View of “Emmanuelle Lainé,” 2011. From left: Untitled, 2010; Untitled, 2010.

Emmanuelle Lainé


View of “Emmanuelle Lainé,” 2011. From left: Untitled, 2010; Untitled, 2010.

The French artist Emmanuelle Lainé, born in 1973, has previously given us bio- or even anthropomorphic drawings and roughly finished sculptures made out of materials ranging from concrete, plaster, and resin to grease, chocolate powder, and glue: bachelor machines and bondage gear that flirt with the history of science and of art (one of her recent pieces, LO, 2009, a case lined with mdf, was inspired by Picasso’s sleeping nudes) and favor an anachronistic approach. “I am not a modern,” the artist told me. “I don’t believe in ruptures but in a continuous history.”

In her recent show “Effet cocktail,” Lainé no longer seemed to be concerned about distinguishing her studio from the exhibition space, bringing six photographic views of the studio directly onto the walls of the Triple V gallery, a recent transplant from Dijon to Paris’s thirteenth arrondissement. “Here the studio is

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