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(1425,	3,	'2018-09-02 20:58:37',	'2018-09-02 20:58:37',	'Mel Gibson shot his crucifixion scene here.',	'Detour 34',	'',	'publish',	'closed',	'closed',	'',	'detour-34',	'',	'',	'2018-09-08 07:43:05',	'2018-09-08 07:43:05',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1425',	0,	'detour',	'',	0),
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(1427,	3,	'2018-09-02 20:59:54',	'2018-09-02 20:59:54',	'People were tucking into what looked like bowls of sick.',	'Detour 35',	'',	'publish',	'closed',	'closed',	'',	'detour-35',	'',	'',	'2018-09-06 14:12:29',	'2018-09-06 14:12:29',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1427',	0,	'detour',	'',	0),
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(1429,	3,	'2018-09-02 21:01:06',	'2018-09-02 21:01:06',	'The witness described the man as someone who abused his dog\r\n\r\nand was often seen down in the mangroves muttering to himself.',	'Detour 36',	'',	'publish',	'closed',	'closed',	'',	'detour-36',	'',	'',	'2018-10-27 18:46:56',	'2018-10-27 18:46:56',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1429',	0,	'detour',	'',	0),
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(1431,	3,	'2018-09-02 21:03:31',	'2018-09-02 21:03:31',	'She turned to see three of the guests at the halfway house next-door\r\n\r\nsmoking crack pipes on the balcony.',	'Detour 37',	'',	'publish',	'closed',	'closed',	'',	'detour-37',	'',	'',	'2020-11-19 19:14:14',	'2020-11-19 19:14:14',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1431',	0,	'detour',	'',	0),
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(1434,	3,	'2018-09-02 21:05:30',	'2018-09-02 21:05:30',	'Madame B said in homage that Madame F had retained control of her bladder to the end.',	'Detour 38',	'',	'publish',	'closed',	'closed',	'',	'detour-38',	'',	'',	'2018-10-27 18:44:59',	'2018-10-27 18:44:59',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1434',	0,	'detour',	'',	0),
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(1439,	3,	'2018-09-02 21:08:06',	'2018-09-02 21:08:06',	'The waiter interrupted to say,\r\n\r\n“I don’t give a fuck if she doesn’t eat at all.”',	'Detour 40',	'',	'publish',	'closed',	'closed',	'',	'detour-40',	'',	'',	'2020-11-19 19:13:38',	'2020-11-19 19:13:38',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1439',	0,	'detour',	'',	0),
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(1453,	3,	'2018-09-03 10:15:00',	'2018-09-03 10:15:00',	'Good cheer is a tall order under current circumstances.',	'Detour 42',	'',	'publish',	'closed',	'closed',	'',	'detour-42',	'',	'',	'2020-11-19 19:12:36',	'2020-11-19 19:12:36',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1453',	0,	'detour',	'',	0),
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(1456,	3,	'2018-09-03 10:18:49',	'2018-09-03 10:18:49',	'Hundreds of people watched Madame B perched at the open window\r\n\r\nconsidering her options. The fire brigade rushed to the scene.\r\n\r\nShe was taken away never to return.',	'Detour 45',	'',	'publish',	'closed',	'closed',	'',	'detour-45',	'',	'',	'2018-10-27 18:37:31',	'2018-10-27 18:37:31',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1456',	0,	'detour',	'',	0),
(1457,	3,	'2018-09-03 10:19:45',	'2018-09-03 10:19:45',	'The maid claimed the body had lain on the bed for four days until the burial\r\n\r\nbecause the family was too cheap to pay for refrigeration.',	'Detour 46',	'',	'publish',	'closed',	'closed',	'',	'detour-46',	'',	'',	'2018-10-27 18:36:49',	'2018-10-27 18:36:49',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1457',	0,	'detour',	'',	0),
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(1462,	3,	'2018-09-03 10:25:40',	'2018-09-03 10:25:40',	'Why would they go to Eurodisney\r\n\r\nwhen I could show them human foetuses in jars?',	'Detour 51',	'',	'publish',	'closed',	'closed',	'',	'detour-51',	'',	'',	'2018-09-07 17:28:06',	'2018-09-07 17:28:06',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1462',	0,	'detour',	'',	0),
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(1464,	3,	'2018-09-03 10:28:37',	'2018-09-03 10:28:37',	'The sassi inhabitants were banished to the suburbs\r\n\r\nfor sleeping with their livestock and their children.',	'Detour 53',	'',	'publish',	'closed',	'closed',	'',	'detour-53',	'',	'',	'2018-10-27 18:28:13',	'2018-10-27 18:28:13',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1464',	0,	'detour',	'',	0),
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(1522,	3,	'2018-09-02 16:51:31',	'2018-09-02 16:51:31',	'<strong>ADVENT CALENDAR, MEYMAC ART CENTER</strong>\r\n\r\nWhen commissioned to create visuals for the advent calendar to appear progressively in the windows of a former monastery, Heidi Wood was inspired by the joyous impatience of children picking out a chocolate to mark the countdown to Christmas. To illustrate this festive ritual, she created a series of doors, slits and openings in cheerful colors. The images are inspired both by the history of architecture and by comic strips.',	'Doors, Slits and Openings (2014)',	'',	'publish',	'closed',	'closed',	'',	'doors-slits-and-openings-2014',	'',	'',	'2018-09-12 20:22:05',	'2018-09-12 20:22:05',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=public_art&#038;p=1522',	0,	'public_art',	'',	0),
(1523,	3,	'2018-09-04 10:50:14',	'2018-09-04 10:50:14',	'',	'Calendrier Meymac',	'',	'inherit',	'open',	'closed',	'',	'calendrier-meymac',	'',	'',	'2018-09-04 10:50:14',	'2018-09-04 10:50:14',	'',	1522,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/Calendrier-Meymac.jpg',	0,	'attachment',	'image/jpeg',	0),
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(1545,	3,	'2018-09-06 14:06:39',	'2018-09-06 14:06:39',	'',	'photo reel 5',	'',	'inherit',	'open',	'closed',	'',	'photo-reel-5',	'',	'',	'2018-09-06 14:06:39',	'2018-09-06 14:06:39',	'',	1454,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/photo-reel-5.jpg',	0,	'attachment',	'image/jpeg',	0),
(1546,	3,	'2018-09-06 19:53:33',	'2018-09-06 19:53:33',	'<strong>Melbourne</strong>\nGroup show \"The Expatriates,\" 16 April - 22\n\nCurator: Julie Collins',	'& Gallery, 2016',	'',	'inherit',	'closed',	'closed',	'',	'910-autosave-v1',	'',	'',	'2018-09-06 19:53:33',	'2018-09-06 19:53:33',	'',	910,	'http://s653906673.onlinehome.fr/910-autosave-v1/',	0,	'revision',	'',	0),
(1547,	3,	'2018-09-06 20:01:21',	'2018-09-06 20:01:21',	'<strong>CLERMONT-FERRAND</strong>\nDecember 2015',	'Hors des murs, 2015',	'',	'inherit',	'closed',	'closed',	'',	'988-autosave-v1',	'',	'',	'2018-09-06 20:01:21',	'2018-09-06 20:01:21',	'',	988,	'http://s653906673.onlinehome.fr/988-autosave-v1/',	0,	'revision',	'',	0),
(1548,	3,	'2018-09-06 20:09:27',	'2018-09-06 20:09:27',	'<strong>ABBAYE SAINT-ANDRÉ</strong>\nExhibition to accompany the Advent Calendar commission, December 2014',	'Meymac Art Center, 2014',	'',	'inherit',	'closed',	'closed',	'',	'913-autosave-v1',	'',	'',	'2018-09-06 20:09:27',	'2018-09-06 20:09:27',	'',	913,	'http://s653906673.onlinehome.fr/913-autosave-v1/',	0,	'revision',	'',	0),
(1549,	3,	'2018-09-06 20:24:28',	'2018-09-06 20:24:28',	'<strong>GALERIE ANNE BARRAULT, PARIS</strong>\n28/02 - 20/04/2013',	'Petite couronne, 2013',	'',	'inherit',	'closed',	'closed',	'',	'928-autosave-v1',	'',	'',	'2018-09-06 20:24:28',	'2018-09-06 20:24:28',	'',	928,	'http://s653906673.onlinehome.fr/928-autosave-v1/',	0,	'revision',	'',	0),
(1550,	3,	'2018-09-06 20:27:52',	'2018-09-06 20:27:52',	'LES ABATTOIR\n\"Les Pléiades,\" (FRAC 30th anniversary),\nSeptember 28 2013 - January 5 2014',	'Pléiades, 2013',	'',	'inherit',	'closed',	'closed',	'',	'973-autosave-v1',	'',	'',	'2018-09-06 20:27:52',	'2018-09-06 20:27:52',	'',	973,	'http://s653906673.onlinehome.fr/973-autosave-v1/',	0,	'revision',	'',	0),
(1551,	3,	'2018-09-06 20:30:26',	'2018-09-06 20:30:26',	'FRAC POITOU-CHARENTES, ANGOULÊM\n\"Apparitions collectives\" (FRAC 30 year anniversary),\nApril 12 - September 7 2013',	'Apparitions Collectives, 2013',	'',	'inherit',	'closed',	'closed',	'',	'975-autosave-v1',	'',	'',	'2018-09-06 20:30:26',	'2018-09-06 20:30:26',	'',	975,	'http://s653906673.onlinehome.fr/975-autosave-v1/',	0,	'revision',	'',	0),
(1552,	3,	'2018-09-06 20:35:00',	'2018-09-06 20:35:00',	'<strong>LES RÉSERVOIRS, LIMAY</strong>\n\n<em>Suburbias</em>, which took place in an art center with two identical exhibition spaces, allowed me to twin Limay with Wheelers Hill in Australia, where I grew up. Presenting the two locations as sister suburbs highlighted the contrast between French and Australian visions of life on the edge of big cities.',	'Suburbias, 2012',	'',	'inherit',	'closed',	'closed',	'',	'977-autosave-v1',	'',	'',	'2018-09-06 20:35:00',	'2018-09-06 20:35:00',	'',	977,	'http://s653906673.onlinehome.fr/977-autosave-v1/',	0,	'revision',	'',	0),
(1553,	3,	'2018-09-07 08:40:03',	'2018-09-07 08:40:03',	'<strong>LA GRAINETERIE, HOUILLES</strong>\nMay 27 - July 16 2011\n\nWall paintings, painted wooden sculptures and street signs based on the \"Cosmic\" series of pictograms.',	'Cosmic, 2011',	'',	'inherit',	'closed',	'closed',	'',	'979-autosave-v1',	'',	'',	'2018-09-07 08:40:03',	'2018-09-07 08:40:03',	'',	979,	'http://s653906673.onlinehome.fr/979-autosave-v1/',	0,	'revision',	'',	0),
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(1607,	3,	'2018-09-07 08:26:33',	'2018-09-07 08:26:33',	'These six <em>Cosmic street signs</em>, produced in series of six, infiltrated the signage in the city of Houilles during the festival \"Balade en Yvelines\". They were an extension of the solo exhibition <em>Cosmic</em> at la Grainéterie.\r\n\r\nMay - June 2011.',	'Cosmic stroll (2011)',	'',	'publish',	'closed',	'closed',	'',	'cosmic-stroll',	'',	'',	'2018-09-07 08:34:15',	'2018-09-07 08:34:15',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=public_art&#038;p=1607',	0,	'public_art',	'',	0),
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(1610,	3,	'2018-09-07 08:50:21',	'2018-09-07 08:50:21',	'<strong>CHAPELLE DE NOTRE DAME DE MOUSTOIR, PONTIVY</strong>\n\nA succession of chasubles hung in the nave, with motifs based on the heritage logo that signposts the chapels of the region.\n\nJuly 9 - September 18 2011',	'Art dans les chapelles, 2011',	'',	'inherit',	'closed',	'closed',	'',	'981-autosave-v1',	'',	'',	'2018-09-07 08:50:21',	'2018-09-07 08:50:21',	'',	981,	'http://s653906673.onlinehome.fr/981-autosave-v1/',	0,	'revision',	'',	0),
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(1613,	3,	'2018-09-07 09:09:06',	'2018-09-07 09:09:06',	'<strong>CHEVILLY - LARUE</strong>\n\nThe exhibition at the Rosa Bonheur art center marked the end of a long-term residency project in Chevilly-Larue that combined an interest in the domestic intimacy of inhabitants and a study of the facades of the suburban streets.\n\nDecember 15 2011 - February 15 2012',	'Winter Vacation, 2011',	'',	'inherit',	'closed',	'closed',	'',	'983-autosave-v1',	'',	'',	'2018-09-07 09:09:06',	'2018-09-07 09:09:06',	'',	983,	'http://s653906673.onlinehome.fr/983-autosave-v1/',	0,	'revision',	'',	0),
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(1615,	3,	'2018-09-07 09:36:53',	'2018-09-07 09:36:53',	'<strong>FKSE STUDIO, BUDAPEST</strong>\n\"Free Your Mind\" with Adam Albert\n\nCommissaire d\'exposition : Sari Stenczer\n\nMay 19 - June 9 2009',	'Free Your Mind, 2009',	'',	'inherit',	'closed',	'closed',	'',	'944-autosave-v1',	'',	'',	'2018-09-07 09:36:53',	'2018-09-07 09:36:53',	'',	944,	'http://s653906673.onlinehome.fr/944-autosave-v1/',	0,	'revision',	'',	0),
(1616,	3,	'2018-09-07 09:43:42',	'2018-09-07 09:43:42',	'<strong>MEYMAC CONTEMPORARY ART CENTER</strong>\n\nThis exhibition presented work done during a residency based on a study of the landscape and architecture surrounding the village.\n\nApril 19 - June 21 2009',	'You Are Here, 2009',	'',	'inherit',	'closed',	'closed',	'',	'946-autosave-v1',	'',	'',	'2018-09-07 09:43:42',	'2018-09-07 09:43:42',	'',	946,	'http://s653906673.onlinehome.fr/946-autosave-v1/',	0,	'revision',	'',	0),
(1617,	3,	'2018-09-07 10:01:07',	'2018-09-07 10:01:07',	'<strong>IMAGE/IMATGE, ORTHEZ</strong>\nJanuary 16 - March 7 2009\n\nCurator: Emilie Flory',	'Mount Isa, 2009',	'',	'inherit',	'closed',	'closed',	'',	'956-autosave-v1',	'',	'',	'2018-09-07 10:01:07',	'2018-09-07 10:01:07',	'',	956,	'http://s653906673.onlinehome.fr/956-autosave-v1/',	0,	'revision',	'',	0),
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(1619,	3,	'2018-09-07 10:43:57',	'2018-09-07 10:43:57',	'',	'P 2009 D Arnaudet fr',	'',	'inherit',	'open',	'closed',	'',	'p-2009-d-arnaudet-fr',	'',	'',	'2018-09-07 10:43:57',	'2018-09-07 10:43:57',	'',	956,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/08/P-2009-D-Arnaudet-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1620,	3,	'2018-09-07 10:50:39',	'2018-09-07 10:50:39',	'<strong>GALERIE ANNE BARRAULT, PARIS</strong>\n\nA series of new <em>mises-en-scène</em> for existing paintings and photographs, the exhibition changed weekly and announced a policy of destroying works not sold within a five-year time frame.\nOctober 18 - December 20 2008',	'Use-by Date, 2008',	'',	'inherit',	'closed',	'closed',	'',	'958-autosave-v1',	'',	'',	'2018-09-07 10:50:39',	'2018-09-07 10:50:39',	'',	958,	'http://s653906673.onlinehome.fr/958-autosave-v1/',	0,	'revision',	'',	0),
(1621,	3,	'2018-09-07 10:54:27',	'2018-09-07 10:54:27',	'',	'P 2008 L Davis art-forum.com ang',	'',	'inherit',	'open',	'closed',	'',	'p-2008-l-davis-art-forum-com-ang',	'',	'',	'2018-09-07 10:54:27',	'2018-09-07 10:54:27',	'',	958,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/08/P-2008-L-Davis-art-forum.com-ang.pdf',	0,	'attachment',	'application/pdf',	0),
(1622,	3,	'2018-09-07 10:55:25',	'2018-09-07 10:55:25',	'',	'P 2008 L Davis art-forum.com fr',	'',	'inherit',	'open',	'closed',	'',	'p-2008-l-davis-art-forum-com-fr',	'',	'',	'2018-09-07 10:55:25',	'2018-09-07 10:55:25',	'',	958,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/08/P-2008-L-Davis-art-forum.com-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1623,	3,	'2018-09-07 11:07:41',	'2018-09-07 11:07:41',	'<strong>ESAD GALLERY, AMIENS</strong>\n\nThis exhibition at a design school turned the gallery space into an information center for Santa Fe (USA) following a residency at the Sante Fe Art Institute. Wall paintings, felt collages and the photographic series <em>Authentic New Mexico</em> explored the reformating of Amerindian traditions to promote the city to tourists.\n\nCurators: Barbara Denys &amp; Sylvie Couderc',	'Visitors\' Center, 2007',	'',	'inherit',	'closed',	'closed',	'',	'963-autosave-v1',	'',	'',	'2018-09-07 11:07:41',	'2018-09-07 11:07:41',	'',	963,	'http://s653906673.onlinehome.fr/963-autosave-v1/',	0,	'revision',	'',	0),
(1624,	3,	'2018-09-07 11:23:30',	'2018-09-07 11:23:30',	'<strong>MEYMAC CONTEMPORARY ART CENTER</strong>\nGroup exhibition of 40 artists illustrating the diversity of contemporary  painting.',	'Et le canard était toujours vivant, 2005',	'',	'inherit',	'closed',	'closed',	'',	'965-autosave-v1',	'',	'',	'2018-09-07 11:23:30',	'2018-09-07 11:23:30',	'',	965,	'http://s653906673.onlinehome.fr/965-autosave-v1/',	0,	'revision',	'',	0),
(1625,	3,	'2018-09-07 11:27:30',	'2018-09-07 11:27:30',	'<strong>GALERIE TERREAUX, LYON</strong>\nGroup exhibition organized by Musée d\'art contemporain, Lyon',	'Rendez-vous, 2005',	'',	'inherit',	'closed',	'closed',	'',	'967-autosave-v1',	'',	'',	'2018-09-07 11:27:30',	'2018-09-07 11:27:30',	'',	967,	'http://s653906673.onlinehome.fr/967-autosave-v1/',	0,	'revision',	'',	0),
(1626,	3,	'2018-09-07 11:31:27',	'2018-09-07 11:31:27',	'<strong>GALERIE ANNE BARRAULT, PARIS</strong>\n\nExhibition following a residency in Los Angeles (18th Street Art Center).',	'Los Angeles, 2005',	'',	'inherit',	'closed',	'closed',	'',	'969-autosave-v1',	'',	'',	'2018-09-07 11:31:27',	'2018-09-07 11:31:27',	'',	969,	'http://s653906673.onlinehome.fr/969-autosave-v1/',	0,	'revision',	'',	0),
(1627,	3,	'2018-09-07 11:34:18',	'2018-09-07 11:34:18',	'',	'P 2005 P E Y ang',	'',	'inherit',	'open',	'closed',	'',	'p-2005-p-e-y-ang',	'',	'',	'2018-09-07 11:34:18',	'2018-09-07 11:34:18',	'',	969,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/08/P-2005-P-E-Y-ang.pdf',	0,	'attachment',	'application/pdf',	0),
(1628,	3,	'2018-09-07 11:35:11',	'2018-09-07 11:35:11',	'',	'P 2005 P E Y fr',	'',	'inherit',	'open',	'closed',	'',	'p-2005-p-e-y-fr',	'',	'',	'2018-09-07 11:35:11',	'2018-09-07 11:35:11',	'',	969,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/08/P-2005-P-E-Y-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1629,	3,	'2018-09-07 11:40:20',	'2018-09-07 11:40:20',	'<strong>FÂCHES - THUMÉSNIL</strong>\n\nExhibition with Claire Maugeais.',	'Médiathèque M Yourcenar, 2004',	'',	'inherit',	'closed',	'closed',	'',	'971-autosave-v1',	'',	'',	'2018-09-07 11:40:20',	'2018-09-07 11:40:20',	'',	971,	'http://s653906673.onlinehome.fr/971-autosave-v1/',	0,	'revision',	'',	0),
(1630,	3,	'2018-09-07 12:03:59',	'2018-09-07 12:03:59',	'',	'Museums of the World Collages',	'',	'inherit',	'closed',	'closed',	'',	'1206-autosave-v1',	'',	'',	'2018-09-07 12:03:59',	'2018-09-07 12:03:59',	'',	1206,	'http://s653906673.onlinehome.fr/1206-autosave-v1/',	0,	'revision',	'',	0),
(1631,	3,	'2019-11-16 08:42:04',	'2019-11-16 08:42:04',	'The pattern that is to cover the elevator wall and the sawtooth light wells of the Letessier building is inspired by the geometric rigor of the architecture. In line with the spirit of the restoration of this 1960s construction, the modernist grid is “destructured” to embrace today’s preference in architecture for the asymmetrical. Its proliferating aspect softens the building’s hard edges.\n\n&nbsp;\n\nReplacement project for incomplete commission from 2008. Wall panels: delivered November 2018. Light wells: November 2019.',	'Ungrid (2018)',	'',	'inherit',	'closed',	'closed',	'',	'1406-autosave-v1',	'',	'',	'2019-11-16 08:42:04',	'2019-11-16 08:42:04',	'',	1406,	'http://s653906673.onlinehome.fr/1406-autosave-v1/',	0,	'revision',	'',	0),
(1635,	3,	'2018-09-08 05:01:29',	'2018-09-08 05:01:29',	'',	'HW carton',	'',	'inherit',	'open',	'closed',	'',	'hw-carton',	'',	'',	'2018-09-08 05:01:29',	'2018-09-08 05:01:29',	'',	988,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/08/HW-carton.pdf',	0,	'attachment',	'application/pdf',	0),
(1636,	3,	'2018-09-08 05:10:01',	'2018-09-08 05:10:01',	'',	'P 2013 H Dantic ang',	'',	'inherit',	'open',	'closed',	'',	'p-2013-h-dantic-ang',	'',	'',	'2018-09-08 05:10:01',	'2018-09-08 05:10:01',	'',	973,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/08/P-2013-H-Dantic-ang.pdf',	0,	'attachment',	'application/pdf',	0),
(1637,	3,	'2018-09-08 05:10:44',	'2018-09-08 05:10:44',	'',	'CAT 2013 H Dantic fr',	'',	'inherit',	'open',	'closed',	'',	'cat-2013-h-dantic-fr',	'',	'',	'2018-09-08 05:10:44',	'2018-09-08 05:10:44',	'',	973,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/08/CAT-2013-H-Dantic-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1638,	3,	'2019-08-27 09:15:48',	'2019-08-27 09:15:48',	'These road signs, hand-made with stencils in a crash repair garage or produced in a signage factory, promote an idiosyncratic urban heritage. The series <em>Urban Fabric</em> (2015) was made for an exhibition at Le 116, Montreuil. <em>Urban Renewal</em> (2017) was produced by Renault\'s Art Collection. <em>Petite couronne</em> (2013) was produced by the Musée national Fernand Léger.',	'Road Signs',	'',	'inherit',	'closed',	'closed',	'',	'1247-autosave-v1',	'',	'',	'2019-08-27 09:15:48',	'2019-08-27 09:15:48',	'',	1247,	'http://s653906673.onlinehome.fr/1247-autosave-v1/',	0,	'revision',	'',	0),
(1639,	3,	'2018-09-08 06:06:19',	'2018-09-08 06:06:19',	'',	'Paris',	'',	'inherit',	'open',	'closed',	'',	'paris',	'',	'',	'2018-09-08 06:06:19',	'2018-09-08 06:06:19',	'',	457,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/08/Paris.pdf',	0,	'attachment',	'application/pdf',	0),
(1640,	3,	'2018-09-08 06:25:26',	'2018-09-08 06:25:26',	'',	'Bucharest collage',	'',	'inherit',	'open',	'closed',	'',	'bucharest-collage',	'',	'',	'2018-09-08 06:25:26',	'2018-09-08 06:25:26',	'',	239,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/08/Bucharest-collage.jpg',	0,	'attachment',	'image/jpeg',	0),
(1641,	3,	'2018-09-08 06:34:36',	'2018-09-08 06:34:36',	'',	'istanbul new',	'',	'inherit',	'open',	'closed',	'',	'istanbul-new',	'',	'',	'2018-09-08 06:34:36',	'2018-09-08 06:34:36',	'',	212,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/08/istanbul-new.jpg',	0,	'attachment',	'image/jpeg',	0),
(1642,	3,	'2018-09-08 06:36:40',	'2018-09-08 06:36:40',	'',	'media_high_302',	'',	'inherit',	'open',	'closed',	'',	'media_high_302-3',	'',	'',	'2018-09-08 06:36:40',	'2018-09-08 06:36:40',	'',	381,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/08/media_high_302-2.jpg',	0,	'attachment',	'image/jpeg',	0),
(1643,	3,	'2018-09-08 06:45:17',	'2018-09-08 06:45:17',	'',	'-Sofia collage',	'',	'inherit',	'open',	'closed',	'',	'sofia-collage',	'',	'',	'2018-09-08 06:45:17',	'2018-09-08 06:45:17',	'',	505,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/08/Sofia-collage.jpg',	0,	'attachment',	'image/jpeg',	0),
(1644,	3,	'2018-10-27 19:25:34',	'2018-10-27 19:25:34',	'She got food poisoning and had an evil sorry time of it.',	'Detour 1',	'',	'inherit',	'closed',	'closed',	'',	'641-autosave-v1',	'',	'',	'2018-10-27 19:25:34',	'2018-10-27 19:25:34',	'',	641,	'http://s653906673.onlinehome.fr/641-autosave-v1/',	0,	'revision',	'',	0),
(1645,	3,	'2018-08-29 08:10:41',	'2018-08-29 08:10:41',	'Six artists, French, Icelandic, Swedish and Australian have each developed unique work. Yet they all share a strong interest in architectural questions. Each has its own form, either drawing, painting or sculpture. They are concerned with integrating the space, whether indoor or outdoor, domestic or natural, while paying particular attention to the materials used. They gathered in the Maison Louis Carré, which is both intimate and strongly influenced by nature, for a debate and to ‘go green’.\r\n\r\nMay 24 - September 6 2015.',	'Mise au vert, 2015',	'',	'publish',	'closed',	'closed',	'',	'mise-au-vert',	'',	'',	'2018-09-08 08:21:15',	'2018-09-08 08:21:15',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=exhibition&#038;p=1645',	0,	'exhibition',	'',	0),
(1646,	3,	'2018-09-08 08:09:35',	'2018-09-08 08:09:35',	'\"Drive, Drove, Driven,\" 1999, huile sur tissu d\'ameublement, 130 x 81 cm (x 3)',	'Mise au vert',	'\"Drive, Drove, Driven,\" 1999, oil on upholstery fabric, 130 x 81 cm (x 3)',	'inherit',	'open',	'closed',	'',	'mise-au-vert-2',	'',	'',	'2018-09-08 08:18:28',	'2018-09-08 08:18:28',	'',	1645,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/Mise-au-vert.jpg',	0,	'attachment',	'image/jpeg',	0),
(1647,	3,	'2018-09-08 08:19:32',	'2018-09-08 08:19:32',	'Six artists, French, Icelandic, Swedish and Australian have each developed unique work. Yet they all share a strong interest in architectural questions. Each has its own form, either drawing, painting or sculpture. They are concerned with integrating the space, whether indoor or outdoor, domestic or natural, while paying particular attention to the materials used. They gathered in the Maison Louis Carré, which is both intimate and strongly influenced by nature, for a debate and to ‘go green’.\n\nMay 24 - September 6 2015.',	'Mise au vert, 2015',	'',	'inherit',	'closed',	'closed',	'',	'1645-autosave-v1',	'',	'',	'2018-09-08 08:19:32',	'2018-09-08 08:19:32',	'',	1645,	'http://s653906673.onlinehome.fr/1645-autosave-v1/',	0,	'revision',	'',	0),
(1648,	3,	'2018-09-08 09:14:08',	'2018-09-08 09:14:08',	'',	'livret dessins 1',	'',	'inherit',	'open',	'closed',	'',	'livret-dessins-1-2',	'',	'',	'2018-09-08 09:14:08',	'2018-09-08 09:14:08',	'',	72,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/08/livret-dessins-1-1.pdf',	0,	'attachment',	'application/pdf',	0),
(1649,	3,	'2018-09-08 09:14:09',	'2018-09-08 09:14:09',	'',	'livret dessins 2',	'',	'inherit',	'open',	'closed',	'',	'livret-dessins-2-2',	'',	'',	'2018-09-08 09:14:09',	'2018-09-08 09:14:09',	'',	72,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/08/livret-dessins-2-1.pdf',	0,	'attachment',	'application/pdf',	0),
(1650,	3,	'2018-09-08 09:14:10',	'2018-09-08 09:14:10',	'',	'livret dessins 3',	'',	'inherit',	'open',	'closed',	'',	'livret-dessins-3-2',	'',	'',	'2018-09-08 09:14:10',	'2018-09-08 09:14:10',	'',	72,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/08/livret-dessins-3-1.pdf',	0,	'attachment',	'application/pdf',	0),
(1651,	3,	'2018-09-08 09:14:10',	'2018-09-08 09:14:10',	'',	'livret dessins 4',	'',	'inherit',	'open',	'closed',	'',	'livret-dessins-4-2',	'',	'',	'2018-09-08 09:14:10',	'2018-09-08 09:14:10',	'',	72,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/08/livret-dessins-4-1.pdf',	0,	'attachment',	'application/pdf',	0),
(1652,	3,	'2018-09-08 09:14:10',	'2018-09-08 09:14:10',	'',	'livret dessins 5',	'',	'inherit',	'open',	'closed',	'',	'livret-dessins-5-2',	'',	'',	'2018-09-08 09:14:10',	'2018-09-08 09:14:10',	'',	72,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/08/livret-dessins-5-1.pdf',	0,	'attachment',	'application/pdf',	0),
(1653,	3,	'2018-09-08 09:14:11',	'2018-09-08 09:14:11',	'',	'livret dessins 6',	'',	'inherit',	'open',	'closed',	'',	'livret-dessins-6-2',	'',	'',	'2018-09-08 09:14:11',	'2018-09-08 09:14:11',	'',	72,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/08/livret-dessins-6-1.pdf',	0,	'attachment',	'application/pdf',	0),
(1654,	3,	'2018-09-08 18:22:29',	'2018-09-08 18:22:29',	'From September 2017 – May 2018, I completed the 2<sup>nd</sup> year of a Masters program in the Contemporary Art Department of <em>Université Paris 8</em>. Unable to travel during this time of intellectual awakening and thus cut off from my usual subject matter, I decided to map my everyday life. This “mapping of a year without travel” combines a range of visuals, found texts, anecdotes and administrative correspondence connected to my naturalization as a French citizen.\n\n74 pages, 14,85 x 21 cm. In French (mostly).',	'NEW ARTIST BOOK',	'',	'inherit',	'closed',	'closed',	'',	'20-autosave-v1',	'',	'',	'2018-09-08 18:22:29',	'2018-09-08 18:22:29',	'',	20,	'http://s653906673.onlinehome.fr/20-autosave-v1/',	0,	'revision',	'',	0),
(1655,	3,	'2018-09-08 18:22:42',	'2018-09-08 18:22:42',	'',	'Cartographie d\'une année sans voyages',	'',	'inherit',	'open',	'closed',	'',	'cartographie-dune-annee-sans-voyages',	'',	'',	'2018-09-08 18:22:42',	'2018-09-08 18:22:42',	'',	20,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/07/Cartographie-dune-année-sans-voyages.pdf',	0,	'attachment',	'application/pdf',	0),
(1656,	3,	'2018-09-08 18:23:51',	'2018-09-08 18:23:51',	'',	'Cartographie news',	'',	'inherit',	'open',	'closed',	'',	'cartographie-news',	'',	'',	'2018-09-08 18:23:51',	'2018-09-08 18:23:51',	'',	20,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/07/Cartographie-news.jpg',	0,	'attachment',	'image/jpeg',	0),
(1657,	2,	'2018-09-09 08:14:18',	'2018-09-09 08:14:18',	'',	'le titre n\'a pas d\'importance',	'',	'publish',	'closed',	'closed',	'',	'le-titre-na-pas-dimportance',	'',	'',	'2018-09-09 08:14:18',	'2018-09-09 08:14:18',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour_proposal&#038;p=1657',	0,	'detour_proposal',	'',	0),
(1658,	3,	'2018-09-09 10:16:56',	'2018-09-09 10:16:56',	'',	'Comité scientifique-news',	'',	'inherit',	'open',	'closed',	'',	'comite-scientifique-news',	'',	'',	'2018-09-09 10:16:56',	'2018-09-09 10:16:56',	'',	19,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/07/Comité-scientifique-news.jpg',	0,	'attachment',	'image/jpeg',	0),
(1659,	3,	'2018-09-09 10:22:18',	'2018-09-09 10:22:18',	'The result of a studious summer, this essay looks back on my project <em>Museums of the World </em>(2009 – 2015). This inventory of objects (but not artworks) contained in museums in 35 cities worldwide is reevaluated in light of debates that have rocked ethnographic museums over the last few decades. The essay contains illustrations and anecdotal detours relevant to the issues.\n\n20 pages. In French.',	'NEW ESSAY',	'',	'inherit',	'closed',	'closed',	'',	'19-autosave-v1',	'',	'',	'2018-09-09 10:22:18',	'2018-09-09 10:22:18',	'',	19,	'http://s653906673.onlinehome.fr/19-autosave-v1/',	0,	'revision',	'',	0),
(1661,	3,	'2018-09-09 20:23:22',	'2018-09-09 20:23:22',	'',	'Comité scientifique',	'',	'inherit',	'open',	'closed',	'',	'comite-scientifique-2',	'',	'',	'2018-09-09 20:23:22',	'2018-09-09 20:23:22',	'',	19,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/07/Comité-scientifique-1.pdf',	0,	'attachment',	'application/pdf',	0),
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(1681,	2,	'2018-10-04 11:04:20',	'2018-10-04 11:04:20',	'In <em>Serving Suggestions</em>, the picture is reduced to simply one element of a whole. This \"reducing\" operation does not refer to the word’s negative aspect but rather corresponds to its culinary slant. To thicken by evaporation.\r\n\r\n&nbsp;\r\n\r\nPainted in its own right, the picture is then integrated into a decor. An environment is built to receive it. It is then that the real staging begins. A situation constructed.\r\n\r\n&nbsp;\r\n\r\nDissimilar elements put together: pictures, furniture, wallpaper, linoleum, carpet, plants, accessories... following a modular logic (combinations, repetitions, rearrangements...), produce \"images\".\r\n\r\n&nbsp;\r\n\r\nAt the exhibition <em>Quotidien aidé (LES LOCATAIRES),</em> (where these <em>Serving Suggestions</em> were first publicly shown), Heidi Wood \"occupied\" the reception area, thus associating different problematics: conceived for this particular site, her work offered a usable and used space as well as an image since the whole was constructed according to one viewpoint, playing with mass, form and colour. The multiple ramifications of this then budding project were already visible: attention to decor, function, image, advertising.\r\n\r\n&nbsp;\r\n\r\nThese <em>Serving Suggestions</em> are half way between reconstructions/propositions for interiors and displays in furniture shops or sales catalogues. It is here that the question of art consumption arises. The displays in fact propose spaces to be desired, spaces one can identify with, that call out, intended to incite the consumer to buy.\r\n\r\n&nbsp;\r\n\r\nAlthough realistic or credible, the spaces conceived are genuinely fabricated. Artificial. The ones that interest me most are those that are slightly off-track. Those that warn us they are fakes through little differences. Those that evoke usability but where the furniture, a little too well arranged, poses. Those prey to optical distortions, where the perspective is pronounced. Those that suggest nonsensical pictures from some interior decoration magazine. Here the picture is too close to the wall, there it is too close to the table. In another, the wallpaper stops abruptly, covering only part of the wall. In one, the combination of modules defies all common sense. They are detrimental to the effectiveness one expects from a communication and advertising perspective. Like slight glitches in a show.\r\n\r\n&nbsp;\r\n\r\nThese internal failings cannot be seen. They eat away at the transparency of the images.\r\n\r\n&nbsp;\r\n\r\nProduced as they are today, naturally there are exchanges between these and other contemporary images. I am thinking in particular ­ and Heidi Wood totally defends this stance ­ of fashion and interior decoration photographs. In short, of the come-back made these past years in our visual field by forms from the sixties and seventies. We are witnessing a brief alignment of a pictorial universe (the aesthetics developed by Heidi Wood for several years now) and a mass movement, social, ephemeral, a fad (all glitter, money, consumption). The pictorial research behind this encounter is part of a wider context than the simple History of painting. Or rather the experience is seen as enclosed by, connected with the world.\r\n\r\n&nbsp;\r\n\r\nRecourse to these aesthetics goes beyond present circumstances. They belong to a bygone era, a reminder of triumphant modernism, of optimistic consumption. Which, even at the time, reused and bastardised the avant-garde’s formal research.\r\n\r\n&nbsp;\r\n\r\nHeidi Wood, in her own way, is questioning the historical dialogue between geometrical abstraction and decorative arts (a dialogue that, from Mondrian to Vasarely, has known many incarnations), but this time it is devoid of all utopian implications, of all projects for social revolution. Modernism’s forms, today exhausted, are questioned from a domestic point of view. What can be done with this history?\r\n\r\n&nbsp;\r\n\r\n<strong>Frank Lamy</strong>\r\nAugust 2001\r\n\r\nTranslated from French by Gabrielle Lawrence',	'A POSSIBLE SIDE DISH',	'',	'publish',	'closed',	'closed',	'',	'lie-a-la-page-catalogue-article',	'',	'',	'2018-10-19 17:42:14',	'2018-10-19 17:42:14',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1681',	0,	'doc_article',	'',	0),
(1682,	2,	'2018-10-03 14:04:35',	'2018-10-03 14:04:35',	'The English irregular verbs which serve as titles for Heidi Wood’s triptychs are precious keys to a better understanding, in analogical terms, of the great complexity of what appear to be gently abstract and decorative paintings.\r\n\r\n&nbsp;\r\n\r\nEach addition to the “Irregular Verbs” series is made up of three paintings of the same size, often small or medium in scale, on which are placed forms applied as planes of color that vaguely call to mind historical abstractions. The strained, never easy relations between colors as well as the upholstery fabrics often used as a support contribute to the alteration of models and the undermining of references. Beware of appearances!\r\n\r\n&nbsp;\r\n\r\nThese tame little paintings are also formidable deregulators of time and gesture. And the titles encourage this terrible mechanism.\r\n\r\n&nbsp;\r\n\r\nMuch like the verb that accompanies it, the triptych neutralizes any narration and articulates in three parts the development of an action that is probable yet cut off, for the moment, from any necessity of result or relation to the real. “Off by heart”, as a technique applied to painting leads to a mechanization of memory. Like the two commas that separate the irregular tenses of these verbs of exception in writing, the oil painted surface and the all too visible texture of some fabrics impose a return to the present.\r\n\r\n&nbsp;\r\n\r\nFar from the naively syntactical solutions that allow many artists to paint today, Heidi Wood, by working so closely with language, allows herself the most simple of freedoms in painting.\r\n\r\n&nbsp;\r\n\r\n<strong>Nicolas Chardon</strong>\r\n\r\nDecember 1999',	'IRREGULAR VERBS',	'',	'publish',	'closed',	'closed',	'',	'lie-a-la-page-catalogue-article-2',	'',	'',	'2018-10-19 17:42:47',	'2018-10-19 17:42:47',	'',	0,	'http://s653906673.onlinehome.fr/doc_article/lie-a-la-page-catalogue-article-2/',	0,	'doc_article',	'',	0),
(1683,	2,	'2018-09-10 14:05:32',	'2018-09-10 14:05:32',	'<h2>HEIDI WOOD\r\nBorn 1967 in London. Lives in Paris.</h2>\r\n&nbsp;\r\n<h2>SOLO EXHIBITIONS</h2>\r\n&nbsp;\r\n\r\n<strong>2021</strong>\r\n\r\nLa Hùs, ESADHaR, Rouen, <em><strong>Display Home</strong></em>\r\n<strong>2015</strong>\r\n\r\nLe 116, Montreuil, <em><strong>Production Site</strong></em>\r\n<strong>2013</strong>\r\n\r\nMusée national Fernand Léger, Biot, <em><strong>Setting for an Ordinary Life</strong></em>\r\nGalerie Anne Barrault, Paris, <em><strong>Petite Couronne</strong></em>\r\nFRAC Poitou Charentes, Angoulême, <em><strong>Apparitions collectives</strong></em>\r\n<strong>2012</strong>\r\n\r\nLes Réservoirs, Limay, <em><strong>Banlieues</strong></em>\r\n<strong>2011</strong>\r\n\r\nMaison des arts plastiques Rosa Bonheur, Chevilly-Larue, <em><strong>Vacances d’hiver</strong></em>\r\nArtothèque de Caen, <em><strong>Musées du monde</strong></em>\r\nGraineterie, Houilles,<em><strong> Cosmic</strong></em>\r\n<strong>2010</strong>\r\n\r\nGalerie Herold, Bremen, <em><strong>Open Season</strong></em>\r\nGalerie Municipale, Vitry-sur-Seine, <em><strong>Partie de chasse (Open Season)</strong></em>\r\n<strong>2009</strong>\r\n\r\nCAC Meymac, Abbaye Saint-André, <em><strong>Vous êtes ici</strong></em>\r\nImage Imatge, Orthez, <em><strong>Mount Isa</strong></em>\r\nESAC, Pau, <em><strong>Dans l’univers de Beckmann-N’Thépé</strong></em>\r\n<strong>2008</strong>\r\n\r\nGalerie Anne Barrault, Paris, <em><strong>Date limite de consommation</strong></em>\r\n<strong>2007</strong>\r\n\r\nESAD, Amiens, <em><strong>Visitors’ Center</strong></em>\r\nGalerie Frederic Desimpel, Brussels, <em><strong>Made to Order</strong></em>\r\n<strong>2006</strong>\r\n\r\nLe Hall, Ecole Nationale des Beaux-Arts, Lyon, <em><strong>Le Musée</strong></em>\r\n2005\r\n\r\nGalerie Anne Barrault, Paris, <em><strong>Los Angeles</strong></em>\r\n<strong>2003</strong>\r\n\r\nGalerie Anne Barrault, Paris, <em><strong>Planète Magique</strong></em>\r\nGalleria Plastica, Bologna\r\n<strong>2002</strong>\r\n\r\nEspace d’art contemporain Camille Lambert, Juvisy-sur-Orge,<em><strong> La Maison de banlieue</strong></em>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<h2>GROUP EXHIBITIONS (selection)</h2>\r\n&nbsp;\r\n\r\n<strong>2021</strong>\r\n\r\nFRAC Pays de la Loire, commissariat Claude Closky, <em><strong>X</strong></em>\r\n<strong>2020</strong>\r\n\r\nCAC Meymac, <em><strong>Où est la difference ?</strong></em>\r\n<strong>2018</strong>\r\n\r\nFondation Clément, Martinique, Renault, <em><strong>L’art de la collection</strong></em>\r\nBOAA (Biennale of Australian Art), Ballarat, <em><strong>Off the Map</strong></em>\r\nFrac Normandie-Rouen, <em><strong>Inventaire, vol. 8</strong></em>\r\n<strong>2015</strong>\r\n\r\nFondation Le Corbusier, Paris, <em><strong>Re-Corbusier</strong></em>\r\nFondation Alvar Aalto, Maison Louis Carré, <em><strong>Mise au vert</strong></em>\r\nCité de la céramique, Sèvres, <em><strong>Sèvres Outdoors</strong></em>\r\n<strong>2013</strong>\r\n\r\nLes Abattoirs, Toulouse, <em><strong>Les Pléiades</strong></em>\r\n<strong>2012</strong>\r\n\r\nMAM Galerie, Rouen, <em><strong>La fureur de l’éternuement</strong></em>\r\n<strong>2011</strong>\r\n\r\nFRAC Ile-de-France, Domaine de Rentilly, <em><strong>Round and Round and Round (part 2)</strong></em>\r\nArt dans les chapelles, Pays de Pontivy, (Notre Dame du Moustoir chapel)\r\n<strong>2010</strong>\r\n\r\nVilla des Tourelles, Nanterre, <em><strong>Les autres œuvres</strong></em>\r\n<strong>2009</strong>\r\n\r\nFKSE Studio, Budapest, <em><strong>Free Your Mind</strong></em>\r\n<strong>2008</strong>\r\n\r\nFRAC Poitou Charentes, <em><strong>Pièces à vivre</strong></em>\r\n<strong>2006</strong>\r\n\r\nFRAC Haute-Normandie, <em><strong>Welcome Home</strong></em>\r\n<strong>2005</strong>\r\n\r\nAbbaye Saint-André centre d’art contemporain, Meymac, <em><strong>Le canard était toujours vivant</strong></em>\r\nCentre photographique d’ile-de-France, Pontault Combault, <em><strong>Trois et trois font…</strong></em>\r\nParker’s Box, New York, <em><strong>iamfive</strong></em>\r\n<strong>2004</strong>\r\n\r\nLe Plateau - FRAC Ile-de-France, <em><strong>Voisinages</strong></em>\r\nMains d’œuvres, Saint-Ouen, <em><strong>Hôtel Reliance</strong></em>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<h2>PUBLIC COLLECTIONS</h2>\r\n&nbsp;\r\n\r\nFonds national d’art contemporain (FNAC), Fonds régional d’art contemporain (FRAC): Pays de la Loire, Ile-de-France, Haute-Normandie, Poitou-Charentes,\r\nArtothèques in Limoges, Caen and Pessac, Artbank Australia\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<h2>AWARDS AND COMMISSIONS</h2>\r\n<strong>2021</strong>\r\n\r\nSculpture commission, Courcelles-sur-Seine, <em><strong>Flood Abacus</strong></em>\r\n<strong>2020</strong>\r\n\r\nPublic art project, Collège Aretha Franklin, Drancy, <em><strong>Alentour</strong></em>\r\n<strong>2019</strong>\r\n\r\nPublic art project, Collège Jean Manet, Vertou, <em><strong>Recoins d’Europe</strong></em>\r\n<strong>2018</strong>\r\n\r\nPublic art project, INSEP, Paris, <em><strong>Détramé</strong></em>\r\n<strong>2017</strong>\r\n\r\nCommission for a series of road signs, Renault Art Collection, <em><strong>Étapes urbaines</strong></em>\r\n<strong>2016</strong>\r\n\r\nPublic art commission, Bellegarde College, <em><strong>Nouvelles du monde</strong></em>\r\n<strong>2015</strong>\r\n\r\nPublic art commission, Medical Biology Building, Limoges University, <em><strong>Proliférations</strong></em>\r\n<strong>2014</strong>\r\n\r\nMain street commission, Lorne Sculpture Prize, <em><strong>Archives and Red Herrings</strong></em>\r\nPublic art commission, Bourges Velodrome, <em><strong>Résistance à l’air</strong></em>\r\n<strong>2013</strong>\r\n\r\nPublic art commission, Internat d’excellence, Montpellier\r\n<strong>2010</strong>\r\n\r\nPublic art commission, Public housing, Vitry-sur-Seine\r\n<strong>2009</strong>\r\n\r\nResidency, Künstlerhaus am Deich, Bremen\r\n<strong>2008</strong>\r\n\r\nPublic art commission, INSEP, Paris, phase 3 completed in 2017\r\n<strong>2007</strong>\r\n\r\nResidency, Santa Fe Art Institute\r\nCommission for series of photographs &amp; exhibition curatorship, FRAC Ile-de-France\r\n<strong>2006</strong>\r\n\r\nResidency, Budapest Galéria, Budapest, Cultures France and the City of Paris\r\nCommission for 10 photographs, City of Paris\r\nResidency, Ecole Nationale des Beaux-arts de Lyon\r\n<strong>2005</strong>\r\n\r\nResidency, Centre Photographique d’Ile-de-France, Pontault-Combault\r\n<strong>2004</strong>\r\n\r\nResidency, 18th Street Arts Center, Los Angeles, Australia Council for the Arts\r\nProject grant, DRAC Ile-de-France\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<h2>CATALOGUES</h2>\r\n&nbsp;\r\n\r\n<em><strong>Décor d’une vie ordinaire</strong></em> (Setting for an Ordinary Life), 2014, Éditions de l’art – Musée national Fernand Léger,\r\narticle by Diana Gay, 48 pages\r\n<em><strong>Banlieues</strong></em>, 2012, Les Réservoirs, article by Karim Ghaddab, 24 pages\r\n<em><strong>Musées du monde</strong></em>, 2011, Artothèque de Caen, 144 pages\r\n<em><strong>Vacances d’hiver</strong></em> (Winter Vacation), 2011, Espace d’art Rosa Bonheur, article by Jacinto Lageira, 52 pages\r\n<em><strong>Partie de chasse</strong></em> (Open Season), 2010, Ville de Vitry-sur-Seine, articles by Anthony Gardiner and Heidi Wood, 56 pages\r\n<em><strong>Enquire Within</strong></em>, 2010, image/imatge, box set of de 4 booklets\r\n<em><strong>Carnet sagace #20</strong></em>, 2009, École supérieure d’art des Pyrénées, article by Jacques Norigeon, 24 pages\r\n<em><strong>Heidi Wood, œuvres 2001-2007</strong></em>, 2008, Éditions Filigranes, articles by Philippe Coubetergues, Frank Lamy\r\nand Stephen Wright, 112 pages\r\n<em><strong>Los Angles Diaries (Nutrition disguised as fun)</strong></em>, 2005, articles by Stephen Wright and Heidi Wood, 20 pages\r\n<em><strong>Heidi Wood à la Planète Magique</strong></em>, 2003, article by Judicaël Lavrador, 10 pages\r\n<em><strong>La Maison de banlieue</strong></em> (The House in the Suburbs), 2002, Espace d’art contemporain Camille Lambert, articles by Fabienne Fulchéri and Suzie Attiwill, 20 pages\r\n<em><strong>Heidi Wood à IUFM</strong></em>, 2002, article by Philippe Coubetergues, 8 pages\r\n<em><strong>Serving Suggestions</strong></em>, 1999, article by Frank Lamy, 20 pages\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<h2>GROUP CATALOGUES</h2>\r\n&nbsp;\r\n\r\n<em><strong>X</strong></em>, 2021, Claude Closky, Frac Pays de la Loire\r\n\r\n<em><strong>Lasciate socchiuse le porte</strong></em>, 2021, Armando Editore, editorial committee: Beniamino Della Gala, Adrien Frenay, Filippo Milani, Lucia Quaquarelli\r\n<em><strong>20 ans d’art en France, Une histoire sinon rien, 1999 – 2018</strong></em>, 2018, Éditions Flammarion, Michel Gauthier and Marjolaine Lévy\r\n<em><strong>écritures 10</strong></em>, Traduire hors-lignes, 2018, Presses universitaires de Paris Nanterre, editorial committee: Adrien Frenay, Lucia Quaquarelli and Licia Reggiani\r\n<em><strong>Re-Corbusier</strong></em>, 2015, Fondation Le Corbusier, articles by Marjolaine Lévy and Catherine de Smet\r\n<em><strong>Les Pléiades : 30 ans de création dans les FRAC</strong></em>, 2013, articles by Marie-Cécile Burnichon, Catherine Elkar and Sylvie Froux\r\n<em><strong>L’art dans la ville</strong></em>, 2012, Fage éditions, article by Ann Hindry\r\n<em><strong>La fureur de l’éternuement</strong></em>, 2012, Éditions Friville, articles by Miguel Angel Molina and Baptiste Roux\r\n<em><strong>Les autres œuvres – La peinture et ses images</strong></em>, 2010, articles by Sandrine Moreau, Miguel Angel Molina and Pierre Baumann\r\n<em><strong>Sept/7</strong></em>, 2007, Frac Ile-de-France, article by Xavier Franceschi\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<h2>PRESS (selection)</h2>\r\n&nbsp;\r\n\r\n2015 Eric Loret, <strong>Inferno.com</strong>\r\n2009 Didier Arnaudet, <strong>Art Press n° 355</strong>\r\n2008 Lillian Davies, <strong>artforum.com</strong>\r\nNathalie Heggert, <strong>artslant.com</strong>\r\n2003 Raya Baudinet, <strong>Art Press n° 292</strong>\r\n2002 Alexandre Bohn, <strong>Art Press n°285</strong>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<h2>EDUCATION</h2>\r\n&nbsp;\r\n\r\n2017-2018 Université Paris 8, Saint-Denis, M2, art department\r\n1992-1995  Ecole Nationale Supérieure des Beaux-arts, Paris, DNSAP, atelier Claude Viallat\r\n1985-1987  Victoria College, Prahran, Melbourne, Bachelor of Arts, Visual Art\r\n\r\n&nbsp;\r\n\r\n&nbsp;',	'HEIDI WOOD CV',	'',	'publish',	'closed',	'closed',	'',	'cv-lie-a-la-page-cv',	'',	'',	'2022-01-07 09:31:17',	'2022-01-07 09:31:17',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1683',	0,	'doc_article',	'',	0),
(1686,	3,	'2018-09-11 13:41:15',	'2018-09-11 13:41:15',	'The English irregular verbs which serve as titles for Heidi Wood’s triptychs are precious keys to a better understanding, in analogical terms, of the great complexity of what appear to be gently abstract and decorative paintings.\n\nEach addition to the “Irregular Verbs” series is made up of three paintings of the same size, often small or medium in scale, on which are placed forms applied as planes of color that vaguely call to mind historical abstractions. The strained, never easy relations between colors as well as the upholstery fabrics often used as a support contribute to the alteration of models and the undermining of references. Beware of appearances!\n\nThese tame little paintings are also formidable deregulators of time and gesture. And the titles encourage this terrible mechanism.\n\n&nbsp;\n\nMuch like the verb that accompanies it, the triptych neutralizes any narration and articulates in three parts the development of an action that is probable yet cut off, for the moment, from any necessity of result or relation to the real. “Off by heart”, as a technique applied to painting leads to a mechanization of memory. Like the two commas that separate the irregular tenses of these verbs of exception in writing, the oil painted surface and the all too visible texture of some fabrics impose a return to the present.\n\nFar from the naively syntactical solutions that allow many artists to paint today, Heidi Wood, by working so closely with language, allows herself the most simple of freedoms in painting.\n\n<strong>Nicolas Chardon</strong>\n\nDecember 1999',	'IRREGULAR VERBS',	'',	'inherit',	'closed',	'closed',	'',	'1682-autosave-v1',	'',	'',	'2018-09-11 13:41:15',	'2018-09-11 13:41:15',	'',	1682,	'http://s653906673.onlinehome.fr/1682-autosave-v1/',	0,	'revision',	'',	0),
(1687,	3,	'2018-09-10 14:23:50',	'2018-09-10 14:23:50',	'',	'CAT 1999 NChardon ang',	'',	'inherit',	'open',	'closed',	'',	'cat-1999-nchardon-ang',	'',	'',	'2018-09-10 14:23:50',	'2018-09-10 14:23:50',	'',	1682,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-1999-NChardon-ang.pdf',	0,	'attachment',	'application/pdf',	0),
(1688,	3,	'2018-09-10 14:24:24',	'2018-09-10 14:24:24',	'',	'CAT 1999 NChardon fr',	'',	'inherit',	'open',	'closed',	'',	'cat-1999-nchardon-fr',	'',	'',	'2018-09-10 14:24:24',	'2018-09-10 14:24:24',	'',	1682,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-1999-NChardon-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1689,	3,	'2018-10-17 11:31:10',	'2018-10-17 11:31:10',	'In <em>Serving Suggestions</em>, the picture is reduced to simply one element of a whole. This \"reducing\" operation does not refer to the word’s negative aspect but rather corresponds to its culinary slant. To thicken by evaporation.\n\n&nbsp;\n\nPainted in its own right, the picture is then integrated into a decor. An environment is built to receive it. It is then that the real staging begins. A situation constructed.\n\n&nbsp;\n\nDissimilar elements put together: pictures, furniture, wallpaper, linoleum, carpet, plants, accessories... following a modular logic (combinations, repetitions, rearrangements...), produce \"images\".\n\n&nbsp;\n\nAt the exhibition <em>Quotidien aidé (LES LOCATAIRES),</em> (where these Serving Suggestions were first publicly shown), Heidi Wood \"occupied\" the reception area, thus associating different problematics: conceived for this particular site, her work offered a usable and used space as well as an image since the whole was constructed according to one viewpoint, playing with mass, form and colour. The multiple ramifications of this then budding project were already visible: attention to decor, function, image, advertising.\n\n&nbsp;\n\nThese Serving Suggestions are half way between reconstructions/propositions for interiors and displays in furniture shops or sales catalogues. It is here that the question of art consumption arises. The displays in fact propose spaces to be desired, spaces one can identify with, that call out, intended to incite the consumer to buy.\n\n&nbsp;\n\nAlthough realistic or credible, the spaces conceived are genuinely fabricated. Artificial. The ones that interest me most are those that are slightly off-track. Those that warn us they are fakes through little differences. Those that evoke usability but where the furniture, a little too well arranged, poses. Those prey to optical distortions, where the perspective is pronounced. Those that suggest nonsensical pictures from some interior decoration magazine. Here the picture is too close to the wall, there it is too close to the table. In another, the wallpaper stops abruptly, covering only part of the wall. In one, the combination of modules defies all common sense. They are detrimental to the effectiveness one expects from a communication and advertising perspective. Like slight glitches in a show.\n\n&nbsp;\n\nThese internal failings cannot be seen. They eat away at the transparency of the images.\n\n&nbsp;\n\nProduced as they are today, naturally there are exchanges between these and other contemporary images. I am thinking in particular ­ and Heidi Wood totally defends this stance ­ of fashion and interior decoration photographs. In short, of the come-back made these past years in our visual field by forms from the sixties and seventies. We are witnessing a brief alignment of a pictorial universe (the aesthetics developed by Heidi Wood for several years now) and a mass movement, social, ephemeral, a fad (all glitter, money, consumption). The pictorial research behind this encounter is part of a wider context than the simple History of painting. Or rather the experience is seen as enclosed by, connected with the world.\n\n&nbsp;\n\nRecourse to these aesthetics goes beyond present circumstances. They belong to a bygone era, a reminder of triumphant modernism, of optimistic consumption. Which, even at the time, reused and bastardised the avant-garde’s formal research.\n\n&nbsp;\n\nHeidi Wood, in her own way, is questioning the historical dialogue between geometrical abstraction and decorative arts (a dialogue that, from Mondrian to Vasarely, has known many incarnations), but this time it is devoid of all utopian implications, of all projects for social revolution. Modernism’s forms, today exhausted, are questioned from a domestic point of view. What can be done with this history?\n\n&nbsp;\n\n<strong>Frank Lamy</strong>\nAugust 2001\n\nTranslated from French by Gabrielle Lawrence',	'A POSSIBLE SIDE DISH',	'',	'inherit',	'closed',	'closed',	'',	'1681-autosave-v1',	'',	'',	'2018-10-17 11:31:10',	'2018-10-17 11:31:10',	'',	1681,	'http://s653906673.onlinehome.fr/1681-autosave-v1/',	0,	'revision',	'',	0),
(1690,	3,	'2018-09-10 14:40:25',	'2018-09-10 14:40:25',	'',	'CAT 2001 F Lamy cat SS ang',	'',	'inherit',	'open',	'closed',	'',	'cat-2001-f-lamy-cat-ss-ang',	'',	'',	'2018-09-10 14:40:25',	'2018-09-10 14:40:25',	'',	1681,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2001-F-Lamy-cat-SS-ang.pdf',	0,	'attachment',	'application/pdf',	0),
(1691,	3,	'2018-09-10 14:42:38',	'2018-09-10 14:42:38',	'',	'CAT 2001 F Lamy cat SS fr',	'',	'inherit',	'open',	'closed',	'',	'cat-2001-f-lamy-cat-ss-fr',	'',	'',	'2018-09-10 14:42:38',	'2018-09-10 14:42:38',	'',	1681,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2001-F-Lamy-cat-SS-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1692,	3,	'2018-10-16 16:10:00',	'2018-10-16 16:10:00',	'In the beginning was an oil painting, 130 x 81 cm. (51 x 32 in.), titled <em>You Win Some, You Lose Some,</em> one of a series of abstract pictures by Heidi Wood. Variable in size, all the paintings in the series had bright, contrasting colors, abstract motifs, and were done on furnishing fabrics. That material governed their fate, in a way, because these same paintings were then incorporated, like a piece of furniture, into decorative interiors that Wood arranged and photographed. Hung on a blue wall, <em>You Win some, You Lose Some</em> thus becomes part of a composition that includes a Jielde lamp designed by Jean-Louis Domecq around 1950 and a chaise lounge designed by Le Corbusier, Pierre Jeanneret, and Charlotte Perriand in 1928. The floor is yellow, while the wall on the right is red. In another instance, <em>You Win Some, You Lose Some</em> was shown only with the Domecq lamp set on a black-and-white checkerboard floor. This approach describes Wood’s entire <em>Serving Suggestions</em> series: one or two paintings are combined with a few chairs, armchair, or lamp designed in the twentieth century (sometimes accompanied by a plant, a low table, or standing ashtray), all set against brightly colored grounds.\r\n\r\n&nbsp;\r\n\r\nIn addition to the allusion to Le Corbusier’s color scheme in the photographed environment (blue, red, and yellow), it is impossible to overlook the similarity between the <em>Serving Suggestions</em> in general and the images used by the Salubra firm to promote the range of wallpapers designed by Le Corbusier, as seen in pictures reproduced in his 1959 book and in advertising that appeared upon its publication and afterward. A 1981 photograph shows the <em>Mur</em> (Wall) paper covering a wall in a room furnished with the 1928 chair flanked by a recent lamp. Hanging on another —red— wall is a painting by Le Corbusier. In the foreground, the green leaves of a potted plant complete the staging.\r\n\r\n&nbsp;\r\n\r\nYet in <em>Serving Suggestions,</em> reminiscent of all those pictures swamping interior design and sales catalogs, the hierarchy remains uncertain: to what does the “serving suggestion” primarily apply? The painting enlivens the setting for the chaise lounge every bit as much as the chair graces the display of the painting, and the anachronism of their juxtaposition vanishes in the clichéd nature of the set-up—it is a perfectly modern picture. Wood thus explores the visual impact of contemporary advertising strategies, as also witnessed in her transposition of architectural profiles found in outlying urban areas into pictograms that she subsequently employs in various media (<em>Architecture de Zone péri-urbaine,</em> 2013), which also indicate, if somewhat differently, her interest in modernism and its repercussions.\r\n\r\n&nbsp;\r\n\r\n<strong>Catherine de Smet</strong>, 2015\r\n\r\n<em>Re-Corbusier</em> catalogue',	'RE-CORBUSIER',	'',	'publish',	'closed',	'closed',	'',	're-corbusier-catalogue-catherine-de-smet-2015',	'',	'',	'2018-10-19 12:57:48',	'2018-10-19 12:57:48',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1692',	0,	'doc_article',	'',	0),
(1693,	3,	'2018-09-10 16:08:03',	'2018-09-10 16:08:03',	'',	'CAT 2015 De Smet ang',	'',	'inherit',	'open',	'closed',	'',	'cat-2015-de-smet-ang',	'',	'',	'2018-09-10 16:08:03',	'2018-09-10 16:08:03',	'',	1692,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2015-De-Smet-ang.pdf',	0,	'attachment',	'application/pdf',	0),
(1694,	3,	'2018-09-10 16:08:47',	'2018-09-10 16:08:47',	'',	'CAT 2015 De Smet fr',	'',	'inherit',	'open',	'closed',	'',	'cat-2015-de-smet-fr',	'',	'',	'2018-09-10 16:08:47',	'2018-09-10 16:08:47',	'',	1692,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2015-De-Smet-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1695,	3,	'2018-10-15 16:14:34',	'2018-10-15 16:14:34',	'We discovered Heidi Wood’s work in the early 2000’s via a strategy that highlighted the decorative nature of abstract painting. The artist designed domestic settings (such as a living room with wallpaper and a lamp) in which she hung her own abstract compositions. The installation was photographed or its characteristics laid out in a formula, to constitute, in marketing terms, a “serving suggestion”.\r\n\r\n&nbsp;\r\n\r\nThis also indicates her interest in the intrusion of corporate economics in the means of producing and exhibiting art. She demonstrates this in a range of means (sometimes as over the top as the economic intrusion is outrageous): distributing her artworks in the form of spams, delegating production, defining a use-by date for her paintings, hanging works in settings similar to trade fair stands, creating works in forms inspired by merchandising…\r\n\r\n&nbsp;\r\n\r\nAs an artist in residence or in public art projects, Heidi Wood explores cities that are often unknown and from which she attempts to extract the essence. In an aesthetic similar to geometric painting, her syntheses of the urban environment are translated into pictograms. Like promotional logos, these are printed on cheap materials (plates, postcards, calendar, street sign, etc.) thus maintaining the confusion between various domains.\r\n\r\n&nbsp;\r\n\r\nAccepting the invitation to celebrate the Fracs’ 30-year anniversary allowed Heidi Wood to apply her working methods to a public collection.\r\n\r\n&nbsp;\r\n\r\nIn « Apparitions collectives », two directions are developed: presenting the works based on common themes and distilling into pictograms possible syntheses of this collection. For each “apparition” one work is exhibited and others are represented schematically as a wall painting. Four of the 14 pieces created are reactivated in Toulouse after two initial cycles (partners in the Poitou Charentes region, then at the Frac in Angoulême):\r\n\r\n&nbsp;\r\n\r\n- with works by Didier Marcel (Philippe Pareno and Maurizio Cattelan, Pierre Malphettes), structures describe micro-utopias and/or the creation of places that favor interactions. Without being especially revolutionary, the utopia seeks to be relational and starts downstairs ;\r\n\r\n- beside the work by Ingrid Luche (Mark Handforth, Mariano Fortuny), ambiguous, poetic, functional or graphic, lights become the raw material for creation;\r\n\r\n- J. Duplo’s bricks are typical of the repetitive application of a system. The use of poor and unexpected materials highlights the ingenious and obsessional nature of a gesture ( Nathalie Talec, Vincent Ganivet);\r\n\r\n- using digital means to create a formal synthesis, the piece with Delphine Coindet (Xavier Veilhan) can be introduced by: “For me, art is focusing on things we know exist but that we don’t see. I want to create logotypes that place the viewer before a question.” (X.V.)\r\n\r\n&nbsp;\r\n\r\n<strong>Hélène Dantic</strong>\r\n\r\nText for the catalogue <em>Les Pléiades, 30 ans des Fonds Régionaux d’art contemporain</em>\r\n\r\n28/09/2013 - 05/01/2014',	'APPARITIONS COLLECTIVES',	'',	'publish',	'closed',	'closed',	'',	'apparitions-collectives-helene-dantic-2014',	'',	'',	'2018-10-19 17:31:16',	'2018-10-19 17:31:16',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1695',	0,	'doc_article',	'',	0),
(1696,	3,	'2018-09-10 16:11:54',	'2018-09-10 16:11:54',	'',	'CAT 2013 H Dantic fr',	'',	'inherit',	'open',	'closed',	'',	'cat-2013-h-dantic-fr-2',	'',	'',	'2018-09-10 16:11:54',	'2018-09-10 16:11:54',	'',	1695,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2013-H-Dantic-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1697,	3,	'2018-09-10 16:13:06',	'2018-09-10 16:13:06',	'',	'P 2013 H Dantic ang',	'',	'inherit',	'open',	'closed',	'',	'p-2013-h-dantic-ang-2',	'',	'',	'2018-09-10 16:13:06',	'2018-09-10 16:13:06',	'',	1695,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/P-2013-H-Dantic-ang.pdf',	0,	'attachment',	'application/pdf',	0),
(1698,	3,	'2018-09-11 13:45:07',	'2018-09-11 13:45:07',	'In the beginning was an oil painting, 130 x 81 cm. (51 x 32 in.), titled <em>You Win Some, You Lose Some,</em> one of a series of abstract pictures by Heidi Wood. Variable in size, all the paintings in the series had bright, contrasting colors, abstract motifs, and were done on furnishing fabrics. That material governed their fate, in a way, because these same paintings were then incorporated, like a piece of furniture, into decorative interiors that Wood arranged and photographed. Hung on a blue wall, <em>You Win some, You Lose Some</em> thus becomes part of a composition that includes a Jielde lamp designed by Jean-Louis Domecq around 1950 and a chaise lounge designed by Le Corbusier, Pierre Jeanneret, and Charlotte Perriand in 1928. The floor is yellow, while the wall on the right is red. In another instance, <em>You Win Some, You Lose Some</em> was shown only with the Domecq lamp set on a black-and-white checkerboard floor. This approach describes Wood’s entire <em>Serving Suggestions</em> series: one or two paintings are combined with a few chairs, armchair, or lamp designed in the twentieth century (sometimes accompanied by a plant, a low table, or standing ashtray), all set against brightly colored grounds.\n\nIn addition to the allusion to Le Corbusier’s color scheme in the photographed environment (blue, red, and yellow), it is impossible to overlook the similarity between the <em>Serving Suggestions</em> in general and the images used by the Salubra firm to promote the range of wallpapers designed by Le Corbusier, as seen in pictures reproduced in his 1959 book and in advertising that appeared upon its publication and afterward. A 1981 photograph shows the <em>Mur</em> (Wall) paper covering a wall in a room furnished with the 1928 chair flanked by a recent lamp. Hanging on another —red— wall is a painting by Le Corbusier. In the foreground, the green leaves of a potted plant complete the staging.\n\nYet in <em>Serving Suggestions,</em> reminiscent of all those pictures swamping interior design and sales catalogs, the hierarchy remains uncertain: to what does the “serving suggestion” primarily apply? The painting enlivens the setting for the chaise lounge every bit as much as the chair graces the display of the painting, and the anachronism of their juxtaposition vanishes in the clichéd nature of the set-up—it is a perfectly modern picture. Wood thus explores the visual impact of contemporary advertising strategies, as also witnessed in her transposition of architectural profiles found in outlying urban areas into pictograms that she subsequently employs in various media (<em>Architecture de Zone péri-urbaine,</em> 2013), which also indicate, if somewhat differently, her interest in modernism and its repercussions.\n\n&nbsp;\n\n<strong>Catherine de Smet</strong>, 2015\n\nRe-Corb',	'RE-CORBUSIER',	'',	'inherit',	'closed',	'closed',	'',	'1692-autosave-v1',	'',	'',	'2018-09-11 13:45:07',	'2018-09-11 13:45:07',	'',	1692,	'http://s653906673.onlinehome.fr/1692-autosave-v1/',	0,	'revision',	'',	0),
(1699,	3,	'2018-09-10 16:21:45',	'2018-09-10 16:21:45',	'',	'CAT 2015 De Smet ang',	'',	'inherit',	'open',	'closed',	'',	'cat-2015-de-smet-ang-2',	'',	'',	'2018-09-10 16:21:45',	'2018-09-10 16:21:45',	'',	1692,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2015-De-Smet-ang-1.pdf',	0,	'attachment',	'application/pdf',	0),
(1700,	3,	'2018-10-14 16:27:49',	'2018-10-14 16:27:49',	'<em>A work of art today must withstand comparison</em>\r\n\r\n<em>to any manufactured object. The artist-painting is false and outdated.</em>\r\n\r\n<em>Only the object-painting is capable of resisting the comparison and holding up over time.</em>\r\n\r\n&nbsp;\r\n\r\n<strong>Fernand Léger</strong>\r\n\r\n&nbsp;\r\n\r\nAccording to English ethnologists at the end of the nineteenth century such as Alfred Cort Haddon, the development of decoration since prehistoric times marks the beginning of the cultural history of forms, thus linking from the outset art and the decorative.<a href=\"#_ftn1\" name=\"_ftnref1\">[1]</a> In autumn 2013, the Musée national Fernand Léger and the Musée d’histoire et de céramique biotoises invite Australian artist Heidi Wood to continue this dialogue between fine art and applied arts, in connection with the pertinent distinction Léger made between easel painting and ornamental painting. The result is the two-part exhibition, Setting for an Ordinary Life.\r\n\r\n&nbsp;\r\n\r\nExperimenting with images on all surfaces, Heidi Wood draws together two notions of time (universal and contextual) as a traveller and artist in residence. “I explore the use of pictograms in the simulation and evocation of an idealized world. I continue to design repertoires of forms in response to a given context. But the forms are no longer presented via series of photographs to (potentially) become paintings. The physical artwork has disappeared. I now prefer to make ephemeral environments.” Pursuing her visual infiltration of reality in a dizzying, self-promoting marketing campaign, Heidi Wood undermines the functionality of objects by exploiting their visual potential (street sign, billboard, flag shield, pencil case, souvenir plate, etc.) With the series Serving Suggestions begun in 2001 (abstract paintings in modernist interior settings), the artist acknowledges that the artwork, reduced to an image, has been stripped of its aura, as foreseen by Walter Benjamin in 1935.<a href=\"#_ftn2\" name=\"_ftnref2\">[2]</a>. Her advertising-inspired photographs thus turn the viewer into a consumer.\r\n\r\n&nbsp;\r\n\r\nIn Biot, Heidi Wood sets up a dialogue between her pictographic landscapes and Fernand Léger’s progressive aesthetic in close relation to the town where the painter practiced ceramics from 1949 to 1955. An urban theme runs through these three elements, as this was essential to Léger’s work. Indeed, from the 1920’s he was enthusiastic about the architectural and social innovations developed and practiced by friends such as Le Corbusier or Robert Mallet-Stevens. Lucid, he nonetheless advocated painting’s integration into architecture and wanted artists to reclaim the visual impact of advertising. During the aviation salon in Paris in 1912, along with Marcel Duchamp and Constantin Brancusi, he acknowledged the competition of the industrial object (a propeller, in this case). While Duchamp stopped painting in favor of a conceptualization of the artistic act, Fernand Léger opted for a strategy of integrating painting into total art projects in architecture, cinema or theater. Convinced that art is a means not an end, he discovered the working class during the First World War that he spent at the front alongside miners, tradesmen and road workers. This shift in perspective made him aware that the near-abstraction he had reached in his cubist-inspired series Contrastes de formes distanced him from the man in the street. During the famous debates at the Maison du peuple in 1936 during which he opposed defenders of socialist realism such as Aragon, he advocated the necessity of art education for all and refused the instrumentalization of art for popularity-seeking or individualistic purposes: \"If our artworks have not permeated the masses, I repeat, it is the fault of the current social order and not because these artworks lack humanity. <a href=\"#_ftn3\" name=\"_ftnref3\">[3]</a>\" From then on, he illustrated his concept of nouveau réalisme by focusing on the everyday object rather than the romantic subject, which had been rife since the Italian Renaissance. In 1923 - 24, he maintained ”Beauty is everywhere, in the order of your saucepans, on the white wall of your kitchen, perhaps more so than in your\r\n\r\n&nbsp;\r\n\r\n18th century living room or in official museums”<a href=\"#_ftn4\" name=\"_ftnref4\">[4]</a>. With his theory of contrasts, he laid claim to the beauty of the pure means available to the painter (line, form, color).\r\n\r\n&nbsp;\r\n\r\nWith her project Sister Suburbs begun in 2011, Heidi Wood takes stock of this progressive history of 20th century art in light of today’s suburban environment, often scorned as less patrimonial than the city center. Her homage to suburbia invites us to change the way we look at the constructed environment, its visual codes and also its contradictions. Halfway between irony and political stance, she explores the social function at the heart of the avant-garde utopia. Influenced by the constructivist aesthetic of Malevich and the Bauhaus, she questions the capacity of non-figurative art to merge with everyday life. What relationship can the painter really establish with her fellow citizens? Does she see the systematic appropriation of geometric abstraction’s topos by design and visual communication as the victory or bankruptcy of modernism? What is the artist’s place in today’s global economy of goods and services? As Nicolas Bourriaud says, (...) \"the abstract glossary allows us to apprehend a visible (architectural, social or economic) reality that capitalism has turned into abstract painting\".<a href=\"#_ftn5\" name=\"_ftnref5\">[5]</a>\r\n\r\n&nbsp;\r\n\r\nA service provider to her own creative undertaking, Heidi Wood provides an answer by examining the signs generated by the regions she visits. The renewed way of seeing she offers us questions the values underlying our era and consequently the way we look at it. As such, Heidi Wood clearly incarnates the still relevant utopia of 20th century avant-gardes: our awareness will change the world.\r\n\r\n&nbsp;\r\n\r\nIn the two-part exhibition <em>Setting for an Ordinary Life</em>, Heidi Wood presents us with an uplifting mise en abyme. Viewers become actors, despite themselves, in a reality show. From inside a museum, they are asked to admire the domestic environment in which they live. All-over painting renders the space concrete by putting homo erectus (back) in its center. At the Musée national Fernand Léger the exhibition <em>The Projects</em> thus immerses the visitor in a total artwork by recreating a standardized apartment in a housing project. Between high art, applied arts and popular taste, the artist is amused by the ambiguous status of her own works that she makes herself or gets others to make for her. Road signs printed with floral motifs are hung on blocks of color painted on walls that evoke the clichés of anonymous suburban architecture. White sculptures based on floor plans from social housing are used as display cabinets for souvenir plates representing electrical towers.\r\n\r\n&nbsp;\r\n\r\nAt the Musée d’histoire et de céramique biotoises, the exhibition <em>House</em> is a lively dialogue between the collections that describe daily life in this beautiful hilltop village in Provence and Heidi Wood’s industrial aesthetic. Reinforced by a roadside trail of posters through Biot of five posters with floral or architectural motifs on blocks of color, these exhibitions interact dynamically with two urban realities on the Côte d’Azur: <em>The Projects</em> at the Musée Léger looks at the dialogue between painting and low-budget architecture while <em>House</em> at the Musée d’histoire et de céramique explores the connection between applied arts and everyday objects.\r\n\r\n&nbsp;\r\n\r\nFor Fernand Léger and Heidi Wood, painting’s strength is as a means of visual education capable of countering mankind’s alienation by mankind. Their strategy of distancing themselves from reality allows them to look at it more intensely - benevolently but without romanticism. Beyond the canvas, can painting be inhabited? Does our standardized habitat indicate that a learned art form has finally reached the masses? In attempting an answer, Heidi Wood takes her turn at enriching the cultural history of forms.\r\n\r\n&nbsp;\r\n\r\n<strong>Diana Gay</strong>, 2013\r\n\r\n<em>Décor d’une vie ordinaire (Setting for an Ordinary Life)</em> catalogue\r\n\r\n&nbsp;\r\n<h5><a href=\"#_ftnref1\" name=\"_ftn1\">[1]</a>      Guitemie Maldonado, “Chapitre 1 / Archéologie du terme” in Le cercle et l\'amibe. Le biomorphisme dans l\'art des années 1930, Paris, INHA/CTHS (“Les Essais de l\'INHA”), 2006 [on-line], put on-line December 7 2010, consulted August 10 2013, http://inha.revues.org/2876.</h5>\r\n<h5><a href=\"#_ftnref2\" name=\"_ftn2\">[2]</a>     Walter Benjamin, L\'oeuvre d\'art à l\'époque de sa reproductibilité technique, Paris, Allia, 2003.</h5>\r\n<h5><a href=\"#_ftnref3\" name=\"_ftn3\">[3]</a>     Fernand Léger, “Le nouveau réalisme continue”, Fonctions de la peinture, Paris, Gallimard coll. Folio Essais, 2009, p. 197.</h5>\r\n<h5><a href=\"#_ftnref4\" name=\"_ftn4\">[4]</a>     Fernand Léger, “L\'esthétique de la machine, l\'objet fabriqué, l\'artisan et l\'artiste”, ibid, p. 88.</h5>\r\n<h5><a href=\"#_ftnref5\" name=\"_ftn5\">[5]</a>     Nicolas Bourriaud, Sarah Morris. Mechanical Ballet, digital catalogue of the exhibition held at the Musée national Fernand Léger (November 17 2012 - March 4 2013), [on-line], p. 5, consulted August 13 2013, <a href=\"http://www.musees-nationaux-alpesmaritimes.fr/library/Sarah%20Morris/SarahMorris2MN2012BD.pdf\">http://www.musees-nationaux-alpesmaritimes.fr/library/Sarah%20Morris/SarahMorris2MN2012BD.pdf</a></h5>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;',	'PAINTING FOR THE MASSES?',	'',	'publish',	'closed',	'closed',	'',	'painting-for-the-masses-diana-gay-2013',	'',	'',	'2018-10-19 17:31:58',	'2018-10-19 17:31:58',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1700',	0,	'doc_article',	'',	0),
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(1703,	3,	'2018-10-13 16:32:44',	'2018-10-13 16:32:44',	'The twinning of cities in different countries first occured in the 1950’s with the aim of encouraging cultural dialogue, thereby reducing the misunderstandings and antagonisms that had made possible two World Wars and all the others. Twinning is thus a project of fraternal utopia activated on a municipal level rather than at the level of the State, which is always suspected of nationalism and so-called “higher interests”.\r\n\r\n&nbsp;\r\n\r\nAt the same time, late modernism found its purest formulations in American art criticism and abstract painting. There is a surprising correlation, at least historically speaking, between these two utopias, namely the dialogue among cultures and the affirmation of a nationally anchored modernist eschatology.\r\n\r\n&nbsp;\r\n\r\nSince then, the practice of twinning has lost in ambition what it has gained in administrative order and the formal vocabulary of pictorial modernism has been widely taken over by advertising, communications, graphics and design professionals. In Limay, Heidi Wood creates a parallel between these two heritages by twinning this small town in the Yvelines and that of Wheelers Hill, in the suburbs of Melbourne, Australia. The artist imagines tourist information centers for the two suburbs, complete with photographs, paintings and wall paintings. As in her work as a whole, the formal register used by Heidi Wood comes as much from geometric abstraction as from logos and visual communication, thus blurring the nature of what we are looking at. There is indeed a principle of transplant in most of the formal means used: oil paint on synthetic upholstery fabric, digital photography and graphics in diptychs, confrontation of two planes of color, coexistence of observational drawing and complex fictional economies…\r\n\r\n&nbsp;\r\n\r\nSuburbia, which is both the host and subject of this project, can be defined itself as a graft: fantasy union of urban and rural, dream of a new type of city, it also answers to fundamentally different representations in France, where it incarnates exclusion, and the Anglo-Saxon world, where it is a residential area. In both cases, it raises the question of image(s). Finally, let it be said that when a graft doesn’t take, it is known as “rejection”.\r\n\r\n&nbsp;\r\n\r\n<strong>Karim Ghaddab</strong>, 2012\r\n\r\n<em>Suburbias</em> catalogue\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>ARTIST STATEMENT\r\n</strong>\r\n\r\nSUBURBIAS, Les Réservoirs, Limay\r\n\r\nMarch 9 – April 15 2012\r\n\r\n&nbsp;\r\n\r\nWhen I was offered an exhibition at Les Réservoirs in the outer Parisian suburb of Limay, I planned to twin it with an equivalent suburb in another country. I hoped to explore the reality behind the wildly different public images of suburbia in France and in English speaking countries.\r\n\r\n&nbsp;\r\n\r\nIn France the popular definition of “la banlieue” (suburbia) is reduced to its most volatile neighborhoods. Urban planners define 751 “Sensitive Urban Zones” in France. According to Wikipedia, these are characterized by a population suffering from high unemployment, low qualifications and low earning potential. The percentage of non-French people is twice as high as in the country as a whole. 60% of people live in (often poorly maintained, high density) public housing as against 20% elsewhere in France. Its residents numbered 4.4 million in 2006 (7% of the population). From 77.5 to 85% of the French population is urban, depending on sources. Suburbs that are not “sensitive urban zones” are thought of as cities or towns. Limay is listed as a sensitive urban zone. The French would call it a suburb.\r\n\r\n&nbsp;\r\n\r\nI grew up in Australian suburbia where the term evokes a calm, middle class existence in vast zones of single-family houses dotted with huge shopping centers. The public image of suburbia corresponded exactly to my experience of it. The equivalent of la banlieue would once have been “inner west”, also associated with a concentration of social problems, but most inner city areas have been gentrified these days.\r\n\r\n&nbsp;\r\n\r\nI began my search for a sister suburb for Limay by contacting friends who live in other countries. This is how I defined Limay:\r\n\r\nIt is outer, outer suburbia (almost Normandy), a worker town built in the sixties with some high rise and a lot of individual houses. There are grazing cows alongside heavy industry. The municipality is run by communists.\r\n\r\n&nbsp;\r\n\r\nTheir replies:\r\n\r\n<em>Comrade Heidi: The thought of communist mayors in the US made me giggle. I do not think it is possible for there to be any elected official in America who openly professed belief in communist theory or practice… We Americans love our bootstrap free-market capitalism with an ardency that borders on the fetishistic. It might be possible, with a little digging, to find communities where there is a thriving open or openly unofficial barter economy that just skirts the nuanced edges of a collective consciousness. But I would guess that the rhetoric would be libertarian (Live Free or Die being one of our founding mottoes) rather than communist or socialist. Now, maybe you need to think about compare/contrast in your sister suburbs project. I am sure you could find many US cities as robustly capitalist as your EU communists.</em>\r\n\r\n(<strong>KC Bitterman</strong>)\r\n\r\n&nbsp;\r\n\r\n<em>We don\'t have any communists here in Hong Kong. We have a benevolent dictatorship of real estate moguls organised by huge bureaucracy. (British + Chinese = serious love of bureaucracy). We hardly believe in helping neighbours, let alone community self-management.</em>\r\n\r\n(<strong>Tanya Hart</strong>)\r\n\r\n&nbsp;\r\n\r\n<em>In England the suburbs and communism are like chalk and cheese, you\'ll never find them together! In England suburbia and conservatism are what go hand in hand. If you want to know what people in English suburbs are thinking then you should read the Daily Mail ( <a href=\"http://www.dailymail.co.uk/\">www.dailymail.co.uk</a> ).</em>\r\n\r\n(<strong>Craig Dickson</strong>)\r\n\r\n&nbsp;\r\n\r\nFaced with the difficulty of finding an exact equivalent, I decided to choose a suburb that, like Limay, corresponded to a national definition of suburbia. I chose the one I know best: Wheelers Hill, 22 km south east of the center of Melbourne, where I lived from the age of 7 to 17. A recent visit showed it had become more prosperous and less peripheral than in the mid 1980’s when I left.\r\n\r\n&nbsp;\r\n\r\nInterestingly, the municipal website for Monash that encompasses Wheelers Hill, gives the mobile phone numbers of councilors but not their political affiliation. When I called Monash council, the receptionist was not authorized to tell me which party the mayor belonged to. She put me through to a series of people who couldn’t tell me or didn’t know. The mayor herself answered my email to say membership of a political party at a municipal level is like membership of any other club – a personal affair. She belongs to the Labour Party. I rang Limay council and asked the same question. The immediate, one-word answer was: communist.\r\n\r\n&nbsp;\r\n\r\nI plan to use the two rooms of the exhibition space at Les Réservoirs like visitors’ centers for these two suburbs. I will explore the urban fabric and atmosphere of both in wall paintings, paintings and photographs.\r\n\r\n&nbsp;\r\n\r\n<strong>Heidi Wood</strong>\r\n\r\nJanuary 2012',	'SUBURBIAS',	'',	'publish',	'closed',	'closed',	'',	'suburbias-karim-ghaddab-2012',	'',	'',	'2018-10-19 17:32:50',	'2018-10-19 17:32:50',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1703',	0,	'doc_article',	'',	0),
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(1706,	3,	'2018-10-12 16:41:55',	'2018-10-12 16:41:55',	'The speed at which everyday objects are produced, manufactured, transformed and distributed is such that their equally ephemeral usage annihilates the very idea of the everyday and the familiar. Everything seems organized so that we do not have time to get near these objects and make them our own. Yet they express and represent us in that via our choices and uses they are no more than extensions of our bodies and emotions. If we pay the slightest attention to the things and objects that surround us, all, without exception, can be seen as the reverse side or negative of the forms of our bodies. Shoes, houses, can openers, clothes, bags, cars, chairs – all these things are our own shapes in reverse. Without idolizing consumer society – after all, these are things, not other subjects – we better understand our emotional investment in them when we realize that even the tiniest manipulation is ultimately an interaction with the society of human bodies that these objects represent, contain and reconstruct. They reconstitute us and they signify. The shapes, colors, textures, materials, sizes and weights of all these objects are not insignificant. They are, rather, a form of coded communication with users as well as a means of communication among them. This observation is banal and has been around for a long time. Nonetheless, few people question the rules and norms of this consumer society to the point that a considerable number of objects are often consumed economically without there being time to use them physically – mobile phones are the most common example of this. At best, there is still symbolic usage. At worst, it makes us into social actors who serve the economy, when the market should serve us. Hence, since the birth of industrialization we have progressively becomes objects for other individuals who see us as such.\r\n\r\n&nbsp;\r\n\r\nThe magical, spellbinding, bewitching nature of commodities – what Marx called “commodity fetishism”, from the Portuguese word <em>feitiço,</em> meaning magic – can only work if we believe in it, like religion. And there is no shortage of commodity worshippers; there are millions of them. This is explained by the double nature of the value attributed to the object, having both a usage value and a symbolic value with the latter often outstripping the object’s mercantile value. We are prepared to spend large sums for a family heirloom or a rare or unusual object. We have a propensity for a sort of “psychic fetishism” toward the object. We are connected to it by emotional over-investment. It also connects us to a whole network of human affective states, codes and signs that have been blurred, are almost imperceptible, but are still there, living on. One of the characteristics of Heidi Wood’s work is to literally make visible the underlying structures, both esthetic and functional, of many of the codifications attached to objects, their contexts and their purposes. Her work not only reveals visual and significant situations that are often unnoticed due to disinterest or conditioning. It is above all transforming. The posters made for the exhibition <em>Winter Vacation</em> show objects and their uses in a different light, as if by opening them up and cutting them open to show elements, facets and aspects that would have remained hidden without the various operations undertaken. They signify in another way, but also something else, acquiring other visual, esthetic and artistic values.\r\n\r\n&nbsp;\r\n\r\nThe transformation Heidi Wood inflicts upon them comes out of the objects themselves, as if by mutations, evolutions and developments – what visual communication jargon calls multiple spin-offs. Playing on ambivalences in the way the public receives advertisements, design objects, graphics and a whole range of signs, as well as ambivalences in the modes of production, design and manufacture of this vast system of codes, Heidi Wood does more than shift their signification and purpose. Ultimately, she resocializes an entire process of significations that originally would have consisted of desocializing, all to facilitate their circulation in the commodities system. In the end, the thousands of signs we read and interpret daily in the form of all types of objects – except those that are strictly informative – only serve to attract and focus attention on something else, which is usually the sale… of other objects. The billboards we find here and there in the street always possess, literally and figuratively, a double discourse: informative and mercantile. As if we could not signify, communicate and inform without immediately soliciting the viewer with an eye to the future sale of a given product. We deliberately omit the fact that not all communication has an alternative motive. It is not always manipulation. Suddenly, the street, avenue, square, church, house, roundabout, pharmacy, fire station or hospital can all become, or already are, commercial signs. Society as a whole becomes a hyper-logo, a sign of itself like a system of commodification that self-generates other signs and logos.\r\n\r\n&nbsp;\r\n\r\nIf, based on the system of existing symbols, Heidi Wood repossesses, redraws, reconfigures and duplicates, we have to take her posters literally as symbols and symbolic, i.e. as two things that are joined or brought together (from the Greek <em>symbolon</em>, “put together”). In other words, a social connection is established between the person who imagines and produces the sign and those who perceive and interpret it. Given that a symbol only has meaning if it is understood and shared by a group, community or society, Heidi Wood’s posters are highly symbolic visually, esthetically and artistically, but also symbolically in that they create recognizable signs among members of society, creating connections between people who recognize themselves as subjects rather than interchangeable objects. Always working with the specificity of place, Heidi Wood clearly uses a generic system of signs, fitting it into local peculiarities so that the works are significant to the users addressed. In this case, the users are inhabitants of Chevilly-Larue who should see themselves in and feel partly reflected by them. The negative or positive surprises, or even loathing that Heidi Wood’s posters may spark are another way of creating connections with users of the urban landscape, not only in that they see their usual environment from another, surprising angle, but because they therefore understand that a different form of social participation is possible, that another way of seeing is viable, that another form of imagination can materialize in society. Public space is never a given that can be handled like any other tool. It is not something within arm’s reach whose only value is utilitarian; that can be tossed out when it is deemed obsolete. In a manner that is as surreptitious as it is explicit and visible, Heidi Wood’s works prove that public space is constantly constructed by those who make, use, think and shape society. The idea of shaping it should be taken as the form given to the space and the audience of this space – a space where signs and images weave connections rather than undermining the social fabric.\r\n\r\n&nbsp;\r\n\r\n<strong>Jacinto Lageira</strong>, 2011\r\n\r\n<em>Vacances d’hiver (Winter Vacation)</em> catalogue',	'CONNECTED BY IMAGES',	'',	'publish',	'closed',	'closed',	'',	'connected-by-images-jacinto-lageira-2011',	'',	'',	'2018-10-19 17:33:27',	'2018-10-19 17:33:27',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1706',	0,	'doc_article',	'',	0),
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(1709,	3,	'2018-10-11 16:45:28',	'2018-10-11 16:45:28',	'The urban environment is like a Petri dish, a crucible in which to chart the enormous transformations that have taken place since the heyday of Western modernism in the early twentieth century. Travel to any major city, from Brussels to Bucharest and beyond, and one finds apartment blocks, government buildings, universities, all kinds of social infrastructure now encased in enormous banners or made over as large-scale billboards advertising watches, perfumes or glamour. Industrial zones that were threatened with obsolescence during the neoliberal 1990s, from port cities such as Gdansk or Hamburg to other manufacturing centres like Kaunas, have been reborn, raised from the dead amid globalised service economies and so-called creative industries to become tourist sites and fun parks of history. These sites then become triggers for consumption, designed to be photographed and replayed later through anecdote rather than experienced there-and-then.\r\n\r\n&nbsp;\r\n\r\nArt, or at least visual culture, plays a central role in this, as Heidi Wood’s work suggests. The abstract imagery that has comprised her practice in recent years, including her current series, draws from the ways that state and private businesses distil a sense of their local environments through logos, visual sound bites and other snapshot souvenirs. Wood’s symbols or “pictograms” mimic the monuments of modernist industry (cranes, factories, watchtowers), reducing these sites to schematic outlines in much the same way that postcards (or, for that matter, art biennales) tend to reduce a place to key locations or viewpoints for the appreciation of non-local audiences. Artists’ residencies – such as that held by Wood in Bremen from September to October 2009, and which has provided the foundations for the work in this exhibition – can be given a similar use-value, infiltrating “local” meaning into a “foreign” artistic practice which can then be disseminated elsewhere around the globe through an artist’s subsequent shows. The “local” thereby becomes a mobilised souvenir of sorts as well, much like the blue plates popular in Germany and replicated by Wood here, commemorating a traveller’s ventures into new terrain.\r\n\r\n&nbsp;\r\n\r\nThe abstractions of Europe’s avant-garde and neo-avant-garde movements – from Wassily Kandinsky or Albert Renger-Patzsch to Bernd and Hilla Becher’s images of industry on the brink of decay from the 1960s – are now the lingua franca of contemporary consumer society. They provide the signposts for “the local” and “the social”, targeting us from hoardings on buildings, or posted to friends with a “wish you were here” glee, as they construct the parameters for contemporary subjectivity. Wood’s own pictograms, blue plates and signposts are clearly shot through with a similar debt to “corporatised” creative industries. Yet, rather than a mere repetition of or capitulation to these constructions, Wood’s practice can be better understood as an <em>over-identification</em> with them, an aesthetic of mimicry that underpins a significant strain of contemporary art as it seeks new ways of negotiating with neoliberalism. Much like the work of The Yes Men and RTMark today, or IRWIN before them, Wood’s practice deliberately exaggerates the processes and appearances of neoliberal aesthetic regimes, opening up the fine line between criticism of that regime and complicity with it, or between an imposed and a sovereign subjectivity. It is in this opened “between” state that Heidi Wood’s explorations of contemporary conditions and mnemonics of the present take place, ascribing to no particular political or cultural position other than one belonging to that all-too-rare commodity these days: a deliberate curiosity about the very position of culture, about the messages that it can provide and the people it can target, within neoliberal urban spheres.\r\n\r\n&nbsp;\r\n\r\n<strong>Anthony Gardner</strong>, 2009\r\n\r\n<em>Partie de chasse (Open Season) c</em>atalogue <em>\r\n</em>',	'OPEN SEASON',	'',	'publish',	'closed',	'closed',	'',	'open-season-anthony-gardner-2009',	'',	'',	'2018-10-19 17:34:15',	'2018-10-19 17:34:15',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1709',	0,	'doc_article',	'',	0),
(1710,	3,	'2018-09-10 16:42:52',	'2018-09-10 16:42:52',	'',	'CAT 2010 Gardner ang',	'',	'inherit',	'open',	'closed',	'',	'cat-2010-gardner-ang',	'',	'',	'2018-09-10 16:42:52',	'2018-09-10 16:42:52',	'',	1709,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2010-Gardner-ang.pdf',	0,	'attachment',	'application/pdf',	0),
(1711,	3,	'2018-09-10 16:43:16',	'2018-09-10 16:43:16',	'',	'CAT 2010 Gardner fr',	'',	'inherit',	'open',	'closed',	'',	'cat-2010-gardner-fr',	'',	'',	'2018-09-10 16:43:16',	'2018-09-10 16:43:16',	'',	1709,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2010-Gardner-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1713,	3,	'2018-09-10 16:46:32',	'2018-09-10 16:46:32',	'',	'CAT 2007 F Lamy ang',	'',	'inherit',	'open',	'closed',	'',	'cat-2007-f-lamy-ang',	'',	'',	'2018-09-10 16:46:32',	'2018-09-10 16:46:32',	'',	0,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2007-F-Lamy-ang.pdf',	0,	'attachment',	'application/pdf',	0),
(1714,	3,	'2018-09-10 16:47:25',	'2018-09-10 16:47:25',	'',	'CAT 2007 F Lamy fr',	'',	'inherit',	'open',	'closed',	'',	'cat-2007-f-lamy-fr',	'',	'',	'2018-09-10 16:47:25',	'2018-09-10 16:47:25',	'',	0,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2007-F-Lamy-fr.doc',	0,	'attachment',	'application/msword',	0),
(1715,	3,	'2018-10-10 16:55:04',	'2018-10-10 16:55:04',	'Heidi Wood designates but does not communicate, even though she delivers signals that are almost signage. She offers the forms to us as she found them in this indistinct zone that brings together reality as representation and representation as reality. Taken from landscapes modified by the images that adopted them. She eliminates, she detaches, she extracts signs from the environment where they sluggishly drew attention to themselves, signaling above all an alliance or appearance. De-signating, she de-tects, de-limits, de-viates, de-signs. Draws.\r\n\r\n&nbsp;\r\n\r\nDrawing in the original sense of the word, to designate, “tracing the outlines of something.” Something visible or invisible, attainable or unreal, limpid or inexplicable. Opposites often united until drawing set them apart. Heidi Wood disconnects the sign from its referent, giving us signs striped of their meaning, extracted from the world and placed naked before their reproduction. Detached from the world we understand and its continuous good sense.\r\n\r\n&nbsp;\r\n\r\nYet Heidi Wood does not seek to deconstruct, even though we would gladly see in her rigorous sketches and random maps the tools for designing infrastructure and cobbling together a superstructure. Instead, we sense an attempt to recompose and launch. For the form to go beyond the form and the sign to reveal the sign; in short that the esthetic revelation regenerates the semiotic anesthesia. After emptying out the evidence, to be able to trace the contours of something else.\r\n\r\n&nbsp;\r\n\r\n<em>“Like dreams, drawing works toward separation, but as with dreams, its links with reality are not entirely broken.”</em>\r\n\r\nPhilippe-Alain MICHAUD\r\n\r\n&nbsp;\r\n\r\n<strong>Jacques Norigeon</strong>\r\n\r\nCatalogue <em>Carnet Sagace 20</em>',	'THE CONTOURS OF SOMETHING',	'',	'publish',	'closed',	'closed',	'',	'the-contours-of-something-jacques-norigeon-2009',	'',	'',	'2018-10-19 17:35:55',	'2018-10-19 17:35:55',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1715',	0,	'doc_article',	'',	0),
(1716,	3,	'2018-09-10 16:51:04',	'2018-09-10 16:51:04',	'',	'CAT 2009 J Norigeon fr',	'',	'inherit',	'open',	'closed',	'',	'cat-2009-j-norigeon-fr',	'',	'',	'2018-09-10 16:51:04',	'2018-09-10 16:51:04',	'',	1715,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2009-J-Norigeon-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1717,	3,	'2018-09-10 16:51:33',	'2018-09-10 16:51:33',	'',	'CAT 2009 J Norigeon fr',	'',	'inherit',	'open',	'closed',	'',	'cat-2009-j-norigeon-fr-2',	'',	'',	'2018-09-10 16:51:33',	'2018-09-10 16:51:33',	'',	1715,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2009-J-Norigeon-fr-1.pdf',	0,	'attachment',	'application/pdf',	0),
(1718,	3,	'2018-09-10 16:52:04',	'2018-09-10 16:52:04',	'',	'CAT 2009 J Norigeon ang',	'',	'inherit',	'open',	'closed',	'',	'cat-2009-j-norigeon-ang',	'',	'',	'2018-09-10 16:52:04',	'2018-09-10 16:52:04',	'',	1715,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2009-J-Norigeon-ang.pdf',	0,	'attachment',	'application/pdf',	0),
(1719,	3,	'2018-10-09 17:00:15',	'2018-10-09 17:00:15',	'In 1997, when I met Heidi Wood, she was undermining the forms of the male, conquering modernism that invades the visual sphere. Her polyptychs foreshadowed the recent developments in her work. I liked this manhandling of dominant ideologies tied to the foundations of painting and language. The equivalence she established between irregular verbs in English (system, rule, exception) and the invention of abstract forms evoking the bastardized versions of modernism filtered through the omnipresence of design and graphics already participated in the third level that Stephen Wright refers to; a sort of third path.\r\n\r\n&nbsp;\r\n\r\nA major turning point occurred in 2001 for the exhibition <em>Quotidien aidé (LES LOCATAIRES), </em>with the appearance of “Serving Suggestions.” Since then, she has worked on and questioned the complex, fragile, contradictory, futile, necessary, intimate, forced (etc.) relationships between the painting and its surroundings. This undertaking, which is very well analyzed by Philippe Coubetergues, goes through different stages. The painting is no longer alone. It is accompanied, presented, enhanced. A décor for a painting, a painting for a place, an ephemeral <em>mise en scène</em> for a photograph or an exhibition… Bringing together marketing strategies and presentation, she mixes economic and decorative registers, levels of readings, building up layer upon layer upon layer.\r\n\r\n&nbsp;\r\n\r\nAn essential question was already raised: where exactly is the artwork? From this moment on, Heidi’s work is constructed on disorder. It is confused. By that I mean it occupies a disordered territory and it plays on confusion. Of genres and attitudes. Deliberately clouding the issue, she gives equal importance to the painting, its <em>mise en scène</em>, its décor, the elements that accompany it, the photographic trace, etc. Her exhibitions play on these accumulations of different types of strata, undertaking a very disturbing (for the purist) de-hierarchizing of values. From here on, she devotes herself to an art of projects, an art of attitude.\r\n\r\n&nbsp;\r\n\r\nGradually emerging from the comfortable domestic environment where she began her experimentation, she has confronted public spaces (the 10<sup>th</sup> arrondissement in Paris, Los Angeles, Budapest, etc.). A few excursions in storefront windows had already kicked off the process. Yet perhaps renewing with avant-garde concerns (for whom, as we know, social structures and forms were fundamentally linked by ideology) she decided to infiltrate reality using spam.\r\n\r\n&nbsp;\r\n\r\nToday, her interest focuses more specifically on the forms of the common vernacular of globalized visual culture. Playing on the powers of the image, she works between fiction and reality, precisely at the imperceptible border between the two. She operates at the heart of the symbolic. And the fundamental issue at stake is authenticity.\r\n\r\n&nbsp;\r\n\r\n<strong>Frank Lamy</strong>\r\n\r\n<em>Heidi Wood, </em><em>œ</em><em>uvres de 2001 à 2007 </em>catalogue',	'Works from 2001 to 2007, 2008',	'',	'publish',	'closed',	'closed',	'',	'works-from-2001-to-2007-frank-lamy-2007',	'',	'',	'2018-10-19 17:36:35',	'2018-10-19 17:36:35',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1719',	0,	'doc_article',	'',	0),
(1720,	3,	'2018-09-10 16:57:34',	'2018-09-10 16:57:34',	'',	'CAT 2007 F Lamy fr',	'',	'inherit',	'open',	'closed',	'',	'cat-2007-f-lamy-fr-2',	'',	'',	'2018-09-10 16:57:34',	'2018-09-10 16:57:34',	'',	1719,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2007-F-Lamy-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1721,	3,	'2018-09-10 16:59:32',	'2018-09-10 16:59:32',	'',	'CAT 2007 F Lamy ang',	'',	'inherit',	'open',	'closed',	'',	'cat-2007-f-lamy-ang-2',	'',	'',	'2018-09-10 16:59:32',	'2018-09-10 16:59:32',	'',	1719,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2007-F-Lamy-ang-1.pdf',	0,	'attachment',	'application/pdf',	0),
(1722,	3,	'2018-10-08 20:17:12',	'2018-10-08 20:17:12',	'The service provided by <em>Heidi Wood</em> is a concept that has been refined over the years to consolidate into a completely original reference in the field of representation<a href=\"#_edn1\" name=\"_ednref1\">[1]</a>. It is a simple, efficient and reliable concept that in short consists of making images using motifs elaborated for and destined to be inscribed in a given environment<a href=\"#_edn2\" name=\"_ednref2\">[2]</a>. The service provided by <em>Heidi Wood</em> targets a wide audience because it concerns every person or situation, sponsor or spectator, liable to be confronted with the problematic controls and corruptions of the image in his/her real environment. More than a painting to be hung, the service provided by <em>Heidi Wood</em> is an image to defend; more than a result, it is a suggestion, a projection. In this sense, the service provided by <em>Heidi Wood</em> should be seen as an imminent ideal that is <em>Coming Soon</em>.\r\n\r\n&nbsp;\r\n\r\n<strong>Description of the service provided</strong><a href=\"#_edn3\" name=\"_ednref3\"><strong>[3]</strong></a>\r\n\r\nThe <em>Coming Soon</em> service provided by <em>Heidi Wood</em> is a suggestion formulated in various modalities that change and come together to suit the case at hand: photography, installation, montage, arrangement, etc. However complete this formulation is, it can only be appreciated as a simulation, in anticipation<a href=\"#_edn4\" name=\"_ednref4\">[4]</a>.\r\n\r\n&nbsp;\r\n\r\n<strong>Description of the suggested service</strong><a href=\"#_edn5\" name=\"_ednref5\"><strong>[5]</strong></a>\r\n\r\nThe service suggested by <em>Heidi Wood</em>’s <em>Coming Soon</em> is an improvement of the visible, an enhancement of the setting using a graphic system for which the Heidi Wood brand is sole agent<a href=\"#_edn6\" name=\"_ednref6\">[6]</a>. The service offered includes the design and fabrication of motifs based on contextual data and their real or simulated, permanent or temporary inscription in this same context.\r\n\r\n&nbsp;\r\n\r\n<strong>Description of the product provided</strong>\r\n\r\nThe product attached to the <em>Coming Soon</em> service provided by <em>Heidi Wood</em> is a composed image or series of images that anticipates the suggested service<a href=\"#_edn7\" name=\"_ednref7\">[7]</a>. These images include motifs from <em>Heidi Wood</em>’s graphic range. This anticipation is only one possible occurrence of the service. Other spin-offs from the project may accompany the images and their presentation<a href=\"#_edn8\" name=\"_ednref8\">[8]</a>.\r\n\r\n&nbsp;\r\n\r\n<strong>Product exclusivity and protection</strong>\r\n\r\nThe <em>Coming Soon</em> service provided by <em>Heidi Wood</em> guarantees the exclusivity of the product in that each suggested attribution of the motif is original. Furthermore, once assigned to a given context, the motif is considered definitively allotted to this initial and unique usage<a href=\"#_edn9\" name=\"_ednref9\">[9]</a>.\r\n\r\n&nbsp;\r\n\r\n<strong>Patent and author’s rights</strong>\r\n\r\nIn essence and nature, the <em>Heidi Wood</em> brand as graphic line and original service is patented. It is also impossible to forge because it is embedded in the qualified context<a href=\"#_edn10\" name=\"_ednref10\">[10]</a>. Counterfeiting is out of the question due to the coded system of the motif, the secret of which is known only to <em>Heidi Wood</em>’s design department. The author’s rights inherent in the prescribed use of a motif are in no way transferable to other usages in other contexts<a href=\"#_edn11\" name=\"_ednref11\">[11]</a>.\r\n\r\n&nbsp;\r\n\r\n<strong>The target</strong>\r\n\r\nWhile in essence it concerns all audiences, the <em>Coming Soon</em> service provided by <em>Heidi Wood</em> nonetheless targets people or situations, owners or managers of a given space who are concerned with the image projected by the architectural and decorative configuration of this space. More specifically, the <em>Coming Soon</em> service provided by <em>Heidi Wood</em> targets functional, modernist spaces, often impregnated with a formalist esthetic derived from 20<sup>th</sup> century abstract and geometric painting. The<em> Coming Soon</em> service provided by <em>Heidi Wood</em> tends to reveal this underlying inspiration, which is nonetheless decisive in terms of brand image. It aims to reaffirm this origin of the image while enhancing the prestige of its use<a href=\"#_edn12\" name=\"_ednref12\">[12]</a>.\r\n\r\n&nbsp;\r\n\r\n<strong>Advantages of the corporate concept</strong>\r\n\r\nThe<em> Coming Soon</em> service provided by <em>Heidi Wood</em> enterprises presents original advantages over the competition already working in the decorative representation market. The attribution of a motif, far from being arbitrary, is directly linked here to the visual specificity of the context, making the motif efficient and perfectly practicable in terms of place enhancement and image affirmation. The motif is also determined in an implicit reference to the history of forms, thus ensuring its stylistic coherence<a href=\"#_edn13\" name=\"_ednref13\">[13]</a>.\r\n\r\n&nbsp;\r\n\r\n<strong>Market share</strong>\r\n\r\nThe increasingly prosperous and expanding market for representation and its probable developments over the long term allow us to foresee steady growth for <em>Heidi Wood </em>enterprises. This will translate into an increased market share via a rise in the number of customers and the development of customer loyalty due to the many perceived needs in terms of image management<a href=\"#_edn14\" name=\"_ednref14\">[14]</a>.\r\n\r\n&nbsp;\r\n\r\n<strong>Range of motifs</strong>\r\n\r\n<em>Heidi Wood</em>’s catalogue already offers a wide range of generic motifs still available and adaptable to any situation<a href=\"#_edn15\" name=\"_ednref15\">[15]</a>. Furthermore, her design/construction service is regularly supplemented by new products that incorporate past and updated trends<a href=\"#_edn16\" name=\"_ednref16\">[16]</a>.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>Philippe Coubetergues</strong>\r\n\r\n<em>Heidi Wood, oeuvres de 2001 à 2007 </em>catalogue\r\n\r\n&nbsp;\r\n<h5><a href=\"#_ednref1\" name=\"_edn1\">[1]</a> As an artist, Heidi Wood presents herself as a service provider. She consciously positions her proposals within the reality of the market economy. Her business and communication models follow those of business. It is thus possible to describe and appreciate her work by deliberately positioning ourselves within this perspective.</h5>\r\n<h5><a href=\"#_ednref2\" name=\"_edn2\">[2]</a> Heidi Wood’s stance can be described as a fiction: that of a small business that designs and provides a service in line with identified needs for a targeted customer. This text plays the game of the simulation inferred by her work. In other words, the logic proclaimed by the work is pushed to its extreme by attempting to approach it via the real model she simulates. This article fits into the diegetic dimension of the artist’s work. Like the artist’s work, it should be taken as a proposal that supplements the fiction.</h5>\r\n<h5><a href=\"#_ednref3\" name=\"_edn3\">[3]</a> The exercise is a test. The description of a business project requires rationalizing all aspects to justify its validity. Critical commentary, while it tends to applaud the coherence of the work as a whole, must likewise consider all aspects of the undertaking. Bringing together two types of text is thus plausible. The constraint lies mainly in vocabulary (service, department, product, clientele, etc.) and its connotations. There is a risk of becoming caricatured. Yet the metaphor lies precisely in this exaggeration. And in the footnotes where there is a reading on two levels, just as there is in Heidi Wood’s work.</h5>\r\n<h5><a href=\"#_ednref4\" name=\"_edn4\">[4]</a> These footnotes serve as a context (at least for the inner circle). By presenting themselves as a commentary on the article, they target the work indirectly.</h5>\r\n<h5><a href=\"#_ednref5\" name=\"_edn5\">[5]</a> It becomes clear that Heidi Wood’s work does not lend itself to analysis like traditional photography. It is not a statement of fact, a recording of things as they are but rather a suggestion for transformation, improvement and enhancement of this state of things. This suggestion is expressed by means of photography, most often associated with an incorporated or juxtaposed graphic motif.</h5>\r\n<h5><a href=\"#_ednref6\" name=\"_edn6\">[6]</a> In a way, this suggestion can be seen as a traditional decorative proposal. The question remains of what is decorated and what is décor. The motif apparently takes the form of a painting made to fit a given setting. It plays the role of the decorative touch. Yet at the same time it highlights and condenses the underlying decorative nature of this setting. The hierarchy between setting and painting thus levels out. The milieu justifies the motif and vice versa. The setting decorates the painting as much as the painting decorates the setting. Neither the setting nor the painting is decorative. Only the relationship between the two.</h5>\r\n<h5><a href=\"#_ednref7\" name=\"_edn7\">[7]</a> But all this is only a promise. A promise of a décor. The photograph, with or without motif, the wallpaper, the montage, the arrangement, all this is no more than simulacra. Nothing is really made. It is an image, a possible reflection of things. The artist faces a reality made up of a proposal grounded in what she sees but also in what she foresees. She gives her vision of things in the form of an anticipation that we have chosen to call <em>Coming Soon</em>.</h5>\r\n<h5><a href=\"#_ednref8\" name=\"_edn8\">[8]</a> <em>Coming soon</em> is an expression used to announce an impending event. Heidi Wood takes it and integrates it into her work as a ready-made textual element. <em>Coming Soon</em> 2006 can be rightly interpreted as an announcement of an exhibition but also, in a shift of meaning, as a generic designation of Heidi Wood exhibitions.</h5>\r\n<h5><a href=\"#_ednref9\" name=\"_edn9\">[9]</a> All artworks by Heidi Wood function in reference to communication models employed in the commercial domain. Her installations can be put together like displays in a department store, her images distributed as spam, her polyptych compositions presented as advertising billboards when the slogans themselves are not directly appropriated and reassigned. Starting with her first works, the artist has deliberately oriented her register of expression toward the communication vernacular. She is not interested in the announcement itself or even the specific codes that govern it but rather the announcement’s impact. Heidi Wood works on the suggestive power of these types of visuals and the forms of idealization they lead us toward.</h5>\r\n<h5><a href=\"#_ednref10\" name=\"_edn10\">[10]</a> One of the most efficient motors of this suggestion consists in orchestrating on the same level several heterogeneous elements, such as a photographic image, an abstract form or a slogan. In the traditional sense, it is a collage. Its evocative force lies in the hiatus, in the impression maintained of these elements being out of synch despite their proximity. But in so far as the collage takes on and quotes the conventional modalities of visual communication, the hiatus is interpreted and partially resolved in line with the most common modes of association: enhancement, designation, substitution, forecast, anticipation.</h5>\r\n<h5><a href=\"#_ednref11\" name=\"_edn11\">[11]</a> By combining in this way iconic, textual, abstract, figurative, graphic or photographic data, in referring to geometric abstraction, its fall-out in our architectural and decorative environment, its diverse repercussions and reassignments in terms of design, logos and signage, by appropriating (through an amplification of the recycling phenomenon) these same communication codes while simulating the same eye-catching methods, Heidi Wood, faced with a given reality, makes an image in the same way she would paint a painting.</h5>\r\n<h5><a href=\"#_ednref12\" name=\"_edn12\">[12]</a> All the ingredients of painting are brought together: composition, motif, reference, quotation, title… Except for the medium, which is clearly not that of traditional painting. Mediation here replaces the medium. How it is made manifest is insignificant. Heidi Wood’s artworks can be regenerated and sometimes even updated in a range of media, like the visuals of our era. But in painting, what counts is not so much the material as how it is made. In the digital era, Heidi Wood’s artworks stand for an almost insolent emancipation from materiality to highlight the factual methods of their design.</h5>\r\n<h5><a href=\"#_ednref13\" name=\"_edn13\">[13]</a> Heidi Wood’s work is carefully and proficiently made. Her undertaking generates projects, not end results. Yet as objects Heidi Wood’s artwork-prototypes are perfectly finalized. In the pure respect of reworked visual phenomena, they take on the slick and definitive look that suits the expression of an ideal.</h5>\r\n<h5><a href=\"#_ednref14\" name=\"_edn14\">[14]</a> This text and its commentary aim to define the main characteristics of an undertaking at a given time. They seek to reveal the characteristics shared by the artworks and to do so, describe them according to the logic of a system. It is no doubt the nature of the genre. The artwork, however, does not truly respect any system. It evolves over time. From the series <em>Serving Suggestion</em> in 2001 to the series <em>Authentic New Mexico</em> in 2007, several upheavals have occurred. The spam experiment for the Los Angeles series, for example, was no doubt particularly decisive in terms of the self-promotion aspect of the work.</h5>\r\n<h5><a href=\"#_ednref15\" name=\"_edn15\">[15]</a> <em>Authentic New Mexico, </em>the most recent series to date, does not resemble the preceding series. The “motif” element is explicitly figurative for the first time. The figurine references and reformats a traditional art form. The Kachina doll embraces the Playmobil. This appropriation becomes a commentary on another that is less explicit yet present in the fake adobe style of contemporary architecture in Santa Fe. The association of photograph and motif is no longer a decorative proposal. It is rather an expression of amusement at the turn things take in the particular context of an urban environment that seems entirely devoted to tourism. The question is no longer whether the motif should be integrated into the environment. In a sense, it already is. The confrontation of the two is enough to reveal it implicitly.</h5>\r\n<h5><a href=\"#_ednref16\" name=\"_edn16\">[16]</a> Quotation, loan and suggestion. Heidi Wood’s work is grounded in these three directions. Quotation evokes the past, art history, the history of abstraction, the history of styles. Loan concerns modes of visual communication that currently prevail in our contemporary world, which is itself strongly marked by this history of forms. Suggestion looks at the formal potential of this environment as a setting. Each series, in its own way, expresses a certain updating of the utopias to which these forms once belonged. In Heidi Wood’s work, there is a nostalgic, facetious and joyous taste for the image’s capacity to promise us the illusion of a world that is always lighter, simpler and more authentic.</h5>\r\n&nbsp;',	'Heidi Wood: a Coming Soon service provider',	'',	'publish',	'closed',	'closed',	'',	'works-from-2001-to-2007-philippe-coubetergues-2007',	'',	'',	'2018-10-19 17:39:34',	'2018-10-19 17:39:34',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1722',	0,	'doc_article',	'',	0),
(1723,	3,	'2018-09-10 17:04:57',	'2018-09-10 17:04:57',	'',	'CAT 2007 P Coubetergues ang',	'',	'inherit',	'open',	'closed',	'',	'cat-2007-p-coubetergues-ang',	'',	'',	'2018-09-10 17:04:57',	'2018-09-10 17:04:57',	'',	1722,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2007-P-Coubetergues-ang.pdf',	0,	'attachment',	'application/pdf',	0),
(1724,	3,	'2018-09-10 17:16:53',	'2018-09-10 17:16:53',	'',	'CAT 2007 PC Coming Soon fr',	'',	'inherit',	'open',	'closed',	'',	'cat-2007-pc-coming-soon-fr',	'',	'',	'2018-09-10 17:16:53',	'2018-09-10 17:16:53',	'',	1722,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2007-PC-Coming-Soon-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1725,	3,	'2018-10-08 17:26:57',	'2018-10-08 17:26:57',	'HEIDI WOOD in the 10<sup>th</sup> arrondissement, Paris\r\n\r\nApril 19 to May 10 2006\r\n\r\n&nbsp;\r\n\r\nThere are at least two ways of apprehending an artist’s work. The first consists of looking at what she did and asking what it is, as profoundly and comprehensively as possible, in going well beyond appearances (which as everyone knows are often misleading when art is concerned). The second consists of doing the opposite and asking how it is made, which approach, intuition or intention is behind it, in going well beyond platitudes (which are easy to recognize – they are often the first things that come to mind). In this back and forth movement, we may well encounter a work of art. It is an exercise that requires a little concentration and a lot of curiosity.\r\n\r\n&nbsp;\r\n\r\nLet’s take the example of what Heidi Wood proposes here. What is it? It is an image in a light box placed in the public sphere. What does the image represent? It is a photograph of her neighborhood. Within this image is second image. We recognize it without recognizing it. We have seen it somewhere before without being able to say where. In short, it is a light box hung in a real place. In the light box is a photographic image and in this image is an abstract shape. We can legitimately make a certain number of observations on the effects of this image within the image within the image. But let’s look at things from the perspective of how they are made, their causality. Heidi Wood designs an abstract shape (a sort of painting) in reference to her daily iconic environment, saturated with this familiar signage. It is a generic image made to look like many others without specifically being any of them. A sort of logo without a brand – less a brand image than the essence of a brand. In line with current communication strategies, the artist looks for a place to hang her painting. She imagines placing it in her immediate surroundings – let’s say downstairs from where she lives. And instead of getting permission to really do it, she creates an image that simulates it. Finally, to communicate on her project, she puts it in a small light box and hangs it in a public place.\r\n\r\n&nbsp;\r\n\r\nIn total, there are ten light boxes placed in ten different places in the 10th arrondissement: ten occurrences for a same working method conceived in response to an invitation from the town hall. The specificity of Heidi Wood’s work is precisely that she simulates promotion strategies used by the commercial sector by infiltrating traditional networks of urban communication and in establishing a professional relationship of service provider with her patrons. In other words, Heidi Wood is less a painter than a designer of forms inspired by and destined for a given site. She is aware that, today more than ever, images only exist in relation to their environment. Their quality – and as a result, their status – is only understood through the connections they establish with the context in which they are inscribed. In taking virtual possession of spaces normally given over to billboard advertising, by submitting her forms to the context liable to engender them, she does not denounce or corrupt a system. She exploits it. She makes it serve her own artistic ends. She adapts to the most immediate modes of exteriorization, to the conditions of expression of her times.\r\n\r\n&nbsp;\r\n\r\nPainting from life once meant setting up an easel in the landscape to make a picture of it. The artwork was conceived in this direct confrontation between the motif and the referent. In the completely reinvented landscaped context of the modern world that the image has conquered, often by replacing the real, it could be that Heidi Wood incarnates the surprisingly updated figure of the “painter from life”. Her paintings are inscribed within our most trivial everyday environment, acting to reveal our conditioned relation to the world and to images.\r\n\r\n&nbsp;\r\n\r\n<strong>Philippe Coubetergues</strong>\r\n\r\nMarch 2006\r\n\r\n<em>Heidi Wood dans le Xème, </em>catalogue\r\n\r\nTranslated from French',	'HEIDI WOOD in the 10th arrondissement, Paris',	'',	'publish',	'closed',	'closed',	'',	'paris-10eme-philippe-coubetergues-2006',	'',	'',	'2018-10-19 17:37:59',	'2018-10-19 17:37:59',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1725',	0,	'doc_article',	'',	0),
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(1728,	3,	'2018-10-07 09:35:57',	'2018-10-07 09:35:57',	'<strong>(HEIDI WOOD, LOS ANGELES # 1 - 12)\r\n</strong>\r\n\r\n&nbsp;\r\n\r\n<strong>“I’m Mr. Opportunity and I’m knocking”</strong>\r\n\r\nAn ever greater margin of profit within contemporary capitalism is obtained through the co-optation of human creativity and autonomy, for in a world of increasingly artificial needs, the economy is founded less on producing objects, than on producing subjects to consume those objects. Over the past two decades, it has become abundantly clear that what were formerly art-specific competencies – exemplified by such watchwords as autonomy, flexibility, inventiveness, mobility, creativity, refusal of hierarchy, intrinsic motivation, and so on – have been self-consciously harnessed by managerial rationality, and now describe the ideal-type of the qualified worker of the future as much as they do the artist. French sociologist Pierre-Michel Menger goes so far as to describe contemporary art as “a principle of fermentation for neo-capitalism.” Art, he argues, has ceased to have heuristic value for anything but developing cutting-edge business models, test-driving new modes of production, or analysing the ins and outs of individualised labour relations. Those who persist in critiquing the system head-on inadvertently end up doing it an inestimable service, by pointing out its potential for expansion: criticise fast food and the market rebounds with organics; criticise the over-glorification of youthfulness and you’re only a phone call away from laser vaginal rejuvenation… In short, contemporary capitalism thrives on critique, the more incisive the better.\r\n\r\n&nbsp;\r\n\r\n<strong>“Our mission is to empower your awareness”</strong>\r\n\r\nThis, I think, is the fundamental insight behind Heidi Wood’s artistic practice. And this is what makes it so disconcerting when considered from the perspective of the values underpinning the symbolic economy of twentieth-century art. Heidi Wood settles her scores with those values in a stingingly lucid one-liner, juxtaposed with an image of an abstract painting placed above a warehouse loading bay, in the fourth of her Los Angeles photomontages: <em>“Our mission is to empower your awareness.”</em> Awareness empowerment is precisely the self-assigned and perfectly mythical mission to which art continues to cling. Yet if ever art’s self-awareness were empowered, it would have to acknowledge – as Heidi Wood apparently has – that it too has been backed, more or less complacently, into a loading bay, for the delivery of signs to the consumer world’s “constantly moving happiness machines”.\r\n\r\n&nbsp;\r\n\r\n<strong>“But wait, it gets even better”</strong>\r\n\r\n“You have turned people into constantly moving happiness machines”, wrote an admiring President Herbert Hoover in 1928 to Edward Bernays, the man credited with having invented PR and advertising, two forms of what he termed the “engineering of consent”. Bernays also happened to be Sigmund Freud’s nephew – which is quite a coincidence when you think about it<strong>. </strong>Variously dubbed the “Baron of Ballyhoo” and the “Father of Spin”, Bernays was the consummate Angeleno and unselfconsciously candid about his manipulative intent. “If we understand the mechanisms and motives of the group mind, it is now possible to control and regiment the masses according to our will without their knowing it,\" he conjectured merrily in <em>Propaganda, </em>one of his first books. “The conscious and intelligent manipulation of the organised habits and opinions of the masses is an important element in democratic society,” Bernays wrote, in one of the most shamelessly self-refuting definitions of “democratic society” ever formulated. “Those who manipulate this unseen mechanism of society constitute an invisible government which is the true ruling power of our country…. In almost every act of our daily lives, whether in the sphere of politics or business, in our social conduct or our ethical thinking, we are dominated by the relatively small number of persons . . . who understand the mental processes and social patterns of the masses. It is they who pull the wires which control the public mind.” And most of them, he might as well have added, live in Los Angeles.\r\n\r\n&nbsp;\r\n\r\n<strong>“Common decency…”</strong>\r\n\r\nIt’s worth delving a little deeper into Bernays’ consumer revolution, if only because it is probably the single most important source of the regime of deceit encompassing the signage and verbiage Wood is hacking into. Instead of targeting purchasers’ practical common sense, as mere product information had previously done, advertising was to embody a message, transforming commodities – however frivolous or trivial – into vectors of symbolic meaning. The point, after all, was nothing so small time as selling objects; rather, it had everything to do with <em>producing subjects to consume objects</em> – producing consumers who would experience the very act of consumption as giving expression to what Bernays called their “innermost self” – a notion that obviously had considerable significance in his family circle and beyond. Advertising was the instrument through which the commodity acquired the power to produce its consumers, who could in turn be counted upon to validate and promote its symbolic value. It is thus consumers themselves who would henceforth engage in the invisible labour of self-production, providing “subjects for objects”, consumers for commodities. Advertising’s function, in short, was merely to induce within the mind of the consumer a channel for self-production, highlighting brandnamed goods and commodified experiences as the very emblems of their own promotion. And that’s what’s known as California Dreaming… Stretching a point only slightly, one might argue that art stands with respect to advertising as Freud does to his American nephew Bernays. Heidi Wood’s point, at any rate, is that high art is neither other, nor somehow better, than its allegedly crassly commercial cousin; indeed art’s illusion of difference and freedom merely reveals that it too has found its niche group of consumers, who, as Bernays so aptly put it, “don’t actually need what they desire and don’t desire what they actually need.”\r\n\r\n&nbsp;\r\n\r\n<strong>“Arnold says: ‘California wants your business’”</strong>\r\n\r\nShould Heidi Wood’s work be taken at face value, as a sincere acceptance of the design imperatives of cultural capitalism? This seems an unlikely hypothesis, sitting uneasily with her hard-edged work; but it is no more implausible than supposing the work is intended as some sort of tongue-in-cheek send-up of the idiocies of consumer manipulation, if only because trying to outsmart the cynics at their own game is obviously hopeless. Understanding Heidi Wood’s position thus requires that we accept the notion of a third level; neither sincere, nor send up, but on a different map altogether. Like her earlier “Serving Suggestions” series, Wood’s new work is characterized by an exceedingly low coefficient of artistic visibility. By this, I don’t of course mean the work is somehow invisible – it is highly visible, but not necessarily as art, in the sense of autonomously visible objects fitting that description. Thus, Wood’s artistic practice lies as much in infiltrating the ambient semiotic economy of commercial and domestic settings or generic urban landscapes, as it does in actually producing the painterly forms with which she discreetly contaminates those spaces. The drive-by design of her “paintings” themselves is uncannily nondescript: a disk shape surrounded by a semi-circular line against a mauve background, photoshopped onto a billboard along a seedy-looking strip mall, is neither unequivocally vaginal nor certifiably non-vaginal; an icon that isn’t.\r\n\r\n&nbsp;\r\n\r\n<strong>Spam aesthetics</strong>\r\n\r\nAs might be expected, Los Angeles – ground zero, so to speak, of the subjectivity-production industry – has left a mark on Wood’s practice. She could scarcely remain indifferent to the quantity of text that fills the city’s visual field, and that formally speaking accounts for the emergence of text in the work she produced there. By adding text, Wood has found a way to integrate the mercantile pragmatics of the urban context as a whole, permeating the otherwise painting-free signscape with painted surfaces. It is worth pointing out that the series itself emerged as spam: that is, before undergoing a shift into the form of rarefied artwork, the series existed in the form of gratuitous excess, cluttering the Inboxes of people like me. The aesthetics of spamming are becoming well known but because the practice has not yet been validated by mainstream artworld values (as the serialised version of hitherto uncommodified mail art), its coefficient of artistic visibility is literally negligible. Day after day, I looked at the perplexing series that seemed to be trying to sell something it didn’t possess to someone who didn’t want it. Beneath each text – less the “subtext” of the images they accompanied than red-herrings – was a commercial signature: <em>© Heidi Wood</em>. What, one wondered, was Heidi Wood? An artist? A visual experience consultant? Post-pop at level three.\r\n\r\n&nbsp;\r\n\r\n<strong>Stephen Wright</strong>, 2005<strong>\r\n</strong>\r\n\r\n<em>Los Angeles Diaries (nutrition disguised as fun) </em>catalogue',	'LEVEL THREE',	'',	'publish',	'closed',	'closed',	'',	'level-three-stephen-wright-2005',	'',	'',	'2018-10-19 17:44:01',	'2018-10-19 17:44:01',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1728',	0,	'doc_article',	'',	0),
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(1731,	3,	'2018-10-07 08:40:00',	'2018-10-07 08:40:00',	'<em>“Planète Magique”</em> is a deserted fairground, an abandoned amusement park, located in the heart of Paris. Before this Ali Baba’s cave becomes the new haunt of electronic arts, Heidi Wood has made a series of photographs… of her paintings. The ultra kitsch decorations and the still-intact magic roundabouts of <em>“Planète Magique”</em> are an ideal backdrop for adventurous paintings. For Heidi Wood does not like to leave her paintings at rest. She moves them into incongruous places where they nonetheless have every chance of fitting in: their round, sharp and colored geometry owes as much to the vocabulary of artistic formalism as to design or fashion. In short, these forms are too saturated with different sources to not appear original. They are both ho-hum and special, mysteriously timeless and fabulously fashionable. In being thrust into this very eighties atmosphere, the question is whether the paintings will be absorbed by the decor, or whether they will hold their own and manage to defend their autonomy at any cost. Heidi Wood does not tip the balance either way. On the contrary, she does everything to maintain ambiguity. In framing the shots and fine-tuning her paintings to the esthetic of the site, the artist remodels both her paintings and the environment. Thanks to this <em>mise en scène</em>, she creates the conditions for a strange combination of both. Ironically, as in a shop front window, what Heidi Wood is selling us is not the object or the artwork: it’s the ambiance.\r\n\r\n&nbsp;\r\n\r\n<strong>Judicaël Lavrador</strong>\r\n\r\nMarch 2003\r\n\r\n<em>Heidi Wood à la Planète magique </em>catalogue<em>\r\n</em>\r\n\r\nTranslated from French',	'MAGIC PLANET',	'',	'publish',	'closed',	'closed',	'',	'magic-planet-judicael-lavrador-2003',	'',	'',	'2018-10-19 17:45:27',	'2018-10-19 17:45:27',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1731',	0,	'doc_article',	'',	0),
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(1734,	3,	'2018-10-05 17:46:00',	'2018-10-05 17:46:00',	'<em>‘We are in need of a new interior.’</em>\r\n\r\n&nbsp;\r\n\r\nThese words were written by Theo van Doesburg, artist and founder of the journal De Stijl, in a letter to the architect J.J.P. Oud in 1916.<sup>1</sup> He was seeking Oud’s collaboration in the design and building of spaces that would fuse colour and architecture into spatial environments that exemplified the potential of abstraction and modernist ideals.\r\n\r\n&nbsp;\r\n\r\n‘Architectural space must be considered a blind, absolute void until colour turns it into something concrete. The spatio-temporal painting of the 20th century, with its plastic, structural possibilities, allows the artist to fulfil his dream: to place man, not before painting, but inside painting itself.’ <sup>2</sup>\r\n\r\n&nbsp;\r\n\r\nNow almost one hundred years later, van Doesburg’s call for a new interior continues to have currency. I am reminded of his words when I look at the interiors of Heidi Wood which produce space through colour and abstraction. They are presented as displays that one might find in a furniture showroom where the latest lifestyle trends are arranged. New possibilities, new interiors, new buyers/viewers. But what is being offered up and suggested here? What is it about colour and space? Abstraction and space? What sorts of spaces is the viewer asked to step into?\r\n\r\n&nbsp;\r\n\r\nThese interiors are animated by form and colour. Wood’s quirky shapes – abstracted from familiar contexts that you can’t quite put your finger on – are placed in a series of relations that reorientate and displace form and perception. Space is animated through shape and colour and processes of doubling and obscuring, repetition and displacement; plays between positive and negative, between horizontal and vertical surfaces of floor and wall. Similarly, van Doesburg’s concentration on form and shape – in his case, the orthogonal and diagonal also aspired to an abstraction of displacement and reorientation of the viewer; straight lines counter-composing the architectural structure. Colour animates the spaces: van Doesburg confined his palette to primary colours in an attempt to capture the universal; Wood uses colours like brown found in many domestic interiors to draw in the familiar.\r\n\r\n&nbsp;\r\n\r\nThe Baroque was another period concerned with the animation of space. Such conjunctions in this context may seem untenable but this overlooks the presence of the Baroque in current spatial thinking and philosophy and the potential for such interests to affect and find expression in a range of diverse practices. In drawing the Baroque into this text alongside van Doesburg and Wood is not through a focus on visual aesthetics – the three are dissimilar in image and form – but rather through a perceived commonality in a concern with activating and animating space. An interesting aside is that Wood has spoken about the ‘ecstatic experience’ as an aspiration of her work; ecstasy is also a condition that van Doesburg and Baroque artists and architects aspired to – where the spatial encounter is one of fullness and excess.\r\n\r\n&nbsp;\r\n\r\nThere is no appeal, however, by Wood to the architect as a collaborator in the construction of these new interiors. Rather she works within existing spaces and contexts such as the exterior neighbourhood visible through the end windows. She abstracts – draws out – relations to the domestic, familiar and decorative. This animates an interior space that is here rather than there, present rather than transcendental. I am reminded of a photograph titled ‘Wright, Meier, Klein’, by Louise Lawler in her photographic essay ‘Arrangement of Pictures’.<sup>3</sup> As with Wood’s interiors, there is no hierarchy between the surfaces that compose the space – architectural wall, painting, openings to other spaces – all read as an abstract composition of black and white. Is it art or door? The architecture does not dominate in these interiors. Edges are blurred between painting and wall, between object and space. Becoming space, becoming material, becoming architecture, becoming art.\r\n\r\n&nbsp;\r\n\r\nThis spatial aspect creates a different frame for the incorporation of paintings within an interior. Wood’s art shares similarities with interior design practice such as Australian corporate office design during the 1990s where designers would look for paintings that would suit the colour of the interior. Or with domestic spaces, paintings to match the curtains. A painting as a portable and autonomous object that could be moved from space to space reaches its zenith in such interior decoration projects. And this lineage is one Wood draws on and abstracts into her displays; the painting object becomes integrated and integral to the spatial composition.\r\n\r\n&nbsp;\r\n\r\nConcurrently with a concentration on the actual space, there is also an emphasis on image. Wood frames her spaces: physically in the space, the art is framed like a series of display suites; as maquettes that draw the eye to visual relations; and as photographs which abstract and draw out the relations. In a sense, the camera is the corollary collaborator to van Doesburg’s architect. It is also through image that Wood’s art appears and is received. In my case, it is the only way I experience her art – through the photographic image. This is not an unfamiliar situation for an Australian. Throughout my art history and design education, I learnt about art, architecture and space through images. This is not to say that it equates with encountering the work in its materiality but neither does it support a privileging of one over the other. They are different encounters and engagements. I wonder if Wood, as someone who has lived in Australia, instinctively understands this and hence the dual dimensions of her work – producing both image and physical display.\r\n\r\n&nbsp;\r\n\r\nIn a sense maybe this is where the new interior is located. Not in form or colour so much as a space of reception rather than representation. Interiors as reception spaces; viewers as receivers where ‘the illusion is not in the painting. It is outside’.<sup>4</sup>\r\n\r\n&nbsp;\r\n\r\nI wonder what Theo would say.\r\n\r\n&nbsp;\r\n\r\n<strong>Suzie Attiwill</strong>\r\nMelbourne August 2002\r\n\r\n<em>La maison de banlieue</em> catalogue\r\n\r\nEspace d’art contemporain Camille Lambert, Juvisy\r\n\r\n&nbsp;\r\n\r\n1: quoted in Nancy J. Troy, ‘The Abstract Environment of De Stijl’, De Stijl: 1917–1931. Visions of Utopia, Walker Art Center, Minneapolis, New York: Abbeville Press, 1982, p. 165.\r\n\r\n2: Theo van Doesburg from ‘Farben im Raum und Zeit’, De Stijl, VIII, 87/89, 1928, p. 36. Quoted in Sergio Polano ‘De Stijl/Architecture = Nieuwe Beelding’, De Stijl: 1917–1931. Visions of Utopia, p. 92.\r\n\r\n3: Louise Lawler ‘Arrangements of Pictures’ in Michelson, A. et al (eds.) October. The First Decade, 1976–1986, Cambridge Massachusetts: The MIT Press, 1987, p. 220.\r\n\r\n4: Philippe Coubetergues ‘Get the picture?’ in Heidi Wood. Serving Suggestions 2002, Exposition à l’I.U.F.M. de Paris, 25 March to 13 April, 2002, footnote 14.\r\n\r\n&nbsp;',	'WE ARE IN NEED OF A NEW INTERIOR',	'',	'publish',	'closed',	'closed',	'',	'we-are-in-need-of-a-new-interior-suzie-attiwill-2002',	'',	'',	'2018-10-19 17:41:23',	'2018-10-19 17:41:23',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1734',	0,	'doc_article',	'',	0),
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(1736,	3,	'2018-09-10 17:45:47',	'2018-09-10 17:45:47',	'',	'CAT 2002 S Attiwill fr',	'',	'inherit',	'open',	'closed',	'',	'cat-2002-s-attiwill-fr',	'',	'',	'2018-09-10 17:45:47',	'2018-09-10 17:45:47',	'',	1734,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2002-S-Attiwill-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1737,	3,	'2018-10-05 17:50:46',	'2018-10-05 17:50:46',	'These last few years, due to the increase in the number of art centers and museums, we had almost forgotten that painting is not meant as a cultural icon alone, but that its function is also, more prosaically, to decorate the inside of our homes. Somewhere between the “impeccably” white walls of cultural institutions and the cramped space above the sofa in the living room, many artistic ideals have no doubt been shelved. This reality, which we often prefer to ignore, comes back like a boomerang in Heidi Wood’s work. The artist bluntly and humorously questions the paradoxes of painting, both <em>objet d’art</em> and consumer product. In her most recent works, entitled “Serving Suggestions”, she presents her paintings in indoor set-ups that comprise furniture and flooring. Displaying them as if in the showrooms of interior decoration stores, Heidi Wood gallantly plays the seduction card, showing us a possible environment for her work. Superimposing artistic and marketing strategy approaches, Heidi Wood brings about the convergence of two apparently very different views and succeeds in dismantling the machinery of a consumer system that everyone agrees is perverse (although unable to propose a better one) whilst implacably demonstrating its efficiency.\r\n\r\n&nbsp;\r\n\r\nAlthough of the same nature, the installations designed for the Camille Lambert Art Center do not follow the same consumer logic: with the furniture gone, the “display area” illusion gives way to that of the display home. The exhibition entitled “La Maison de banlieue” (The House in the Suburbs) brings us back to the art center’s geographical context. Even more assertively than before, the artist transposes us to a world she possesses completely. Her works invade the walls and floor, just as the painted motifs on the canvas appear to spill out of their frames, projecting themselves outwards. This reciprocal contamination of forms and colors, answering each other in negatives, keeps alive the confusion the artist has been subtly elaborating for several years now. The marriage between architecture, art and decoration is well and truly consummated here. Stage designer of her own work, the artist uses the painted walls that accommodate her paintings to make them look their best. They are luxury caskets, which may or may not be part of the jewels.\r\n\r\n&nbsp;\r\n\r\nDemolishing the hierarchy of genres, Heidi Wood, disturbingly, makes us wonder about the “decorative” in painting, introducing “basely material” concerns into a public institution.\r\n\r\n&nbsp;\r\n\r\n<strong>Fabienne Fulchéri </strong>\r\n\r\nAugust 2002\r\n\r\n<em>La Maison de banlieue </em>catalogue\r\n\r\nTranslated from French',	'THE HOUSE IN THE SUBURBS',	'',	'publish',	'closed',	'closed',	'',	'the-house-in-the-suburbs-fabienne-fulcheri-2002',	'',	'',	'2018-10-19 17:47:17',	'2018-10-19 17:47:17',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1737',	0,	'doc_article',	'',	0),
(1738,	3,	'2018-09-10 17:49:19',	'2018-09-10 17:49:19',	'',	'CAT 2002 FFulcheri ang',	'',	'inherit',	'open',	'closed',	'',	'cat-2002-ffulcheri-ang',	'',	'',	'2018-09-10 17:49:19',	'2018-09-10 17:49:19',	'',	1737,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2002-FFulcheri-ang.pdf',	0,	'attachment',	'application/pdf',	0),
(1739,	3,	'2018-09-10 17:50:00',	'2018-09-10 17:50:00',	'',	'CAT 2002 FFulcheri fr',	'',	'inherit',	'open',	'closed',	'',	'cat-2002-ffulcheri-fr',	'',	'',	'2018-09-10 17:50:00',	'2018-09-10 17:50:00',	'',	1737,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/CAT-2002-FFulcheri-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1740,	3,	'2000-10-06 09:05:34',	'2000-10-06 09:05:34',	'Espace d’art contemporain Camille Lambert,\r\n\r\nJuvisy-sur-Orge\r\n\r\nSeptember 28 – October 26 2002\r\n\r\n&nbsp;\r\n\r\nIsn’t it uncomfortable to realize that the concept you have built up of a percept is markedly different from what is unanimously agreed on the subject elsewhere? We have read that beyond the paintings, Heidi Wood’s works <em>“propose desirable spaces”</em> (Frank Lamy in the catalogue <em>Quotidien Aidé (les locataires),</em> Ecole supérieure des beaux-arts de Tours, 2001); that they <em>“maliciously play with the status of art, magnifying the conditions of their presentation to make them more attractive” </em>(Fabienne Fulchéri, <em>le journal des arts</em> n° 135, 2001); that they <em>“remind us of forms that are strangely familiar”</em> (Fabienne Fulchéri again in <em>Technikart</em>, November 1999); that they are <em>“halfway between abstract painting and decorative painting”</em> (Emmanuelle Bine in <em>Oraos artmag</em>)…\r\n\r\n&nbsp;\r\n\r\nIn the catalogue of the current exhibition entitled <em>la Maison de banlieue </em>(The House in the Suburbs), Suzie Attiwell pertinently touches on the question of the relation of Heidi Wood’s work to the image. It is indeed true that the finality of some of her latest <em>Serving Suggestions </em>has been photographic. It is true that the application of colored materials beyond the polyptych paintings (paint directly on the wall, carpet or linoleum on the floor) functions like a frame of uncertain edges in the exhibition space, or a wide angle. It is true that, without any particular shiny, transparent or painterly quality Heidi Wood’s dry, mat compositions of planes, which make us forget their physicality to function indifferently as dense chromatic projections on the walls and paintings (on smooth or textured canvas), can be taken for images emitted and received ephemerally, for as long as the exhibition visit lasts, or potentially perpetuated by photography.\r\n\r\n&nbsp;\r\n\r\nClearly reactive to the spatial context of the exhibition space, these images are from elsewhere and are headed elsewhere. The speed of execution <em>in situ</em> (wall paintings, hanging of polyptychs, installation of lino, etc.) indicates that the images are just passing through. “Desirable”, “seductive”, “familiar”, these images are also so invasive and swift that they sidestep apprehension and place the spectator before a profound frustration. Even better, they become terrifying. We would not go so far as to envisage them as generators of the Freudian “disturbing strangeness”. While the forms and colors that make up Wood’s works do resonate as if they were “long known, long familiar”, the terror they can produce is not necessarily due to the process of repression. Yet spending time with them indeed generates a strong sense of “déjà-vu” which bounces around horribly in the inability to determine when, where and how. Works by Heidi Wood are dizzying because, in the protective context of the exhibition space and beyond their reassuring domestic references, they throw back at us the painful experience of the modern inability to apprehend a world that has become image.\r\n\r\n&nbsp;\r\n\r\n<strong>Alexandre Bohn</strong>\r\n\r\nArt Press n° 285\r\n\r\nDecember 2002\r\n\r\nTranslated from French',	'HEIDI WOOD, La Maison de banlieue',	'',	'publish',	'closed',	'closed',	'',	'alexandre-bohn-art-press-2002',	'',	'',	'2021-06-29 12:08:45',	'2021-06-29 12:08:45',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1740',	0,	'doc_article',	'',	0),
(1741,	3,	'2018-09-11 09:03:03',	'2018-09-11 09:03:03',	'',	'P 2002 A Bohn ang',	'',	'inherit',	'open',	'closed',	'',	'p-2002-a-bohn-ang',	'',	'',	'2018-09-11 09:03:03',	'2018-09-11 09:03:03',	'',	1740,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/P-2002-A-Bohn-ang.pdf',	0,	'attachment',	'application/pdf',	0),
(1742,	3,	'2018-09-11 09:03:59',	'2018-09-11 09:03:59',	'',	'P 2002 A Bohn fr',	'',	'inherit',	'open',	'closed',	'',	'p-2002-a-bohn-fr',	'',	'',	'2018-09-11 09:03:59',	'2018-09-11 09:03:59',	'',	1740,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/P-2002-A-Bohn-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1743,	3,	'2018-09-11 09:10:56',	'2018-09-11 09:10:56',	'<strong>Espace d’art contemporain Camille Lambert, Juvisy</strong>\r\n\r\nHeidi Wood is an artist who was born in London in 1967 and lives in Paris. She is currently exhibiting her work at the <em>Espace d’art contemporain Camille Lambert </em>in Juvisy. Her <em>Serving Suggestions</em> are literally paintings combined with suggested accompaniments. In other words, Heidi Wood does not stop at the paintings. She suggests decorative arrangements that integrate them. Her work must thus be seen on two levels: both as painted canvases that function most often in diptychs or triptychs, and as suggested environments, sometimes on the wall, spreading over the corner of a room, or even onto the floor.\r\n\r\n&nbsp;\r\n\r\nEach part of a polyptych can be described as a generally non-figurative motif on a colored background. These motifs, thus isolated, function as signs that, when brought together evoke a means of signaling, or a new type of language that is not altogether unfamiliar. These perfectly elementary motifs remind us of the many pictograms that inform our urban and mercantile environment. Furthermore, the smooth aspect of the planes of color, the contrasted contours, the precisely stabilized play on forms and counter forms, the finely-tuned proportions between positives and negatives sets up an immediate kinship with these systems of codes, reputed for their readability, such as road signs, or signs in department stores.\r\n\r\n&nbsp;\r\n\r\nThese short series of juxtaposed motifs thus form strange puzzles with uncertain and laconic meanings. This is no doubt the reason Heidi Wood gives each of her works a subtitle in the systematic form of an expression in English: a proverb supposed to be univocal, that expresses common sense in a few words but is often more complex than is widely believed.\r\n\r\n&nbsp;\r\n\r\nThe suggested decorative environment has significantly evolved since the exhibition at <em>galerie éof</em> in Paris in 2001. In displays like those in furniture stores (mostly carpeted and furnished in a <em>seventies revival</em> manner) where her paintings were perfectly at home in an ironic relation of mutual promotion, Heidi Wood’s environments have become more streamlined, more essential. The second change in her work is what she described as a “spillover” of the motif onto the wall. The vertical support to the paintings is treated in a similar manner to the paintings themselves, i.e. covered in a motif formally reminiscent of, without reproducing exactly one of the motifs in the polyptych. This contamination of the motif into its surrounds sometimes reaches the floor, which is covered in a form cut out of either carpet or linoleum.\r\n\r\n&nbsp;\r\n\r\nThus the five “installations of paintings” Heidi Wood has created for the <em>Espace d’art contemporain Camille Lambert </em>transform the space so completely that they seem to be a coherent whole. In each room the cleverly calculated plastic and esthetic relations are like those inside the polyptychs. The unity of the whole was even conceived as a housing unit, as evidenced by the choice of <em>La Maison de banlieue</em> (The House in the Suburbs) as title.\r\n\r\n&nbsp;\r\n\r\nSpectators visiting this “display home” primarily witness the artist’s exploration over many years of the relation of painting with its domestic and decorative environment. They will realize the minute they walk in the door that they are in fact penetrating the painting, are wandering in the heart of a confusing game, even though it is “disillusionist” (Heidi Wood’s paintings are the contrary to <em>trompe-l’œil</em>); a system of coordinated relations of colors, textures, lines, forms and motifs. They may enjoy imagining how the painting / architecture dialectic is still worthy today of being considered more carefully by those who design the settings of our daily lives.\r\n\r\n&nbsp;\r\n\r\nThe parallelepipedic space of the art center is thus transfigured in an approach that it would be instructive to place in the historical perspective of painted decor; that it would be useful to confront with those of the Vatican stanze, interior design of the 16<sup>th</sup> century in France, Sol Lewit’s drawing rooms or Theo van Doesburg’s audacious projects that attempted to inverse the conventional subordination of painting to architecture.\r\n\r\n&nbsp;\r\n\r\nIn other words, Heidi Wood’s five suggestions come together in a pertinent and malicious resumé of the many advantages to be found in thinking of space in the same way as in a painting.\r\n\r\n&nbsp;\r\n\r\n<strong>Philippe Coubetergues</strong>\r\n\r\nparis–art.com\r\n\r\nJune 2002\r\n\r\nTranslated from French\r\n\r\n&nbsp;',	'La maison de banlieue (The House in the Suburbs)',	'',	'publish',	'closed',	'closed',	'',	'philippe-coubetergues-paris-art-com-2002',	'',	'',	'2018-10-19 12:49:50',	'2018-10-19 12:49:50',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1743',	0,	'doc_article',	'',	0),
(1744,	3,	'2018-09-11 09:07:04',	'2018-09-11 09:07:04',	'',	'P 2002 PC Juvisy ang',	'',	'inherit',	'open',	'closed',	'',	'p-2002-pc-juvisy-ang',	'',	'',	'2018-09-11 09:07:04',	'2018-09-11 09:07:04',	'',	1743,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/P-2002-PC-Juvisy-ang.pdf',	0,	'attachment',	'application/pdf',	0),
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(1746,	3,	'2018-09-11 09:10:22',	'2018-09-11 09:10:22',	'',	'P 2002 PC Juvisy fr',	'',	'inherit',	'open',	'closed',	'',	'p-2002-pc-juvisy-fr',	'',	'',	'2018-09-11 09:10:22',	'2018-09-11 09:10:22',	'',	1743,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/P-2002-PC-Juvisy-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1747,	3,	'2018-09-11 09:15:24',	'2018-09-11 09:15:24',	'4 June — 12 July 2003\r\n\r\n&nbsp;\r\n\r\nGalerie Anne Barrault is currently showing a solo exhibition by Heidi Wood. A total of eight digital photographs are presented as the fruit of a specific study of a place. Let us remember that Heidi Wood is a painter. Her paintings contain simple forms in contrasting colors. These forms come from a vocabulary of signs that is both secret and familiar. They seem diverted from a readable register whilst retaining an unaltered signaling power. Sometimes brought together in polyptychs, the paintings, like sentences, introduce striking yet indecipherable significations. This coded information should be seen in relation to the environments that receive them. This is why Heidi Wood is exhibiting photographs this time. They are records or statements of the fleeting installations that preceded this exhibition. It will become clear that these photographs are also conceived like the paintings. The place where the paintings were hung and photographed is itself fairly improbable. It is an old amusement park called the <em>Planète Magique</em> situated in the heart of Paris in an old theater. This theme park was created in the 1980s but for safety reasons, never really operated. The decor has remained intact. Before it is transformed once again, the artist chose the site to make a series of photos of her paintings in situation.\r\n\r\n&nbsp;\r\n\r\nIt may be more accurate to speak of <em>mises en scène</em>. The artist entitles them <em>Serving Suggestions</em>. They are propositions for presenting or hanging. It is evident that these suggestions are based on formal and chromatic parallels. A given architectural curve is reflected in the outline of a shape; a particular color finds its equivalent or complementary in the painting, etc. The paintings can be made for the occasion, or partly adapted. They can also belong to the artist’s “personal collection” that exists before the project and gradually comes together as a Codex, a system of constantly reusable signs. But in truth, the calculated layout of these encounters between painting and place, the careful interactions with the decor and the impeccable hangings signals something else. Set in the square composition of the touched up photographs, these shopfront window-style ideal interiors soon reveal their artificial and derisory angle, their banal and fleeting aspect. In the end, these images stand out as decorative vanities where the reciprocal game of enhancing painting and place is the setting for a portrait of the absent user. In the slick reflection of these “seductive” photographs sandwiched under Plexiglas, it is highly likely that the visitor will recognize him/herself.\r\n\r\n&nbsp;\r\n\r\nThese photographs are paintings in two ways: because of their origin (the paintings that are presented) as well as their genesis and elaboration (each element in the image functions above all esthetically, lines, colors, textures, etc.) The visual quality of the photographs is pushed to the point where the images become almost abstract, despite a clearly figurative dimension. They are abstract in the conceptual, fabricated, artificial sense as well as in their stylistic proximity to geometric abstraction. In Heidi Wood’s painting, there is a sense of nostalgia for the utopias of space on which abstraction of the 1920s and 30s was founded.\r\n\r\n&nbsp;\r\n\r\nYet this idea of an abstraction of the decor, this “abstract ambiance” of perfectly “designed” architecture, this rigorous geometry of flat spaces and perspectives is seen from the subversive angle of Pop stylishness. Before our very eyes, the marvelous world of “Heidiland” appears, where on a magic planet the borders between painting and reality are abolished. Welcome to the pretty world of Heidi Wood in Wonderland.\r\n\r\n&nbsp;\r\n\r\n<strong>Philippe Coubetergues, June </strong>2003\r\n\r\nFor paris-art.com\r\n\r\nTranslated from French',	'HEIDI WOOD on the Magic Planet',	'',	'publish',	'closed',	'closed',	'',	'philippe-coubetergues-paris-art-com-2003',	'',	'',	'2020-06-15 10:26:54',	'2020-06-15 10:26:54',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1747',	0,	'doc_article',	'',	0),
(1748,	3,	'2018-09-11 09:13:14',	'2018-09-11 09:13:14',	'',	'P 2003 PC Planète Magique ang',	'',	'inherit',	'open',	'closed',	'',	'p-2003-pc-planete-magique-ang',	'',	'',	'2018-09-11 09:13:14',	'2018-09-11 09:13:14',	'',	1747,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/P-2003-PC-Planète-Magique-ang.pdf',	0,	'attachment',	'application/pdf',	0),
(1749,	3,	'2018-09-11 09:13:44',	'2018-09-11 09:13:44',	'',	'P 2003 PC Planète Magique fr',	'',	'inherit',	'open',	'closed',	'',	'p-2003-pc-planete-magique-fr',	'',	'',	'2018-09-11 09:13:44',	'2018-09-11 09:13:44',	'',	1747,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/P-2003-PC-Planète-Magique-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1750,	3,	'2018-09-11 09:20:32',	'2018-09-11 09:20:32',	'<em>Galerie Anne Barrault</em>\r\n\r\n<em>3 June – 12 July 2003</em>\r\n\r\n&nbsp;\r\n\r\nFor her first solo show at the Anne Barrault Gallery, Heidi Wood went to the <em>Planète Magique</em>, a long abandoned amusement park set up in the former Gaîté Lyrique Theater. After starting out as a painter, for several years now this artist has been exploring the conjunctions between art and decoration through the subtle interplay of her paintings and the environment in which they are represented in her photos. She photographs her canvases in various kinds of settings. As she likes to put it, the photos are “spin-offs” of her core project, painting.\r\n\r\n&nbsp;\r\n\r\nWood puts her canvases in places that are often stereotyped, like the displays in home decoration shows, whose clean and cold catalogue aesthetics she explicitly strives to emulate. This frozen atmosphere emphasizes the composition, whose assortment of elements with each other seem just right and go with each other perfectly, whether the canvases hung on large-motif wallpaper above the Formica furniture of a suburban middle class household of the 1970s in <em>La maison de banlieue </em>(The House in the Suburbs), or the canvases arranged into a pattern transforming the Cristal Union production facility.\r\n\r\n&nbsp;\r\n\r\nEach of these works is presented as a <em>Serving Suggestion</em>, a visual strategy that seeks to socialize her art by inserting it into a domestic habitat. Always presented in a particular environment, the <em>raison d’être</em> of these paintings (often in series of two or three) is to blend into the background and become a suitable part of a well-mannered ensemble. Wood herself plays with the apparent conformism of her painting by systematically using forms so simplified they are practically pictograms or urban signage.\r\n\r\n&nbsp;\r\n\r\nIn this new work served up in the ruins of an attraction park, the flat-colored canvases conceived to fit into this place integrate themselves into it rather than melting into it. From the color of the stairs to the wall molding, and from the no-smoking sign to the carpet, each of Wood’s geometric canvases is in formal accord with a prematurely aged 1980s decorum. This ghostly magic put together with the logical application of conventional taste results in a transformation and these disparate rooms in the end attain a certain magnificence. Wood photographs the symphony – in other words, what she shows us could be one note, one color, understood as intention and orchestration.\r\n\r\n&nbsp;\r\n\r\n<strong>Raya Baudinet</strong>\r\n\r\nTranslation, L-S Torgoff\r\n\r\n<em>art press</em> n° 292, July-August 2003, p. 78\r\n\r\n&nbsp;',	'HEIDI WOOD at the Magic Planet',	'',	'publish',	'closed',	'closed',	'',	'raya-baudinet-art-press-2003',	'',	'',	'2018-10-19 12:49:08',	'2018-10-19 12:49:08',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1750',	0,	'doc_article',	'',	0),
(1751,	3,	'2018-09-11 09:19:31',	'2018-09-11 09:19:31',	'',	'P 2003 R Baudinet art press ang',	'',	'inherit',	'open',	'closed',	'',	'p-2003-r-baudinet-art-press-ang',	'',	'',	'2018-09-11 09:19:31',	'2018-09-11 09:19:31',	'',	1750,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/P-2003-R-Baudinet-art-press-ang.pdf',	0,	'attachment',	'application/pdf',	0),
(1752,	3,	'2018-09-11 09:20:04',	'2018-09-11 09:20:04',	'',	'P 2003 R Baudinet art press fr',	'',	'inherit',	'open',	'closed',	'',	'p-2003-r-baudinet-art-press-fr',	'',	'',	'2018-09-11 09:20:04',	'2018-09-11 09:20:04',	'',	1750,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/P-2003-R-Baudinet-art-press-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1753,	3,	'2018-09-11 09:40:05',	'2018-09-11 09:40:05',	'Galerie Anne Barrault, Paris\r\n\r\nSeptember 10 - October 22 2005\r\n\r\n&nbsp;\r\n\r\nDuring a residency in Los Angeles, Heidi Wood found herself confronted with a stream of advertising images within the urban environment and industrialized entertainment characteristic of the megalopolis. Based on this experience, she continued to develop a practice grounded in an analysis of market forces applied to artworks. The exhibition at the Galerie Anne Barrault offers us a sample.\r\n\r\n&nbsp;\r\n\r\nAs far back as 2001, Heidi Wood created domestic environments into which she integrated her paintings. The image thus produced was reminiscent of contemporary furniture catalogues with the paintings presented as objects for sale. The photographic series “Los Angeles” presented at the Galerie Anne Barrault also uses this principle, but this time the environment is not artificial. The operational mode is that of insertion.\r\n\r\n&nbsp;\r\n\r\nIn the photographs of urban landscapes of the American megalopolis, Heidi Wood montages fictional paintings over billboards. The paintings pick up on the esthetic of logos that the city is saturated with, whilst introducing visual blanks due to their purely abstract nature. Inside the image of the urban landscape, the abundance of advertising messages is thus undermined on a visual level. Within the space of the artwork, the arbitrary addition to the photographs of advertising slogans taken from TV ads highlights deconstruction at another level; that of their meanings. Texts and images cohabit without dialoguing in a pure and apparently gratuitous visual space.\r\n\r\n&nbsp;\r\n\r\nThis utopia of a public space given over to art is soon swept away by the reality of the support chosen: the billboard. In line with the parasitical character of advertising, the photographs in the current exhibition are the size of a flyer. In 2004, in Los Angeles, they were even sent out as spams.\r\n\r\n&nbsp;\r\n\r\nIn this way, the artwork enters the commercial system via promotion. Yet what the images from the “Los Angeles” series are promoting is completely virtual. The paintings do not, in fact, exist, unlike those of her preceding series. From this dematerialization, however, a declension of forms develops, and this time they take on a physical existence. The virtual artwork, demoted to the status of nuisance by the promotional system, becomes object once again thanks to an interpretation borrowed from the applied arts. The exhibition becomes a showroom.\r\n\r\n&nbsp;\r\n\r\nThe fictional paintings inserted in the photographs are conjugated as wallpapers on the three walls at the back of the gallery. The visual signs thus become decorative motifs, either unique or repeated. The production of these wallpapers using A4 photocopies placed side by side, while stressing the serial nature of cheap wallpapers, takes the appropriation of industrial production methods to its logical conclusion. Using procedures borrowed from industry, Heidi Wood’s art applies itself methodically to objects produced by the commercial system.\r\n\r\n&nbsp;\r\n\r\nAnd when she hangs a series of six paintings entitled “California Dreaming”, there is no question of nostalgia or revival, in returning to what tradition holds as the noble art of painting. The stretched canvas is none other than upholstery fabric whose texture is readable under the paint. Almost redundant, the painting reproduces the logos invented by the artist, with purely decorative intent. The texts that accompany them function in the same way as those in the “Los Angeles” series, i.e. they do not dialogue with the image. Anecdotes collected by Heidi Wood during her stay in the Californian megalopolis, these brief tales serve as embellishments, as befitting decoration. Ephemeral and pleasant.\r\n\r\n&nbsp;\r\n\r\nTo complete this system of production and distribution, Heidi Wood cheerfully reveals her plan to publish a mail-order catalogue based on a sample of what is offered in this exhibition-showroom. It will soon be possible to choose a motif among those created, as well as the color and the medium (wallpaper, painting, etc.). Although she models the art world on the free market economy, she nonetheless retains a critical distance, as indicated by a megalomaniacal gesture in a small photograph at the back of the gallery. In this image, “Heidi” ironically replaces the “Holly” of the Hollywood sign. “Heidiwood” is an industrial art microsystem. The undertaking as a whole mercilessly questions the value and survival of art in the neo-Liberal era.\r\n\r\n&nbsp;\r\n\r\n<strong>Perin-Emel Yavuz, </strong>September 2005\r\n\r\nparis-art.com\r\n\r\nTranslated from French',	'HEIDI WOOD, Los Angeles',	'',	'publish',	'closed',	'closed',	'',	'perin-emel-yavuz-paris-art-com-2005',	'',	'',	'2018-10-19 12:47:55',	'2018-10-19 12:47:55',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1753',	0,	'doc_article',	'',	0),
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(1756,	3,	'2018-09-11 09:49:22',	'2018-09-11 09:49:22',	'Galerie Anne Barrault\r\n\r\n22 rue Saint Claude, F – 75003 Paris, France\r\n\r\n18 October 2008 – 20 December 2008\r\n\r\n&nbsp;\r\n\r\nLANGUAGE OF BRANDING, SYSTEM OF SIGNS\r\n\r\n&nbsp;\r\n\r\nHeidi Wood\'s work is deceptively simple. Consisting of duochrome paintings of bright colors and very clean lines, her style may look elementary: an abstracted motif set against a sharply contrasting background. The motifs appear familiar; we trick ourselves into thinking we\'ve seen them somewhere before, in an instruction manual, on a road sign or the logo of a space academy, but they rest in a space somewhere in between, vaguely reminiscent and ambiguously recognizable. It\'s oddly comforting to be surrounded by these icons, these logos for non-existent products and services, for this is the stuff we are surrounded with in a day to day setting, the steady stream of signs and symbols from the machines of marketing and consumption.\r\n\r\n&nbsp;\r\n\r\nHeidi Wood\'s work tackles the strategies and methods of marketing and branding one by one. It\'s an exhaustive investigation. Some of the most thought-provoking pieces are the diptychs in the <em>Authentic New Mexico</em> series, where Wood creates angular, reductive mascots, modeled after the Hopi Kachina dolls, set next to photographs of the Santa Fe-style architecture, imposed by law on all buildings in that area of the country, making an uneasy statement about the concept of authenticity and the overlap into branding.\r\n\r\n&nbsp;\r\n\r\nThis exhibition, <em>Use By Date</em>, her third at Galerie Anne Barrault, offers the rare chance to see a broad survey of her projects as she exhibits some of her past work. The gallery will take on the air of a showroom as works in the exhibition will rotate weekly. The artist states that every piece has a use-by date, set at five years from now. Unless they are \"spared through acquisition\" all of these works will expire in five years and be systematically destroyed. So stop in today and come often! And yes, there\'s a catalogue. We recommend you pick it up, at least to browse through it in the gallery. It gives a great overview on Heidi Wood\'s very comprehensive exploration into the motives of marketing and the creation of brand icons--not simple stuff in the least.\r\n\r\n&nbsp;\r\n\r\n<strong>Natalie Hegert, </strong>19/10/08\r\n\r\nArtslant.com\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>USE-BY DATE, INTERVIEW</strong>\r\n\r\n&nbsp;\r\n\r\n<strong>Nathalie Hegert</strong>: So you were born in London, spent quite a lot of time in Australia, what brings you to Paris and how long have you lived here?\r\n\r\n&nbsp;\r\n\r\n<strong>Heidi Wood</strong>: I’m Australian but I also have a British passport. I wanted to live somewhere in Europe and learn a language. After I graduated from a Melbourne art school, I visited a few capitals and chose Paris. I’ve been here for 19 years. You have to love a country where they make apprentice plumbers do philosophy classes.\r\n\r\n&nbsp;\r\n\r\n<strong>NH</strong>: Your current exhibition at Galerie Anne Barrault changes every week, like an interior decorator\'s showroom. Today you have some lovely antique wallpaper on one side of the room, a setting for your art work.  What is the relationship between your art and the context, the environment in which it is set?\r\n\r\n&nbsp;\r\n\r\n<strong>HW</strong>: The starting point is my vocabulary of signs or pictograms. I see the forms I create as bi-products of a generic, omnipresent modernist language. We have seen the forms before but can’t quite place where. They compete with logos and signage in a world saturated with signs. They can no longer hope to spark a transcendental experience or provoke a Bolshevik revolution, as artists intended at the outset of abstraction. We expect them to carry a commercial message or an instruction. I want to place this language in a contemporary context, both culturally and economically. I want to take back the visual impact that advertising and communication have fine-tuned. In 2001, I started making my own marketing materials for my abstract paintings. These were slick, mail-order catalogue style photographs of my paintings in domestic settings. The photographs then became artworks in their own right. The relationship, or exchange of brand image, between appealing settings and the pictograms I create for those settings has been at the heart of my work ever since. I’m all about giving consumers what they want. The weekly turnover of serving suggestions for my paintings and photographs at the show at Galerie Anne Barrault reflects the art market’s hunger for novelty.\r\n\r\n&nbsp;\r\n\r\n<strong>NH</strong>: How do you conceptualize and create the shapes of your abstracted motifs?  How does color come into play, and how do you achieve the texture on the canvas?\r\n\r\n&nbsp;\r\n\r\n<strong>HW</strong>: I create signs for a specific context. This context can be an interior or an urban environment. I see each new vocabulary of signs as the elaboration of visual identity for a given place. I start off collecting data by drawing. Then I break it down into pictograms. I make collages and scan them. In this form, I can manipulate them on the computer, inserting them into settings through photomontage or simulating diptychs or triptychs that can be made to order. When I make a digital proposal into a painting for a specific project or a commission, I use upholstery fabric, which creates a texture on the painting’s surface.\r\n\r\n&nbsp;\r\n\r\n<strong>NH</strong>: What connections do you find between domesticity and abstract painting?\r\n\r\n&nbsp;\r\n\r\n<strong>HW</strong>: I’m interested in the dialogue that has always existed between applied arts and abstract painting. My use of upholstery fabric is a reference to the “domestication” of abstraction, which was almost instantly recycled into patterns for furnishings. I like the double status of paintings as both elements of a cultural dialogue within a museum or gallery context and as decorative additions to an interior that are often chosen because they match the curtains.\r\n\r\n&nbsp;\r\n\r\n<strong>NH</strong>: Your work is an investigation into the methods and tactics of advertising and commercialism; is it in the spirit of play or critique that you appropriate these methods?\r\n\r\n&nbsp;\r\n\r\n<strong>HW</strong>: Initially, I appropriated advertising strategies. Now I have promoted myself from Marketing Manager to CEO. I run my artistic practice like a business. I manage my product from the design phase to distribution. Streamlining production to maximize return has led me to abandon the everyday practice of painting. Now I create digital proposals that are materialized as paintings, photographs, wall paintings or wallpapers when funding is secured. From now on, any paintings I make that are not sold within 5 years will be destroyed. The digital file will go back into a catalogue of dead works to be revived, possibly in a different form, for other projects or needs. Is this a critique of contemporary life? I’m grappling with the world I live in. Mercifully, nobody’s asking contemporary artists to herald a new utopia or give helpful hints on transforming society. At best, I’m holding up a mirror to the art market.\r\n\r\n&nbsp;\r\n\r\n<strong>NH</strong>: Have you ever been commissioned to create an actual logo for a company? Is that something you\'d be interested in?\r\n\r\n&nbsp;\r\n\r\n<strong>HW</strong>: No, I need layers of meaning in my work. When I create a sign or logo, that logo is the product. Making a logo for someone else’s product is not my job.\r\n\r\n&nbsp;\r\n\r\n<strong>NH</strong>: In the Authentic New Mexico series, you created Kachina dolls, set next to photographs of the local vernacular architecture, both symbols of Santa Fe and driving sources of that area\'s tourist economy. Do you plan any other investigations into place and identity like in Santa Fe?\r\n\r\n&nbsp;\r\n\r\n<strong>HW</strong>: I’m currently working on a series called Mount Isa, based on photos I took and anecdotes I wrote during a stay at a mining town in the north of Queensland, Australia. I have two residencies planned for 2009: in Meymac, a village in the center of France, and Bremen in Germany. I am definitely interested in the promotion strategies used in tourism at the moment. It will be interesting to apply that to destinations that are not tourist draw cards.\r\n\r\n&nbsp;\r\n\r\n<strong>NH</strong>: What\'s next for Heidi Wood Enterprises?\r\n\r\n&nbsp;\r\n\r\n<strong>HW</strong>: Over the next two years, I’ll be gathering material for a new publication devoted to my wall paintings. I’ll present both the digital simulations and documentation of the work in various exhibitions. I plan to emerge from the global recession with a whole catalogue of proposals ready to go.\r\n\r\n&nbsp;\r\n\r\n<strong>Artslant.com</strong>\r\n\r\nOctober 2008',	'HEIDI WOOD, Use-by Date',	'',	'publish',	'closed',	'closed',	'',	'nathalie-hegert-artslant-com-2008',	'',	'',	'2018-10-19 12:41:18',	'2018-10-19 12:41:18',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1756',	0,	'doc_article',	'',	0),
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(1762,	3,	'2018-10-17 11:54:55',	'2018-10-17 11:54:55',	'Galerie Anne Barrault\n\n22 rue Saint Claude, F – 75003 Paris, France\n\n18 October 2008 – 20 December 2008\n\n&nbsp;\n\nLANGUAGE OF BRANDING, SYSTEM OF SIGNS\n\n&nbsp;\n\nHeidi Wood\'s work is deceptively simple. Consisting of duochrome paintings of bright colors and very clean lines, her style may look elementary: an abstracted motif set against a sharply contrasting background. The motifs appear familiar; we trick ourselves into thinking we\'ve seen them somewhere before, in an instruction manual, on a road sign or the logo of a space academy, but they rest in a space somewhere in between, vaguely reminiscent and ambiguously recognizable. It\'s oddly comforting to be surrounded by these icons, these logos for non-existent products and services, for this is the stuff we are surrounded with in a day to day setting, the steady stream of signs and symbols from the machines of marketing and consumption.\n\n&nbsp;\n\nHeidi Wood\'s work tackles the strategies and methods of marketing and branding one by one. It\'s an exhaustive investigation. Some of the most thought-provoking pieces are the diptychs in the <em>Authentic New Mexico</em> series, where Wood creates angular, reductive mascots, modeled after the Hopi Kachina dolls, set next to photographs of the Santa Fe-style architecture, imposed by law on all buildings in that area of the country, making an uneasy statement about the concept of authenticity and the overlap into branding.\n\n&nbsp;\n\nThis exhibition, <em>Use By Date</em>, her third at Galerie Anne Barrault, offers the rare chance to see a broad survey of her projects as she exhibits some of her past work. The gallery will take on the air of a showroom as works in the exhibition will rotate weekly. The artist states that every piece has a use-by date, set at five years from now. Unless they are \"spared through acquisition\" all of these works will expire in five years and be systematically destroyed. So stop in today and come often! And yes, there\'s a catalogue. We recommend you pick it up, at least to browse through it in the gallery. It gives a great overview on Heidi Wood\'s very comprehensive exploration into the motives of marketing and the creation of brand icons--not simple stuff in the least.\n\n&nbsp;\n\n<strong>Natalie Hegert, </strong>19/10/08\n\nArtslant.com\n\n&nbsp;\n\n<strong>USE-BY DATE, INTERVIEW</strong>\n\n&nbsp;\n\n<strong>Nathalie Hegert</strong>: So you were born in London, spent quite a lot of time in Australia, what brings you to Paris and how long have you lived here?\n\n&nbsp;\n\n<strong>Heidi Wood</strong>: I’m Australian but I also have a British passport. I wanted to live somewhere in Europe and learn a language. After I graduated from a Melbourne art school, I visited a few capitals and chose Paris. I’ve been here for 19 years. You have to love a country where they make apprentice plumbers do philosophy classes.\n\n&nbsp;\n\n<strong>NH</strong>: Your current exhibition at Galerie Anne Barrault changes every week, like an interior decorator\'s showroom. Today you have some lovely antique wallpaper on one side of the room, a setting for your art work.  What is the relationship between your art and the context, the environment in which it is set?\n\n&nbsp;\n\n<strong>HW</strong>: The starting point is my vocabulary of signs or pictograms. I see the forms I create as bi-products of a generic, omnipresent modernist language. We have seen the forms before but can’t quite place where. They compete with logos and signage in a world saturated with signs. They can no longer hope to spark a transcendental experience or provoke a Bolshevik revolution, as artists intended at the outset of abstraction. We expect them to carry a commercial message or an instruction. I want to place this language in a contemporary context, both culturally and economically. I want to take back the visual impact that advertising and communication have fine-tuned. In 2001, I started making my own marketing materials for my abstract paintings. These were slick, mail-order catalogue style photographs of my paintings in domestic settings. The photographs then became artworks in their own right. The relationship, or exchange of brand image, between appealing settings and the pictograms I create for those settings has been at the heart of my work ever since. I’m all about giving consumers what they want. The weekly turnover of serving suggestions for my paintings and photographs at the show at Galerie Anne Barrault reflects the art market’s hunger for novelty.\n\n&nbsp;\n\n<strong>NH</strong>: How do you conceptualize and create the shapes of your abstracted motifs?  How does color come into play, and how do you achieve the texture on the canvas?\n\n&nbsp;\n\n<strong>HW</strong>: I create signs for a specific context. This context can be an interior or an urban environment. I see each new vocabulary of signs as the elaboration of visual identity for a given place. I start off collecting data by drawing. Then I break it down into pictograms. I make collages and scan them. In this form, I can manipulate them on the computer, inserting them into settings through photomontage or simulating diptychs or triptychs that can be made to order. When I make a digital proposal into a painting for a specific project or a commission, I use upholstery fabric, which creates a texture on the painting’s surface.\n\n&nbsp;\n\n<strong>NH</strong>: What connections do you find between domesticity and abstract painting?\n\n&nbsp;\n\n<strong>HW</strong>: I’m interested in the dialogue that has always existed between applied arts and abstract painting. My use of upholstery fabric is a reference to the “domestication” of abstraction, which was almost instantly recycled into patterns for furnishings. I like the double status of paintings as both elements of a cultural dialogue within a museum or gallery context and as decorative additions to an interior that are often chosen because they match the curtains.\n\n&nbsp;\n\n<strong>NH</strong>: Your work is an investigation into the methods and tactics of advertising and commercialism; is it in the spirit of play or critique that you appropriate these methods?\n\n&nbsp;\n\n<strong>HW</strong>: Initially, I appropriated advertising strategies. Now I have promoted myself from Marketing Manager to CEO. I run my artistic practice like a business. I manage my product from the design phase to distribution. Streamlining production to maximize return has led me to abandon the everyday practice of painting. Now I create digital proposals that are materialized as paintings, photographs, wall paintings or wallpapers when funding is secured. From now on, any paintings I make that are not sold within 5 years will be destroyed. The digital file will go back into a catalogue of dead works to be revived, possibly in a different form, for other projects or needs. Is this a critique of contemporary life? I’m grappling with the world I live in. Mercifully, nobody’s asking contemporary artists to herald a new utopia or give helpful hints on transforming society. At best, I’m holding up a mirror to the art market.\n\n&nbsp;\n\n<strong>NH</strong>: Have you ever been commissioned to create an actual logo for a company? Is that something you\'d be interested in?\n\n&nbsp;\n\n<strong>HW</strong>: No, I need layers of meaning in my work. When I create a sign or logo, that logo is the product. Making a logo for someone else’s product is not my job.\n\n&nbsp;\n\n<strong>NH</strong>: In the Authentic New Mexico series, you created Kachina dolls, set next to photographs of the local vernacular architecture, both symbols of Santa Fe and driving sources of that area\'s tourist economy. Do you plan any other investigations into place and identity like in Santa Fe?\n\n&nbsp;\n\n<strong>HW</strong>: I’m currently working on a series called Mount Isa, based on photos I took and anecdotes I wrote during a stay at a mining town in the north of Queensland, Australia. I have two residencies planned for 2009: in Meymac, a village in the center of France, and Bremen in Germany. I am definitely interested in the promotion strategies used in tourism at the moment. It will be interesting to apply that to destinations that are not tourist draw cards.\n\n&nbsp;\n\n<strong>NH</strong>: What\'s next for Heidi Wood Enterprises?\n\n&nbsp;\n\n<strong>HW</strong>: Over the next two years, I’ll be gathering material for a new publication devoted to my wall paintings. I’ll present both the digital simulations and documentation of the work in various exhibitions. I plan to emerge from the global recession with a whole catalogue of proposals ready to go.\n\n&nbsp;\n\n<strong>Artslant.com</strong>\n\nOctober 2008',	'HEIDI WOOD, Use-by Date',	'',	'inherit',	'closed',	'closed',	'',	'1756-autosave-v1',	'',	'',	'2018-10-17 11:54:55',	'2018-10-17 11:54:55',	'',	1756,	'http://s653906673.onlinehome.fr/1756-autosave-v1/',	0,	'revision',	'',	0),
(1763,	3,	'2018-09-11 10:00:21',	'2018-09-11 10:00:21',	'GALERIE ANNE BARRAULT\r\n\r\n22, rue Saint Claude, Paris\r\n\r\nOctober 18 – December 20 2008\r\n\r\n&nbsp;\r\n\r\nHeidi Wood embraces the visual efficiency of abstract geometric painting through a strategic application of shapes and colors. By rotating a selection of her new and recent paintings and photographs during each week of this exhibition’s nine-week run, Wood insists nothing is final in her practice. The general palette of these works is derived from the women’s autumn/winter 2008 collections featured at Galleries Lafayette, one of Paris’s premier department stores. Wood also gathers the eerily familiar yet enigmatic shapes in her paintings from popular iconography – street signs, souvenirs, billboards and institutional architecture. In her 2007 series of photographs and illustrations “Authentic New Mexico,” she unravels the myth-making potentials of image and design. Documenting several “faux-dobe” neighborhoods and businesses, including a McDonald’s, she highlights the construction of cultural identity and its systematic distribution. In <em>Authentic New Mexico 1</em>, for example, Wood juxtaposes a photograph of a teepee-shaped drive-through with her rendition of a kachina doll, the popularized Hopi totem.\r\n\r\n&nbsp;\r\n\r\nIn turning the gallery into an evolving showroom and allowing her works to “freeze” only when acquired by a collector or museum, Wood demonstrates her estimation of the art market. While her paintings are unique, they are available for customization according to patron’s specifications. Likewise, Wood treats her painted canvases – often made on upholstery fabric – like disposable products. As stated in the title of the show, “use-by date,” these works have a shelf life: five years. After this period, if Wood has not sold a painting, she will destroy it – enacting perhaps the sharpest assessment of trade in visual currency.\r\n\r\n&nbsp;\r\n\r\n<strong>Lillian Davies,</strong> December 2008<strong>\r\n</strong>\r\n\r\nCritics’ Picks\r\n\r\nArtforum.com',	'HEIDI WOOD, Use-by Date',	'',	'publish',	'closed',	'closed',	'',	'lillian-davies-artforum-com-2008',	'',	'',	'2018-10-19 12:40:40',	'2018-10-19 12:40:40',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1763',	0,	'doc_article',	'',	0),
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(1766,	3,	'2018-09-11 10:05:04',	'2018-09-11 10:05:04',	'Galerie Anne Barrault, Paris\r\n\r\nOctober 18 – December 20 2008\r\n\r\n&nbsp;\r\n\r\n<strong>In the Heidi Wood case, the suspect is the painting.</strong>\r\n\r\nThe fact is that there is something suspicious today about abstract painting. Form, background, color, line, format and its frontal nature. We have come to the end of the road. These days, any new variation is no more than a quote. It already belongs in the public domain. Geometric abstraction has indeed become a universal language. Everyone reads it as a sign. Everyone recognizes its potential power as a logo, its ability to encapsulate a message and give the impression of a cryptic announcement. In an unexpected twist, abstract painting refers back to the very domains that appropriated it for the purpose of signage and, more generally, communication.\r\n\r\n&nbsp;\r\n\r\nOn the scale of the painting unit, Heidi Wood’s work already strives to describe this phenomenon by playing with the shifting meanings of the motif painted on a monochrome background. The obviously spare composition, its extreme simplicity, its uncluttered readability give it an air of <em>déja-vu</em> that immediately introduces a sense of doubt or suspicion about the real status of the object that we are unable to situate precisely between abstract painting and road sign. During this initial phase of work, she sets the tone. Make no mistake, appearances work against the artwork here, utterly against it. The means of presentation adopted confirm the painting in its role as suspect. They deliberately resemble promotion strategies, reinforcing a sense of corruption. We must thus recognize them on a second level as simulations of an ideal, efficient serving suggestions and appealing presentation styles.\r\n\r\n&nbsp;\r\n\r\nFor her third exhibition with Anne Barrault, the artist, faithful to her mimetic approach, is putting on a sort of evolving showroom, like that of a small business wishing to familiarize its clientele with a wide range of services. From this perspective and in a subtle game of recycling and self-quotation, she associates completely new formulae with works appreciated in the past and updated here for the occasion. The demands of the public, always on the lookout for something new, will be more than satisfied by a weekly turnover throughout the exhibition. Between tradition and innovation (alias Heidi Wood’s fiction), the art polishes its brand image.\r\n\r\n&nbsp;\r\n\r\nAnd the image as a promise of an ideal is indeed Heidi Wood’s stock and trade. The motif set in a given environment becomes image. The context generates and justifies the motif and vice versa. The artwork reveals itself in this occasional and specific interdependence. This is precisely what fascinates the artist, who has no illusions about the autonomy of the painting and even less about its timelessness. From now on, she will grant it a life expectancy of five years (when it reaches its use-by date, each painting will be destroyed unless it is spared through acquisition). Henceforth, all the material aspects of the artwork will be only simulations. And it is only in these terms that Heidi Wood plays with marketing strategies for them.\r\n\r\n&nbsp;\r\n\r\n<strong>Philippe Coubetergues</strong>\r\n\r\nSeptember 2008\r\n\r\nTranslated from French',	'HEIDI WOOD, Date limite de consommation (Use-by Date)',	'',	'publish',	'closed',	'closed',	'',	'philippe-coubetergues-press-release-2008',	'',	'',	'2018-10-19 12:40:20',	'2018-10-19 12:40:20',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1766',	0,	'doc_article',	'',	0),
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(1769,	3,	'2018-09-11 10:08:45',	'2018-09-11 10:08:45',	'Image/Imatge (Orthez)\r\n\r\nEcole supérieure des arts et de la communication (Pau)\r\n\r\nJanuary 16 – March 7 2009\r\n\r\n&nbsp;\r\n\r\nHeidi Wood questions the dividing up of the world imposed by communication codes. The ensuing fragmentation seeks to examine and explain the message, without ever running the risk of scheming, faltering or even provoking vertigo. For this artist, questioning means revealing greater complexity, varying the angles of approach, activating a slippery, disturbing, yet fertile acuteness and thus expanding the scope of a range of practices and a vocabulary of forms from the urban environment, including signage and a certain coding of modernism, somewhere between common usage and unexpected shifts.\r\n\r\n&nbsp;\r\n\r\nIn Orthez, the exhibition focuses on Mount Isa, a rich mining town in the northwest of the state of Queensland in Australia. The town is characterized by a vast, featureless urban sprawl that has developed around a prosperous industry. Heidi Wood associates each of her photographs of a banal, abrupt house, “between ultramarine sky and red ochre ground” with a collage made of home decorator adhesive that describes the rudimentary, sharp silhouette of mining buildings; she presents these duos in a wall painting inspired by this particular functional geometry. The pairing of images is done efficiently. It skillfully underlines their difference all the better to accentuate the peculiarity of their coexistence. To apprehend them in their full antinomy and the violence of their proximity, the juxtaposition shows both the combinations offered by the ambiguity and the possibilities of an alternative in a successive and discontinuous manifestation of lightness and heaviness, rigor and drifting, brutal obviousness and conciliatory atmospheric phenomena.\r\n\r\n&nbsp;\r\n\r\nIn Pau, Heidi Wood explores the visual identity of architects Beckmann and N’Thépé to extract three abstract forms presented in three colors in a large-scale wall painting. The extreme desire for hard edges and clarity leads to a sort of turnaround, with a vigorous indetermination that opens onto a positive game of loss and reconstruction, anchoring and instability.\r\n\r\n&nbsp;\r\n\r\nHeidi Wood seems constantly motivated by a need for confrontations and articulations between figuration and abstraction, fragments of reality and principles of representation, signage requirements and decorative recurrence, and by a need to actively adjust to produce a coherent plurality of images that refer to and mutually stimulate one another. They combine, without converging, in a single energy.\r\n\r\n&nbsp;\r\n\r\n<strong>Didier Arnaudet</strong>\r\n\r\n<strong>Art Press</strong> n° 355, April 2009\r\n\r\nIn Galerie Anne Barrault, in Paris, from October 18 to December 20, Heidi Wood presented an exhibition with a weekly turnover of installations.\r\n\r\n&nbsp;',	'HEIDI WOOD',	'',	'publish',	'closed',	'closed',	'',	'didier-arnaudet-art-press-2009',	'',	'',	'2018-10-19 12:39:26',	'2018-10-19 12:39:26',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1769',	0,	'doc_article',	'',	0),
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(1772,	3,	'2018-09-11 10:14:20',	'2018-09-11 10:14:20',	'Residency program (March – April 2009) and exhibition (April 18 – June 15 2009)\r\n\r\nContemporary Art Center, Abbaye Saint André, Meymac\r\n\r\n&nbsp;\r\n\r\nIn the service provided by Heidi Wood, the painting, set in a given environment, functions as an <em>image</em>. By insisting precisely on this <em>image</em> effect, the symbolic crystallization of an ideal occurs; the extreme enhancement of volatile appearances confers on the Heidi Wood suggestion the precariousness and evocative power of her intention in that it obliterates all trace of painting.\r\n\r\n&nbsp;\r\n\r\nThe context generates and justifies the motif (alias the painting) and vice versa. The artwork reveals itself in this intermittent and specific inter-dependency. This is precisely what interests the artist, who has no illusions about the autonomy of the painted object, and even less concerning the timelessness of the context. As a result, in the case of a painting shown, she is interested only in the impact of its presentation. In painting, she focuses on the signal, rather than the sign.\r\n\r\n&nbsp;\r\n\r\nHeidi Wood works as a service provider in a wide range of contexts: industrial, urban, domestic, commercial, etc. She takes on the job of making images under contract and for her brand name. In her undertaking, the painting’s value is only that of a motif. As an object, it submits to the rules of usage required to meet the quality standards of the service she provides. Its life expectancy is limited. Unless it is spared by acquisition, it remains valid for five years. The artwork’s material aspects are only intermittent simulations. The motif, however, is stored in memory and can be reactivated at any time.\r\n\r\n&nbsp;\r\n\r\nIn light of the above, during her residency at the Meymac abbey she has programmed a pyre for twenty-one of her paintings from 2002 and 2003. They have all featured in specific projects (<em>Cristal Union</em> in 2002, <em>Planète magique</em> in 2003, etc.). Far from any desire to provoke or generate controversy, this act is a fulfillment. Like a business run on the principle of just-in-time delivery, the artist manages her stocks by disposing of those that have not been sold. But the act acquires symbolic value, so the performance modalities are thought through in great detail, much like her installations. In the current context of overproduction that seems necessary to the fragile balance of economies, this iconoclastic gesture should be seen in its true light as a signal.\r\n\r\n&nbsp;\r\n\r\n<strong>Philippe Coubetergues</strong>, March 2009\r\n\r\nTranslated from French\r\n\r\n&nbsp;\r\n\r\n<strong>Postscript</strong>\r\n\r\nFaced with the difficulties of organizing this “pyre” and the realization that the paintings contain polyester and lead, so they risk giving off a toxic cloud if burnt, the paintings will be destroyed at the end of the exhibition in a less spectacular manner.',	'HEIDI WOOD, The Meymac Pyre or Just-in-time Delivery',	'',	'publish',	'closed',	'closed',	'',	'heidi-wood-the-meymac-pyre-or-just-in-time-delivery',	'',	'',	'2018-10-19 12:38:42',	'2018-10-19 12:38:42',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1772',	0,	'doc_article',	'',	0),
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(1775,	3,	'2018-09-11 10:25:20',	'2018-09-11 10:25:20',	'Espace d’art contemporain Camille Lambert,\n\nJuvisy-sur-Orge\n\nSeptember 28 – October 26 2002\n\n&nbsp;\n\nIsn’t it uncomfortable to realize that the concept you have built up of a percept is markedly different from what is unanimously agreed on the subject elsewhere? We have read that beyond the paintings, Heidi Wood’s works <em>“propose desirable spaces”</em> (Frank Lamy in the catalogue <em>Quotidien Aidé (les locataires),</em> Ecole supérieure des beaux-arts de Tours, 2001); that they <em>“maliciously play with the status of art, magnifying the conditions of their presentation to make them more attractive” </em>(Fabienne Fulchéri, <em>le journal des arts</em> n° 135, 2001); that they <em>“remind us of forms that are strangely familiar”</em> (Fabienne Fulchéri again in <em>Technikart</em>, November 1999); that they are <em>“halfway between abstract painting and decorative painting”</em> (Emmanuelle Bine in <em>Oraos artmag</em>)…\n\nIn the catalogue of the current exhibition entitled <em>la Maison de banlieue </em>(The House in the Suburbs), Suzie Attiwell pertinently touches on the question of the relation of Heidi Wood’s work to the image. It is indeed true that the finality of some of her latest <em>Serving Suggestions </em>has been photographic. It is true that the application of colored materials beyond the polyptych paintings (paint directly on the wall, carpet or linoleum on the floor) functions like a frame of uncertain edges in the exhibition space, or a wide angle. It is true that, without any particular shiny, transparent or painterly quality Heidi Wood’s dry, mat compositions of planes, which make us forget their physicality to function indifferently as dense chromatic projections on the walls and paintings (on smooth or textured canvas), can be taken for images emitted and received ephemerally, for as long as the exhibition visit lasts, or potentially perpetuated by photography.\n\nClearly reactive to the spatial context of the exhibition space, these images are from elsewhere and are headed elsewhere. The speed of execution <em>in situ</em> (wall paintings, hanging of polyptychs, installation of lino, etc.) indicates that the images are just passing through. “Desirable”, “seductive”, “familiar”, these images are also so invasive and swift that they sidestep apprehension and place the spectator before a profound frustration. Even better, they become terrifying. We would not go so far as to envisage them as generators of the Freudian “disturbing strangeness”. While the forms and colors that make up Wood’s works do resonate as if they were “long known, long familiar”, the terror they can produce is not necessarily due to the process of repression. Yet spending time with them indeed generates a strong sense of “déjà-vu” which bounces around horribly in the inability to determine when, where and how. Works by Heidi Wood are dizzying because, in the protective context of the exhibition space and beyond their reassuring domestic references, they throw back at us the painful experience of the modern inability to apprehend a world that has become image.\n\n<strong>Alexandre Bohn</strong>\n\nArt Press n° 285\n\nDecember 2002\n\nTranslated from French',	'HEIDI WOOD, La Maison de banlieue',	'',	'inherit',	'closed',	'closed',	'',	'1740-autosave-v1',	'',	'',	'2018-09-11 10:25:20',	'2018-09-11 10:25:20',	'',	1740,	'http://s653906673.onlinehome.fr/1740-autosave-v1/',	0,	'revision',	'',	0),
(1776,	3,	'2018-10-17 12:00:27',	'2018-10-17 12:00:27',	'<strong>Espace d’art contemporain Camille Lambert, Juvisy</strong>\n\nHeidi Wood is an artist who was born in London in 1967 and lives in Paris. She is currently exhibiting her work at the <em>Espace d’art contemporain Camille Lambert </em>in Juvisy. Her <em>Serving Suggestions</em> are literally paintings combined with suggested accompaniments. In other words, Heidi Wood does not stop at the paintings. She suggests decorative arrangements that integrate them. Her work must thus be seen on two levels: both as painted canvases that function most often in diptychs or triptychs, and as suggested environments, sometimes on the wall, spreading over the corner of a room, or even onto the floor.\n\n&nbsp;\n\nEach part of a polyptych can be described as a generally non-figurative motif on a colored background. These motifs, thus isolated, function as signs that, when brought together evoke a means of signaling, or a new type of language that is not altogether unfamiliar. These perfectly elementary motifs remind us of the many pictograms that inform our urban and mercantile environment. Furthermore, the smooth aspect of the planes of color, the contrasted contours, the precisely stabilized play on forms and counter forms, the finely-tuned proportions between positives and negatives sets up an immediate kinship with these systems of codes, reputed for their readability, such as road signs, or signs in department stores.\n\n&nbsp;\n\nThese short series of juxtaposed motifs thus form strange puzzles with uncertain and laconic meanings. This is no doubt the reason Heidi Wood gives each of her works a subtitle in the systematic form of an expression in English: a proverb supposed to be univocal, that expresses common sense in a few words but is often more complex than is widely believed.\n\n&nbsp;\n\nThe suggested decorative environment has significantly evolved since the exhibition at <em>galerie éof</em> in Paris in 2001. In displays like those in furniture stores (mostly carpeted and furnished in a <em>seventies revival</em> manner) where her paintings were perfectly at home in an ironic relation of mutual promotion, Heidi Wood’s environments have become more streamlined, more essential. The second change in her work is what she described as a “spillover” of the motif onto the wall. The vertical support to the paintings is treated in a similar manner to the paintings themselves, i.e. covered in a motif formally reminiscent of, without reproducing exactly one of the motifs in the polyptych. This contamination of the motif into its surrounds sometimes reaches the floor, which is covered in a form cut out of either carpet or linoleum.\n\n&nbsp;\n\nThus the five “installations of paintings” Heidi Wood has created for the <em>Espace d’art contemporain Camille Lambert </em>transform the space so completely that they seem to be a coherent whole. In each room the cleverly calculated plastic and esthetic relations are like those inside the polyptychs. The unity of the whole was even conceived as a housing unit, as evidenced by the choice of <em>La Maison de banlieue</em> (The House in the Suburbs) as title.\n\n&nbsp;\n\nSpectators visiting this “display home” primarily witness the artist’s exploration over many years of the relation of painting with its domestic and decorative environment. They will realize the minute they walk in the door that they are in fact penetrating the painting, are wandering in the heart of a confusing game, even though it is “disillusionist” (Heidi Wood’s paintings are the contrary to <em>trompe-l’œil</em>); a system of coordinated relations of colors, textures, lines, forms and motifs. They may enjoy imagining how the painting / architecture dialectic is still worthy today of being considered more carefully by those who design the settings of our daily lives.\n\n&nbsp;\n\nThe parallelepipedic space of the art center is thus transfigured in an approach that it would be instructive to place in the historical perspective of painted decor; that it would be useful to confront with those of the Vatican stanze, interior design of the 16<sup>th</sup> century in France, Sol Lewit’s drawing rooms or Theo van Doesburg’s audacious projects that attempted to inverse the conventional subordination of painting to architecture.\n\n&nbsp;\n\nIn other words, Heidi Wood’s five suggestions come together in a pertinent and malicious resumé of the many advantages to be found in thinking of space in the same way as in a painting.\n\n&nbsp;\n\n<strong>Philippe Coubetergues</strong>\n\nparis–art.com\n\nJune 2002\n\nTranslated from French\n\n&nbsp;',	'La maison de banlieue (The House in the Suburbs)',	'',	'inherit',	'closed',	'closed',	'',	'1743-autosave-v1',	'',	'',	'2018-10-17 12:00:27',	'2018-10-17 12:00:27',	'',	1743,	'http://s653906673.onlinehome.fr/1743-autosave-v1/',	0,	'revision',	'',	0),
(1777,	3,	'2018-09-11 10:29:48',	'2018-09-11 10:29:48',	'4 June — 12 July 2003\n\n&nbsp;\n\nGalerie Anne Barrault is currently showing a solo exhibition by Heidi Wood. A total of eight digital photographs are presented as the fruit of a specific study of a place. Let us remember that Heidi Wood is a painter. Her paintings contain simple forms in contrasting colors. These forms come from a vocabulary of signs that is both secret and familiar. They seem diverted from a readable register whilst retaining an unaltered signaling power. Sometimes brought together in polyptychs, the paintings, like sentences, introduce striking yet indecipherable significations. This coded information should be seen in relation to the environments that receive them. This is why Heidi Wood is exhibiting photographs this time. They are records or statements of the fleeting installations that preceded this exhibition. It will become clear that these photographs are also conceived like the paintings. The place where the paintings were hung and photographed is itself fairly improbable. It is an old amusement park called the <em>Planète Magique</em> situated in the heart of Paris in an old theater. This theme park was created in the 1980s but for safety reasons, never really operated. The decor has remained intact. Before it is transformed once again, the artist chose the site to make a series of photos of her paintings in situation.\n\nIt may be more accurate to speak of <em>mises en scène</em>. The artist entitles them <em>Serving Suggestions</em>. They are propositions for presenting or hanging. It is evident that these suggestions are based on formal and chromatic parallels. A given architectural curve is reflected in the outline of a shape; a particular color finds its equivalent or complementary in the painting, etc. The paintings can be made for the occasion, or partly adapted. They can also belong to the artist’s “personal collection” that exists before the project and gradually comes together as a Codex, a system of constantly reusable signs. But in truth, the calculated layout of these encounters between painting and place, the careful interactions with the decor and the impeccable hangings signals something else. Set in the square composition of the touched up photographs, these shopfront window-style ideal interiors soon reveal their artificial and derisory angle, their banal and fleeting aspect. In the end, these images stand out as decorative vanities where the reciprocal game of enhancing painting and place is the setting for a portrait of the absent user. In the slick reflection of these “seductive” photographs sandwiched under Plexiglas, it is highly likely that the visitor will recognize him/herself.\n\nThese photographs are paintings in two ways: because of their origin (the paintings that are presented) as well as their genesis and elaboration (each element in the image functions above all esthetically, lines, colors, textures, etc.) The visual quality of the photographs is pushed to the point where the images become almost abstract, despite a clearly figurative dimension. They are abstract in the conceptual, fabricated, artificial sense as well as in their stylistic proximity to geometric abstraction. In Heidi Wood’s painting, there is a sense of nostalgia for the utopias of space on which abstraction of the 1920s and 30s was founded.\n\nYet this idea of an abstraction of the decor, this “abstract ambiance” of perfectly “designed” architecture, this rigorous geometry of flat spaces and perspectives is seen from the subversive angle of Pop stylishness. Before our very eyes, the marvelous world of “Heidiland” appears, where on a magic planet the borders between painting and reality are abolished. Welcome to the pretty world of Heidi Wood in Wonderland.\n\n&nbsp;\n\n<strong>Philippe Coubetergues, June </strong>2003\n\nFor paris-art.com\n\nTranslated from French',	'Heidi Wood at the Planète Magique',	'',	'inherit',	'closed',	'closed',	'',	'1747-autosave-v1',	'',	'',	'2018-09-11 10:29:48',	'2018-09-11 10:29:48',	'',	1747,	'http://s653906673.onlinehome.fr/1747-autosave-v1/',	0,	'revision',	'',	0),
(1778,	3,	'2018-09-11 10:31:05',	'2018-09-11 10:31:05',	'<em>Galerie Anne Barrault</em>\n\n<em>3 June – 12 July 2003</em>\n\n&nbsp;\n\nFor her first solo show at the Anne Barrault Gallery, Heidi Wood went to the <em>Planète Magique</em>, a long abandoned amusement park set up in the former Gaîté Lyrique Theater. After starting out as a painter, for several years now this artist has been exploring the conjunctions between art and decoration through the subtle interplay of her paintings and the environment in which they are represented in her photos. She photographs her canvases in various kinds of settings. As she likes to put it, the photos are “spin-offs” of her core project, painting.\n\nWood puts her canvases in places that are often stereotyped, like the displays in home decoration shows, whose clean and cold catalogue aesthetics she explicitly strives to emulate. This frozen atmosphere emphasizes the composition, whose assortment of elements with each other seem just right and go with each other perfectly, whether the canvases hung on large-motif wallpaper above the Formica furniture of a suburban middle class household of the 1970s in <em>La maison de banlieue </em>(The House in the Suburbs), or the canvases arranged into a pattern transforming the Cristal Union production facility.\n\nEach of these works is presented as a <em>Serving Suggestion</em>, a visual strategy that seeks to socialize her art by inserting it into a domestic habitat. Always presented in a particular environment, the <em>raison d’être</em> of these paintings (often in series of two or three) is to blend into the background and become a suitable part of a well-mannered ensemble. Wood herself plays with the apparent conformism of her painting by systematically using forms so simplified they are practically pictograms or urban signage.\n\nIn this new work served up in the ruins of an attraction park, the flat-colored canvases conceived to fit into this place integrate themselves into it rather than melting into it. From the color of the stairs to the wall molding, and from the no-smoking sign to the carpet, each of Wood’s geometric canvases is in formal accord with a prematurely aged 1980s decorum. This ghostly magic put together with the logical application of conventional taste results in a transformation and these disparate rooms in the end attain a certain magnificence. Wood photographs the symphony – in other words, what she shows us could be one note, one color, understood as intention and orchestration.\n\n&nbsp;\n\n<strong>Raya Baudinet</strong>\n\nTranslation, L-S Torgoff\n\n<em>art press</em> n° 292, July-August 2003, p. 78\n\n&nbsp;',	'HEIDI WOOD à la Planète magique',	'',	'inherit',	'closed',	'closed',	'',	'1750-autosave-v1',	'',	'',	'2018-09-11 10:31:05',	'2018-09-11 10:31:05',	'',	1750,	'http://s653906673.onlinehome.fr/1750-autosave-v1/',	0,	'revision',	'',	0),
(1779,	3,	'2018-09-11 10:35:18',	'2018-09-11 10:35:18',	'Galerie Anne Barrault, Paris\n\nSeptember 10 - October 22 2005\n\n&nbsp;\n\nDuring a residency in Los Angeles, Heidi Wood found herself confronted with a stream of advertising images within the urban environment and industrialized entertainment characteristic of the megalopolis. Based on this experience, she continued to develop a practice grounded in an analysis of market forces applied to artworks. The exhibition at the Galerie Anne Barrault offers us a sample.\n\nAs far back as 2001, Heidi Wood created domestic environments into which she integrated her paintings. The image thus produced was reminiscent of contemporary furniture catalogues with the paintings presented as objects for sale. The photographic series “Los Angeles” presented at the Galerie Anne Barrault also uses this principle, but this time the environment is not artificial. The operational mode is that of insertion.\n\nIn the photographs of urban landscapes of the American megalopolis, Heidi Wood montages fictional paintings over billboards. The paintings pick up on the esthetic of logos that the city is saturated with, whilst introducing visual blanks due to their purely abstract nature. Inside the image of the urban landscape, the abundance of advertising messages is thus undermined on a visual level. Within the space of the artwork, the arbitrary addition to the photographs of advertising slogans taken from TV ads highlights deconstruction at another level; that of their meanings. Texts and images cohabit without dialoguing in a pure and apparently gratuitous visual space.\n\nThis utopia of a public space given over to art is soon swept away by the reality of the support chosen: the billboard. In line with the parasitical character of advertising, the photographs in the current exhibition are the size of a flyer. In 2004, in Los Angeles, they were even sent out as spams.\n\nIn this way, the artwork enters the commercial system via promotion. Yet what the images from the “Los Angeles” series are promoting is completely virtual. The paintings do not, in fact, exist, unlike those of her preceding series. From this dematerialization, however, a declension of forms develops, and this time they take on a physical existence. The virtual artwork, demoted to the status of nuisance by the promotional system, becomes object once again thanks to an interpretation borrowed from the applied arts. The exhibition becomes a showroom.\n\nThe fictional paintings inserted in the photographs are conjugated as wallpapers on the three walls at the back of the gallery. The visual signs thus become decorative motifs, either unique or repeated. The production of these wallpapers using A4 photocopies placed side by side, while stressing the serial nature of cheap wallpapers, takes the appropriation of industrial production methods to its logical conclusion. Using procedures borrowed from industry, Heidi Wood’s art applies itself methodically to objects produced by the commercial system.\n\nAnd when she hangs a series of six paintings entitled “California Dreaming”, there is no question of nostalgia or revival, in returning to what tradition holds as the noble art of painting. The stretched canvas is none other than upholstery fabric whose texture is readable under the paint. Almost redundant, the painting reproduces the logos invented by the artist, with purely decorative intent. The texts that accompany them function in the same way as those in the “Los Angeles” series, i.e. they do not dialogue with the image. Anecdotes collected by Heidi Wood during her stay in the Californian megalopolis, these brief tales serve as embellishments, as befitting decoration. Ephemeral and pleasant.\n\nTo complete this system of production and distribution, Heidi Wood cheerfully reveals her plan to publish a mail-order catalogue based on a sample of what is offered in this exhibition-showroom. It will soon be possible to choose a motif among those created, as well as the color and the medium (wallpaper, painting, etc.). Although she models the art world on the free market economy, she nonetheless retains a critical distance, as indicated by a megalomaniacal gesture in a small photograph at the back of the gallery. In this image, “Heidi” ironically replaces the “Holly” of the Hollywood sign. “Heidiwood” is an industrial art microsystem. The undertaking as a whole mercilessly questions the value and survival of art in the neo-Liberal era.\n\n&nbsp;\n\n<strong>Perin-Emel Yavuz, </strong>September 2005\n\nparis-art.com\n\nTranslated from French',	'HEIDI WOOD, Los Angeles',	'',	'inherit',	'closed',	'closed',	'',	'1753-autosave-v1',	'',	'',	'2018-09-11 10:35:18',	'2018-09-11 10:35:18',	'',	1753,	'http://s653906673.onlinehome.fr/1753-autosave-v1/',	0,	'revision',	'',	0),
(1780,	3,	'2018-09-11 10:38:10',	'2018-09-11 10:38:10',	'<strong> </strong><strong>Heidi Wood, Use-by Date\n</strong>\n\nGALERIE ANNE BARRAULT\n\n22, rue Saint Claude, Paris\n\nOctober 18 – December 20 2008\n\n&nbsp;\n\nHeidi Wood embraces the visual efficiency of abstract geometric painting through a strategic application of shapes and colors. By rotating a selection of her new and recent paintings and photographs during each week of this exhibition’s nine-week run, Wood insists nothing is final in her practice. The general palette of these works is derived from the women’s autumn/winter 2008 collections featured at Galleries Lafayette, one of Paris’s premier department stores. Wood also gathers the eerily familiar yet enigmatic shapes in her paintings from popular iconography – street signs, souvenirs, billboards and institutional architecture. In her 2007 series of photographs and illustrations “Authentic New Mexico,” she unravels the myth-making potentials of image and design. Documenting several “faux-dobe” neighborhoods and businesses, including a McDonald’s, she highlights the construction of cultural identity and its systematic distribution. In <em>Authentic New Mexico 1</em>, for example, Wood juxtaposes a photograph of a teepee-shaped drive-through with her rendition of a kachina doll, the popularized Hopi totem.\n\nIn turning the gallery into an evolving showroom and allowing her works to “freeze” only when acquired by a collector or museum, Wood demonstrates her estimation of the art market. While her paintings are unique, they are available for customization according to patron’s specifications. Likewise, Wood treats her painted canvases – often made on upholstery fabric – like disposable products. As stated in the title of the show, “use-by date,” these works have a shelf life: five years. After this period, if Wood has not sold a painting, she will destroy it – enacting perhaps the sharpest assessment of trade in visual currency.\n\n&nbsp;\n\n<strong>Lillian Davies,</strong> December 2008<strong>\n</strong>\n\nCritics’ Picks\n\nArtforum.com',	'',	'',	'inherit',	'closed',	'closed',	'',	'1763-autosave-v1',	'',	'',	'2018-09-11 10:38:10',	'2018-09-11 10:38:10',	'',	1763,	'http://s653906673.onlinehome.fr/1763-autosave-v1/',	0,	'revision',	'',	0),
(1781,	3,	'2018-09-11 10:39:44',	'2018-09-11 10:39:44',	'<strong>HEIDI WOOD, <em>Date limite de consommation</em></strong> (Use-by Date)\n\nGalerie Anne Barrault, Paris\n\nOctober 18 – December 20 2008\n\n&nbsp;\n\n<strong>In the Heidi Wood case, the suspect is the painting.</strong>\n\nThe fact is that there is something suspicious today about abstract painting. Form, background, color, line, format and its frontal nature. We have come to the end of the road. These days, any new variation is no more than a quote. It already belongs in the public domain. Geometric abstraction has indeed become a universal language. Everyone reads it as a sign. Everyone recognizes its potential power as a logo, its ability to encapsulate a message and give the impression of a cryptic announcement. In an unexpected twist, abstract painting refers back to the very domains that appropriated it for the purpose of signage and, more generally, communication.\n\nOn the scale of the painting unit, Heidi Wood’s work already strives to describe this phenomenon by playing with the shifting meanings of the motif painted on a monochrome background. The obviously spare composition, its extreme simplicity, its uncluttered readability give it an air of <em>déja-vu</em> that immediately introduces a sense of doubt or suspicion about the real status of the object that we are unable to situate precisely between abstract painting and road sign. During this initial phase of work, she sets the tone. Make no mistake, appearances work against the artwork here, utterly against it. The means of presentation adopted confirm the painting in its role as suspect. They deliberately resemble promotion strategies, reinforcing a sense of corruption. We must thus recognize them on a second level as simulations of an ideal, efficient serving suggestions and appealing presentation styles.\n\nFor her third exhibition with Anne Barrault, the artist, faithful to her mimetic approach, is putting on a sort of evolving showroom, like that of a small business wishing to familiarize its clientele with a wide range of services. From this perspective and in a subtle game of recycling and self-quotation, she associates completely new formulae with works appreciated in the past and updated here for the occasion. The demands of the public, always on the lookout for something new, will be more than satisfied by a weekly turnover throughout the exhibition. Between tradition and innovation (alias Heidi Wood’s fiction), the art polishes its brand image.\n\nAnd the image as a promise of an ideal is indeed Heidi Wood’s stock and trade. The motif set in a given environment becomes image. The context generates and justifies the motif and vice versa. The artwork reveals itself in this occasional and specific interdependence. This is precisely what fascinates the artist, who has no illusions about the autonomy of the painting and even less about its timelessness. From now on, she will grant it a life expectancy of five years (when it reaches its use-by date, each painting will be destroyed unless it is spared through acquisition). Henceforth, all the material aspects of the artwork will be only simulations. And it is only in these terms that Heidi Wood plays with marketing strategies for them.\n\n&nbsp;\n\n<strong>Philippe Coubetergues</strong>\n\nSeptember 2008\n\nTranslated from French',	'',	'',	'inherit',	'closed',	'closed',	'',	'1766-autosave-v1',	'',	'',	'2018-09-11 10:39:44',	'2018-09-11 10:39:44',	'',	1766,	'http://s653906673.onlinehome.fr/1766-autosave-v1/',	0,	'revision',	'',	0),
(1782,	3,	'2018-09-11 10:41:31',	'2018-09-11 10:41:31',	'Image/Imatge (Orthez)\n\nEcole supérieure des arts et de la communication (Pau)\n\nJanuary 16 – March 7 2009\n\n&nbsp;\n\nHeidi Wood questions the dividing up of the world imposed by communication codes. The ensuing fragmentation seeks to examine and explain the message, without ever running the risk of scheming, faltering or even provoking vertigo. For this artist, questioning means revealing greater complexity, varying the angles of approach, activating a slippery, disturbing, yet fertile acuteness and thus expanding the scope of a range of practices and a vocabulary of forms from the urban environment, including signage and a certain coding of modernism, somewhere between common usage and unexpected shifts.\n\nIn Orthez, the exhibition focuses on Mount Isa, a rich mining town in the northwest of the state of Queensland in Australia. The town is characterized by a vast, featureless urban sprawl that has developed around a prosperous industry. Heidi Wood associates each of her photographs of a banal, abrupt house, “between ultramarine sky and red ochre ground” with a collage made of home decorator adhesive that describes the rudimentary, sharp silhouette of mining buildings; she presents these duos in a wall painting inspired by this particular functional geometry. The pairing of images is done efficiently. It skillfully underlines their difference all the better to accentuate the peculiarity of their coexistence. To apprehend them in their full antinomy and the violence of their proximity, the juxtaposition shows both the combinations offered by the ambiguity and the possibilities of an alternative in a successive and discontinuous manifestation of lightness and heaviness, rigor and drifting, brutal obviousness and conciliatory atmospheric phenomena.\n\nIn Pau, Heidi Wood explores the visual identity of architects Beckmann and N’Thépé to extract three abstract forms presented in three colors in a large-scale wall painting. The extreme desire for hard edges and clarity leads to a sort of turnaround, with a vigorous indetermination that opens onto a positive game of loss and reconstruction, anchoring and instability.\n\nHeidi Wood seems constantly motivated by a need for confrontations and articulations between figuration and abstraction, fragments of reality and principles of representation, signage requirements and decorative recurrence, and by a need to actively adjust to produce a coherent plurality of images that refer to and mutually stimulate one another. They combine, without converging, in a single energy.\n\n<strong>Didier Arnaudet</strong>\n\n<strong>Art Press</strong> n° 355, April 2009\n\nIn Galerie Anne Barrault, in Paris, from October 18 to December 20, Heidi Wood presented an exhibition with a weekly turnover of installations.\n\n&nbsp;',	'HEIDI WOOD',	'',	'inherit',	'closed',	'closed',	'',	'1769-autosave-v1',	'',	'',	'2018-09-11 10:41:31',	'2018-09-11 10:41:31',	'',	1769,	'http://s653906673.onlinehome.fr/1769-autosave-v1/',	0,	'revision',	'',	0),
(1783,	3,	'2018-09-11 10:44:03',	'2018-09-11 10:44:03',	'Residency program (March – April 2009) and exhibition (April 18 – June 15 2009)\n\nContemporary Art Center, Abbaye Saint André, Meymac\n\n&nbsp;\n\nIn the service provided by Heidi Wood, the painting, set in a given environment, functions as an <em>image</em>. By insisting precisely on this <em>image</em> effect, the symbolic crystallization of an ideal occurs; the extreme enhancement of volatile appearances confers on the Heidi Wood suggestion the precariousness and evocative power of her intention in that it obliterates all trace of painting.\n\nThe context generates and justifies the motif (alias the painting) and vice versa. The artwork reveals itself in this intermittent and specific inter-dependency. This is precisely what interests the artist, who has no illusions about the autonomy of the painted object, and even less concerning the timelessness of the context. As a result, in the case of a painting shown, she is interested only in the impact of its presentation. In painting, she focuses on the signal, rather than the sign.\n\nHeidi Wood works as a service provider in a wide range of contexts: industrial, urban, domestic, commercial, etc. She takes on the job of making images under contract and for her brand name. In her undertaking, the painting’s value is only that of a motif. As an object, it submits to the rules of usage required to meet the quality standards of the service she provides. Its life expectancy is limited. Unless it is spared by acquisition, it remains valid for five years. The artwork’s material aspects are only intermittent simulations. The motif, however, is stored in memory and can be reactivated at any time.\n\nIn light of the above, during her residency at the Meymac abbey she has programmed a pyre for twenty-one of her paintings from 2002 and 2003. They have all featured in specific projects (<em>Cristal Union</em> in 2002, <em>Planète magique</em> in 2003, etc.). Far from any desire to provoke or generate controversy, this act is a fulfillment. Like a business run on the principle of just-in-time delivery, the artist manages her stocks by disposing of those that have not been sold. But the act acquires symbolic value, so the performance modalities are thought through in great detail, much like her installations. In the current context of overproduction that seems necessary to the fragile balance of economies, this iconoclastic gesture should be seen in its true light as a signal.\n\n&nbsp;\n\n<strong>Philippe Coubetergues</strong>, March 2009\n\nTranslated from French\n\n<strong>Postscript</strong>\n\nFaced with the difficulties of organizing this “pyre” and the realization that the paintings contain polyester and lead, so they risk giving off a toxic cloud if burnt, the paintings will be destroyed at the end of the exhibition in a less spectacular manner.',	'HEIDI WOOD, The Meymac Pyre or Just-in-time Delivery',	'',	'inherit',	'closed',	'closed',	'',	'1772-autosave-v1',	'',	'',	'2018-09-11 10:44:03',	'2018-09-11 10:44:03',	'',	1772,	'http://s653906673.onlinehome.fr/1772-autosave-v1/',	0,	'revision',	'',	0),
(1784,	3,	'2018-09-11 12:43:01',	'2018-09-11 12:43:01',	'<strong>Heidi Wood / Notre Dame de Moustoire Chapel</strong>\r\n\r\n&nbsp;\r\n\r\nNotre-Dame de Moustoire is a chapel. Its presence in the depths of the countryside is indicated to visitors by a sign. On it, a chapel is simplified, reduced to a symbol, an image, a logo: chapel this way!\r\n\r\n&nbsp;\r\n\r\nWe wonder how the “chapel” logo influences our first impressions of Notre-Dame de Moustoire. Although it is similar to all the others, this chapel is unique within its category. Its selling point as a tourist attraction is precisely its difference: its architectural particularities, the specific way it sits in the landscape. Yet the logo reduces it to a chapel like the rest, one among many, one that when added to all the others constitutes “heritage”. This is what the sign says. More than indicating the chapel itself, it states its contribution to the region’s appeal to tourists.\r\n\r\n&nbsp;\r\n\r\nIn this way, codes standardize the world. They brand it. Here, it is a brand you can trust, have faith in. Clearly there is something here that shouldn’t be missed. The schematized logo claims to be universal. It signals a chapel worthy of interest for all passers-by, regardless of religious convictions. The cultural nature of the site would seem to have been sidestepped.\r\n\r\n&nbsp;\r\n\r\nUnder the cover of directing us or facilitating comprehension, codes govern reality. We cannot imagine the extent to which they orient the way we see. By appearing prior to the thing we will see, the logo reduces it. By foreshadowing, it deforms. How does Notre-Dame de Moustoire chapel correspond to our expectations of chapels? Why does its appeal to tourists deserve to be proclaimed? By schematizing the world, our very apprehension of that world is simplified.\r\n\r\n&nbsp;\r\n\r\nHeidi Wood focuses on the arbitrary dimension of the code that governs reality to the point of replacing it. Invited to exhibit in this chapel, she chose to play with the relationship of meaning between indicator and indicated. Using fiction as an alibi, she reshuffles the representations that connect signs to objects. Has she made the “chapel” logo into a new icon to worship?\r\n\r\n&nbsp;\r\n\r\nThe piece she presents indicates that something has been shifted. Three hanging chasubles block the nave at regular intervals. Carefully crafted, playing on the contrast between the different fabrics used, these sumptuous gowns directly echo ceremonial dress. The cross-stitched embroidery recreates the logo from the road sign outside. The symbolism of the colors plays on other conventions, such as male and female.\r\n\r\n&nbsp;\r\n\r\nA schematic evocation of three absent bodies, the three chasubles fill the space with a strong physical presence. The floating nature of the gowns as well as the contrast between the warm, luminous materiality of the fabrics and the cold, mineral, lackluster context, all participate in a generally disturbing sense of artificial remanence.\r\n\r\n&nbsp;\r\n\r\nThe <em>born again</em> aspect of this fake ceremony provokes a vague feeling that these muddled categories are not inappropriate here.\r\n\r\n&nbsp;\r\n\r\n<strong>Philippe Coubetergues</strong>\r\n\r\nMay 2011\r\n\r\n(translated from French)',	'BRANDING YOU CAN TRUST',	'',	'publish',	'closed',	'closed',	'',	'branding-you-can-trust',	'',	'',	'2018-10-19 12:38:04',	'2018-10-19 12:38:04',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1784',	0,	'doc_article',	'',	0),
(1785,	3,	'2018-09-11 12:40:37',	'2018-09-11 12:40:37',	'',	'P 2011 PC art dans les chapelles fr',	'',	'inherit',	'open',	'closed',	'',	'p-2011-pc-art-dans-les-chapelles-fr-2',	'',	'',	'2018-09-11 12:40:37',	'2018-09-11 12:40:37',	'',	1784,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/P-2011-PC-art-dans-les-chapelles-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1786,	3,	'2018-09-11 12:41:00',	'2018-09-11 12:41:00',	'',	'P 2011 PC art dans les chapelles ang',	'',	'inherit',	'open',	'closed',	'',	'p-2011-pc-art-dans-les-chapelles-ang-2',	'',	'',	'2018-09-11 12:41:00',	'2018-09-11 12:41:00',	'',	1784,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/P-2011-PC-art-dans-les-chapelles-ang.pdf',	0,	'attachment',	'application/pdf',	0),
(1788,	3,	'2018-10-17 11:17:20',	'2018-10-17 11:17:20',	'The twinning of cities in different countries first occured in the 1950’s with the aim of encouraging cultural dialogue, thereby reducing the misunderstandings and antagonisms that had made possible two World Wars and all the others. Twinning is thus a project of fraternal utopia activated on a municipal level rather than at the level of the State, which is always suspected of nationalism and so-called “higher interests”.\n\n&nbsp;\n\nAt the same time, late modernism found its purest formulations in American art criticism and abstract painting. There is a surprising correlation, at least historically speaking, between these two utopias, namely the dialogue among cultures and the affirmation of a nationally anchored modernist eschatology.\n\n&nbsp;\n\nSince then, the practice of twinning has lost in ambition what it has gained in administrative order and the formal vocabulary of pictorial modernism has been widely taken over by advertising, communications, graphics and design professionals. In Limay, Heidi Wood creates a parallel between these two heritages by twinning this small town in the Yvelines and that of Wheelers Hill, in the suburbs of Melbourne, Australia. The artist imagines tourist information centers for the two suburbs, complete with photographs, paintings and wall paintings. As in her work as a whole, the formal register used by Heidi Wood comes as much from geometric abstraction as from logos and visual communication, thus blurring the nature of what we are looking at. There is indeed a principle of transplant in most of the formal means used: oil paint on synthetic upholstery fabric, digital photography and graphics in diptychs, confrontation of two planes of color, coexistence of observational drawing and complex fictional economies…\n\n&nbsp;\n\nSuburbia, which is both the host and subject of this project, can be defined itself as a graft: fantasy union of urban and rural, dream of a new type of city, it also answers to fundamentally different representations in France, where it incarnates exclusion, and the Anglo-Saxon world, where it is a residential area. In both cases, it raises the question of image(s). Finally, let it be said that when a graft doesn’t take, it is known as “rejection”.\n\n&nbsp;\n\n<strong>Karim Ghaddab</strong>, 2012\n\n<em>Suburbias</em> catalogue\n\n&nbsp;\n\n&nbsp;\n\n<strong>ARTIST STATEMENT\n</strong>\n\nSUBURBIAS, Les Réservoirs, Limay\n\nMarch 9 – April 15 2012\n\n&nbsp;\n\nWhen I was offered an exhibition at Les Réservoirs in the outer Parisian suburb of Limay, I planned to twin it with an equivalent suburb in another country. I hoped to explore the reality behind the wildly different public images of suburbia in France and in English speaking countries.\n\n&nbsp;\n\nIn France the popular definition of “la banlieue” (suburbia) is reduced to its most volatile neighborhoods. Urban planners define 751 “Sensitive Urban Zones” in France. According to Wikipedia, these are characterized by a population suffering from high unemployment, low qualifications and low earning potential. The percentage of non-French people is twice as high as in the country as a whole. 60% of people live in (often poorly maintained, high density) public housing as against 20% elsewhere in France. Its residents numbered 4.4 million in 2006 (7% of the population). From 77.5 to 85% of the French population is urban, depending on sources. Suburbs that are not “sensitive urban zones” are thought of as cities or towns. Limay is listed as a sensitive urban zone. The French would call it a suburb.\n\n&nbsp;\n\nI grew up in Australian suburbia where the term evokes a calm, middle class existence in vast zones of single-family houses dotted with huge shopping centers. The public image of suburbia corresponded exactly to my experience of it. The equivalent of la banlieue would once have been “inner west”, also associated with a concentration of social problems, but most inner city areas have been gentrified these days.\n\n&nbsp;\n\nI began my search for a sister suburb for Limay by contacting friends who live in other countries. This is how I defined Limay:\n\nIt is outer, outer suburbia (almost Normandy), a worker town built in the sixties with some high rise and a lot of individual houses. There are grazing cows alongside heavy industry. The municipality is run by communists.\n\n&nbsp;\n\nTheir replies:\n\n<em>Comrade Heidi: The thought of communist mayors in the US made me giggle. I do not think it is possible for there to be any elected official in America who openly professed belief in communist theory or practice… We Americans love our bootstrap free-market capitalism with an ardency that borders on the fetishistic. It might be possible, with a little digging, to find communities where there is a thriving open or openly unofficial barter economy that just skirts the nuanced edges of a collective consciousness. But I would guess that the rhetoric would be libertarian (Live Free or Die being one of our founding mottoes) rather than communist or socialist. Now, maybe you need to think about compare/contrast in your sister suburbs project. I am sure you could find many US cities as robustly capitalist as your EU communists.</em>\n\n(<strong>KC Bitterman</strong>)\n\n&nbsp;\n\n<em>We don\'t have any communists here in Hong Kong. We have a benevolent dictatorship of real estate moguls organised by huge bureaucracy. (British + Chinese = serious love of bureaucracy). We hardly believe in helping neighbours, let alone community self-management.</em>\n\n(<strong>Tanya Hart</strong>)\n\n&nbsp;\n\n<em>In England the suburbs and communism are like chalk and cheese, you\'ll never find them together! In England suburbia and conservatism are what go hand in hand. If you want to know what people in English suburbs are thinking then you should read the Daily Mail ( <a href=\"http://www.dailymail.co.uk/\">www.dailymail.co.uk</a> ).</em>\n\n(<strong>Craig Dickson</strong>)\n\n&nbsp;\n\nFaced with the difficulty of finding an exact equivalent, I decided to choose a suburb that, like Limay, corresponded to a national definition of suburbia. I chose the one I know best: Wheelers Hill, 22 km south east of the center of Melbourne, where I lived from the age of 7 to 17. A recent visit showed it had become more prosperous and less peripheral than in the mid 1980’s when I left.\n\n&nbsp;\n\nInterestingly, the municipal website for Monash that encompasses Wheelers Hill, gives the mobile phone numbers of councilors but not their political affiliation. When I called Monash council, the receptionist was not authorized to tell me which party the mayor belonged to. She put me through to a series of people who couldn’t tell me or didn’t know. The mayor herself answered my email to say membership of a political party at a municipal level is like membership of any other club – a personal affair. She belongs to the Labour Party. I rang Limay council and asked the same question. The immediate, one-word answer was: communist.\n\n&nbsp;\n\nI plan to use the two rooms of the exhibition space at Les Réservoirs like visitors’ centers for these two suburbs. I will explore the urban fabric and atmosphere of both in wall paintings, paintings and photographs.\n\n&nbsp;\n\n<strong>Heidi Wood</strong>\n\nJanuary 2012',	'SUBURBIAS',	'',	'inherit',	'closed',	'closed',	'',	'1703-autosave-v1',	'',	'',	'2018-10-17 11:17:20',	'2018-10-17 11:17:20',	'',	1703,	'http://s653906673.onlinehome.fr/1703-autosave-v1/',	0,	'revision',	'',	0),
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(1791,	3,	'2018-09-11 13:19:06',	'2018-09-11 13:19:06',	'<strong>A suburban environment by Heidi Wood</strong>\r\n\r\nGalerie Anne Barrault, 22 rue Saint Claude, 75003, Paris\r\n\r\nFebruary 28 - April 13 2013\r\n\r\n&nbsp;\r\n\r\n<em>Suburbia today is a space denied in which proliferates what the anthropologist Marc Augé calls the \"non place\". It contains everything the city rejects in the most disorderly way despite the practice of zoning, but of which it has a vital need: factories, freeways, shopping malls, airports, dormitory towns...</em>\r\n\r\nDavid Leyval\r\n<em>La banlieue, l\'épreuve de l\'utopie</em>\r\n\r\n&nbsp;\r\n\r\nBased on this observation, Heidi Wood has taken it upon herself to rehabilitate, not without a touch of irony, this suburbia looked upon with condescendence by inner city dwellers, with horror by the privileged or with a certain romanticism by some \"haves\", who look fondly on these zones because they don\'t suffer any of its inconveniences (which amounts to being patronizing). She presents real road signs stamped with flower-pictograms (warning, prohibition?) and a monochrome architectural wall painting on which are hung paintings representing housing typical of the dormitory towns worldwide that edge up to the countryside. We could be reminded of a tourist information office but also of the showroom of a real estate developer.\r\n\r\n&nbsp;\r\n\r\nThis homage to suburbs that take in everything cities reject reminds us that artists themselves are kept at a distance from the city center, although they are needed to supply the art fairs and plethora of exhibitions that are organized there all year round. This is nothing new: Erik Satie was struggling to survive in Arcueil while the bourgeois of Paris were entertained by his ballet Parade in 1917. Today, there are countless creators of all disciplines who live and work in suburbia, a sort of artist\'s back entrance to the center. Life takes care of reminding them that they are only suppliers. <em>La bohême</em> was short-lived. We are a thousand miles from that insouciance. This explains the grating aspect of Heidi Wood\'s pictogram images whose clinical craftsmanship cuts like a blade.\r\n\r\n&nbsp;\r\n\r\nWe can describe Heidi Wood as an urban pictographer landscape painter. She draws using black masking tape so as to distance herself from gesture, to dehumanize as far as possible. This is the ultimate in anti-impressionism, stripped of all emotion. She distinguished herself previously with a series of souvenir plates printed with industrial landscapes, in a style more suited to a picturesque seaside resort.\r\n\r\n&nbsp;\r\n\r\nNote that everything is programmed in Heidi Wood\'s artistic production. There is no room for indecision. Everything is in its place in a sort of constructivism revisited.\r\n\r\n&nbsp;\r\n\r\n<strong>PhD</strong> [DEC MMXII]',	'PETITE COURONNE',	'',	'publish',	'closed',	'closed',	'',	'heidi-wood-petite-couronne',	'',	'',	'2018-10-19 12:37:35',	'2018-10-19 12:37:35',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1791',	0,	'doc_article',	'',	0),
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(1794,	3,	'2018-09-11 13:21:07',	'2018-09-11 13:21:07',	'&nbsp;\n\n<em>Suburbia today is a space denied in which proliferates what the anthropologist Marc Augé calls the \"non place\". It contains everything the city rejects in the most disorderly way despite the practice of zoning, but of which it has a vital need: factories, freeways, shopping malls, airports, dormitory towns...</em>\n\nDavid Leyval\n<em>La banlieue, l\'épreuve de l\'utopie</em>\n\nBased on this observation, Heidi Wood has taken it upon herself to rehabilitate, not without a touch of irony, this suburbia looked upon with condescendence by inner city dwellers, with horror by the privileged or with a certain romanticism by some \"haves\", who look fondly on these zones because they don\'t suffer any of its inconveniences (which amounts to being patronizing). She presents real road signs stamped with flower-pictograms (warning, prohibition?) and a monochrome architectural wall painting on which are hung paintings representing housing typical of the dormitory towns worldwide that edge up to the countryside. We could be reminded of a tourist information office but also of the showroom of a real estate developer.\n\nThis homage to suburbs that take in everything cities reject reminds us that artists themselves are kept at a distance from the city center, although they are needed to supply the art fairs and plethora of exhibitions that are organized there all year round. This is nothing new: Erik Satie was struggling to survive in Arcueil while the bourgeois of Paris were entertained by his ballet Parade in 1917. Today, there are countless creators of all disciplines who live and work in suburbia, a sort of artist\'s back entrance to the center. Life takes care of reminding them that they are only suppliers. La bohême was short-lived. We are a thousand miles from that insouciance. This explains the grating aspect of Heidi Wood\'s pictogram images whose clinical craftsmanship cuts like a blade.\n\nWe can describe Heidi Wood as an urban pictographer landscape painter. She draws using black masking tape so as to distance herself from gesture, to dehumanize as far as possible. This is the ultimate in anti-impressionism, stripped of all emotion.\nShe distinguished herself previously with a series of souvenir plates printed with industrial landscapes, in a style more suited to a picturesque seaside resort.\n\nNote that everything is programmed in Heidi Wood\'s artistic production. There is no room for indecision. Everything is in its place in a sort of constructivism revisited.\n\n<strong>PhD</strong> [DEC MMXII]\n\n&nbsp;',	'PETITE COURONNE',	'',	'inherit',	'closed',	'closed',	'',	'1791-autosave-v1',	'',	'',	'2018-09-11 13:21:07',	'2018-09-11 13:21:07',	'',	1791,	'http://s653906673.onlinehome.fr/1791-autosave-v1/',	0,	'revision',	'',	0),
(1795,	3,	'2018-09-11 13:28:57',	'2018-09-11 13:28:57',	'Exhibition March 7 to May 30 2015\r\n\r\nOpening March 6 at 7 p.m.\r\n\r\n&nbsp;\r\n\r\nFrom March 7 to May 30 2015, Montreuil’s contemporary art center, Le 116, presents <strong>Production Site</strong>, an ever-changing exhibition by Heidi Wood. The artist will work <em>in situ</em> throughout the exhibition space. She will also set up her studio there, thus transforming Le 116 into a creative workspace.\r\n\r\n&nbsp;\r\n\r\n<strong>Leïla </strong><strong>de Lagausie</strong>: This new project continues your work on the theme of suburbia. How is this subject central to your work? Does it take on a particular meaning in the context of Le 116?\r\n\r\n&nbsp;\r\n\r\n<strong>Heidi Wood:</strong> As an Australian, suburbia has always had a residential, calm, even boring image for me. So I’m astonished to see the stigma attached to a part of town that I always thought was where everybody lived. In France, suburbia – <em>la banlieue</em> - is seen as a breeding ground for social problems. High-rise buildings have become a symbol of crime. Yet they were designed as a new way of living together that was meant to be affordable, rational and sociable. Utopia has turned into dystopia, at least in the minds of the French.\r\n\r\n&nbsp;\r\n\r\nI am interested in the fall-out from modernism, but also the promotion strategies used in tourism. I see my exhibitions as visitors’ centers for various destinations. I try to extract the essential of a given place so as to cast it in a positive light. At Le 116, I will study the urban landscape of Montreuil to highlight its qualities. For the first time, I will be working on the visual identity of a particular suburb in dialogue with the people who live there. In this way, I raise the question of how permeable an art center is to its social context.\r\n\r\n&nbsp;\r\n\r\n<strong>LL:</strong> For this exhibition, you have chosen to use part of the exhibition space as your studio. What are you looking for in this direct confrontation with the public?\r\n\r\n&nbsp;\r\n\r\n<strong>HW: </strong>It is an ironic look at the demands politicians make on artists to act as interpreters of their practices. I see this experience as an extension of my exhibition <strong>Use-by Date</strong> at Galerie Anne Barrault in late 2008. At the time, I announced that my paintings would be destroyed after five years if they had not been bought. The exhibition changed weekly. I highlighted the art market’s voracious taste for the new just as the bottom fell out of the market and a profound change in context was underway. As it turned out, it was the quarter that saw the greatest economic shrinkage since the Depression.\r\n\r\n&nbsp;\r\n\r\nSince then, public money in support of art has become less plentiful. From the Ministry of Culture to municipalities, more and more demands are made of artists to explain their work to the public. Somehow, they are supposed to rub soothing ointments on situations of distress due to the global financial crisis. I have no problem with that. Yet I think it is legitimate to ask how it changes the artworks. I am submitting to this exercise as an attempt at a response. What do I make when I am acting as a social worker for the municipality of Montreuil?\r\n\r\n&nbsp;\r\n\r\n<strong>LL:</strong> <strong>Production Site</strong> is taking place in a particular context, given that it is Marlène Rigler’s last show as the director of Le 116. What do you think of this situation? What are the implications for your exhibition?\r\n\r\n&nbsp;\r\n\r\n<strong>HW: </strong>The municipality of Montreuil has chosen not to renew the contract of the curator who has been in charge, for only 18 months, of an ambitious international undertaking strongly focused on interaction with the people of Montreuil. The municipal Head of Culture has announced a reorientation in favor of local artists and local concerns. I think it’s appalling. I find myself in the strange position of being the exhibition that marks a transition to a much-reduced venture. I hope that <strong>Production Site </strong>will draw attention to just what is being thrown away, and provoke a debate on the relationship between artistic expression and the political issues raised by financing it.',	'PRODUCTION SITE',	'',	'publish',	'closed',	'closed',	'',	'production-site',	'',	'',	'2018-10-19 12:35:34',	'2018-10-19 12:35:34',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1795',	0,	'doc_article',	'',	0),
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(1798,	3,	'2021-09-11 13:36:23',	'2021-09-11 13:36:23',	'March 7 – May 30 2015\r\n\r\n&nbsp;\r\n\r\nLet’s take a walk in the Woods. We pass through forests of symbols with no mixed messages. Quite the contrary, everything is there, spread over the walls and even the floor. We won’t get lost. The exhibition “Production Site” takes us to Le 116, Montreuil’s art center, to see the buildings that inhabit Montreuil but in a different way: as wall paintings that look like giant stickers in primary colors. Outside has come inside. The city is reduced to its signage, to a group of signs and pictograms that erase experience, or to be exact, cover it up. The forms are minimal, essential. They are the means by which Heidi Wood mimes an art that supposedly sprinkles wellbeing, by “redeeming” or “transcending” reality, allowing visitors to see their everyday life differently. More biodynamic, more vibrant, in lemon yellow and tomato red. But at the same time, the artist’s work is also kept at a distance because the urban landscape appears as a group of signs that refer back only to themselves.\r\n\r\n&nbsp;\r\n\r\nIn fact, Heidi Wood’s work, even if it uses artifacts to which we can legitimately apply categories of judgment and taste and find sensorial pleasure in, is also conceptual. With “Production Site”, the artist consciously fulfills a well-known contract: public money (modestly) finances a commission as long as it meets criteria of “casting a positive light”, encouraging “social cohesion” and focusing on the “local”, particularly in disadvantaged neighborhoods. <em>“I embody these clichés to play the role of the official artist,” </em>says Wood.<em> “I’m trying to draw attention to the fact that if they are prerequisites for financing and exhibiting art, they will hamper diversity and reduce ambitions.”</em>\r\n\r\n&nbsp;\r\n\r\nThe most striking example of this reduction would seem to be the series of souvenir plates, like collectors’ items of yesteryear, that are presented under glass in the second room. The expected picturesque kitsch has been replaced by images of high voltage electrical towers in a minimal impressionist style. Except that in truth, there is no irony here. More an echo of the bemoaning (and hope) of the writer Céline in <em>Death on the Installment Plan: “The day they remove the hook-shaped lamp post from the corner by Number 12, I’ll be very sad. Man is temporary, I know that, but we’ve already temporized enough for my money. (…) Things seem pretty crummy, but if they could carry us away with them, we’d die of poetry.”<a href=\"#_ftn1\" name=\"_ftnref1\"><strong>[1]</strong></a></em>\r\n\r\n&nbsp;\r\n\r\nThis effort to put intimacy back into manufactured objects is inscribed in a project begun in 2010 in Chevilly-Larue called “Winter Vacation”. At the time, Heidi Wood asked residents to bring personal objects for her to draw and used the images made of them on pencil cases, posters and various gadgets sold at the Christmas market. Without finding many customers. We are so “deprived of the world”, to use the expression of philosopher Franck Fischbach, that the objects with which we live no longer look to us like the world. They become squalid, unworthy of being loved.\r\n\r\n&nbsp;\r\n\r\nSo the urban landscape Heidi Wood paints at Le 116 is not a joke. It is parody but in the literal sense, to be sung next to the ode in a well-known tune. It highlights given that re-enchanting is out of the question. The artist works from photographs, analyses, sorts through, “filters out”, she says, until she obtains “generic” forms that do not necessarily correspond to real buildings but rather to a residential setting as a whole. In Montreuil, those she notices from recent times are the modern high-rise, the contemporary and the industrial. Among other things, Wood offers studies of facades in which she indicates an opposition between an organization based on “grid” and “anti-grid”. An example of the latter, in the last decade, is the random distribution of windows onto interweavings of color. Because these studies are painted on upholstery fabric, the facade is decoration on two levels: as surface but also as transformation. Heidi Wood says that her paintings are destroyed if they are not bought within five years. This is coherent with the contrary strategy visitors can see at Le 116 of an ever-changing exhibition. The artist develops her wall paintings day after day, adds her “generic” buildings and changes them into engines, as if form necessarily produced form.\r\n\r\n&nbsp;\r\n\r\nThis is one of the meanings of “Production Site”: a factory of forms. Montreuil goes in one end, through the eye, through the photo, and continuously, throughout the exhibition, comes out the other as a painting. Even better, the artist is on-site. She has set up her studio in the middle, in the passageway between the two main exhibition spaces in Le 116. She works there during opening hours, or at other times, it depends. As <em>“a social worker for the municipality of Montreuil”,</em> Wood legitimately wonders what this situation changes in her work, what she produces on top of a series of artifacts or a performance. A presence? Interaction?\r\n\r\n&nbsp;\r\n\r\nIf it is clear that art does not fix anything, does not improve anyone’s social condition, perhaps it can at least be driven by a vital principle as a gesture, an impulse, to make itself shareable. What is shared here, more than the artwork is the work that goes into it. With Heidi Wood, we are a long way from the “participative” art of the 1990’s. Visitors do not play with elements to be “activated” or “reactivated”. They arrive at a production site where what is produced (or displayed) is the production itself and they see that the artist is a factory worker like any other.\r\n\r\n&nbsp;\r\n\r\n<strong>Eric Loret</strong>\r\n\r\nApril 2015\r\n\r\n&nbsp;\r\n\r\n<a href=\"#_ftnref1\" name=\"_ftn1\">[1]</a> <em>Mort à credit,</em> Louis-Ferdinand Céline, 1936. <em>Death on the Installment Plan</em>. Translation Ralph Manheim, 1971',	'PRODUCTION SITE, Le 116, Montreuil',	'',	'publish',	'closed',	'closed',	'',	'production-site-le-116-montreuil',	'',	'',	'2022-01-04 11:21:25',	'2022-01-04 11:21:25',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1798',	0,	'doc_article',	'',	0),
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(1800,	3,	'2018-09-11 13:34:22',	'2018-09-11 13:34:22',	'',	'P 2015 Eric Loret fr',	'',	'inherit',	'open',	'closed',	'',	'p-2015-eric-loret-fr',	'',	'',	'2018-09-11 13:34:22',	'2018-09-11 13:34:22',	'',	1798,	'http://s653906673.onlinehome.fr/wp-content/uploads/2018/09/P-2015-Eric-Loret-fr.pdf',	0,	'attachment',	'application/pdf',	0),
(1801,	3,	'2018-09-11 13:47:05',	'2018-09-11 13:47:05',	'These last few years, due to the increase in the number of art centers and museums, we had almost forgotten that painting is not meant as a cultural icon alone, but that its function is also, more prosaically, to decorate the inside of our homes. Somewhere between the “impeccably” white walls of cultural institutions and the cramped space above the sofa in the living room, many artistic ideals have no doubt been shelved. This reality, which we often prefer to ignore, comes back like a boomerang in Heidi Wood’s work. The artist bluntly and humorously questions the paradoxes of painting, both <em>objet d’art</em> and consumer product. In her most recent works, entitled “Serving Suggestions”, she presents her paintings in indoor set-ups that comprise furniture and flooring. Displaying them as if in the showrooms of interior decoration stores, Heidi Wood gallantly plays the seduction card, showing us a possible environment for her work. Superimposing artistic and marketing strategy approaches, Heidi Wood brings about the convergence of two apparently very different views and succeeds in dismantling the machinery of a consumer system that everyone agrees is perverse (although unable to propose a better one) whilst implacably demonstrating its efficiency.\n\nAlthough of the same nature, the installations designed for the Camille Lambert Art Center do not follow the same consumer logic: with the furniture gone, the “display area” illusion gives way to that of the display home. The exhibition entitled “La Maison de banlieue” (The House in the Suburbs) brings us back to the art center’s geographical context. Even more assertively than before, the artist transposes us to a world she possesses completely. Her works invade the walls and floor, just as the painted motifs on the canvas appear to spill out of their frames, projecting themselves outwards. This reciprocal contamination of forms and colors, answering each other in negatives, keeps alive the confusion the artist has been subtly elaborating for several years now. The marriage between architecture, art and decoration is well and truly consummated here. Stage designer of her own work, the artist uses the painted walls that accommodate her paintings to make them look their best. They are luxury caskets, which may or may not be part of the jewels.\n\nDemolishing the hierarchy of genres, Heidi Wood, disturbingly, makes us wonder about the “decorative” in painting, introducing “basely material” concerns into a public institution.\n\n&nbsp;\n\n<strong>Fabienne Fulchéri </strong>\n\nAugust 2002\n\n<em>La Maison de banlieue </em>catalogue\n\nTranslated from French',	'THE HOUSE IN THE SUBURBS',	'',	'inherit',	'closed',	'closed',	'',	'1737-autosave-v1',	'',	'',	'2018-09-11 13:47:05',	'2018-09-11 13:47:05',	'',	1737,	'http://s653906673.onlinehome.fr/1737-autosave-v1/',	0,	'revision',	'',	0),
(1802,	3,	'2018-10-17 10:59:06',	'2018-10-17 10:59:06',	'<em>‘We are in need of a new interior.’</em>\n\n&nbsp;\n\nThese words were written by Theo van Doesburg, artist and founder of the journal De Stijl, in a letter to the architect J.J.P. Oud in 1916.<sup>1</sup> He was seeking Oud’s collaboration in the design and building of spaces that would fuse colour and architecture into spatial environments that exemplified the potential of abstraction and modernist ideals.\n\n&nbsp;\n\n‘Architectural space must be considered a blind, absolute void until colour turns it into something concrete. The spatio-temporal painting of the 20th century, with its plastic, structural possibilities, allows the artist to fulfil his dream: to place man, not before painting, but inside painting itself.’ <sup>2</sup>\n\n&nbsp;\n\nNow almost one hundred years later, van Doesburg’s call for a new interior continues to have currency. I am reminded of his words when I look at the interiors of Heidi Wood which produce space through colour and abstraction. They are presented as displays that one might find in a furniture showroom where the latest lifestyle trends are arranged. New possibilities, new interiors, new buyers/viewers. But what is being offered up and suggested here? What is it about colour and space? Abstraction and space? What sorts of spaces is the viewer asked to step into?\n\n&nbsp;\n\nThese interiors are animated by form and colour. Wood’s quirky shapes – abstracted from familiar contexts that you can’t quite put your finger on – are placed in a series of relations that reorientate and displace form and perception. Space is animated through shape and colour and processes of doubling and obscuring, repetition and displacement; plays between positive and negative, between horizontal and vertical surfaces of floor and wall. Similarly, van Doesburg’s concentration on form and shape – in his case, the orthogonal and diagonal also aspired to an abstraction of displacement and reorientation of the viewer; straight lines counter-composing the architectural structure. Colour animates the spaces: van Doesburg confined his palette to primary colours in an attempt to capture the universal; Wood uses colours like brown found in many domestic interiors to draw in the familiar.\n\n&nbsp;\n\nThe Baroque was another period concerned with the animation of space. Such conjunctions in this context may seem untenable but this overlooks the presence of the Baroque in current spatial thinking and philosophy and the potential for such interests to affect and find expression in a range of diverse practices. In drawing the Baroque into this text alongside van Doesburg and Wood is not through a focus on visual aesthetics – the three are dissimilar in image and form – but rather through a perceived commonality in a concern with activating and animating space. An interesting aside is that Wood has spoken about the ‘ecstatic experience’ as an aspiration of her work; ecstasy is also a condition that van Doesburg and Baroque artists and architects aspired to – where the spatial encounter is one of fullness and excess.\n\n&nbsp;\n\nThere is no appeal, however, by Wood to the architect as a collaborator in the construction of these new interiors. Rather she works within existing spaces and contexts such as the exterior neighbourhood visible through the end windows. She abstracts – draws out – relations to the domestic, familiar and decorative. This animates an interior space that is here rather than there, present rather than transcendental. I am reminded of a photograph titled ‘Wright, Meier, Klein’, by Louise Lawler in her photographic essay ‘Arrangement of Pictures’.<sup>3</sup> As with Wood’s interiors, there is no hierarchy between the surfaces that compose the space – architectural wall, painting, openings to other spaces – all read as an abstract composition of black and white. Is it art or door? The architecture does not dominate in these interiors. Edges are blurred between painting and wall, between object and space. Becoming space, becoming material, becoming architecture, becoming art.\n\n&nbsp;\n\nThis spatial aspect creates a different frame for the incorporation of paintings within an interior. Wood’s art shares similarities with interior design practice such as Australian corporate office design during the 1990s where designers would look for paintings that would suit the colour of the interior. Or with domestic spaces, paintings to match the curtains. A painting as a portable and autonomous object that could be moved from space to space reaches its zenith in such interior decoration projects. And this lineage is one Wood draws on and abstracts into her displays; the painting object becomes integrated and integral to the spatial composition.\n\n&nbsp;\n\nConcurrently with a concentration on the actual space, there is also an emphasis on image. Wood frames her spaces: physically in the space, the art is framed like a series of display suites; as maquettes that draw the eye to visual relations; and as photographs which abstract and draw out the relations. In a sense, the camera is the corollary collaborator to van Doesburg’s architect. It is also through image that Wood’s art appears and is received. In my case, it is the only way I experience her art – through the photographic image. This is not an unfamiliar situation for an Australian. Throughout my art history and design education, I learnt about art, architecture and space through images. This is not to say that it equates with encountering the work in its materiality but neither does it support a privileging of one over the other. They are different encounters and engagements. I wonder if Wood, as someone who has lived in Australia, instinctively understands this and hence the dual dimensions of her work – producing both image and physical display.\n\n&nbsp;\n\nIn a sense maybe this is where the new interior is located. Not in form or colour so much as a space of reception rather than representation. Interiors as reception spaces; viewers as receivers where ‘the illusion is not in the painting. It is outside’.<sup>4</sup>\n\n&nbsp;\n\nI wonder what Theo would say.\n\n&nbsp;\n\n<strong>Suzie Attiwill</strong>\nMelbourne August 2002\n\n<em>La maison de banlieue</em> catalogue\n\nEspace d’art contemporain Camille Lambert, Juvisy\n\n&nbsp;\n\n1: quoted in Nancy J. Troy, ‘The Abstract Environment of De Stijl’, De Stijl: 1917–1931. Visions of Utopia, Walker Art Center, Minneapolis, New York: Abbeville Press, 1982, p. 165.\n\n2: Theo van Doesburg from ‘Farben im Raum und Zeit’, De Stijl, VIII, 87/89, 1928, p. 36. Quoted in Sergio Polano ‘De Stijl/Architecture = Nieuwe Beelding’, De Stijl: 1917–1931. Visions of Utopia, p. 92.\n\n3: Louise Lawler ‘Arrangements of Pictures’ in Michelson, A. et al (eds.) October. The First Decade, 1976–1986, Cambridge Massachusetts: The MIT Press, 1987, p. 220.\n\n4: Philippe Coubetergues ‘Get the picture?’ in Heidi Wood. Serving Suggestions 2002, Exposition à l’I.U.F.M. de Paris, 25 March to 13 April, 2002, footnote 14.\n\n&nbsp;',	'WE ARE IN NEED OF A NEW INTERIOR',	'',	'inherit',	'closed',	'closed',	'',	'1734-autosave-v1',	'',	'',	'2018-10-17 10:59:06',	'2018-10-17 10:59:06',	'',	1734,	'http://s653906673.onlinehome.fr/1734-autosave-v1/',	0,	'revision',	'',	0),
(1803,	3,	'2018-09-11 13:50:10',	'2018-09-11 13:50:10',	'<em>“Planète Magique”</em> is a deserted fairground, an abandoned amusement park, located in the heart of Paris. Before this Ali Baba’s cave becomes the new haunt of electronic arts, Heidi Wood has made a series of photographs… of her paintings. The ultra kitsch decorations and the still-intact magic roundabouts of <em>“Planète Magique”</em> are an ideal backdrop for adventurous paintings. For Heidi Wood does not like to leave her paintings at rest. She moves them into incongruous places where they nonetheless have every chance of fitting in: their round, sharp and colored geometry owes as much to the vocabulary of artistic formalism as to design or fashion. In short, these forms are too saturated with different sources to not appear original. They are both ho-hum and special, mysteriously timeless and fabulously fashionable. In being thrust into this very eighties atmosphere, the question is whether the paintings will be absorbed by the decor, or whether they will hold their own and manage to defend their autonomy at any cost. Heidi Wood does not tip the balance either way. On the contrary, she does everything to maintain ambiguity. In framing the shots and fine-tuning her paintings to the esthetic of the site, the artist remodels both her paintings and the environment. Thanks to this <em>mise en scène</em>, she creates the conditions for a strange combination of both. Ironically, as in a shop front window, what Heidi Wood is selling us is not the object or the artwork: it’s the ambiance.\n\n&nbsp;\n\n<strong>Judicaël Lavrador</strong>\n\nMarch 2003\n\n<em>Heidi Wood à la Planète magique </em>catalogue<em>\n</em>\n\nTranslated from French',	'MAGIC PLANET',	'',	'inherit',	'closed',	'closed',	'',	'1731-autosave-v1',	'',	'',	'2018-09-11 13:50:10',	'2018-09-11 13:50:10',	'',	1731,	'http://s653906673.onlinehome.fr/1731-autosave-v1/',	0,	'revision',	'',	0),
(1804,	3,	'2018-10-17 11:01:40',	'2018-10-17 11:01:40',	'<strong>(HEIDI WOOD, LOS ANGELES # 1 - 12)\n</strong>\n\n&nbsp;\n\n<strong>“I’m Mr. Opportunity and I’m knocking”</strong>\n\nAn ever greater margin of profit within contemporary capitalism is obtained through the co-optation of human creativity and autonomy, for in a world of increasingly artificial needs, the economy is founded less on producing objects, than on producing subjects to consume those objects. Over the past two decades, it has become abundantly clear that what were formerly art-specific competencies – exemplified by such watchwords as autonomy, flexibility, inventiveness, mobility, creativity, refusal of hierarchy, intrinsic motivation, and so on – have been self-consciously harnessed by managerial rationality, and now describe the ideal-type of the qualified worker of the future as much as they do the artist. French sociologist Pierre-Michel Menger goes so far as to describe contemporary art as “a principle of fermentation for neo-capitalism.” Art, he argues, has ceased to have heuristic value for anything but developing cutting-edge business models, test-driving new modes of production, or analysing the ins and outs of individualised labour relations. Those who persist in critiquing the system head-on inadvertently end up doing it an inestimable service, by pointing out its potential for expansion: criticise fast food and the market rebounds with organics; criticise the over-glorification of youthfulness and you’re only a phone call away from laser vaginal rejuvenation… In short, contemporary capitalism thrives on critique, the more incisive the better.\n\n&nbsp;\n\n<strong>“Our mission is to empower your awareness”</strong>\n\nThis, I think, is the fundamental insight behind Heidi Wood’s artistic practice. And this is what makes it so disconcerting when considered from the perspective of the values underpinning the symbolic economy of twentieth-century art. Heidi Wood settles her scores with those values in a stingingly lucid one-liner, juxtaposed with an image of an abstract painting placed above a warehouse loading bay, in the fourth of her Los Angeles photomontages: <em>“Our mission is to empower your awareness.”</em> Awareness empowerment is precisely the self-assigned and perfectly mythical mission to which art continues to cling. Yet if ever art’s self-awareness were empowered, it would have to acknowledge – as Heidi Wood apparently has – that it too has been backed, more or less complacently, into a loading bay, for the delivery of signs to the consumer world’s “constantly moving happiness machines”.\n\n&nbsp;\n\n<strong>“But wait, it gets even better”</strong>\n\n“You have turned people into constantly moving happiness machines”, wrote an admiring President Herbert Hoover in 1928 to Edward Bernays, the man credited with having invented PR and advertising, two forms of what he termed the “engineering of consent”. Bernays also happened to be Sigmund Freud’s nephew – which is quite a coincidence when you think about it<strong>. </strong>Variously dubbed the “Baron of Ballyhoo” and the “Father of Spin”, Bernays was the consummate Angeleno and unselfconsciously candid about his manipulative intent. “If we understand the mechanisms and motives of the group mind, it is now possible to control and regiment the masses according to our will without their knowing it,\" he conjectured merrily in <em>Propaganda, </em>one of his first books. “The conscious and intelligent manipulation of the organised habits and opinions of the masses is an important element in democratic society,” Bernays wrote, in one of the most shamelessly self-refuting definitions of “democratic society” ever formulated. “Those who manipulate this unseen mechanism of society constitute an invisible government which is the true ruling power of our country…. In almost every act of our daily lives, whether in the sphere of politics or business, in our social conduct or our ethical thinking, we are dominated by the relatively small number of persons . . . who understand the mental processes and social patterns of the masses. It is they who pull the wires which control the public mind.” And most of them, he might as well have added, live in Los Angeles.\n\n&nbsp;\n\n<strong>“Common decency…”</strong>\n\nIt’s worth delving a little deeper into Bernays’ consumer revolution, if only because it is probably the single most important source of the regime of deceit encompassing the signage and verbiage Wood is hacking into. Instead of targeting purchasers’ practical common sense, as mere product information had previously done, advertising was to embody a message, transforming commodities – however frivolous or trivial – into vectors of symbolic meaning. The point, after all, was nothing so small time as selling objects; rather, it had everything to do with <em>producing subjects to consume objects</em> – producing consumers who would experience the very act of consumption as giving expression to what Bernays called their “innermost self” – a notion that obviously had considerable significance in his family circle and beyond. Advertising was the instrument through which the commodity acquired the power to produce its consumers, who could in turn be counted upon to validate and promote its symbolic value. It is thus consumers themselves who would henceforth engage in the invisible labour of self-production, providing “subjects for objects”, consumers for commodities. Advertising’s function, in short, was merely to induce within the mind of the consumer a channel for self-production, highlighting brandnamed goods and commodified experiences as the very emblems of their own promotion. And that’s what’s known as California Dreaming… Stretching a point only slightly, one might argue that art stands with respect to advertising as Freud does to his American nephew Bernays. Heidi Wood’s point, at any rate, is that high art is neither other, nor somehow better, than its allegedly crassly commercial cousin; indeed art’s illusion of difference and freedom merely reveals that it too has found its niche group of consumers, who, as Bernays so aptly put it, “don’t actually need what they desire and don’t desire what they actually need.”\n\n&nbsp;\n\n<strong>“Arnold says: ‘California wants your business’”</strong>\n\nShould Heidi Wood’s work be taken at face value, as a sincere acceptance of the design imperatives of cultural capitalism? This seems an unlikely hypothesis, sitting uneasily with her hard-edged work; but it is no more implausible than supposing the work is intended as some sort of tongue-in-cheek send-up of the idiocies of consumer manipulation, if only because trying to outsmart the cynics at their own game is obviously hopeless. Understanding Heidi Wood’s position thus requires that we accept the notion of a third level; neither sincere, nor send up, but on a different map altogether. Like her earlier “Serving Suggestions” series, Wood’s new work is characterized by an exceedingly low coefficient of artistic visibility. By this, I don’t of course mean the work is somehow invisible – it is highly visible, but not necessarily as art, in the sense of autonomously visible objects fitting that description. Thus, Wood’s artistic practice lies as much in infiltrating the ambient semiotic economy of commercial and domestic settings or generic urban landscapes, as it does in actually producing the painterly forms with which she discreetly contaminates those spaces. The drive-by design of her “paintings” themselves is uncannily nondescript: a disk shape surrounded by a semi-circular line against a mauve background, photoshopped onto a billboard along a seedy-looking strip mall, is neither unequivocally vaginal nor certifiably non-vaginal; an icon that isn’t.\n\n&nbsp;\n\n<strong>Spam aesthetics</strong>\n\nAs might be expected, Los Angeles – ground zero, so to speak, of the subjectivity-production industry – has left a mark on Wood’s practice. She could scarcely remain indifferent to the quantity of text that fills the city’s visual field, and that formally speaking accounts for the emergence of text in the work she produced there. By adding text, Wood has found a way to integrate the mercantile pragmatics of the urban context as a whole, permeating the otherwise painting-free signscape with painted surfaces. It is worth pointing out that the series itself emerged as spam: that is, before undergoing a shift into the form of rarefied artwork, the series existed in the form of gratuitous excess, cluttering the Inboxes of people like me. The aesthetics of spamming are becoming well known but because the practice has not yet been validated by mainstream artworld values (as the serialised version of hitherto uncommodified mail art), its coefficient of artistic visibility is literally negligible. Day after day, I looked at the perplexing series that seemed to be trying to sell something it didn’t possess to someone who didn’t want it. Beneath each text – less the “subtext” of the images they accompanied than red-herrings – was a commercial signature: <em>© Heidi Wood</em>. What, one wondered, was Heidi Wood? An artist? A visual experience consultant? Post-pop at level three.\n\n&nbsp;\n\n<strong>Stephen Wright</strong>, 2005<strong>\n</strong>\n\n<em>Los Angeles Diaries (nutrition disguised as fun) </em>catalogue',	'LEVEL THREE',	'',	'inherit',	'closed',	'closed',	'',	'1728-autosave-v1',	'',	'',	'2018-10-17 11:01:40',	'2018-10-17 11:01:40',	'',	1728,	'http://s653906673.onlinehome.fr/1728-autosave-v1/',	0,	'revision',	'',	0),
(1805,	3,	'2018-10-17 11:03:17',	'2018-10-17 11:03:17',	'HEIDI WOOD in the 10<sup>th</sup> arrondissement, Paris\n\nApril 19 to May 10 2006\n\n&nbsp;\n\nThere are at least two ways of apprehending an artist’s work. The first consists of looking at what she did and asking what it is, as profoundly and comprehensively as possible, in going well beyond appearances (which as everyone knows are often misleading when art is concerned). The second consists of doing the opposite and asking how it is made, which approach, intuition or intention is behind it, in going well beyond platitudes (which are easy to recognize – they are often the first things that come to mind). In this back and forth movement, we may well encounter a work of art. It is an exercise that requires a little concentration and a lot of curiosity.\n\n&nbsp;\n\nLet’s take the example of what Heidi Wood proposes here. What is it? It is an image in a light box placed in the public sphere. What does the image represent? It is a photograph of her neighborhood. Within this image is second image. We recognize it without recognizing it. We have seen it somewhere before without being able to say where. In short, it is a light box hung in a real place. In the light box is a photographic image and in this image is an abstract shape. We can legitimately make a certain number of observations on the effects of this image within the image within the image. But let’s look at things from the perspective of how they are made, their causality. Heidi Wood designs an abstract shape (a sort of painting) in reference to her daily iconic environment, saturated with this familiar signage. It is a generic image made to look like many others without specifically being any of them. A sort of logo without a brand – less a brand image than the essence of a brand. In line with current communication strategies, the artist looks for a place to hang her painting. She imagines placing it in her immediate surroundings – let’s say downstairs from where she lives. And instead of getting permission to really do it, she creates an image that simulates it. Finally, to communicate on her project, she puts it in a small light box and hangs it in a public place.\n\n&nbsp;\n\nIn total, there are ten light boxes placed in ten different places in the 10th arrondissement: ten occurrences for a same working method conceived in response to an invitation from the town hall. The specificity of Heidi Wood’s work is precisely that she simulates promotion strategies used by the commercial sector by infiltrating traditional networks of urban communication and in establishing a professional relationship of service provider with her patrons. In other words, Heidi Wood is less a painter than a designer of forms inspired by and destined for a given site. She is aware that, today more than ever, images only exist in relation to their environment. Their quality – and as a result, their status – is only understood through the connections they establish with the context in which they are inscribed. In taking virtual possession of spaces normally given over to billboard advertising, by submitting her forms to the context liable to engender them, she does not denounce or corrupt a system. She exploits it. She makes it serve her own artistic ends. She adapts to the most immediate modes of exteriorization, to the conditions of expression of her times.\n\n&nbsp;\n\nPainting from life once meant setting up an easel in the landscape to make a picture of it. The artwork was conceived in this direct confrontation between the motif and the referent. In the completely reinvented landscaped context of the modern world that the image has conquered, often by replacing the real, it could be that Heidi Wood incarnates the surprisingly updated figure of the “painter from life”. Her paintings are inscribed within our most trivial everyday environment, acting to reveal our conditioned relation to the world and to images.\n\n&nbsp;\n\n<strong>Philippe Coubetergues</strong>\n\nMarch 2006\n\n<em>Heidi Wood dans le Xème, </em>catalogue\n\nTranslated from French',	'HEIDI WOOD in the 10th arrondissement, Paris',	'',	'inherit',	'closed',	'closed',	'',	'1725-autosave-v1',	'',	'',	'2018-10-17 11:03:17',	'2018-10-17 11:03:17',	'',	1725,	'http://s653906673.onlinehome.fr/1725-autosave-v1/',	0,	'revision',	'',	0),
(1806,	3,	'2018-10-17 11:05:13',	'2018-10-17 11:05:13',	'The service provided by <em>Heidi Wood</em> is a concept that has been refined over the years to consolidate into a completely original reference in the field of representation<a href=\"#_edn1\" name=\"_ednref1\">[1]</a>. It is a simple, efficient and reliable concept that in short consists of making images using motifs elaborated for and destined to be inscribed in a given environment<a href=\"#_edn2\" name=\"_ednref2\">[2]</a>. The service provided by <em>Heidi Wood</em> targets a wide audience because it concerns every person or situation, sponsor or spectator, liable to be confronted with the problematic controls and corruptions of the image in his/her real environment. More than a painting to be hung, the service provided by <em>Heidi Wood</em> is an image to defend; more than a result, it is a suggestion, a projection. In this sense, the service provided by <em>Heidi Wood</em> should be seen as an imminent ideal that is <em>Coming Soon</em>.\n\n&nbsp;\n\n<strong>Description of the service provided</strong><a href=\"#_edn3\" name=\"_ednref3\"><strong>[3]</strong></a>\n\nThe <em>Coming Soon</em> service provided by <em>Heidi Wood</em> is a suggestion formulated in various modalities that change and come together to suit the case at hand: photography, installation, montage, arrangement, etc. However complete this formulation is, it can only be appreciated as a simulation, in anticipation<a href=\"#_edn4\" name=\"_ednref4\">[4]</a>.\n\n&nbsp;\n\n<strong>Description of the suggested service</strong><a href=\"#_edn5\" name=\"_ednref5\"><strong>[5]</strong></a>\n\nThe service suggested by <em>Heidi Wood</em>’s <em>Coming Soon</em> is an improvement of the visible, an enhancement of the setting using a graphic system for which the Heidi Wood brand is sole agent<a href=\"#_edn6\" name=\"_ednref6\">[6]</a>. The service offered includes the design and fabrication of motifs based on contextual data and their real or simulated, permanent or temporary inscription in this same context.\n\n&nbsp;\n\n<strong>Description of the product provided</strong>\n\nThe product attached to the <em>Coming Soon</em> service provided by <em>Heidi Wood</em> is a composed image or series of images that anticipates the suggested service<a href=\"#_edn7\" name=\"_ednref7\">[7]</a>. These images include motifs from <em>Heidi Wood</em>’s graphic range. This anticipation is only one possible occurrence of the service. Other spin-offs from the project may accompany the images and their presentation<a href=\"#_edn8\" name=\"_ednref8\">[8]</a>.\n\n&nbsp;\n\n<strong>Product exclusivity and protection</strong>\n\nThe <em>Coming Soon</em> service provided by <em>Heidi Wood</em> guarantees the exclusivity of the product in that each suggested attribution of the motif is original. Furthermore, once assigned to a given context, the motif is considered definitively allotted to this initial and unique usage<a href=\"#_edn9\" name=\"_ednref9\">[9]</a>.\n\n&nbsp;\n\n<strong>Patent and author’s rights</strong>\n\nIn essence and nature, the <em>Heidi Wood</em> brand as graphic line and original service is patented. It is also impossible to forge because it is embedded in the qualified context<a href=\"#_edn10\" name=\"_ednref10\">[10]</a>. Counterfeiting is out of the question due to the coded system of the motif, the secret of which is known only to <em>Heidi Wood</em>’s design department. The author’s rights inherent in the prescribed use of a motif are in no way transferable to other usages in other contexts<a href=\"#_edn11\" name=\"_ednref11\">[11]</a>.\n\n&nbsp;\n\n<strong>The target</strong>\n\nWhile in essence it concerns all audiences, the <em>Coming Soon</em> service provided by <em>Heidi Wood</em> nonetheless targets people or situations, owners or managers of a given space who are concerned with the image projected by the architectural and decorative configuration of this space. More specifically, the <em>Coming Soon</em> service provided by <em>Heidi Wood</em> targets functional, modernist spaces, often impregnated with a formalist esthetic derived from 20<sup>th</sup> century abstract and geometric painting. The<em> Coming Soon</em> service provided by <em>Heidi Wood</em> tends to reveal this underlying inspiration, which is nonetheless decisive in terms of brand image. It aims to reaffirm this origin of the image while enhancing the prestige of its use<a href=\"#_edn12\" name=\"_ednref12\">[12]</a>.\n\n&nbsp;\n\n<strong>Advantages of the corporate concept</strong>\n\nThe<em> Coming Soon</em> service provided by <em>Heidi Wood</em> enterprises presents original advantages over the competition already working in the decorative representation market. The attribution of a motif, far from being arbitrary, is directly linked here to the visual specificity of the context, making the motif efficient and perfectly practicable in terms of place enhancement and image affirmation. The motif is also determined in an implicit reference to the history of forms, thus ensuring its stylistic coherence<a href=\"#_edn13\" name=\"_ednref13\">[13]</a>.\n\n&nbsp;\n\n<strong>Market share</strong>\n\nThe increasingly prosperous and expanding market for representation and its probable developments over the long term allow us to foresee steady growth for <em>Heidi Wood </em>enterprises. This will translate into an increased market share via a rise in the number of customers and the development of customer loyalty due to the many perceived needs in terms of image management<a href=\"#_edn14\" name=\"_ednref14\">[14]</a>.\n\n&nbsp;\n\n<strong>Range of motifs</strong>\n\n<em>Heidi Wood</em>’s catalogue already offers a wide range of generic motifs still available and adaptable to any situation<a href=\"#_edn15\" name=\"_ednref15\">[15]</a>. Furthermore, her design/construction service is regularly supplemented by new products that incorporate past and updated trends<a href=\"#_edn16\" name=\"_ednref16\">[16]</a>.\n\n&nbsp;\n\n<strong>Philippe Coubetergues</strong>\n\n<em>Heidi Wood, oeuvres de 2001 à 2007 </em>catalogue\n\n&nbsp;\n\n<a href=\"#_ednref1\" name=\"_edn1\">[1]</a> As an artist, Heidi Wood presents herself as a service provider. She consciously positions her proposals within the reality of the market economy. Her business and communication models follow those of business. It is thus possible to describe and appreciate her work by deliberately positioning ourselves within this perspective.\n\n<a href=\"#_ednref2\" name=\"_edn2\">[2]</a> Heidi Wood’s stance can be described as a fiction: that of a small business that designs and provides a service in line with identified needs for a targeted customer. This text plays the game of the simulation inferred by her work. In other words, the logic proclaimed by the work is pushed to its extreme by attempting to approach it via the real model she simulates. This article fits into the diegetic dimension of the artist’s work. Like the artist’s work, it should be taken as a proposal that supplements the fiction.\n\n<a href=\"#_ednref3\" name=\"_edn3\">[3]</a> The exercise is a test. The description of a business project requires rationalizing all aspects to justify its validity. Critical commentary, while it tends to applaud the coherence of the work as a whole, must likewise consider all aspects of the undertaking. Bringing together two types of text is thus plausible. The constraint lies mainly in vocabulary (service, department, product, clientele, etc.) and its connotations. There is a risk of becoming caricatured. Yet the metaphor lies precisely in this exaggeration. And in the footnotes where there is a reading on two levels, just as there is in Heidi Wood’s work.\n\n<a href=\"#_ednref4\" name=\"_edn4\">[4]</a> These footnotes serve as a context (at least for the inner circle). By presenting themselves as a commentary on the article, they target the work indirectly.\n\n<a href=\"#_ednref5\" name=\"_edn5\">[5]</a> It becomes clear that Heidi Wood’s work does not lend itself to analysis like traditional photography. It is not a statement of fact, a recording of things as they are but rather a suggestion for transformation, improvement and enhancement of this state of things. This suggestion is expressed by means of photography, most often associated with an incorporated or juxtaposed graphic motif.\n\n<a href=\"#_ednref6\" name=\"_edn6\">[6]</a> In a way, this suggestion can be seen as a traditional decorative proposal. The question remains of what is decorated and what is décor. The motif apparently takes the form of a painting made to fit a given setting. It plays the role of the decorative touch. Yet at the same time it highlights and condenses the underlying decorative nature of this setting. The hierarchy between setting and painting thus levels out. The milieu justifies the motif and vice versa. The setting decorates the painting as much as the painting decorates the setting. Neither the setting nor the painting is decorative. Only the relationship between the two.\n\n<a href=\"#_ednref7\" name=\"_edn7\">[7]</a> But all this is only a promise. A promise of a décor. The photograph, with or without motif, the wallpaper, the montage, the arrangement, all this is no more than simulacra. Nothing is really made. It is an image, a possible reflection of things. The artist faces a reality made up of a proposal grounded in what she sees but also in what she foresees. She gives her vision of things in the form of an anticipation that we have chosen to call <em>Coming Soon</em>.\n\n<a href=\"#_ednref8\" name=\"_edn8\">[8]</a> <em>Coming soon</em> is an expression used to announce an impending event. Heidi Wood takes it and integrates it into her work as a ready-made textual element. <em>Coming Soon</em> 2006 can be rightly interpreted as an announcement of an exhibition but also, in a shift of meaning, as a generic designation of Heidi Wood exhibitions.\n\n<a href=\"#_ednref9\" name=\"_edn9\">[9]</a> All artworks by Heidi Wood function in reference to communication models employed in the commercial domain. Her installations can be put together like displays in a department store, her images distributed as spam, her polyptych compositions presented as advertising billboards when the slogans themselves are not directly appropriated and reassigned. Starting with her first works, the artist has deliberately oriented her register of expression toward the communication vernacular. She is not interested in the announcement itself or even the specific codes that govern it but rather the announcement’s impact. Heidi Wood works on the suggestive power of these types of visuals and the forms of idealization they lead us toward.\n\n<a href=\"#_ednref10\" name=\"_edn10\">[10]</a> One of the most efficient motors of this suggestion consists in orchestrating on the same level several heterogeneous elements, such as a photographic image, an abstract form or a slogan. In the traditional sense, it is a collage. Its evocative force lies in the hiatus, in the impression maintained of these elements being out of synch despite their proximity. But in so far as the collage takes on and quotes the conventional modalities of visual communication, the hiatus is interpreted and partially resolved in line with the most common modes of association: enhancement, designation, substitution, forecast, anticipation.\n\n<a href=\"#_ednref11\" name=\"_edn11\">[11]</a> By combining in this way iconic, textual, abstract, figurative, graphic or photographic data, in referring to geometric abstraction, its fall-out in our architectural and decorative environment, its diverse repercussions and reassignments in terms of design, logos and signage, by appropriating (through an amplification of the recycling phenomenon) these same communication codes while simulating the same eye-catching methods, Heidi Wood, faced with a given reality, makes an image in the same way she would paint a painting.\n\n<a href=\"#_ednref12\" name=\"_edn12\">[12]</a> All the ingredients of painting are brought together: composition, motif, reference, quotation, title… Except for the medium, which is clearly not that of traditional painting. Mediation here replaces the medium. How it is made manifest is insignificant. Heidi Wood’s artworks can be regenerated and sometimes even updated in a range of media, like the visuals of our era. But in painting, what counts is not so much the material as how it is made. In the digital era, Heidi Wood’s artworks stand for an almost insolent emancipation from materiality to highlight the factual methods of their design.\n\n<a href=\"#_ednref13\" name=\"_edn13\">[13]</a> Heidi Wood’s work is carefully and proficiently made. Her undertaking generates projects, not end results. Yet as objects Heidi Wood’s artwork-prototypes are perfectly finalized. In the pure respect of reworked visual phenomena, they take on the slick and definitive look that suits the expression of an ideal.\n\n<a href=\"#_ednref14\" name=\"_edn14\">[14]</a> This text and its commentary aim to define the main characteristics of an undertaking at a given time. They seek to reveal the characteristics shared by the artworks and to do so, describe them according to the logic of a system. It is no doubt the nature of the genre. The artwork, however, does not truly respect any system. It evolves over time. From the series <em>Serving Suggestion</em> in 2001 to the series <em>Authentic New Mexico</em> in 2007, several upheavals have occurred. The spam experiment for the Los Angeles series, for example, was no doubt particularly decisive in terms of the self-promotion aspect of the work.\n\n<a href=\"#_ednref15\" name=\"_edn15\">[15]</a> <em>Authentic New Mexico, </em>the most recent series to date, does not resemble the preceding series. The “motif” element is explicitly figurative for the first time. The figurine references and reformats a traditional art form. The Kachina doll embraces the Playmobil. This appropriation becomes a commentary on another that is less explicit yet present in the fake adobe style of contemporary architecture in Santa Fe. The association of photograph and motif is no longer a decorative proposal. It is rather an expression of amusement at the turn things take in the particular context of an urban environment that seems entirely devoted to tourism. The question is no longer whether the motif should be integrated into the environment. In a sense, it already is. The confrontation of the two is enough to reveal it implicitly.\n\n<a href=\"#_ednref16\" name=\"_edn16\">[16]</a> Quotation, loan and suggestion. Heidi Wood’s work is grounded in these three directions. Quotation evokes the past, art history, the history of abstraction, the history of styles. Loan concerns modes of visual communication that currently prevail in our contemporary world, which is itself strongly marked by this history of forms. Suggestion looks at the formal potential of this environment as a setting. Each series, in its own way, expresses a certain updating of the utopias to which these forms once belonged. In Heidi Wood’s work, there is a nostalgic, facetious and joyous taste for the image’s capacity to promise us the illusion of a world that is always lighter, simpler and more authentic.\n\n&nbsp;',	'Heidi Wood: a Coming Soon service provider',	'',	'inherit',	'closed',	'closed',	'',	'1722-autosave-v1',	'',	'',	'2018-10-17 11:05:13',	'2018-10-17 11:05:13',	'',	1722,	'http://s653906673.onlinehome.fr/1722-autosave-v1/',	0,	'revision',	'',	0),
(1807,	3,	'2018-10-17 09:56:52',	'2018-10-17 09:56:52',	'In 1997, when I met Heidi Wood, she was undermining the forms of the male, conquering modernism that invades the visual sphere. Her polyptychs foreshadowed the recent developments in her work. I liked this manhandling of dominant ideologies tied to the foundations of painting and language. The equivalence she established between irregular verbs in English (system, rule, exception) and the invention of abstract forms evoking the bastardized versions of modernism filtered through the omnipresence of design and graphics already participated in the third level that Stephen Wright refers to; a sort of third path.\n\nA major turning point occurred in 2001 for the exhibition <em>Quotidien aidé (LES LOCATAIRES), </em>with the appearance of “Serving Suggestions.” Since then, she has worked on and questioned the complex, fragile, contradictory, futile, necessary, intimate, forced (etc.) relationships between the painting and its surroundings. This undertaking, which is very well analyzed by Philippe Coubetergues, goes through different stages. The painting is no longer alone. It is accompanied, presented, enhanced. A décor for a painting, a painting for a place, an ephemeral <em>mise en scène</em> for a photograph or an exhibition… Bringing together marketing strategies and presentation, she mixes economic and decorative registers, levels of readings, building up layer upon layer upon layer.\n\nAn essential question was already raised: where exactly is the artwork? From this moment on, Heidi’s work is constructed on disorder. It is confused. By that I mean it occupies a disordered territory and it plays on confusion. Of genres and attitudes. Deliberately clouding the issue, she gives equal importance to the painting, its <em>mise en scène</em>, its décor, the elements that accompany it, the photographic trace, etc. Her exhibitions play on these accumulations of different types of strata, undertaking a very disturbing (for the purist) de-hierarchizing of values. From here on, she devotes herself to an art of projects, an art of attitude.\n\nGradually emerging from the comfortable domestic environment where she began her experimentation, she has confronted public spaces (the 10<sup>th</sup> arrondissement in Paris, Los Angeles, Budapest, etc.). A few excursions in storefront windows had already kicked off the process. Yet perhaps renewing with avant-garde concerns (for whom, as we know, social structures and forms were fundamentally linked by ideology) she decided to infiltrate reality using spam.\n\nToday, her interest focuses more specifically on the forms of the common vernacular of globalized visual culture. Playing on the powers of the image, she works between fiction and reality, precisely at the imperceptible border between the two. She operates at the heart of the symbolic. And the fundamental issue at stake is authenticity.\n\n<strong>Frank Lamy</strong>\n\n<em>Heidi Wood, </em><em>œ</em><em>uvres de 2001 à 2007 </em>catalogue',	'Works from 2001 to 2007 (',	'',	'inherit',	'closed',	'closed',	'',	'1719-autosave-v1',	'',	'',	'2018-10-17 09:56:52',	'2018-10-17 09:56:52',	'',	1719,	'http://s653906673.onlinehome.fr/1719-autosave-v1/',	0,	'revision',	'',	0),
(1808,	3,	'2018-09-11 14:02:29',	'2018-09-11 14:02:29',	'Heidi Wood designates but does not communicate, even though she delivers signals that are almost signage. She offers the forms to us as she found them in this indistinct zone that brings together reality as representation and representation as reality. Taken from landscapes modified by the images that adopted them. She eliminates, she detaches, she extracts signs from the environment where they sluggishly drew attention to themselves, signaling above all an alliance or appearance. De-signating, she de-tects, de-limits, de-viates, de-signs. Draws.\n\nDrawing in the original sense of the word, to designate, “tracing the outlines of something.” Something visible or invisible, attainable or unreal, limpid or inexplicable. Opposites often united until drawing set them apart. Heidi Wood disconnects the sign from its referent, giving us signs striped of their meaning, extracted from the world and placed naked before their reproduction. Detached from the world we understand and its continuous good sense.\n\nYet Heidi Wood does not seek to deconstruct, even though we would gladly see in her rigorous sketches and random maps the tools for designing infrastructure and cobbling together a superstructure. Instead, we sense an attempt to recompose and launch. For the form to go beyond the form and the sign to reveal the sign; in short that the esthetic revelation regenerates the semiotic anesthesia. After emptying out the evidence, to be able to trace the contours of something else.\n\n&nbsp;\n\n<em>“Like dreams, drawing works toward separation, but as with dreams, its links with reality are not entirely broken.”</em>\n\nPhilippe-Alain MICHAUD\n\n&nbsp;\n\n<strong>Jacques Norigeon</strong>\n\nCatalogue <em>Carnet Sagace 20</em>',	'THE CONTOURS OF SOMETHING',	'',	'inherit',	'closed',	'closed',	'',	'1715-autosave-v1',	'',	'',	'2018-09-11 14:02:29',	'2018-09-11 14:02:29',	'',	1715,	'http://s653906673.onlinehome.fr/1715-autosave-v1/',	0,	'revision',	'',	0),
(1809,	3,	'2018-09-11 14:04:22',	'2018-09-11 14:04:22',	'The urban environment is like a Petri dish, a crucible in which to chart the enormous transformations that have taken place since the heyday of Western modernism in the early twentieth century. Travel to any major city, from Brussels to Bucharest and beyond, and one finds apartment blocks, government buildings, universities, all kinds of social infrastructure now encased in enormous banners or made over as large-scale billboards advertising watches, perfumes or glamour. Industrial zones that were threatened with obsolescence during the neoliberal 1990s, from port cities such as Gdansk or Hamburg to other manufacturing centres like Kaunas, have been reborn, raised from the dead amid globalised service economies and so-called creative industries to become tourist sites and fun parks of history. These sites then become triggers for consumption, designed to be photographed and replayed later through anecdote rather than experienced there-and-then.\n\nArt, or at least visual culture, plays a central role in this, as Heidi Wood’s work suggests. The abstract imagery that has comprised her practice in recent years, including her current series, draws from the ways that state and private businesses distil a sense of their local environments through logos, visual sound bites and other snapshot souvenirs. Wood’s symbols or “pictograms” mimic the monuments of modernist industry (cranes, factories, watchtowers), reducing these sites to schematic outlines in much the same way that postcards (or, for that matter, art biennales) tend to reduce a place to key locations or viewpoints for the appreciation of non-local audiences. Artists’ residencies – such as that held by Wood in Bremen from September to October 2009, and which has provided the foundations for the work in this exhibition – can be given a similar use-value, infiltrating “local” meaning into a “foreign” artistic practice which can then be disseminated elsewhere around the globe through an artist’s subsequent shows. The “local” thereby becomes a mobilised souvenir of sorts as well, much like the blue plates popular in Germany and replicated by Wood here, commemorating a traveller’s ventures into new terrain.\n\nThe abstractions of Europe’s avant-garde and neo-avant-garde movements – from Wassily Kandinsky or Albert Renger-Patzsch to Bernd and Hilla Becher’s images of industry on the brink of decay from the 1960s – are now the lingua franca of contemporary consumer society. They provide the signposts for “the local” and “the social”, targeting us from hoardings on buildings, or posted to friends with a “wish you were here” glee, as they construct the parameters for contemporary subjectivity. Wood’s own pictograms, blue plates and signposts are clearly shot through with a similar debt to “corporatised” creative industries. Yet, rather than a mere repetition of or capitulation to these constructions, Wood’s practice can be better understood as an <em>over-identification</em> with them, an aesthetic of mimicry that underpins a significant strain of contemporary art as it seeks new ways of negotiating with neoliberalism. Much like the work of The Yes Men and RTMark today, or IRWIN before them, Wood’s practice deliberately exaggerates the processes and appearances of neoliberal aesthetic regimes, opening up the fine line between criticism of that regime and complicity with it, or between an imposed and a sovereign subjectivity. It is in this opened “between” state that Heidi Wood’s explorations of contemporary conditions and mnemonics of the present take place, ascribing to no particular political or cultural position other than one belonging to that all-too-rare commodity these days: a deliberate curiosity about the very position of culture, about the messages that it can provide and the people it can target, within neoliberal urban spheres.\n\n&nbsp;\n\n<strong>Anthony Gardner</strong>, 2009\n\nCatalogue <em>Partie de chasse (Open Season)</em>',	'OPEN SEASON, 2009',	'',	'inherit',	'closed',	'closed',	'',	'1709-autosave-v1',	'',	'',	'2018-09-11 14:04:22',	'2018-09-11 14:04:22',	'',	1709,	'http://s653906673.onlinehome.fr/1709-autosave-v1/',	0,	'revision',	'',	0),
(1810,	3,	'2018-09-11 14:06:41',	'2018-09-11 14:06:41',	'The speed at which everyday objects are produced, manufactured, transformed and distributed is such that their equally ephemeral usage annihilates the very idea of the everyday and the familiar. Everything seems organized so that we do not have time to get near these objects and make them our own. Yet they express and represent us in that via our choices and uses they are no more than extensions of our bodies and emotions. If we pay the slightest attention to the things and objects that surround us, all, without exception, can be seen as the reverse side or negative of the forms of our bodies. Shoes, houses, can openers, clothes, bags, cars, chairs – all these things are our own shapes in reverse. Without idolizing consumer society – after all, these are things, not other subjects – we better understand our emotional investment in them when we realize that even the tiniest manipulation is ultimately an interaction with the society of human bodies that these objects represent, contain and reconstruct. They reconstitute us and they signify. The shapes, colors, textures, materials, sizes and weights of all these objects are not insignificant. They are, rather, a form of coded communication with users as well as a means of communication among them. This observation is banal and has been around for a long time. Nonetheless, few people question the rules and norms of this consumer society to the point that a considerable number of objects are often consumed economically without there being time to use them physically – mobile phones are the most common example of this. At best, there is still symbolic usage. At worst, it makes us into social actors who serve the economy, when the market should serve us. Hence, since the birth of industrialization we have progressively becomes objects for other individuals who see us as such.\n\nThe magical, spellbinding, bewitching nature of commodities – what Marx called “commodity fetishism”, from the Portuguese word <em>feitiço,</em> meaning magic – can only work if we believe in it, like religion. And there is no shortage of commodity worshippers; there are millions of them. This is explained by the double nature of the value attributed to the object, having both a usage value and a symbolic value with the latter often outstripping the object’s mercantile value. We are prepared to spend large sums for a family heirloom or a rare or unusual object. We have a propensity for a sort of “psychic fetishism” toward the object. We are connected to it by emotional over-investment. It also connects us to a whole network of human affective states, codes and signs that have been blurred, are almost imperceptible, but are still there, living on. One of the characteristics of Heidi Wood’s work is to literally make visible the underlying structures, both esthetic and functional, of many of the codifications attached to objects, their contexts and their purposes. Her work not only reveals visual and significant situations that are often unnoticed due to disinterest or conditioning. It is above all transforming. The posters made for the exhibition <em>Winter Vacation</em> show objects and their uses in a different light, as if by opening them up and cutting them open to show elements, facets and aspects that would have remained hidden without the various operations undertaken. They signify in another way, but also something else, acquiring other visual, esthetic and artistic values.\n\nThe transformation Heidi Wood inflicts upon them comes out of the objects themselves, as if by mutations, evolutions and developments – what visual communication jargon calls multiple spin-offs. Playing on ambivalences in the way the public receives advertisements, design objects, graphics and a whole range of signs, as well as ambivalences in the modes of production, design and manufacture of this vast system of codes, Heidi Wood does more than shift their signification and purpose. Ultimately, she resocializes an entire process of significations that originally would have consisted of desocializing, all to facilitate their circulation in the commodities system. In the end, the thousands of signs we read and interpret daily in the form of all types of objects – except those that are strictly informative – only serve to attract and focus attention on something else, which is usually the sale… of other objects. The billboards we find here and there in the street always possess, literally and figuratively, a double discourse: informative and mercantile. As if we could not signify, communicate and inform without immediately soliciting the viewer with an eye to the future sale of a given product. We deliberately omit the fact that not all communication has an alternative motive. It is not always manipulation. Suddenly, the street, avenue, square, church, house, roundabout, pharmacy, fire station or hospital can all become, or already are, commercial signs. Society as a whole becomes a hyper-logo, a sign of itself like a system of commodification that self-generates other signs and logos.\n\nIf, based on the system of existing symbols, Heidi Wood repossesses, redraws, reconfigures and duplicates, we have to take her posters literally as symbols and symbolic, i.e. as two things that are joined or brought together (from the Greek <em>symbolon</em>, “put together”). In other words, a social connection is established between the person who imagines and produces the sign and those who perceive and interpret it. Given that a symbol only has meaning if it is understood and shared by a group, community or society, Heidi Wood’s posters are highly symbolic visually, esthetically and artistically, but also symbolically in that they create recognizable signs among members of society, creating connections between people who recognize themselves as subjects rather than interchangeable objects. Always working with the specificity of place, Heidi Wood clearly uses a generic system of signs, fitting it into local peculiarities so that the works are significant to the users addressed. In this case, the users are inhabitants of Chevilly-Larue who should see themselves in and feel partly reflected by them. The negative or positive surprises, or even loathing that Heidi Wood’s posters may spark are another way of creating connections with users of the urban landscape, not only in that they see their usual environment from another, surprising angle, but because they therefore understand that a different form of social participation is possible, that another way of seeing is viable, that another form of imagination can materialize in society. Public space is never a given that can be handled like any other tool. It is not something within arm’s reach whose only value is utilitarian; that can be tossed out when it is deemed obsolete. In a manner that is as surreptitious as it is explicit and visible, Heidi Wood’s works prove that public space is constantly constructed by those who make, use, think and shape society. The idea of shaping it should be taken as the form given to the space and the audience of this space – a space where signs and images weave connections rather than undermining the social fabric.\n\n&nbsp;\n\n<strong>Jacinto Lageira</strong>, 2011\n\n<em>Vacances d’hiver (Winter Vacation)</em> catalogue',	'CONNECTED BY IMAGES, 2011',	'',	'inherit',	'closed',	'closed',	'',	'1706-autosave-v1',	'',	'',	'2018-09-11 14:06:41',	'2018-09-11 14:06:41',	'',	1706,	'http://s653906673.onlinehome.fr/1706-autosave-v1/',	0,	'revision',	'',	0),
(1811,	3,	'2018-10-17 11:22:44',	'2018-10-17 11:22:44',	'<em>A work of art today must withstand comparison</em>\n\n<em>to any manufactured object. The artist-painting is false and outdated.</em>\n\n<em>Only the object-painting is capable of resisting the comparison and holding up over time.</em>\n\n&nbsp;\n\nFernand Léger\n\n&nbsp;\n\nAccording to English ethnologists at the end of the nineteenth century such as Alfred Cort Haddon, the development of decoration since prehistoric times marks the beginning of the cultural history of forms, thus linking from the outset art and the decorative.<a href=\"#_ftn1\" name=\"_ftnref1\">[1]</a> In autumn 2013, the Musée national Fernand Léger and the Musée d’histoire et de céramique biotoises invite Australian artist Heidi Wood to continue this dialogue between fine art and applied arts, in connection with the pertinent distinction Léger made between easel painting and ornamental painting. The result is the two-part exhibition, Setting for an Ordinary Life.\n\n&nbsp;\n\nExperimenting with images on all surfaces, Heidi Wood draws together two notions of time (universal and contextual) as a traveller and artist in residence. “I explore the use of pictograms in the simulation and evocation of an idealized world. I continue to design repertoires of forms in response to a given context. But the forms are no longer presented via series of photographs to (potentially) become paintings. The physical artwork has disappeared. I now prefer to make ephemeral environments.” Pursuing her visual infiltration of reality in a dizzying, self-promoting marketing campaign, Heidi Wood undermines the functionality of objects by exploiting their visual potential (street sign, billboard, flag shield, pencil case, souvenir plate, etc.) With the series Serving Suggestions begun in 2001 (abstract paintings in modernist interior settings), the artist acknowledges that the artwork, reduced to an image, has been stripped of its aura, as foreseen by Walter Benjamin in 1935.<a href=\"#_ftn2\" name=\"_ftnref2\">[2]</a>. Her advertising-inspired photographs thus turn the viewer into a consumer.\n\n&nbsp;\n\nIn Biot, Heidi Wood sets up a dialogue between her pictographic landscapes and Fernand Léger’s progressive aesthetic in close relation to the town where the painter practiced ceramics from 1949 to 1955. An urban theme runs through these three elements, as this was essential to Léger’s work. Indeed, from the 1920’s he was enthusiastic about the architectural and social innovations developed and practiced by friends such as Le Corbusier or Robert Mallet-Stevens. Lucid, he nonetheless advocated painting’s integration into architecture and wanted artists to reclaim the visual impact of advertising. During the aviation salon in Paris in 1912, along with Marcel Duchamp and Constantin Brancusi, he acknowledged the competition of the industrial object (a propeller, in this case). While Duchamp stopped painting in favor of a conceptualization of the artistic act, Fernand Léger opted for a strategy of integrating painting into total art projects in architecture, cinema or theater. Convinced that art is a means not an end, he discovered the working class during the First World War that he spent at the front alongside miners, tradesmen and road workers. This shift in perspective made him aware that the near-abstraction he had reached in his cubist-inspired series Contrastes de formes distanced him from the man in the street. During the famous debates at the Maison du peuple in 1936 during which he opposed defenders of socialist realism such as Aragon, he advocated the necessity of art education for all and refused the instrumentalization of art for popularity-seeking or individualistic purposes: \"If our artworks have not permeated the masses, I repeat, it is the fault of the current social order and not because these artworks lack humanity. <a href=\"#_ftn3\" name=\"_ftnref3\">[3]</a>\" From then on, he illustrated his concept of nouveau réalisme by focusing on the everyday object rather than the romantic subject, which had been rife since the Italian Renaissance. In 1923 - 24, he maintained ”Beauty is everywhere, in the order of your saucepans, on the white wall of your kitchen, perhaps more so than in your\n\n&nbsp;\n\n18th century living room or in official museums”<a href=\"#_ftn4\" name=\"_ftnref4\">[4]</a>. With his theory of contrasts, he laid claim to the beauty of the pure means available to the painter (line, form, color).\n\n&nbsp;\n\nWith her project Sister Suburbs begun in 2011, Heidi Wood takes stock of this progressive history of 20th century art in light of today’s suburban environment, often scorned as less patrimonial than the city center. Her homage to suburbia invites us to change the way we look at the constructed environment, its visual codes and also its contradictions. Halfway between irony and political stance, she explores the social function at the heart of the avant-garde utopia. Influenced by the constructivist aesthetic of Malevich and the Bauhaus, she questions the capacity of non-figurative art to merge with everyday life. What relationship can the painter really establish with her fellow citizens? Does she see the systematic appropriation of geometric abstraction’s topos by design and visual communication as the victory or bankruptcy of modernism? What is the artist’s place in today’s global economy of goods and services? As Nicolas Bourriaud says, (...) \"the abstract glossary allows us to apprehend a visible (architectural, social or economic) reality that capitalism has turned into abstract painting\".<a href=\"#_ftn5\" name=\"_ftnref5\">[5]</a>\n\n&nbsp;\n\nA service provider to her own creative undertaking, Heidi Wood provides an answer by examining the signs generated by the regions she visits. The renewed way of seeing she offers us questions the values underlying our era and consequently the way we look at it. As such, Heidi Wood clearly incarnates the still relevant utopia of 20th century avant-gardes: our awareness will change the world.\n\n&nbsp;\n\nIn the two-part exhibition <em>Setting for an Ordinary Life</em>, Heidi Wood presents us with an uplifting mise en abyme. Viewers become actors, despite themselves, in a reality show. From inside a museum, they are asked to admire the domestic environment in which they live. All-over painting renders the space concrete by putting homo erectus (back) in its center. At the Musée national Fernand Léger the exhibition <em>The Projects</em> thus immerses the visitor in a total artwork by recreating a standardized apartment in a housing project. Between high art, applied arts and popular taste, the artist is amused by the ambiguous status of her own works that she makes herself or gets others to make for her. Road signs printed with floral motifs are hung on blocks of color painted on walls that evoke the clichés of anonymous suburban architecture. White sculptures based on floor plans from social housing are used as display cabinets for souvenir plates representing electrical towers.\n\n&nbsp;\n\nAt the Musée d’histoire et de céramique biotoises, the exhibition <em>House</em> is a lively dialogue between the collections that describe daily life in this beautiful hilltop village in Provence and Heidi Wood’s industrial aesthetic. Reinforced by a roadside trail of posters through Biot of five posters with floral or architectural motifs on blocks of color, these exhibitions interact dynamically with two urban realities on the Côte d’Azur: <em>The Projects</em> at the Musée Léger looks at the dialogue between painting and low-budget architecture while <em>House</em> at the Musée d’histoire et de céramique explores the connection between applied arts and everyday objects.\n\n&nbsp;\n\nFor Fernand Léger and Heidi Wood, painting’s strength is as a means of visual education capable of countering mankind’s alienation by mankind. Their strategy of distancing themselves from reality allows them to look at it more intensely - benevolently but without romanticism. Beyond the canvas, can painting be inhabited? Does our standardized habitat indicate that a learned art form has finally reached the masses? In attempting an answer, Heidi Wood takes her turn at enriching the cultural history of forms.\n\n&nbsp;\n\n<strong>Diana Gay</strong>, 2013\n\n<em>Décor d’une vie ordinaire (Setting for an Ordinary Life)</em> catalogue\n\n&nbsp;\n<h5><a href=\"#_ftnref1\" name=\"_ftn1\">[1]</a>      Guitemie Maldonado, “Chapitre 1 / Archéologie du terme” in Le cercle et l\'amibe. Le biomorphisme dans l\'art des années 1930, Paris, INHA/CTHS (“Les Essais de l\'INHA”), 2006 [on-line], put on-line December 7 2010, consulted August 10 2013, http://inha.revues.org/2876.</h5>\n<h5><a href=\"#_ftnref2\" name=\"_ftn2\">[2]</a>     Walter Benjamin, L\'oeuvre d\'art à l\'époque de sa reproductibilité technique, Paris, Allia, 2003.</h5>\n<h5><a href=\"#_ftnref3\" name=\"_ftn3\">[3]</a>     Fernand Léger, “Le nouveau réalisme continue”, Fonctions de la peinture, Paris, Gallimard coll. Folio Essais, 2009, p. 197.</h5>\n<h5><a href=\"#_ftnref4\" name=\"_ftn4\">[4]</a>     Fernand Léger, “L\'esthétique de la machine, l\'objet fabriqué, l\'artisan et l\'artiste”, ibid, p. 88.</h5>\n<h5><a href=\"#_ftnref5\" name=\"_ftn5\">[5]</a>     Nicolas Bourriaud, Sarah Morris. Mechanical Ballet, digital catalogue of the exhibition held at the Musée national Fernand Léger (November 17 2012 - March 4 2013), [on-line], p. 5, consulted August 13 2013, <a href=\"http://www.musees-nationaux-alpesmaritimes.fr/library/Sarah%20Morris/SarahMorris2MN2012BD.pdf\">http://www.musees-nationaux-alpesmaritimes.fr/library/Sarah%20Morris/SarahMorris2MN2012BD.pdf</a></h5>\n&nbsp;\n\n&nbsp;\n\n&nbsp;',	'PAINTING FOR THE MASSES?',	'',	'inherit',	'closed',	'closed',	'',	'1700-autosave-v1',	'',	'',	'2018-10-17 11:22:44',	'2018-10-17 11:22:44',	'',	1700,	'http://s653906673.onlinehome.fr/1700-autosave-v1/',	0,	'revision',	'',	0),
(1812,	3,	'2018-09-11 14:19:27',	'2018-09-11 14:19:27',	'<strong>APPARITIONS COLLECTIVES</strong>\n\nWe discovered Heidi Wood’s work in the early 2000’s via a strategy that highlighted the decorative nature of abstract painting. The artist designed domestic settings (such as a living room with wallpaper and a lamp) in which she hung her own abstract compositions. The installation was photographed or its characteristics laid out in a formula, to constitute, in marketing terms, a “serving suggestion”.\n\nThis also indicates her interest in the intrusion of corporate economics in the means of producing and exhibiting art. She demonstrates this in a range of means (sometimes as over the top as the economic intrusion is outrageous): distributing her artworks in the form of spams, delegating production, defining a use-by date for her paintings, hanging works in settings similar to trade fair stands, creating works in forms inspired by merchandising…\n\nAs an artist in residence or in public art projects, Heidi Wood explores cities that are often unknown and from which she attempts to extract the essence. In an aesthetic similar to geometric painting, her syntheses of the urban environment are translated into pictograms. Like promotional logos, these are printed on cheap materials (plates, postcards, calendar, street sign, etc.) thus maintaining the confusion between various domains.\n\nAccepting the invitation to celebrate the Fracs’ 30-year anniversary allowed Heidi Wood to apply her working methods to a public collection.\n\nIn « Apparitions collectives », two directions are developed: presenting the works based on common themes and distilling into pictograms possible syntheses of this collection. For each “apparition” one work is exhibited and others are represented schematically as a wall painting. Four of the 14 pieces created are reactivated in Toulouse after two initial cycles (partners in the Poitou Charentes region, then at the Frac in Angoulême):\n\n- with works by Didier Marcel (Philippe Pareno and Maurizio Cattelan, Pierre Malphettes), structures describe micro-utopias and/or the creation of places that favor interactions. Without being especially revolutionary, the utopia seeks to be relational and starts downstairs ;\n\n- beside the work by Ingrid Luche (Mark Handforth, Mariano Fortuny), ambiguous, poetic, functional or graphic, lights become the raw material for creation;\n\n- J. Duplo’s bricks are typical of the repetitive application of a system. The use of poor and unexpected materials highlights the ingenious and obsessional nature of a gesture ( Nathalie Talec, Vincent Ganivet);\n\n- using digital means to create a formal synthesis, the piece with Delphine Coindet (Xavier Veilhan) can be introduced by: “For me, art is focusing on things we know exist but that we don’t see. I want to create logotypes that place the viewer before a question.” (X.V.)\n\n&nbsp;\n\n<strong>Hélène Dantic</strong>\n\nText for the catalogue <em>Les Pléiades, 30 ans des Fonds Régionaux d’art contemporain</em>\n\n28/09/2013 - 05/01/2014',	'APPARITIONS COLLECTIVES',	'',	'inherit',	'closed',	'closed',	'',	'1695-autosave-v1',	'',	'',	'2018-09-11 14:19:27',	'2018-09-11 14:19:27',	'',	1695,	'http://s653906673.onlinehome.fr/1695-autosave-v1/',	0,	'revision',	'',	0),
(1813,	3,	'2022-01-07 09:31:06',	'2022-01-07 09:31:06',	'<h2>HEIDI WOOD\nBorn 1967 in London. Lives in Paris.</h2>\n&nbsp;\n<h2>SOLO EXHIBITIONS</h2>\n&nbsp;\n\n<strong>2021</strong>\n\nLa Hùs, ESADHaR, Rouen, <em><strong>Display Home</strong></em>\n<strong>2015</strong>\n\nLe 116, Montreuil, <em><strong>Production Site</strong></em>\n<strong>2013</strong>\n\nMusée national Fernand Léger, Biot, <em><strong>Setting for an Ordinary Life</strong></em>\nGalerie Anne Barrault, Paris, <em><strong>Petite Couronne</strong></em>\nFRAC Poitou Charentes, Angoulême, <em><strong>Apparitions collectives</strong></em>\n<strong>2012</strong>\n\nLes Réservoirs, Limay, <em><strong>Banlieues</strong></em>\n<strong>2011</strong>\n\nMaison des arts plastiques Rosa Bonheur, Chevilly-Larue, <em><strong>Vacances d’hiver</strong></em>\nArtothèque de Caen, <em><strong>Musées du monde</strong></em>\nGraineterie, Houilles,<em><strong> Cosmic</strong></em>\n<strong>2010</strong>\n\nGalerie Herold, Bremen, <em><strong>Open Season</strong></em>\nGalerie Municipale, Vitry-sur-Seine, <em><strong>Partie de chasse (Open Season)</strong></em>\n<strong>2009</strong>\n\nCAC Meymac, Abbaye Saint-André, <em><strong>Vous êtes ici</strong></em>\nImage Imatge, Orthez, <em><strong>Mount Isa</strong></em>\nESAC, Pau, <em><strong>Dans l’univers de Beckmann-N’Thépé</strong></em>\n<strong>2008</strong>\n\nGalerie Anne Barrault, Paris, <em><strong>Date limite de consommation</strong></em>\n<strong>2007</strong>\n\nESAD, Amiens, <em><strong>Visitors’ Center</strong></em>\nGalerie Frederic Desimpel, Brussels, <em><strong>Made to Order</strong></em>\n<strong>2006</strong>\n\nLe Hall, Ecole Nationale des Beaux-Arts, Lyon, <em><strong>Le Musée</strong></em>\n2005\n\nGalerie Anne Barrault, Paris, <em><strong>Los Angeles</strong></em>\n<strong>2003</strong>\n\nGalerie Anne Barrault, Paris, <em><strong>Planète Magique</strong></em>\nGalleria Plastica, Bologna\n<strong>2002</strong>\n\nEspace d’art contemporain Camille Lambert, Juvisy-sur-Orge,<em><strong> La Maison de banlieue</strong></em>\n\n&nbsp;\n\n&nbsp;\n<h2>GROUP EXHIBITIONS (selection)</h2>\n&nbsp;\n\n<strong>2021</strong>\n\nFRAC Pays de la Loire, commissariat Claude Closky, <em><strong>X</strong></em>\n<strong>2020</strong>\n\nCAC Meymac, <em><strong>Où est la difference ?</strong></em>\n<strong>2018</strong>\n\nFondation Clément, Martinique, Renault, <em><strong>L’art de la collection</strong></em>\nBOAA (Biennale of Australian Art), Ballarat, <em><strong>Off the Map</strong></em>\nFrac Normandie-Rouen, <em><strong>Inventaire, vol. 8</strong></em>\n<strong>2015</strong>\n\nFondation Le Corbusier, Paris, <em><strong>Re-Corbusier</strong></em>\nFondation Alvar Aalto, Maison Louis Carré, <em><strong>Mise au vert</strong></em>\nCité de la céramique, Sèvres, <em><strong>Sèvres Outdoors</strong></em>\n<strong>2013</strong>\n\nLes Abattoirs, Toulouse, <em><strong>Les Pléiades</strong></em>\n<strong>2012</strong>\n\nMAM Galerie, Rouen, <em><strong>La fureur de l’éternuement</strong></em>\n<strong>2011</strong>\n\nFRAC Ile-de-France, Domaine de Rentilly, <em><strong>Round and Round and Round (part 2)</strong></em>\nArt dans les chapelles, Pays de Pontivy, (Notre Dame du Moustoir chapel)\n<strong>2010</strong>\n\nVilla des Tourelles, Nanterre, <em><strong>Les autres œuvres</strong></em>\n<strong>2009</strong>\n\nFKSE Studio, Budapest, <em><strong>Free Your Mind</strong></em>\n<strong>2008</strong>\n\nFRAC Poitou Charentes, <em><strong>Pièces à vivre</strong></em>\n<strong>2006</strong>\n\nFRAC Haute-Normandie, <em><strong>Welcome Home</strong></em>\n<strong>2005</strong>\n\nAbbaye Saint-André centre d’art contemporain, Meymac, <em><strong>Le canard était toujours vivant</strong></em>\nCentre photographique d’ile-de-France, Pontault Combault, <em><strong>Trois et trois font…</strong></em>\nParker’s Box, New York, <em><strong>iamfive</strong></em>\n<strong>2004</strong>\n\nLe Plateau - FRAC Ile-de-France, <em><strong>Voisinages</strong></em>\nMains d’œuvres, Saint-Ouen, <em><strong>Hôtel Reliance</strong></em>\n\n&nbsp;\n\n&nbsp;\n<h2>PUBLIC COLLECTIONS</h2>\n&nbsp;\n\nFonds national d’art contemporain (FNAC), Fonds régional d’art contemporain (FRAC): Pays de la Loire, Ile-de-France, Haute-Normandie, Poitou-Charentes,\nArtothèques in Limoges, Caen and Pessac, Artbank Australia\n\n&nbsp;\n\n&nbsp;\n<h2>AWARDS AND COMMISSIONS</h2>\n<strong>2021</strong>\n\nSculpture commission, Courcelles-sur-Seine, <em><strong>Flood Abacus</strong></em>\n<strong>2020</strong>\n\nPublic art project, Collège Aretha Franklin, Drancy, <em><strong>Alentour</strong></em>\n<strong>2019</strong>\n\nPublic art project, Collège Jean Manet, Vertou, <em><strong>Recoins d’Europe</strong></em>\n<strong>2018</strong>\n\nPublic art project, INSEP, Paris, <em><strong>Détramé</strong></em>\n<strong>2017</strong>\n\nCommission for a series of road signs, Renault Art Collection, <em><strong>Étapes urbaines</strong></em>\n<strong>2016</strong>\n\nPublic art commission, Bellegarde College, <em><strong>Nouvelles du monde</strong></em>\n<strong>2015</strong>\n\nPublic art commission, Medical Biology Building, Limoges University, <em><strong>Proliférations</strong></em>\n<strong>2014</strong>\n\nMain street commission, Lorne Sculpture Prize, <em><strong>Archives and Red Herrings</strong></em>\nPublic art commission, Bourges Velodrome, <em><strong>Résistance à l’air</strong></em>\n<strong>2013</strong>\n\nPublic art commission, Internat d’excellence, Montpellier\n<strong>2010</strong>\n\nPublic art commission, Public housing, Vitry-sur-Seine\n<strong>2009</strong>\n\nResidency, Künstlerhaus am Deich, Bremen\n<strong>2008</strong>\n\nPublic art commission, INSEP, Paris, phase 3 completed in 2017\n<strong>2007</strong>\n\nResidency, Santa Fe Art Institute\nCommission for series of photographs &amp; exhibition curatorship, FRAC Ile-de-France\n<strong>2006</strong>\n\nResidency, Budapest Galéria, Budapest, Cultures France and the City of Paris\nCommission for 10 photographs, City of Paris\nResidency, Ecole Nationale des Beaux-arts de Lyon\n<strong>2005</strong>\n\nResidency, Centre Photographique d’Ile-de-France, Pontault-Combault\n<strong>2004</strong>\n\nResidency, 18th Street Arts Center, Los Angeles, Australia Council for the Arts\nProject grant, DRAC Ile-de-France\n\n&nbsp;\n\n&nbsp;\n<h2>CATALOGUES</h2>\n&nbsp;\n\n<em><strong>Décor d’une vie ordinaire</strong></em> (Setting for an Ordinary Life), 2014, Éditions de l’art – Musée national Fernand Léger,\narticle by Diana Gay, 48 pages\n<em><strong>Banlieues</strong></em>, 2012, Les Réservoirs, article by Karim Ghaddab, 24 pages\n<em><strong>Musées du monde</strong></em>, 2011, Artothèque de Caen, 144 pages\n<em><strong>Vacances d’hiver</strong></em> (Winter Vacation), 2011, Espace d’art Rosa Bonheur, article by Jacinto Lageira, 52 pages\n<em><strong>Partie de chasse</strong></em> (Open Season), 2010, Ville de Vitry-sur-Seine, articles by Anthony Gardiner and Heidi Wood, 56 pages\n<em><strong>Enquire Within</strong></em>, 2010, image/imatge, box set of de 4 booklets\n<em><strong>Carnet sagace #20</strong></em>, 2009, École supérieure d’art des Pyrénées, article by Jacques Norigeon, 24 pages\n<em><strong>Heidi Wood, œuvres 2001-2007</strong></em>, 2008, Éditions Filigranes, articles by Philippe Coubetergues, Frank Lamy\nand Stephen Wright, 112 pages\n<em><strong>Los Angles Diaries (Nutrition disguised as fun)</strong></em>, 2005, articles by Stephen Wright and Heidi Wood, 20 pages\n<em><strong>Heidi Wood à la Planète Magique</strong></em>, 2003, article by Judicaël Lavrador, 10 pages\n<em><strong>La Maison de banlieue</strong></em> (The House in the Suburbs), 2002, Espace d’art contemporain Camille Lambert, articles by Fabienne Fulchéri and Suzie Attiwill, 20 pages\n<em><strong>Heidi Wood à IUFM</strong></em>, 2002, article by Philippe Coubetergues, 8 pages\n<em><strong>Serving Suggestions</strong></em>, 1999, article by Frank Lamy, 20 pages\n\n&nbsp;\n\n&nbsp;\n<h2>GROUP CATALOGUES</h2>\n&nbsp;\n\n<em><strong>X</strong></em>, 2021, Claude Closky, Frac Pays de la Loire\n\n<em><strong>Lasciate socchiuse le porte</strong></em>, 2021, Armando Editore, editorial committee: Beniamino Della Gala, Adrien Frenay, Filippo Milani, Lucia Quaquarelli\n<em><strong>20 ans d’art en France, Une histoire sinon rien, 1999 – 2018</strong></em>, 2018, Éditions Flammarion, Michel Gauthier and Marjolaine Lévy\n<em><strong>écritures 10</strong></em>, Traduire hors-lignes, 2018, Presses universitaires de Paris Nanterre, editorial committee: Adrien Frenay, Lucia Quaquarelli and Licia Reggiani\n<em><strong>Re-Corbusier</strong></em>, 2015, Fondation Le Corbusier, articles by Marjolaine Lévy and Catherine de Smet\n<em><strong>Les Pléiades : 30 ans de création dans les FRAC</strong></em>, 2013, articles by Marie-Cécile Burnichon, Catherine Elkar and Sylvie Froux\n<em><strong>L’art dans la ville</strong></em>, 2012, Fage éditions, article by Ann Hindry\n<em><strong>La fureur de l’éternuement</strong></em>, 2012, Éditions Friville, articles by Miguel Angel Molina and Baptiste Roux\n<em><strong>Les autres œuvres – La peinture et ses images</strong></em>, 2010, articles by Sandrine Moreau, Miguel Angel Molina and Pierre Baumann\n<em><strong>Sept/7</strong></em>, 2007, Frac Ile-de-France, article by Xavier Franceschi\n\n&nbsp;\n\n&nbsp;\n<h2>PRESS (selection)</h2>\n&nbsp;\n\n2015 Eric Loret, <strong>Inferno.com</strong>\n2009 Didier Arnaudet, <strong>Art Press n° 355</strong>\n2008 Lillian Davies, <strong>artforum.com</strong>\nNathalie Heggert, <strong>artslant.com</strong>\n2003 Raya Baudinet, <strong>Art Press n° 292</strong>\n2002 Alexandre Bohn, <strong>Art Press n°285</strong>\n\n&nbsp;\n\n&nbsp;\n<h2>EDUCATION</h2>\n&nbsp;\n\n2017-2018 Université Paris 8, Saint-Denis, M2, art department\n1992-1995  Ecole Nationale Supérieure des Beaux-arts, Paris, DNSAP, atelier Claude Viallat\n1985-1987  Victoria College, Prahran, Melbourne, Bachelor of Arts, Visual Art\n\n&nbsp;\n\n&nbsp;',	'HEIDI WOOD CV',	'',	'inherit',	'closed',	'closed',	'',	'1683-autosave-v1',	'',	'',	'2022-01-07 09:31:06',	'2022-01-07 09:31:06',	'',	1683,	'http://s653906673.onlinehome.fr/1683-autosave-v1/',	0,	'revision',	'',	0),
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(1947,	3,	'2018-10-16 08:41:13',	'2018-10-16 08:41:13',	'',	'Off the Map 2018 BOAA',	'',	'inherit',	'open',	'closed',	'',	'off-the-map-2018-boaa-3',	'',	'',	'2018-10-16 08:41:13',	'2018-10-16 08:41:13',	'',	0,	'http://www.heidiwood.net/wp-content/uploads/2018/10/Off-the-Map-2018-BOAA-2.jpg',	0,	'attachment',	'image/jpeg',	0),
(1948,	3,	'2018-10-16 08:43:24',	'2018-10-16 08:43:24',	'',	'Off the Map 2018 BOAA',	'',	'inherit',	'open',	'closed',	'',	'off-the-map-2018-boaa-4',	'',	'',	'2018-10-16 08:43:24',	'2018-10-16 08:43:24',	'',	0,	'http://www.heidiwood.net/wp-content/uploads/2018/10/Off-the-Map-2018-BOAA-3.jpg',	0,	'attachment',	'image/jpeg',	0),
(1954,	2,	'2017-10-16 09:52:25',	'2017-10-16 09:52:25',	'<strong>Biennale of Australian Art\r\n</strong>\r\n\r\nThe exhibition <em>Off the Map</em> at the Post Office Gallery is a continuation of my interest in taking supposedly unappealing urban zones as the subjects of tourism campaigns. Based on a decade of traveling to ex-Soviet outposts, post-industrial regions and unloved neighborhoods full of social housing, this is a call to reconsider where you’d like to spend your holidays. My visitors’ center for neglected destinations brings together wall paintings, photographs and travel anecdotes.',	'BOAA, 2018',	'',	'publish',	'closed',	'closed',	'',	'boaa-2018',	'',	'',	'2018-10-16 11:53:18',	'2018-10-16 11:53:18',	'',	0,	'http://www.heidiwood.net/?post_type=exhibition&#038;p=1954',	0,	'exhibition',	'',	0),
(1957,	3,	'2018-10-17 07:41:38',	'2018-10-17 07:41:38',	'IUFM (2002), article by Philippe Coubetergues, 8 pages',	'IUFM (2002)',	'',	'inherit',	'closed',	'closed',	'',	'1884-autosave-v1',	'',	'',	'2018-10-17 07:41:38',	'2018-10-17 07:41:38',	'',	1884,	'http://www.heidiwood.net/1884-autosave-v1/',	0,	'revision',	'',	0),
(1958,	3,	'2018-10-17 07:43:23',	'2018-10-17 07:43:23',	'<em>Heidi Wood à la Planète Magique</em> (2003), texte by Judicaël Lavrador, 10 pages',	'MAGIC PLANET (2003)',	'',	'inherit',	'closed',	'closed',	'',	'1882-autosave-v1',	'',	'',	'2018-10-17 07:43:23',	'2018-10-17 07:43:23',	'',	1882,	'http://www.heidiwood.net/1882-autosave-v1/',	0,	'revision',	'',	0),
(1959,	3,	'2018-10-17 07:44:59',	'2018-10-17 07:44:59',	'<em>Los Angeles Diary (Nutrition Disguised as Fun)</em> (2005), article by Stephen Wright, 20 pages',	'LOS ANGELES DIARIES (NUTRITION DISGUISED AS FUN) (2005)',	'',	'inherit',	'closed',	'closed',	'',	'1880-autosave-v1',	'',	'',	'2018-10-17 07:44:59',	'2018-10-17 07:44:59',	'',	1880,	'http://www.heidiwood.net/1880-autosave-v1/',	0,	'revision',	'',	0),
(1960,	3,	'2018-10-17 07:47:49',	'2018-10-17 07:47:49',	'<strong>Le Musée</strong> (2006), École nationale des beaux-arts de Lyon, 4 pages',	'THE MUSEUM (2006)',	'',	'inherit',	'closed',	'closed',	'',	'1878-autosave-v1',	'',	'',	'2018-10-17 07:47:49',	'2018-10-17 07:47:49',	'',	1878,	'http://www.heidiwood.net/1878-autosave-v1/',	0,	'revision',	'',	0),
(1961,	3,	'2018-10-17 07:49:12',	'2018-10-17 07:49:12',	'<em>Paris Xème</em> (2006), article by Philippe Coubetergues, 20 pages',	'PARIS 10ÈME (2006)',	'',	'inherit',	'closed',	'closed',	'',	'1876-autosave-v1',	'',	'',	'2018-10-17 07:49:12',	'2018-10-17 07:49:12',	'',	1876,	'http://www.heidiwood.net/1876-autosave-v1/',	0,	'revision',	'',	0),
(1962,	3,	'2018-10-17 08:01:31',	'2018-10-17 08:01:31',	'Carnet sagace #20, article by Jacques Norigeon, École supérieure d\'art des Pyrénées15.5 x 13.5 cm',	'CARNET SAGACE (2009)',	'',	'inherit',	'closed',	'closed',	'',	'1871-autosave-v1',	'',	'',	'2018-10-17 08:01:31',	'2018-10-17 08:01:31',	'',	1871,	'http://www.heidiwood.net/1871-autosave-v1/',	0,	'revision',	'',	0),
(1963,	3,	'2018-10-17 08:10:04',	'2018-10-17 08:10:04',	'<em>Enquire Within</em> (2010), 4 booklets of 16 pages, 17.5 x 13 x 6.5 cm, design: Ng',	'ENQUIRE WITHIN (2010)',	'',	'inherit',	'closed',	'closed',	'',	'1869-autosave-v1',	'',	'',	'2018-10-17 08:10:04',	'2018-10-17 08:10:04',	'',	1869,	'http://www.heidiwood.net/1869-autosave-v1/',	0,	'revision',	'',	0),
(1964,	3,	'2018-10-17 08:16:59',	'2018-10-17 08:16:59',	'<em>Open Season (Partie de chasse)</em> (2010), published by Vitry-sur-Seine Municipality, 56 pages, 20 x 20 cm',	'OPEN SEASON (2010)',	'',	'inherit',	'closed',	'closed',	'',	'1867-autosave-v1',	'',	'',	'2018-10-17 08:16:59',	'2018-10-17 08:16:59',	'',	1867,	'http://www.heidiwood.net/1867-autosave-v1/',	0,	'revision',	'',	0),
(1965,	3,	'2018-10-17 08:21:32',	'2018-10-17 08:21:32',	'<em>Suburbias (Banlieues)</em> (2012), articles by Karim Ghaddab, H24 pages, 21 x 15 cm',	'SUBURBIAS (2012)',	'',	'inherit',	'closed',	'closed',	'',	'1863-autosave-v1',	'',	'',	'2018-10-17 08:21:32',	'2018-10-17 08:21:32',	'',	1863,	'http://www.heidiwood.net/1863-autosave-v1/',	0,	'revision',	'',	0),
(1966,	3,	'2018-10-17 08:27:09',	'2018-10-17 08:27:09',	'<em>Museums of the World (Musées du monde)</em> (2011), published by Caen Artothèque, 21 x 15 cm, edition of 150',	'MUSEUMS OF THE WORLD (2011)',	'',	'inherit',	'closed',	'closed',	'',	'1865-autosave-v1',	'',	'',	'2018-10-17 08:27:09',	'2018-10-17 08:27:09',	'',	1865,	'http://www.heidiwood.net/1865-autosave-v1/',	0,	'revision',	'',	0),
(1967,	3,	'2018-10-17 08:30:33',	'2018-10-17 08:30:33',	'<em>Bloc</em> (2014), Friville éditions, 30 pages, 21 x 15 cm',	'BLOC (2014)',	'',	'inherit',	'closed',	'closed',	'',	'1861-autosave-v1',	'',	'',	'2018-10-17 08:30:33',	'2018-10-17 08:30:33',	'',	1861,	'http://www.heidiwood.net/1861-autosave-v1/',	0,	'revision',	'',	0),
(1968,	3,	'2018-10-17 08:33:14',	'2018-10-17 08:33:14',	'Setting for an Ordinary Life (Décor d\'une vie ordinaire) (2014), article by Diana Gay, Éditions de l\'art - Musée national Fernand Léger,',	'SETTING FOR AN ORDINARY LIFE (2014)',	'',	'inherit',	'closed',	'closed',	'',	'1859-autosave-v1',	'',	'',	'2018-10-17 08:33:14',	'2018-10-17 08:33:14',	'',	1859,	'http://www.heidiwood.net/1859-autosave-v1/',	0,	'revision',	'',	0),
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(1979,	3,	'2018-10-27 18:07:52',	'2018-10-27 18:07:52',	'A chubby boy in a shabby gold braid red velvet vest\n\nand a\n\nwhite frouncy frock gets my prize for best dress-ups.',	'Detour 65',	'',	'inherit',	'closed',	'closed',	'',	'1490-autosave-v1',	'',	'',	'2018-10-27 18:07:52',	'2018-10-27 18:07:52',	'',	1490,	'http://www.heidiwood.net/1490-autosave-v1/',	0,	'revision',	'',	0),
(1980,	3,	'2018-10-27 18:13:42',	'2018-10-27 18:13:42',	'She is very powerful in the pool\n\nand overtakes all her feeble, stunted competiti.',	'Detour 56',	'',	'inherit',	'closed',	'closed',	'',	'1472-autosave-v1',	'',	'',	'2018-10-27 18:13:42',	'2018-10-27 18:13:42',	'',	1472,	'http://www.heidiwood.net/1472-autosave-v1/',	0,	'revision',	'',	0),
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(1982,	3,	'2018-10-27 18:39:00',	'2018-10-27 18:39:00',	'I would be happy to never return there ever.\n\nEven if the sun comes out one day.',	'Detour 43',	'',	'inherit',	'closed',	'closed',	'',	'1454-autosave-v1',	'',	'',	'2018-10-27 18:39:00',	'2018-10-27 18:39:00',	'',	1454,	'http://www.heidiwood.net/1454-autosave-v1/',	0,	'revision',	'',	0),
(1983,	3,	'2018-10-29 10:27:52',	'2018-10-29 10:27:52',	'There is a plan to send immigrants to the regions\r\n\r\nto dilute the crystal meth epidemic.',	'Detour 76',	'',	'publish',	'closed',	'closed',	'',	'detour-76',	'',	'',	'2019-03-30 13:09:34',	'2019-03-30 13:09:34',	'',	0,	'http://www.heidiwood.net/?post_type=detour&#038;p=1983',	0,	'detour',	'',	0),
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(1985,	3,	'2018-10-29 10:32:11',	'2018-10-29 10:32:11',	'',	'Photo 17',	'',	'inherit',	'open',	'closed',	'',	'photo-17-2',	'',	'',	'2018-10-29 10:32:11',	'2018-10-29 10:32:11',	'',	1492,	'http://www.heidiwood.net/wp-content/uploads/2018/09/Photo-17-1.jpg',	0,	'attachment',	'image/jpeg',	0),
(1987,	3,	'2018-10-29 10:33:50',	'2018-10-29 10:33:50',	'Please see the English version below.',	'Detour 41',	'',	'inherit',	'closed',	'closed',	'',	'1440-autosave-v1',	'',	'',	'2018-10-29 10:33:50',	'2018-10-29 10:33:50',	'',	1440,	'http://www.heidiwood.net/1440-autosave-v1/',	0,	'revision',	'',	0),
(1988,	3,	'2018-10-29 12:04:52',	'2018-10-29 12:04:52',	'',	'Detour w4',	'',	'inherit',	'open',	'closed',	'',	'detour-w4',	'',	'',	'2018-10-29 12:04:52',	'2018-10-29 12:04:52',	'',	1440,	'http://www.heidiwood.net/wp-content/uploads/2018/09/Detour-w4.jpg',	0,	'attachment',	'image/jpeg',	0),
(2000,	3,	'2018-11-08 18:16:12',	'2018-11-08 18:16:12',	'If only refugees benefited from the laws protecting livestock.',	'Detour 44',	'',	'inherit',	'closed',	'closed',	'',	'1455-autosave-v1',	'',	'',	'2018-11-08 18:16:12',	'2018-11-08 18:16:12',	'',	1455,	'http://www.heidiwood.net/1455-autosave-v1/',	0,	'revision',	'',	0),
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(2009,	3,	'2018-11-16 11:27:05',	'2018-11-16 11:27:05',	'',	'Vie parisienne 3',	'',	'inherit',	'open',	'closed',	'',	'vie-parisienne-3-3',	'',	'',	'2018-11-16 11:27:05',	'2018-11-16 11:27:05',	'',	2002,	'http://www.heidiwood.net/wp-content/uploads/2018/11/Vie-parisienne-3.pdf',	0,	'attachment',	'application/pdf',	0),
(2011,	3,	'2018-11-16 11:34:55',	'2018-11-16 11:34:55',	'If only they could treat refugees the way they treat livestock...',	'Detour 77',	'',	'publish',	'closed',	'closed',	'',	'detour-77',	'',	'',	'2019-12-29 21:41:35',	'2019-12-29 21:41:35',	'',	0,	'http://www.heidiwood.net/?post_type=detour&#038;p=2011',	0,	'detour',	'',	0),
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