Léa Djurado
Montrouge Salon 2017
Catalog of the Biennale d'Arts Actuels 2018

For Lucie Planty, art is told through a fiction, a narrative system. The young artist slips into the folds of time to bring back missing places, forgotten artists, missing works. Her production questions us on the essential issue of disappearance. This is so with the series of paintings Collection Particulière which aims to recreate missing paintings stolen during the Second World War from documentary traces, descriptive gaps, black and white photographs. These forms of reinterpretation, played from a partial and past score, pull an art of space towards an art of time, and make us hear the writing of a history of art. In the likes of Pale Fire by Vladimir Nabokov, which opens on a lie: that of the manuscript found of a missing poet, Lucie Planty creates narrative mirages, and hence is an author of a story of art-fiction.

Lucie Planty is a French artist who has been developing for several years a practice of collecting images, most often in the form of books, installations and paintings on the issue of disappearance. She has presented her work at exhibitions in Italy (2018) Belgium (2017), Ecuador (2016), China (2015), Czech Republic (2014) and in various French institutions of contemporary art (Salon de Montrouge, Ricard Foundation, Cneai, Friche Belle de Mai - Marseille, Cité des arts - Paris…). She received the Albéric Rocheron foundation prize at the Felicita 17 exhibition, was nominated at the Grand Prix of the Cultural Institute Bernard Magrez in Bordeaux and the AMMA Prize for Contemporary Art at the Bastille Design Center (2017); she won the Prix Sciences-Po Young Talent at the Beyond Legacy exhibition (2016). She graduated from the Beaux-Arts de Paris with highest honors, in Claude Closky and Jean-Marc Bustamante (2016) workshops. She co-founded the artist run space in.plano (since 2017), a place of exhibition and production on the Ile-Saint-Denis which received in particular the prize of the foundation of France François De Hatvany (2018).

12 books, laser print, exemplaires uniques, 2016

Installation of 10 facsimile handbooks reproduced identically to the original (papers, bindings, formats, layout) obliterated from all content except their photographs. These images, which represented the model of knowledge from an era, are deprived of captions, making these handbooks silent iconographic catalogs of unknown disciplines. Lucie Planty Lucie Planty
Lucie Planty Lucie Planty
Lucie Planty
Lucie Planty

Chronicle of humanity
website, 2019
www.chroniquedelhumanité.org ⇲

The Chronicle of Humanity site is a digital replica of the eponymous book edited by Hachette in 1986. The entire book has been scanned and published identically page by page on the chroniquededelhumanité.org website. Its contents have been erased except for the photographs. There remains only a succession of thousands of images, become hieroglyphs without legends that retrace the human epic in a silence that says its fragility. They are also the image of an era, a way of figuring the history, the country at the origin of the selection. They are models of representation that betray our perception of the world. These images parade, most evoke nothing, face without legend, war without date, and sometimes, one of them is distinguished, it points the finger, "I know this picture".Lucie Planty Lucie Planty Lucie Planty Lucie Planty ↸ exhibition vue Carte blanche à Lucie Planty, Maisons-Laffitte's church - Ianchelevici Center, 2019

Audrey Teichmann
Catalog of Salon de Montrouge 2017

Lucie Planty makes some assumptions about images that carefully documented processes try to demonstrate. Nourished the so-called "post-Internet" culture and seeking to reinvest fields of virtual prospection by the materiality of its research, it determines protocols resurgence or recreation of "missing images". Conceived both as a creative process and as a work in itself, the investigation doubles as a set of constraints, of which Oulipo recalled the role of creative initiation. The artist tries to exhaust his subjects: exhaustive readings and travels to trace the Two Venetian Ladies of Vittore Carpaccio and story of this quest. The distended time of the analysis and the paths reconstructs in negative an image of the work more palpable than the work itself. This work does not escape a fictional part, whose imprint on the documentary substance absolve the risk of impossible reunions. Going as far as replacing works with those that have disappeared, The Collection peculiar (2016), elaborated with a copyist from the archives of works despoiled during the Second World War, rebuilds a heritage based on incomplete records. More than a memory of the missing play - Sophie Calle had explored in Stolen Paintings -, it is an apparition that is a phenomenon with a mystical name for a work that, if it does not touch the questions of holiness of images or iconoclasm, draws, in these dogmatic practices of selection or destruction of images, strategies contributing to their conferring, in the midst of discontinuous flows of which they are extracted and despite their dubious authenticity, a vibrant aura.

Last century
installation of 100 books, 32 x 45 cm each, unique copies

Last Century is a 100-pound installation of black and white images taken from in the pages of the Italian newspaper "La Stampa" from 1900 to 2000 published on the internet, become abstract by digitization and reproduced on a chronological scale (one book per year). The content of these photographs became impossible to identify and no longer carries historical information. They now display this paradox, they have been rendered illegible by the support that was to make them appear.Lucie Planty Lucie Planty Lucie Planty Lucie Planty Lucie Planty

ERR (Federal Archives)
book (japanese binding with nut, table), poster (laser print format 60x75cm), sculpture (protective cover, aluminum, straps), 2017

The game of palm digitized several files of the office ERR entrusted with the confiscation of works of art in Europe during the Second World War. For the sake of exhaustion the versos, although empty, were scanned also. They reveal in transparency and mirrors the information on the front. This book-sculpture brings together all these pages unreadable that display the poetry of the documentary methodology, and return by analogy without wishing of these missing paintings.
Lucie Planty Lucie Planty Lucie Planty Lucie Planty ↸ Exhibition view at the Ricard Paris Foundation

Black and white pictures, variable format, 2017
Lucie Planty
Lucie Planty
LookBook proposal by My-Lan Hoang-Thuy
photos : Halldora Magnusdottir - Random Access Bpi, 2017

Collection Particulière
paintings, variable format, 2016—.

The project Collection Particulière consists to give back a material reality, in the form of copies, to despoiled pictures disappeared during the Second World War, by restoring them in color and original format from photographic archives in black and white. Lucie Planty Lucie Planty
↸ Christian Wilhelm Ernst Dietrich (1712-1774), Old bearded white man with turban , date of realization unknown, 33 x 24 cm, painting on beech wood, date and place of disappearance: unknown c. 1939-1945; Van Der Linden copy, Lucie Planty, 2016 (detail)
Lucie Planty
↸ Robert Hermann Sterl (1867-1932), Portrait of Guido Mengel , 1929, unknown format, oil painting on canvas, date and place, of the disappearance: 1945; copy of Van Der Linden, Lucie Planty, 2016 (detail)
Lucie Planty
↸ Christian Wilhelm Ernst Dietrich (1712-1774) Old bearded white man with turban , date of realization unknown, 33 x 24 cm, painting on beech wood, date and place of disappearance: unknown c.1939 -1945; copy Van Der Linden, Lucie Planty, 2016 Lucie Planty
↸ Unknown artist (Italian school, Florentine), Magdalene , date of completion unknown, 63 x 47 cm, poplar painting, date and place of disappearance: unknown c.1939-1945; copy Van Der Linden, Lucie Planty, 2016 (detail) Lucie Planty
↸ Robert Hermann Sterl (1867-1932), Portrait de Guido Mengel , 1929, format inconnu, peinture à l’huile sur toile, date et lieu de la disparition: 1945; copie de Van Der Linden, Lucie Planty, 2016 (détail)

Claude d'Anthenaise
Catalog of the exhibition "Beyond Legacy", Saint-Pierre Church of Montmartre, 2016

[...] A priori, it is to this work of memory that Lucie Planty was attached. She chose to tell a story of works art spoliated by the Wehrmacht in the occupied and never-found territories. It's up to her to restore the lost works, to reactivate them. To this end, it takes us into a sort of vertiginous labyrinth echoing Borgesian. In fact, from the missing painting, only a black and white photograph and an inventory record remain mentioning the author and specifying the date, the technique and the dimensions. From these documents, Lucie Planty asks a painter to interpret the work, as if it were a piece of music written to be, at leisure, recreated.
In a previous work, the artist had collected the reproductions of Impressionist paintings, completing the "series" initiated by Claude Monet with his new "versions" due to the vagaries of printers and the vagaries of color reproduction. The ghost gallery of which Beyond Legacy presents the beginnings, continues this questioning about the nature of a work of plastic art: can the image of a painting be a substitute for painting? herself ? Is it a new work? What remains of the initial work after these different mediations?

web page, 2014

Web page composed of 300 reproductions of Claude Monet's 30 Cathédrales de Rouen series on the internet reorganized by tables and chronologically. These thirty variations of the same motif (the cathedral) are enriched by the colorimetric panel of their reproductions, as constituting a new chapter of the work and the pictorial research of the painter in digital time.Lucie Planty

Bretschneider, private collection
research, writing, conferences, performances, publications

Johann Michael Bretschneider is a minor painter of the late 18th century very little known whose work is summarized in 7 paintings representing galleries of paintings. Through these academic-style figures is a meta work that has barely been formulated. His painted galleries are covered only with his own paintings, never really realized. He never entered the history of painting (no publication) nor in the art market. Bretschneider, private collection, is a protean work that aims to bring out from nowhere an artist suddenly ignored 500 paintings from a mysterious fictional private collection (which I actually photographed in several places in Europe, becoming the sole owner of the iconographic background of this meta-work) by texts, conferences, publications on the internet, and to carry out with mischief a poetic and historical analysis. His work and his place in art are brought into play by simple effects of reframing and editing - is not this always the way that history is built? - and this work of writing brings to light a true-false story of painting. Lucie Planty ↸ Shooting Neue Residenz, Bamberg, Allemagne, 2017


Still life with game, said hunting at sunset
Revue Matin, first numero « brown », pages 144-147, 2018

A game suspended by the legs merges into a hundred touches of color. His stiff throat stretches, the inert beak rests on the wood, the feathers are tired. Brushstrokes are thrown on the floor. Here no pain, no blood, no wound. We enter with mourning. It's a duck, a turkey, a pheasant. This painting is a still life, we know it. At first, the image appears with clarity, each detail that composes it is obvious, the objects are arranged harmoniously on a large wooden table. It was just an apparition and it's already too late. The signs that seemed obvious are sinking. The image fades. We do not will see her more. Each sign gives way to abstraction and the image becomes a thwarted look. She is an almost perceived. Objects until then, they are dissipated in colored gestures that resist darkness. We can easily imagine the painter adjusting carefully each element with experience and intuition. He exercises himself at the order of the world. The book forced him to watch with careful attention every detail until only a residual form remains. There are only lines, full and empty, exploded keys on the black sail. The utilitarian function of these objects, tools, commodities, these products of progress, all this is nothing but abstraction, a form without value.
Lucie Planty ↸ Johann Michael Bretschneider, 16,6x11,5cm, 1715, "B99", oil painting, Private Collection

This painting shows the ambition to relinquish representation. She disfigures. It's a gesture of incredible modernity. Inanimate objects have always existed in painting: mosaics of cups full of grapes, Urbino studiolo, bad rooms swept (1), sea monsters in the atria, mobile menus of the rhyparographs (2). Still life will not be one of the genres that from the XVII century and will be named so late. It will then become an autonomous discipline, the smallest however, last in hierarchy. It will represent the baroque and bourgeois genre par excellence (3). The Kingdom of Bohemia, of which Breschneider is native, was terribly marked by his defeat at the Battle of Montagne-Blanche in 1620 which marks the beginning of the war Thirty Years. Bohemia will lose its independence, its technical development will be slowed down and the appearance of Baroque will be more late than in the rest of Europe (4). The new European powers is born a young bourgeois class and this innovative format flatters his pride (5). The still life becomes a real industry, huge workshops produce massively, at high speed, with the help of a regiment of young painters (6). It shows in mirror the riches that pile up, the opulence of the meals. The still life celebrates financial ease, its fragility too. Biblical-inspired paintings being banned by the Reformation, the representations refined and pious meals, called "monochrome banquets", later described as moral still lifes, will find a success natural (7). Religious conflicts coupled with political ambitions, warring dynasties, famines, epidemics of plague that decimate populations and the incessant wars that leave behind desolate regions punctuate the century that knows an intense creative and scientific drive. Europe is marked by the period of great discoveries and by the Copernican revolution which question more than ever the place of man in the universe, which seems henceforth infinite (8).
Curiosity cabinets, botanical gardens, encyclopedias and catalogs are being developed to classify and put the world in order. We map, we collect, everything, butterflies, shells, seagrasses, birds, skulls, measuring tools, insects, flowers, and the still life part of this craze. It is the exercise of technical prowess, a craft that puts the hand to the test of all subjects (9). Each still life exhibits the virtuosity to represent the details, the reflections on copper pots, the exact hues of a crustacean, the texture of the skin of a peeled lemon. She seeks to achieve the mimesis, by prowess, and to portray it, by style (10). The still life was not yet a genre in the 4th century BC but legend has it that Zeuxis painted such realistic grapes that crows came  pecking them (11). The image became the model itself.
With this painting, Bretschneider stands against the current of his time. Where all aspired to virtuous realism, he emancipated from the model and makes a surrealist composition. The signs are barely identifiable. It retains in extremis what will disappear so inevitable. Bretschneider captures by essence, there remains only the idea of a still life, the hollow sign. The transient is suspended in for a moment, immobilized by painting. The bird is no longer animated, but it does not break down either. The hunters come back to the dark with death and the day ends soon. Primitive time and the extinction of time are held in an impossible paralysis. The impression of a fugacity, of a death to come, of passing objects outweighs the technical force. Bretschneider shows incredible insight, the beginnings of abstraction will take place only one hundred and fifty years later with one of Whistler's nocturnes , which will divide aesthetes, a painting that will cause a lawsuit against Ruskin in 1878. He accused her of throwing a pot of paint at the public figure (12). The pattern of a nocturnal landscape was becoming the pretext of a distant sensation that was to bear all the other nights, he then tried to grasp the substratum. The background, very dark, in form of a blue and ocher shades, is stained with golden spots. Translucent characters appear in the lower part of the board as small ghosts, like a parade to the critics he had probably sensed. We can only be surprised by the harsh anticipation that Bretschneider formulates.
The disappearance of the motif prefigures its virgin appearance. Nothing iconoclastic. The paintings of eras and heterogeneous geographies that pave the way towards abstract art have never been sanctioned by a classification of specialists. They claim the right to do wrong to see better. All the ripe fruit bowls, the cleverly arranged bouquets, all the treasures imported from distant lands inhabit this painting which tells us about what is the painting. It is now pure abstraction, this hanging bird, this flower perhaps, this almost stretched net are spread there, on the large table of the universe. There are only flashes, bursts of light, redness of the suns. This cosmogony represents the birth of the world. In the beginning there was March black, intense, siccative, mineral. Then was affixed the first touch of light. Pure white, immanent, first ray among the rays. On the a studied gesture, which was nothing but a white point, became milky streaks of dotted, distant milk-ways, nebulae in rotation, sliding specter. An explosion occurs. Orange, blue, green burst into a sound of thunder. The colors surround the silver eclairs. Then comes the vermilion red, which extends into braided filament. A green sphere of buckthorn surrounded by a golden ring begins its revolution. Everything is organized. Every thing takes its place. A rotation this system is in motion, this mechanism is the heritage of the beginning of time. Gravitational attraction is moved by painting. The corpse of this lying bird is a star, it will finish its course and die soon. Only solitude will remain in the silent spaces.

1. Nature morte, Gian Casper Bott, éd. Taschen, 2008, p.6. 2. Rhyparographe : Antiquité - peintre qui ne représentait que des sujets vulgaires ou triviaux ; Traité sur la peinture pour en apprendre la théorie et se perfectionner dans la pratique, Bernard Dupuy Du Grez, ed. imprimeur de Vve J. Pech et A. Pech (Toulouse), 1699, p.57. 3. La nature morte, sous la direction de Stefano Zuffi, éd. Gallimard, 2000, p.67. 4. Le Baroque en Bohème, catalogue d’exposition, éd. Association française d’action artistique, 1981, p.83. 5. Stefano Zuffi, op. cit., p.47. 6. La nature morte, Pierre Skira, éd. Skira, 1989, p.32 ; 43. 7. Dits « Monochrome Blanketje » ; Natures Mortes, Sybille Ebert-Schifferer, éd. Citadelles et Mazenod, 1999. 8. Stefano Zuffi, op. cit., p.67. 9. La nature morte : de l’Antiquité au xxe siècle, Charles Sterling, éd. Macula, 1985, p.45. 10. Frontières du récit, Gérard Genette, Communications, 8, 1966, Recherches sémiologiques : l’analyse structurale du récit, p.152 et suivantes. 11. Histoires naturelles, Pline l’Ancien, Livre xxxv, xxxv, éd. Dubochet, 1848-1850, tome 2, pp.472-473. 12. Lettre de John Ruskin, Fors Clavigera, 2 juillet 1877. Lucie Planty ↸ Creation of the wikipedia page Johann Michael Bretschneider and publication of the "B99" painting in 2018

A bazaar in the Bazaar in a bazaar
collective exhibition, Bazaar Compatible Program, cur. Claude Closky
et Paul Devautour, Shanghai, China, 2015 (photography BCP)
http://w1d3cl183.1mm3d1at3.org/fr/bcp94.html ⇲ Lucie Planty

Book barter, 28.05.2016, Cneai Chatou, 2016
Lucie Planty

Postcard and gold leaf, 2017

These postcards each have a disappearance, a gold leaf has been affixed, obliterating the destroyed element. This element remains as an image under the thin golden layer, he is both masked and sanctified. By the figure of the postcard, common object of circulation of images (they come respectively from Canada, Russia and Italy), stereotype of the trip, which, raturées de feuille of gold in the manner of icons oscillates between banal objects, without quality, and the preciousness of the icons. These memories holidays have become history documents that bear the mark of what has disappeared. Lucie PlantyThe Labyrinth House,15x10,5cm

The labyrinth house is a large Pompeii villa partly destroyed during the eruption of Vesuvius in 79. It was bombed during the Second World War, becoming a ruin of ruin. Here is the second floor today, today destroyed, which is covered with gold, as is the sky in the icons. Lucie Planty
Lucie PlantyAral sea, 15x10cm

The Aral Sea was one of the largest seas in the world, today dry, it is one of the most important ecological catastrophes of the twentieth century. The photograph was taken from space by the Russian army in 1978. What this image originally called - propaganda and the race for space progress - symbolized by the satellite in the center of the image, is played today in the background. Lucie PlantyDialogue with history, 9x14cm

Dialogue with History is a sculpture by Jean Pierre Raynaud donated by the city of Paris to Quebec City in 1987 which was destroyed in 2015 in the eyes of all in a spectacular and violent way. "The responsibility belongs to you now to make appear or disappear this derisory moment of history. "(Open letter of the artist).

« Fill gaps »
catalog of the exhibition "Our shadows in front of us" Joshua De Paiva, Léa Djurado, Ricard Foundation, Paris, 2017

Lucie Planty is obsessed with the trace, the memory of the past. At the time of a frantic and disproportionate production images of all kinds - through successive reproductions and compulsional storage of a memory digital that grows and updates constantly - how to be sure to not lose anything, not to forget anything? Lucie Planty brings to light missing places, forgotten artists and missing works. Long-term work, Lucie Planty's research is organized according to precise protocols. Its mode of inquiry is often characterized by an exhaustive compilation of archives or images gleaned from the internet, before arriving at a formal answer.
Seeking to restore a presence to paintings stolen during the Second World War, the artist asks for professional restorers to interpret these missing works from the only remaining documents, often from poor quality. The reinterpretation of today's painters is updating a partial and past score.

For the exhibition Our Shadows Before Us , Lucie Planty chooses not to show her paintings, to get out these images that reactivate a heavy past. She alludes to it by presenting a book, which at first sight, is virgin, but which in reality takes up scrupulously every scanned page of ERR registers (Einsatzstab Reichsleiter Rosenberg), a collection of archives listing "displaced" works during the Second World War. The artist nevertheless chooses to retain only the scrupulously digitized versos of these documents whose informational content was strictly limited to their front. The blank page becomes a bearer of a heavy past which is manifested discreetly by spots, transparency; the delicacy of the page making us glimpse a few sentences, in the form of a returned palimpsest. Lucie Planty can choose to silence talking images, to provoke the mystery, even the myth. Fascinated by the archives, the artist presented a series of books in boxes on consultation tables available to the public. At the beginning, these documents have a didactic purpose, ranging from the swimming instructions to the firearms manual. Lucie Planty reproduces them in facsimile form, respecting precisely the content of the work, the grammage of the paper available to images, with one exception: the text is removed. The ERR directory and manuals of use bear the trace of the strangeness of the absence, and the reader becomes a spectator of an absurd scrolling pages, immersed in a story that has disappeared or is being written.

The disappearance is also updated by its repetition in his installation composed of postcards presented in the exhibition Our Shadows Before Us. Lucie Planty introduces a foreign element into a stereotypical image and provokes a hiatus: it points to the absence of the finger. These three images are those of Pompeii, the Aral Sea, and a sculpture by Jean-Pierre Raynaud on the Place de Paris in Quebec City. Each place has undergone a form different annihilation. In Pompeii, the fiery cloud that engulfs it in the year 70 AD J.-C. paradoxically revealed it in the eyes of all centuries later. The spatial view of the Aral Sea represents a human destruction to the benefit of a stake of economic development having caused the diversion of the Amu-Daria and Syr-Dariades, two rivers which fueled the small sea. For Raynaud's sculpture, ironically entitled Dialogue with History , it is a demolition "of taste" staged in the presence of the press, in full public place, in June 2015. The artist carefully covers with gold leaf the image of a disappearance. In the manner of golden backgrounds inherited Byzantine icons, Lucia Planty sacralizes the lack. The aura thus conferred on the postcard - poor representation and reproducible, which serves of souvenir of visit in the shops of museums - is contained in this account which the image carries, in its historical added value which is put forward by this golden burial. Like Pompeii covered with ashes, this fine golden film veils and unveils a story. An exhibition device accompanies these golden cards: a transparent column crushes the image, a sort of inverted pedestal. Ironically, the plexiglass crushes the story and adds an extra layer of concealment to save re-emergence all the more striking as it is intimate. By this trick, the artist re-enacts the process of revealing absence by scripting the reception of the visitor. The eye is first attracted by this transparent base that does not support anything: is it the base of a lost or restored work? Approaching the block of Plexiglas, he can discover, through a single point as an anamorphosis, an image appearing from a revealed disappearance. Lucie Planty creates narrative mirages, and becomes the author of an unfinished story, consisting of gaps to fill.

stars & dust
book and installation, (Archives of the Planet - Albert Kahn museum and archives), 2019

stars & dust is a book-iconography made from a selection of photographs from the "Archives of the Planet" built by Albert Kahn at the beginning of the 20th century. This iconography is a selection of photographs in which the sun, the moon or dust spots resembling them appear in the background of these historic places, empty, in ruins, abandoned. Conservation conditions have sometimes left white and round marks. This selection puts on the same level these spots and these stars which constitute two units of measurement of the infinitely large and the infinitely small and ultimately similar in image and nature. This collection oscillates between vanity and poetry of the degradation of the historical material in front of its cosmogonic dimension.Lucie Planty Lucie Planty Lucie Planty Lucie Planty Lucie Planty Lucie Planty ↸ exhibition vue Carte blanche à Lucie Planty,Maisons-Laffitte's Church - Ianchelevici Center, 2019

Camille Paulhan

The method of work of Lucie Planty is probably similar to that of the investigator, and maybe even that of the ghost hunter. She is interested in traces, fragments and clues, although it can sometimes confuse the tracks: in his Specimen installation, learning manuals of varied knowledge - swimming the use of firearms through geopolitics - are stripped of any form of text. Do not remain on the pages of books that have become silent but mysterious images, whose cohabitations seem mostly incoherent: the viewer turned reader is placed to face representations of which he no longer masters the codes and which therefore seem authoritarian despite their silence.
Finally, his singular project, Collection Particulière, task, with the help of a professional copyist, to recreate paintings looted during the Second World War, and remained untraceable today: Lucie Planty does not intend to restore these works, of which we know neither the original colors nor the formats, but rather to create a disturbing dystopia, haunted by these peaceful portraits, between true stories and pictorial fables.

Portrait in the mirror
print on plexiglass, 65x90cm, 2018

Image of a trompe-l'oeil mirror made from a photograph of a woman next to a mirror - the perspective has been straightened, the mirror reprinted to its original scale and hung at the same height. Whoever looks at himself in this fake printed mirror will see his reflection, but also the one this anonymous seized by an invisible photographer whose reflection has become an image framed by the image of a frame. Lucie Planty

The box 31
Participation and organization of the exhibition "4 art schools in the box"
on an invitation from Marie-Ange Guilleminot, Quai de Conti, Paris, 2017
Lucie Planty

Parade, New Collection, photography Jean-Baptiste Monteil and Zach Barouti, model Mahalia Kohnke-jehl, heart. Sarah Nefissa Belhadjali, Paris, 2016
- http://nouvellecollection.paris

"New Collection is a project born of a common desire to explore new forms exposure. This experiment takes the form of a fashion show, making the link between the dance, the performance and the object worn. »
Document is a series of plastic tarpaulin garments printed with old photographs altered by time. The body becomes the support, the frame of these images, whose reading, sequence and margin are renewed by its displacement. Lucie Planty
Lucie PlantyRob a Robe — Exhibitiion Doc, Nouvelle collection, Paris, 2016 (photo : Paul Nicoué)
Lucie PlantyDo Disturb Festival —exhibition at Palais de Tokyo, Nouvelle collection, Paris, 2017
Lucie Planty

The Blind Collecor
Chapter 1 - The apartment; Chapter 2 - The lottery,
Collective exhibition, 50 unique exemplary editions, in.plano, 2018

The exhibition Blind Collector asserts itself as a fictitious and domestic apartment. The selected works or designed for the exhibition, have in common to ensure a symbolic function of furniture. It is there fifty books a priori identical, which must be seized to unmask under their covers similar, free facsimiles of other artists' books.
Lucie Planty Lucie Planty Lucie Planty

Travel in Syria 2002
film, 14’30, 2019

The film Syria travel gives us the opportunity to hear a family trip story that took place in December 2002 during Christmas. The narration is cut, has holes, both narrators trying to recompose it through their own memories. The video is set as a slideshow emphasizing details of blurry images, impossible to identify, with an imprecise focus as if through squinted eyes.On rare occasions, a sharp image appears, when the memory is told with certainty. If the Syrian conflict is never mentioned, it is always there, silent. The narrator, pregnant, mentions the pain of the contractions appearing on a trying trip in the middle of the desert and the fear of losing her child who is not showing any sign of life since the beginning of the trip. This amnesic tale swings between a touristic visit of world heritage in ruins, the tragedy of a country torn by war and a story of personal struggle and a birth at the crossroad of centuries old monuments. Lucie Planty Lucie Planty Lucie Planty Lucie Planty ↸ exhibition vue Carte blanche à Lucie Planty, Maisons-Laffitte's chruch - Ianchelevici Center, 2019

Restitution impossible of portraits stolen during the Second World War from black and white photographic archives; collection of dead history images compiled into unreadable leaflets; postcards covered with ruined gold lost places where pure primitive Italian color and holiday memories merge - these works take the form of useless efforts, looking like investigations, trying to capture in the hollow of images the mark of what has disappeared.

Catalog & publications

Lucie Planty Lucie Planty Lucie Planty ↸ Catalog of the exhibition Nos ombres devant nous, text by Léa Djurado and Joshua de Paiva, Fondation Ricard, Beaux-arts editions, 2017
Lucie Planty Lucie PlantyStill life with game, called hunting with the brown , Revue Matin, first number "brown", pages 144-147, 2018
Lucie Planty ↸ Montrouge Salon Catalog , text by Audrey Teichmann, Montrouge, 2017
Lucie Planty Lucie Planty Beyond inheritance , catalog, text by Claude d'Anthenaise, PaP BdA Science-Po, Ariane Seibert graphic design, photographs of works Alexis Allemand and Ulysse Bellier, Libra Pro and Universe typography, May 2016 Lucie Planty Lucie Planty Beyond inheritance , catalog, text by Claude d'Anthenaise, PaP BdA Science-Po, Ariane Seibert graphic design, photographs of works Alexis Allemand and Ulysse Bellier, Libra Pro and Universe typography, May 2016
Lucie Planty Lucie Planty Felicita 17 , catalog, text by Camille Paulhan, Palace of Fine Arts, Beaux-Art Editions, Paris, 2017
Lucie Planty Lucie Planty
↸ 26th International Biennials of Graphic Design Brno 2014, catalog, graphic design Johannes Breyer, Fabian Harb in collaboration with Tomáš Celizna, Adam Macháček and Radim Peško, printed by Tiskárna Helbich a.s., Brno, The Moravian Gallery in Brno, 2014
Lucie Planty
Biennale of Contemporary Arts , catalog, text by Léa Djurado, House of Visual Arts, Champigny, 2018
Lucie Planty Lucie Planty Lucie Planty
Carte Blanche to Lucie Planty , discussion led by Cécile Velley, Former church of Maisons-Laffitte - Center Ianchelevici, 2019
Lucie Planty
↸ in.plano
Lucie Planty Lucie Planty
↸ A.Dahan x SP Millot || Tomáš Celizna, Adam Macháček, Radim Peško Lucie Planty Lucie Planty
↸ Camille Baudelaire, Jérémie Harper || Centro Cultural Itchimbia Lucie Planty
↸ Alexis Chrun
Lucie Planty Lucie Planty
↸ Baldinger Vu-Huu || Basalte Collective Lucie Planty
↸ Maisons-Laffitte
Lucie Planty Lucie Planty
↸ Huz&Bosshard || Crac, Art House, Champigny
Lucie Planty Lucie Planty
↸ Artjaws || Head, Arba-Esa
Lucie Planty Lucie Planty
↸ Open studios of Île-Saint-Denis || Alexis Chrun
Lucie Planty


62 avenue Jean Jaurès, 93450 L'Île-Saint-Denis
www.inplano.xyz ⇲ | instagram ⇲ | facebook⇲

Members : Alexandre Barré ⇲ | Alexis Chrun ⇲ | Tania Gheerbrant ⇲ | Loris Humeau ⇲ | Laure Mathieu ⇲ | Marina Mardas ⇲ | Camille Raimbault ⇲ | Caroline Reveillaud ⇲ | Lévana Schütz ⇲ | Carolina Zaccaro ⇲ |

in.plano, association law 1901, is a platform of research and production whose mission is the dissemination and enhancement of contemporary creation on a principle of pooling knowledge and equipment. The in.plano group that we have built bears and claims from the very beginning the singularity of want to create a workshop as much as a real place of exhibition.

in.plano is part of the artistrun space database ⇲ , werunthespace ⇲, and open studios of Ile Saint-Denis ⇲.

in plano
↸ works, 2018 in plano
↸ award ceremony Fondation de France François de Hatvany, 2018 in plano
↸ exhibition Blind Collector, 2018 in plano
↸ vue of FIB (Bagnolet international Festival), 2018 in plano
↸ opening of the exhibition after me the flood, 2018 in plano
↸ exhibition TILT, 2018 in plano
↸ preparation of the editions of the exhibition Blind collector, 2018 in plano
Option Géniale concert, 2019 in plano
↸ vue of the studio, 2018 in plano
↸ inaugural opening o pe n i n g, 2017 in plano
↸ hanging of the exhibition After me the flood , 2018 in plano
↸ rencontre avec les curateurs Léa Djurado et Alex Chevalier, 2018 in plano
↸ in.plano before works, 2017

Passed events :

I have the bottom teeth bathing , exhibition of Arts Deco students, 2019 -
Make Love By The Trash Can , cur. Persona Curada, with Santiago Esses, Gabriel Moraes Aquino, Carolina Reveillaud, Felipe Vasquez, Carolina Zaccaro, 2019
in.plano, an artists' collective weaving its web , article published in the magazine "Notre Île" number 192, Ile-Saint-Denis, May 2019
Curated Yourself Evening and Option Grand Concert, 2019
Decompression Room , in.plano collective exhibition, The Others Fair, Artissima, Turin, with Alexis Chrun, Camille Raimbault, Laure Mathieu, Laure Tiberghien, Lucie Planty, Nastassia Takvorian, nikolaiykm, Mélanie Villemot, Pablo Prieto, Hervet & Prokhorov, Sarah Nefissa Belhadjali, Tania Gheerbrant, 2018
TILT , cur. nikolaiykm, with Vitaly Bezpalov, Jens Ivar Kjetsa, I've seen the future, 2018
Artists' studios: the obstacle course , article by Julie Ackermann, published in the Daily Art, issue 1607, p.17-18, November 2018
Cinema , film screenings, in.plano, on the occasion of the open days of the Ile-Saint-Denis workshops, 2018
After me the Flood , exhibition of the end of the 3rd year of the students of the National School of Decorative Arts, with Remi Coignec, Elisa Florimond, Jerome Girard, Victoire Gonzalez, Arthur Guespin, Kleu-Anh Nguyen , Noémie Pilo, 2018
in.plano laureate of the François de Hatvany Foundation Prize, Beaux-Arts de Paris, 2018
FIB (international festival of Bagnolet) , with Morgan Azaroff, Alexandre Barré, Simon Boudvin, Caroline Cieslik, Paolo Codeluppi, Collective 1.0.3, Chloe Dugit-Gros, Anne-Charlotte Finel, Francesco Finizio, Tania Gheerbrant, Michaël Harpin, Dounia Ismail, Laura Kuusk, Bertrand Lamarche, Camille Laurelli, Seulgi Lee, Alex Pou, Thomas Portier, Manon Riet, Simon Ripoll-Hurier, Vassilis Salpistis, Kristina Solomoukha, Jean-François Vallée, 2018
Blind Collector , The Apartment; The Auction, in.plano, Paul Bardet, Jade Boyeldieu d'Auvigny, Alex Chevalier, Alexis Chrun, Tanya Gheerbrant, Lucie Planty, Caroline Reveillaud, 2018
opening , inaugural exhibition of in.plano, during the open days of the workshops of the Ile-Saint-Denis, with TAlexis Chrun, Nikolay Georgiev, Tania Gheerbrant, Philemon Hervet, Laure Mathieu, Sarah Nefissa Belhadjali, Lucie Planty, Camille Raimbault, Caroline Reveillaud, Nastassia Takvorian and Mélanie Villemot, 2017

Lucie Planty

- Paris and L'Île-Saint-Denis

member and co-founder of the collective, studio et artist runspace in.plano
62 avenue Jean Jaurès, 93450 L'Île-Saint-Denis
website ⇲
instagram ⇲ | facebook ⇲


International short film festival,
Clermont-Ferrand, Short film market,
2020 —
Festival First Film
Jardins Denfer, Paris, 2019

The Mat, the Temperence, the Pope and the Sun,
curatorial proposition of Adrien Elie
in.plano, 2019

in.plano xyz
in.plano, L'Île-Saint-Denis, 2019

Carte blanche to Lucie Planty
Old church of Maisons-Laffitte - Center Ianchelevici, Maisons-Laffitte, 2019
Decompression Room
collective exhibition of in.plano,
The Others Fair, Artissima, Turin, 2018
cinema film screenings, in.plano,
on the occasion of the open house
workshops on Île-Saint-Denis, 2018
Blind Collector
The Apartment; The Auction
in.plano, 2018
CRAC Biennale
(Creations and Contemporary Artistic Achievements)
House of Plastic Arts, Champigny-sur-Marne, 2018
o p e n i n g
inaugural exhibition of the in.plano
during open house
workshops on Île-Saint-Denis, 2018
heart. Madja Edelstein-Gomez
ART-O-RAMA, International Fair of Contemporary Art in Marseille
Fallow Belle de Mai, Marseille, 2017-2018
4 Art Schools in The Box
as curator and exhibitor,
The Box 31 (Marie-Ange Guilleminot), Paris, 2017
Tenacious promises, beautiful derision
Cur. Thomas Malenfant
The Station - Gare des Mines, 2017
Mythologie.s The capela, Paris, 2017
Variation Media Art Fair
International City of Arts, Paris, 2017
Homeostasis Lab Pavilion
Cur. Julia Borges Araña
The Wrong International Biennial, 2017
Grand Prix of the Bernard Magrez Cultural Institute
Château Labottière, Bordeaux, 2017
Our shadows in front of us
heart. Collectif Basalt
Ricard Foundation, Paris, 2017
Mythologie.s The valley
Brussels, Belgium, 2017
Montrouge Salon
Belfry of Montrouge, 2017
Do Disturb Festival
With Nouvelle Collection Paris
Palace of Tokyo, Paris, 2017
Felicita 17
Palace of Fine Arts, Paris, 2017
Student Library # 9
Cabinet of the artist's book, Rennes, 2017
Lookbook heart. My-Lan Hoang-Thuy
Ensba, Paris, 2017
AMMA Award
Pantheon-Sorbonne for contemporary art
Bastille design center, Paris, 2017
Rob a Dress
DOC, Paris, 2016
Nouvelle Collection
Parade, Ensba, Paris 2016
Rock-paper-scissors Iconotext, Cneai Chatou, 2016
Beyond inheritance
St Pierre de Montmartre Church, PAP BdA
Sciences-Po, Paris, 2016
Superstructure , France Showcase of the Couloir des Sculpteurs,
Ensba, Paris, 2016-2017
Archive / Fictions ,
solo show, Ensba, Paris, 2016
We've never been so close to the middle ,
Cultural Center of Itchimbía,
Quito, Ecuador, 2015
A Bazaar in the Bazaar in a Bazaar ,
Bazaar compatible program, Shanghai, China, 2015
Offprint Paris, 2014
Graphic design, education and schools ,
Biennial of Brno, the Moravian Gallery
Brno, Czech Republic, 2014
The family, Eye Gallery of the Eight,
Paris, 2010

Catalogs & Press

CRAC Biennial Catalog
House of Arts, Champigny, 2018
Our Shadows Catalog in front of us
Ricard Foundation, Paris, 2017
Montrouge Salon Catalog , 2017
http://www.salondemontrouge.com/ ⇲
Exhibition Catalog Felicita 17 , 2017
LookBook Live-Exhibition Catalog
Ed. My Lan Hoang-Thuy, Paris, 2017
Catalog of the exhibition Beyond Legacy,
PAP BdA Sciences Po, Paris, 2016
http://www.audeladelheritage.com/exposition/ ⇲
Catalog Stone Sheet Chisel [iconotext] ⇲ Cneai Chatou, 2016 http://la-bibliotheque.de/ ⇲
Catalog of the 26th th Biennial of Brno ,
Graphic design, education & # x26; schools, 2014
http://www.26.bienalebrno.org ⇲


Interview of the film Travel in Syria
as part of the festival "First film"
Jardin Denfer, Radiobal, 2019
Issue The iconographic artists ,
In Full Forms, with Aurélien Mole
and Edouard Taufenbach, Radio Campus, 2019
www.radiocampusparis.org/ ⇲


Winner of the Fondation de France prize
François De Hatvany for help
to the collective project for in.plano, 2018
Foundation Award Winner -
Alberic Rocheron Award
Exhibition Felicità 17 , 2017
Nomination AMMA Award
for contemporary art, 2017
Young Talent Award, Beyond Legacy,
St Pierre de Montmartre church, Paris, 2016
Price "The family",
Oeil du 8 Gallery, Paris, 2010


in L’image fabuleuse | Sottobosco
(Fabulous picture | Sottobosco)

(Bretschneider, private collection),
co-author Adrien Elie,
ISBN 978-2-491417-00-0,
in.édition, 2019

Still life with game says hunting with brown ,
article published in the first issue
of the Morning Review, 2018

Teaching & Jury

Teacher at the School
of Visual Communication Paris (ECV)
First cycle,
2019 - today
Jury member
Art fair of Maison-Laffitte,
President of the jury
Revolution Video Contest
with A.Chrun, T.Gheerbrant, C. Reveillaud,
Cultural Center of Crous de Paris, 2019
Framing of the end exhibition
of 3rd year students of the Arts Déco
from Paris to in.plano, 2019
Paris X Berlin Jury
artistic contest of CROUS, 2019
Jury member
Final Examination of 3 th year
ECV (School of Visual Communication) Paris, 2018
Framing of the end exhibition
of 3rd year students of the Arts Déco
from Paris to in.plano, 2018
President of the jury
Photo competition Nuit Blanche
with D.Dion, L. DJurado, J. Menetrier,
Cultural Center of Crous de Paris, 2018
President of the jury
Video contest Nuit Blanche
with G. Melkoyan, A. Goullier-Lhomme,
H. Guette, A.-S. Lutyon, France Cultural Center of Crous de Paris, 2018
Jury member
Territories / Gebiete exhibition, workshop and trip
Paris x Berlin, 2018
Organization, selection and exhibition of books
of Fine Arts students from Paris
4 art schools in the box
The box 31, quai de Conti, 2017

Conferences & round tables

Conference in dialogue with Jean-Rodolphe Loth
around the exhibition "Carte blanche à Lucie Planty"
Old church of Maisons-Laffitte - Center Ianchelevici, 2019
Round table for the launch of the Morning Review,
with Claire Dietrich, Violette Voldoire, and Hakima El Kaddioui
DOC, Paris, 2018
Conference for the launch of the catalog
of the exhibition Our shadows in front of us
Ricard Corporate Foundation, 2017

Alma mater

DNSAP Fine Arts of Paris
Jean-Marc Bustamante workshops, Claude Closky
with the congratulations of the jury, 2014-2016

© 2019 Lucie Planty