Samuel Fasse

UNFOLDING

A text scrolls across an LED screen, fragment by fragment. It is never fully graspable, always in the pro-cess of slipping away. It falls to the viewer to reassemble it, to attribute meaning. This is how SamuelFasse’s exhibition operates: time here doesn’t follow a linear trajectory — it folds and unfolds in loops.What we encounter belongs to a continuum, a chapter in a story still in formation. The large centralobject is both whole and fragment, a self-contained installation and a vestige of a film that does notyet exist — but will. It suggests a reality in recomposition, a liminal space where the mechanical, thehuman, and the organic coexist.Before us stands a hybrid object. Its totemic dimension — conferred by its scale and pyramidal compo-sition — evokes a collective ritual. This is central to Fasse’s practice, in which the fragmentation of thereal calls for the creation of moments of communion to make sense of it. Like mythology, this objectis layered with meaning, inviting a slow unraveling.The body is foregrounded — both individual and social — at once referenced and tested. The transpar-ent fabric evokes skin, a porous membrane onto which desire and constraint are projected. The urbanbollard concealed beneath imposes a rigid verticality, evoking both a territorial marker and an erectphallus.. It compresses tensions between body and environment, between oppression and resistance.The tautness of the fabric, its way of hugging the structure while hiding something within, speaks tothe dynamics of revelation and concealment.This double dynamic of looking also touches on staging, underlined by the wooden structure in-spired by cycloramas. Essential in the fashion industry — where Fasse works as a scenographer— these devices create void-like spaces where bodies can be exposed and shaped. The sameis true of the city — especially Paris, which Fasse evokes directly through the salvaged streetbollard: an open-air theatre where bodies are continuously on display, governed by permanentspectacle.This theatricality is key — it introduces a fictional regime. Fasse appropriates it in order to twist it,sketching out a new mythology of bodies and identities — urban, technological.At heart, the work asks how technology shapes our bodies and our selves. The constant scroll of text onthe LED screen suggests identities in flux, sculpted by a relentless stream of images and informationmediated by machines. The light from the screen, filtering through the fabric membrane, expresseshow technological subjectivity becomes internalized — a kind of new cyborg reality.Finally, the environment of Cabanon is not mere scenography: it plays an active role in reconfiguringthe fragmented narrative Fasse constructs. The plants outside introduce a living counterpoint — apossible re-acclimatization in the face of collapse. The exhibition space becomes a capsule; the worldbeyond it, a space of projection.Camille Bréchignac

Cabanon is a central Parisian pop-up exhibition initiativerun by Anaïs Horn & Eilert Asmervik, est. in 2023.