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View of “Jean-Pascal Flavien,” 2017. From left: ballardian four, 2015–17; entangled chairs, 2017. Photo: Andrea Rossetti.

Jean-Pascal Flavien

Esther Schipper

View of “Jean-Pascal Flavien,” 2017. From left: ballardian four, 2015–17; entangled chairs, 2017. Photo: Andrea Rossetti.

The first impression one got from Jean-Pascal Flavien’s exhibition “Ballardian House” was of having entered an artificial reality that was a mirror image of our own. The large-scale ballardian four, 2015–17, for instance, with its cleanly traced forms and precise economy of space, at first appeared to be a house, but its function is more sculptural than architectural. By incorporating textual elements—short passages from the work of the British writer J. G. Ballard—into the piece, Flavien opened up yet another space to the imagination. Put generally, Flavien paraphrased and abstracted the idea of having a home and condensed it into various poetic metaphors of people being at home in their imaginations.

Sporting a bright-blue painted facade and large windows with pink frames, ballardian four was integrated into a setting that included beige sand and medium-size stones

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