I received by email an invitation from Flora Audoye for open days at the city of Frères-Voisin, on the borders of the 15th century. I was led to select his project when I was a judge at the Salon de Montrouge in 2013, a show designed for young contemporary artists. Flora, who was called Florænt before calling herself Flora today, presented a work whose physical and intellectual support was administrative forms, and transformed these objects of torture into art that was both conceptual and plastic. It was very successful, partly thanks to his humor, a rare thing among contemporary artists, beginners or established, young or old, big, small, good or bad, there almost always comes a moment when they think they have to be serious. This may promote their notoriety, but seriously harms their creativity and the quality of their human relationships.
Flora Audoye’s work is shaken with laughter and utopias. It was not awarded a prize at the end of this Salon de Montrouge. That did not prevent her from continuing to be interested in the question of work, the body at work, and the role of administration in the brutalization of employees and employers. Hired people and hirers. And unemployment, this profession which has the most employees after that of students.
I advise you to visit his site (www.florentaudoye.fr). The videos of his performances are most unique. So I went to this “Voisine sisters’ party” in the 15th century. Floræ lives in an artist’s studio at low rent, thanks to the help of Paris town hall. I did not ask her how many forms she had to fill out to obtain the privilege of these 30 square meters which were deprived of heating throughout last winter, which had started to rot the walls, there are traces of it on the ceiling .
If the heating was restored this year, it is partly thanks to a lady who lives in this HLM bar of 2,800 inhabitants, managed by Paris Habitat, people against whom she fought and is still fighting to obtain the necessary renovations. Very elegant, she wears a hat which is in fact a protective turban against the waves.
“I’m a city girl.”
She also responded to Flora’s invitation. There are several artists in this building, and all exhibit their work during these open houses. But Flora Audoye has nothing to present, except this Christmas market where she offers tea and pancakes with Nutella or chestnut cream. On a console, the artist has placed some of his texts available to visitors. The first, printed on yellow paper, is entitled Diary of a CHOO (Chief Happiness Organizer Officer). The second, printed on green paper, is entitled I fuck the hetero-patriarchy. Too bad they aren’t published on his site, because they are magnificent*. And somewhat desperate, as is often the case with what is magnificent.
I won’t hide from you that I was sad when I left the town of Frères-Voisin at nightfall. The elderly lady had broken my spirits: “I’m electrosensitive”, she confided to me before telling me about the hellish life that the waves, the Wi-Fi, the wind turbines in the Bay of Somme made her live, everything electromagnetic in general, not to mention the contempt she receives from those who think that what she says doesn’t exist, that it’s all in her head, that she’s crazy. She would dream of going to live in a white zone, where they haven’t yet planted their damn antennas. Unfortunately, she has her whole life in Paris, her friends, her partner; “I’m a city girl,” she told me.
In some videos of her performances, Flora Audoye kisses trees. As I left his studio, I saw a tarot deck spread out on his bed. I find that she is going through quite an adventure with her hetero-patriarchy, which will give rise, I hope, to a new creation.
* They are on www.calameo.com/accounts/5993310 (Editor’s note).
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