Exposition VALENTIN CARRON

The Chapelle des Elus, located on the premises of the Tourist Office, is hosting a new exhibition in collaboration with the Consortium from 7 June to 28 September 2023.

Valentin Carron (1977, Fully) is a Swiss artist, renowned for his sculptural work.
Living in the canton of Valais, he is inspired by the landscape and his immediate environment. During his travels, architectural elements and vernacular objects, works of art in the public space, museums or Swiss foundations, feed his imagination.

Inclined to appropriation, Valentin Carron collects, amasses, juxtaposes, diverts and transforms the representations of forgotten ordinary forms while inciting the spectator to take a new and attentive look at his daily life. Objects, familiar in appearance but anonymous, are thus reproduced in an artificial way. Stone village ponds become resin sculptures
become resin sculptures, crosses change from stone to polystyrene or fibreglass, Swiss clocks are made of agglomerated wood. These are all images of folklore, diverted from their original function, which question the idealized perception of Switzerland. The artist appropriates these pieces of reality but does not copy them; he replicates them, interprets them and transposes them into a new reality, thanks to the change of material.

The works thus raise doubts and pose the question of authenticity.
At the invitation of the Dijon Métropole Tourist Office, his sculpture Ravage with pink granite (after Tommasini), from the Consortium Museum* collection, is installed in the Chapelle des Élus in front of Jean Jouvenet's Deposition from the Cross*. A symbol of the artist's deception, this work is a replica of an existing sculpture on the forecourt of the Lausanne library.
the forecourt of the Lausanne library, created in 1976 by André Tommasini* as part of the 1% artistic contribution. Here Valentin Carron thwarts the legacy of the past while appropriating the work of his predecessor. Originally made of pink granite, the sculpture is reproduced in resin and painted polystyrene. Not without humour, the neglected work thus finds
in a way, its letters of nobility.