27 cm) created from the ‘Untitled Film Stills’ series by Cindy Sherman, a super 8 video (2’01 min), and a digital contact sheet (21 x 27 cm), edition of 4 + 2AP
2015, digital photograph, 40 x 50cm, unique work
JUDITH DESCHAMPS IN 2065 AND 2015 2015, digital photograph, 40 x 50cm, unique work
2014, installation including 6 digital photographs (20 x 27 cm), a false press clipping (12 x 16,5 cm), a film by Pierre Huyghes and refilmed by Judith Deschamps (9’46 min, video HD), a film of the art collector Dorith Galuz (7’10 min, video HD).

This installation enacts three emblematic works: Untitled Film Stills (1977-80) by Cindy Sherman; Museum Highlights (1989) by Andrea Fraser; The Third Memory (2000) by Pierre Huyghe.

I recreated them through diverse methods (false archive, photomontages, camcording).

A video assuming the codes of the documentary interview represents Dorith Galuz, a collector, in her appartment. Played by an actress, she explains the appropriation process while making reference to these works which I would have created in the 70s, 80s and 90s.
AN INDECENT RETROSPECTIVE 2014, installation including 6 digital photographs (20 x 27 cm), a false press clipping (12 x 16,5 cm), a film by Pierre Huyghes and refilmed by Judith Deschamps (9’46 min, video HD), a film of the art collector Dorith Galuz (7’10 min, video HD). This installation enacts three emblematic works: Untitled Film Stills (1977-80) by Cindy Sherman; Museum Highlights (1989) by Andrea Fraser; The Third Memory (2000) by Pierre Huyghe. I recreated them through diverse methods (false archive, photomontages, camcording). A video assuming the codes of the documentary interview represents Dorith Galuz, a collector, in her appartment. Played by an actress, she explains the appropriation process while making reference to these works which I would have created in the 70s, 80s and 90s.
2014, 6 digital photographs created from the series ‘Untitled Film Stills’ by Cindy Sherman, 20 x 27 cm, edition of 5 
 + 2AP
UNTITLED FILM STILLS #1, 1977-1980 2014, 6 digital photographs created from the series ‘Untitled Film Stills’ by Cindy Sherman, 20 x 27 cm, edition of 5 + 2AP
2014, false press clipping created from an article about Andrea Fraser, 12 x 16,5 cm, edition of 5 + 2AP
AN INDECENT DOCENT LECTURES FOR LAUGHS, 1989 2014, false press clipping created from an article about Andrea Fraser, 12 x 16,5 cm, edition of 5 + 2AP
2014, video diptych of ‘The Third Memory’ by Pierre Huyghes, camcorded in the Centre Pompidou and subtitled in 5 different versions, 9’46 min, HD, 3840 x 1080, edition of 5 + 2AP
THE THIRD MEMORY, 2000 2014, video diptych of ‘The Third Memory’ by Pierre Huyghes, camcorded in the Centre Pompidou and subtitled in 5 different versions, 9’46 min, HD, 3840 x 1080, edition of 5 + 2AP
2014, vidéo HD, 7’10 min, 1920 x 1080, edition of 5
DORITH GALUZ, ART COLLECTOR, 2014 2014, vidéo HD, 7’10 min, 1920 x 1080, edition of 5
2011, video HD, mute, 8′ min.

This diptyque compares two videos in which a young man and myself, at the center of each image, take on the same gestures.
DYPTIQUE VIDÉOGRAPHIQUE, CAPTATION 1 & 2 2011, video HD, mute, 8′ min. This diptyque compares two videos in which a young man and myself, at the center of each image, take on the same gestures.
A CERTAIN WORD (INDEX), A CERTAIN WORD (PHOTOS), 2018, Perfomance, Documents et Photos
A CERTAIN WORD A CERTAIN WORD (INDEX), A CERTAIN WORD (PHOTOS), 2018, Perfomance, Documents et Photos
2018, Perfomance, Documents
A CERTAIN WORD (INDEX) 2018, Perfomance, Documents
2018, Performance, Papier littéralement mâché, 525 entités sous vitrine, 63 x 415,5 x 5 cm overall
A CERTAIN WORD 2018, Performance, Papier littéralement mâché, 525 entités sous vitrine, 63 x 415,5 x 5 cm overall
2018, Performance, Papier littéralement mâché, 525 entités sous vitrine, 63 x 415,5 x 5 cm overall
A CERTAIN WORD 2018, Performance, Papier littéralement mâché, 525 entités sous vitrine, 63 x 415,5 x 5 cm overall
2018, Performance, Papier littéralement mâché, 525 entités sous vitrine, 63 x 415,5 x 5 cm overall
A CERTAIN WORD 2018, Performance, Papier littéralement mâché, 525 entités sous vitrine, 63 x 415,5 x 5 cm overall
2018, Performance, Papier littéralement mâché, 525 entités sous vitrine, 63 x 415,5 x 5 cm overall
A CERTAIN WORD 2018, Performance, Papier littéralement mâché, 525 entités sous vitrine, 63 x 415,5 x 5 cm overall
2018, Performance, Papier littéralement mâché, 525 entités sous vitrine, 63 x 415,5 x 5 cm overall
A CERTAIN WORD 2018, Performance, Papier littéralement mâché, 525 entités sous vitrine, 63 x 415,5 x 5 cm overall
2018, Tirage numérique sur papier Photo Rag, 45 x 57cm
EVEN NOW #1 2018, Tirage numérique sur papier Photo Rag, 45 x 57cm
2018, Texte gravé sur papier, 45×57 cm
ADAM’S KNOWLEDGE #1 2018, Texte gravé sur papier, 45×57 cm