{"id":3590,"date":"2024-06-28T11:09:10","date_gmt":"2024-06-28T09:09:10","guid":{"rendered":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/?p=3590"},"modified":"2025-04-16T15:04:36","modified_gmt":"2025-04-16T13:04:36","slug":"chloe-delarue","status":"publish","type":"post","link":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/?p=3590","title":{"rendered":"Chlo\u00e9 Delarue"},"content":{"rendered":"\n
ENGLISH<\/summary>\n

Chlo\u00e9 Delarue explores production mechanisms in the age of computer-aided thinking. Her work delves into contemporary human-machine alienation. Her installations and sculptures under the series TAFAA<\/em> (Toward a fully automated Appearance) captivate through the ambiguities and paradoxes they reveal in our relationship with progress and technology. Specifically created for the Kl\u00f6ntal Triennale at the Legler Areal, the piece TAFAA \u2013 SIGNAL (Ice Cream so good)<\/em> (2024) is a neon sculpture that seems to belong to another era, straddling the line between human appearance and neon signage. The female figure dancing around itself – an AI-generated fusion of holy Mary, peasant woman and witch – is reminiscent of a hypnotic, trance-like dance of death. She seems like a ghostly, parallel existence, lost in this damp cellar, a place steeped in history where bodies and machine automation meet in endless repetition. Rooted in the analogue age, it evokes different physical and temporal dimensions, inviting hypotheses about its presence in this former production area\u2014perhaps a trompe-l\u2019\u0153il, a d\u00e9j\u00e0 vu, or a faded memory from an alternate reality.\u00a0 And at the same time a fleeting glimpse into a future in which affects are reconfigured under the influence of simulations and the search for meaning, knowledge, finitude and temporality have become fetishes?<\/p>\n\n\n\n

Chlo\u00e9 Delarue (*1986, F, lives in Geneva) pursued studies at the \u00c9cole Nationale Sup\u00e9rieure d\u2019Arts \u00e0 la Villa Arson in Nice and HEAD in Geneva. She has showcased her work extensively through solo exhibitions in Paris, Zurich, Berlin, Brussels, and Nevers.<\/p>\n<\/details>\n\n\n\n

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Chlo\u00e9 Delarue beobachtet die Produktionsmechanismen im Zeitalter des computergest\u00fctzten Denkens. Ihre Arbeiten erz\u00e4hlen von der zeitgen\u00f6ssischen Entfremdung zwischen Mensch und Maschine. Die Installationen und Skulpturen, die unter dem Titel \u00abTAFAA\u00bb (Toward a fully automated Appearance) erscheinen, t\u00e4uschen und tarnen mit Mehrdeutigkeiten und Paradoxien, die sie in unserem Verh\u00e4ltnis zu Fortschritt und Technologie offenbaren. Das Werk \u00abTAFAA \u2013 SIGNAL (Ice Cream so good)\u00bb (2024), das die K\u00fcnstlerin eigens f\u00fcr die Kl\u00f6ntal Triennale entwickelt hat, ist eine Neonskulptur, die zwischen menschlicher Erscheinung und Leuchtreklame oszilliert. Die sich um sich selbst drehende weibliche Figur \u2013 eine von KI generierte Verschmelzung von heiliger Maria, B\u00e4uerin und Hexe \u2013 erinnert an einen hypnotischen, tranceartigen Totentanz. Sie wirkt dabei wie eine gespenstische, parallele Existenz, verloren in diesem feuchten Keller, dem geschichtstr\u00e4chtigen Ort, an dem K\u00f6rper und maschinelle Automation in endloser Repetition aufeinandertreffen. Als Neonarbeit dem analogen Zeitalter verpflichtet, heute im Begriff zu verschwinden, transportiert das Werk eine andere K\u00f6rperlichkeit und Zeitlichkeit. Es l\u00e4dt dazu ein, Hypothesen \u00fcber die Anwesenheit in diesem ehemaligen Produktionsareal zu formulieren \u2013 vielleicht ein Trompe-l\u2019\u0153il, ein D\u00e9j\u00e0-vu, ein verblichenes Gef\u00fchl aus einer anderen Realit\u00e4t? Und gleichzeitig ein fl\u00fcchtiger Blick in eine Zukunft, in der Affekte unter dem Einfluss von Simulationen neu konfiguriert werden und die Suche nach Sinn, Wissen, Endlichkeit und Zeitlichkeit zu Fetischen geworden sind?<\/p>\n\n\n\n

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Portrait Chloe Delarue, CACY \u00a9 Photo: Cyril Zingaro | Muto<\/figcaption><\/figure>\n\n\n\n

Chlo\u00e9 Delarue (*1986, F, lebt in Genf) studierte an der Ecole Nationale Sup\u00e9rieure d\u2019Art de Nice-Villa Arson, Nizza, und an der HEAD, Genf. In den letzten Jahren hat sie zahlreiche Einzelausstellungen in Paris, Z\u00fcrich, Berlin, Br\u00fcssel und Nevers realisiert.<\/p>\n\n\n\n

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Foto: Chlo\u00e9 Delarue: TAFAA – SIGNAL (Le chant des lucioles), 2022 Coll\u00e8ge des Rives, Yverdon les bains (ch), \u00a9 Cyril Zingaro | Muto<\/p>\n","protected":false},"excerpt":{"rendered":"

Chlo\u00e9 Delarue beobachtet die Produktionsmechanismen im Zeitalter des computergest\u00fctzten Denkens. Ihre Arbeiten erz\u00e4hlen von der zeitgen\u00f6ssischen Entfremdung zwischen Mensch und Maschine. Die Installationen und Skulpturen, die unter dem Titel \u00abTAFAA\u00bb […]<\/p>\n","protected":false},"author":1,"featured_media":5234,"comment_status":"open","ping_status":"open","sticky":false,"template":"exhibition-einzelseite-template","format":"standard","meta":{"_EventAllDay":false,"_EventTimezone":"","_EventStartDate":"","_EventEndDate":"","_EventStartDateUTC":"","_EventEndDateUTC":"","_EventShowMap":false,"_EventShowMapLink":false,"_EventURL":"","_EventCost":"","_EventCostDescription":"","_EventCurrencySymbol":"","_EventCurrencyCode":"","_EventCurrencyPosition":"","_EventDateTimeSeparator":"","_EventTimeRangeSeparator":"","_EventOrganizerID":[],"_EventVenueID":[],"_OrganizerEmail":"","_OrganizerPhone":"","_OrganizerWebsite":"","_VenueAddress":"","_VenueCity":"","_VenueCountry":"","_VenueProvince":"","_VenueState":"","_VenueZip":"","_VenuePhone":"","_VenueURL":"","_VenueStateProvince":"","_VenueLat":"","_VenueLng":"","_VenueShowMap":false,"_VenueShowMapLink":false,"footnotes":""},"categories":[307,19],"tags":[],"class_list":["post-3590","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-de","category-exhibition"],"_links":{"self":[{"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=\/wp\/v2\/posts\/3590","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3590"}],"version-history":[{"count":29,"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=\/wp\/v2\/posts\/3590\/revisions"}],"predecessor-version":[{"id":5200,"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=\/wp\/v2\/posts\/3590\/revisions\/5200"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=\/wp\/v2\/media\/5234"}],"wp:attachment":[{"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3590"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3590"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kloentaltriennale.ch\/hinterland\/dev\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3590"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}