The work of Bertrand Lamarche begins with objects that trigger his gaze: the railway centre in Nancy, hypnotic states associated with movement, the voice of Kate Bush, meteorological phenomena, giant hogweeds, holes, sound loops, cinematic divisions of space, or rotating vinyls: all these elements are part of the artist’s obsessive laboratory, where they are constantly changing form with each new installation, projection, model or video. The works that result are put forward not so much as finished objects, even though they are autonomous, as occurrences that play and replay movements, temporalities and the artifice of the visible. The artist’s visual devices break down processes and at the same time metamorphose them into “things to see.” In his work, modelling transposes the real referent into its fictional distortion, into meteorological extravagances, whereby this work signals its heterotopian dimension, and its affinity with science fiction. Lamarche’s work creates distortions of scale, spatio-temporal ellipses in a movement of transformation which alters and augments the figures, suspends the real, carrying away its materiality in a fictive traversal. “Art here is magic released from the lie of being true.” Antonia Birnbaum, 2012