House of Egorn

Will Deliquesce is a newly commissioned 8-minute film and sculptural installation by Julie Favreau that will be presented for the first time alongside new photographic work. Favreau was artist-in-residence at the Künstlerhaus Bethanien in 2017 from the Québec region - she has since settled in Berlin.

Julie Favreau’s practice is located at the crossroads of visual art and choreography, where research into gesture and movement feeds into the production of sculpture and vice versa. Composing scenes involving performers and objects in set environments, the artist produces intensely private, enigmatic worlds. Through a variety of media Favreau has developed a body of work that explores the sense of touch and plays with sensory stimulation to reflect on the transformative qualities of desire and eroticism, seeking to represent existence as unframed, in its liveliness and sheer materiality.

Eroticism is approached as a form of power: the artist is interested in exploring the texture of the world, the way animate and inanimate things touch and affect one another. Will Deliquesce is shot like an open window through which we gain sight of a group and their ritual of contacts, speaking of these vital forces that bring us together. Skin touches against skin, gets electrons excited, and brings on other forms of contacts, the artist explains. The film is shrouded in layers of lenses, applying a glass filter between them and the viewer, producing flares, dancing with the actors, following their movements. The custom-made glass square thereby catches rays of natural light and flames from a fireplace. The group are burning small sculptures, the amulets they use to touch each other.

Will Deliquesce was produced in a single room in Berlin, an apartment all defined by angles and obliques. The camera walks, dances, and comes closer to the group. There are flares produced by the glass filter, while the camera moves according to the actor’s gestures and rhythms. One of them is standing straight in the middle of the group, playing with hands and not touching the others. As the camera walks closer, they all turn towards the viewer and unexpectedly we approach the open window: applying cutting edge CGI technology a mysterious object floats through the air and moves amidst the backyards of Berlin.

The exhibition furthermore comprises two new glass sculptures by Julie Favreau, directly related to the filmic centrepiece. Fingers and bones shaped like seeds are held by cellular shaped bases, while the wall based works are photography portraits of the film characters.