Paris

Jean-Charles de Quillacq, Mon produit (My Product), 2020, polyester resin, clothes, natural hair, gloves, polyethylene. Installation view. Photo: Aurélien Mole.

Jean-Charles de Quillacq, Mon produit (My Product), 2020, polyester resin, clothes, natural hair, gloves, polyethylene. Installation view. Photo: Aurélien Mole.

Jean-Charles de Quillacq

Marcelle Alix

Having opened just days after Paris ended its strict two-month coronavirus lockdown, Jean-Charles de Quillacq’s exhibition “Autofonction” (Auto-function) inevitably adopted a pandemic-related subtext. A last-minute addition to the show, Momie (Mummy), 2020—a braided loaf of bread, baked by the artist and posed on the gallery floor—was a direct response to the global health crisis, nodding to the uptick in home baking during confinement. It was a reminder of socially distant behavior, which is one way to describe the artist’s studio practice. For de Quillacq, artmaking is an erotic experience that leads to intimate relationships with each finished work. Tender and kinky, his engagement with inanimate objects took on new urgency (and perhaps a wider appeal) amid an ongoing health crisis that has made human proximity unsafe, unexpectedly capturing the zeitgeist of our suddenly estranged

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