Muriel Leray

OBSCENE Pour protéger et distraire. Pour l’année, et plus particulièrement pour celle qui aura lieu

From February 6th to March 3rd, 2016

  • < 1 / 12 >

    Les usagers peuvent critiquer leur famille ou insulter sa résidence. 2016
    Wood frames, black cardboard, vinyl letters, chair. 97 x 104 x 50 cm. Unique

  • < 2 / 12 >

    Restless, you people – I got one shot ; one less ? 2016.
    Wood frames, black cardboard, vinyl letters, chair. 285 x 205 x 174 cm. Unique

  • < 3 / 12 >

    You take turns – what would you call that ? a long, hard, week. 2016
    Wood frames, black cardboard, glass, vinyl letters, bench, 390 x 45 x 270 cm. Unique

  • < 4 / 12 >

    You take turns – what would you call that ? a long, hard, week. 2016 Detail.
    Wood frames, black cardboard, glass, vinyl letters, bench 390 x 45 x 270 cm. Unique

  • < 5 / 12 >

    You take turns – what would you call that ? a long, hard, week. 2016. Detail
    Wood frames, black cardboard, glass, vinyl letters, bench
    390 x 45 x 270 cm. Unique

  • < 6 / 12 >

    You take turns – what would you call that ? a long, hard, week. 2016.
    Wood frames, black cardboard, glass, vinyl letters, bench. 390 x 45 x 270 cm. Unique

  • < 7 / 12 >

    You take turns – what would you call that ? a long, hard, week. 2016
    Wood frames, black cardboard, glass, vinyl letters, bench. 390 x 45 x 270 cm. Unique

  • < 8 / 12 >

    This is a set up on your knees or against – stay a while. 2016
    Wood frames, black cardboard, glass, vinyl letters, chair. 245 x 205 x 183 cm. Unique

  • < 9 / 12 >

    This is a set up on your knees or against – stay a while. 2016.
    Wood frames, black cardboard, glass, vinyl letters, chair. 245 x 205 x 183 cm. Unique

  • < 10 / 12 >

    This is a set up on your knees or against – stay a while. 2016
    Wood frames, black cardboard, glass, vinyl letters, chair. 245 x 205 x 183 cm. Unique

  • < 11 / 12 >

    Exhibition view OBSCENE, Muriel Leray, Galerie Escougnou-Cetraro, Paris

  • < 12 / 12 >

    Exhibition view OBSCENE, Muriel Leray, Galerie Escougnou-Cetraro, Paris

Do we need to be deceived so as to believe?

And you are directional to convey, by the hundreds and thousands and we sagged, were right by then, this inexhaustible point this inexhaustible point its fair mouth and but for this time, was immediate free clairvoyance by email. Launched to start by trial and error our secure world repeatedly.

Selim, whom, to with all the, but without achieving great, from them issued, people leaders, professional distortion day already well jeopardised and with a parents movement looking at they this weird dream. I helped the none wellbeing, time how do we, a bit of and the possession of a carrier squatting the not the cause looming on the horizon. It was nonsense. Le Corbusier do, nailed me to, enemies well even though and protect she to be the last at his place for real. What?! Just like mines, fishing the line use it to do will drag and this is that, Grand Central to hollow that I enquire nor the red the and evolvement before of to play but slimmed-down and tired. But you, sir of the entire world, introducing considerations fastened her, she never saw the village again no, of others doesn’t have of which the of torrents of and communitarians, looking at herselves’ observation work.

The dynamic seems that to show a reality, there are no ruined monuments, the entry making time a binding. Without binding, in the decor work is with certainty starter for a narrative. To welcome and where the chatter. We are pitied pedagogy for predation, the impulse of the, the images may can suggest in its forms the most and some attractive, it’s impossible.

For days, we reading that I propose, at a dissenting moment in the history of the lookalike, to a character close to, that needs a service to, and garble them first and foremost the viewers: in the art world, the artist’s technologies as exhibitor, to come back to a no time. But with no agreement, and we erroneously think that it’s the real should rival with an ad. “What makes readable destruction.”.

Nowadays, the objects the artists of the exhibition use are objects, it’s not MTV anymore.

I’ve been looking for your year a form of formal reality. Is it mechanic and accurate putting itself in an inevitable composition. I think we were presenting either the hypothesis or art. Constructions. But a spare patronym, that produces swimmer in a swimsuit go together, convinced the outcome does too – olé olé in this case; they fussed, tutelary figures of the images (always those ones), arouse a situation, and for a change, we won’t make any trouble.

Muriel Leray