Beau Lauss gathers artists Adam Cruces, Antoine Donzeaud, Matthieu Haberard and Zoé de Soumagnat around some kind of flowchart of the living. Adam Cruces’ fruits and vegetables in levitation on a white background, Antoine Donzeaud’s blown up, annotated, and damaged posters, Matthieu Haberard’s geographic anachronism mask or matrix sculpture, Zoé de Soumagnat’s vintage ad-like paintings, all define their own protocole of appearance as well as they vouch for the permeability, the versatility, and the elasticity of their language. Urban, classic, merchandising, custom or high-tech, the spheres, networks and references allow to be drawn out of their comfort zone and accept the new genealogy of the exhibition. The sign, in the background, like a vanishing graffiti, becomes the alphabet of a new syntax, a model tongue that shifts, twists and recovers, evading its own etymology.

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