Altar at Artemis Fontana / Paris

Joan Jonas, Ji-Min Park, Antoine Renard

22 June – 3 July, 2019

Artemis Fontana
1 Passage de l’Asile
Paris 11

Artemis Fontana is a project space run and curated by Pauline Beaudemont

all photo credits @Margot Montigny

There is a tear in the eye of the dragon, you see the reflexion of yourself. 
This drop is a cluster-full net, waving fabrics and pearls from far-away. 
The divine reptile has a message, it bears a reminiscence.
You witness the altar collapsing under his  fire spit.
And still honour the decorum.
It burns and self-destroys to finally di use its hidden smell.
Tears will extinguish the  re, so much it creates a puddle of wax.
Put your finger in it, let it dry and see this special effect skin peeling off. 
Wear the harness, go on your knees and wipe the perfume.
Wring it out in the holly bucket.
Drink it, throw up the snot of your childhood.
Then dive, dive deep under the surface of the lake to rinse o  the dregs. 
And gaze at the infant body, the sexless character you became.

A.F. 2019


(1936, lives and works in New York)

From the 60’s she starts a reflection on performance due to her close
relationship with the Judson Dance Theatre. She was a pioneer in
combining video, dance, performances and installations. In “Disturbances” Jonas uses reflections on a lake as a mirror to displace reality,
creating a disruption and the illusion of presence. In ALTAR this video
represents the historical embodiment of thematic of reflection, water
and memory and the dot dot dot in which the mind will be drifting.
“Disturbances begins with a Symbolist-like image of two women,
dressed in white, seen only as reflections in water…. Throughout the
tape the water fills the monitor, creating layers of images. The reflections on the surface of the water are superimposed on the activities
that take place underneath the surface.” —David Ross

The “Pleurnicheurs” series (in english: whiners or weepers) is central


(scorpio, born in Seoul – South Korea, lives and works in Paris, studied
at ENSAD and currently in residence at Pavillon – FRAC Aquitaine)
Park makes a point in saying that her “Tears” are pictural gestures.
The organic surface, the special effect skins of those sculptures are
associate to the repetitive rituals of the painter. They are traces that
you could reactivate, remnants of a ceremonial. We see those bundles
as nets carrying all the memories of her past, swept along drops of
childhood. The sacred character of her pieces comes from the Korean
traditional belief of the Tae-Mong, the dream of conception a pregnant
woman has and that dictates the destiny of the child. Park’s mother
dreamt of a desert island far lost in an ocean, guarded by two white
tigers. This liquid symbolic of the loneliness of the divine animal flows
in her imagination.


(1984, born in Paris, lives and works between Lourdes and Berlin, studied at Beaux-Arts de Dijon and currently in residence at Cité internationale des Arts de Paris)
to the new body of works Renard is displaying for ALTAR. It gives the
keys to access the memories of childhood through nostalgic recollections or reminiscences of the sensitive sadness of kids. The wax pieces
are weeping too, dripping their fragrant tears on the floor. They are
architectural models echoing the recent destruction of Notre Dame,
di using the smell of wood sap and burning incense. The tears will
extinguish the ames and symbolically over ow. The purge buckets,
used in shamanic ceremonials in Peru, where the artist spent much
time learning with the curanderos perfumeros, are receptacles of liquid
odours and de facto recollections of the past