You deci D e
François Bauchet, Thomas Lélu, Alessandro Mendini, Lenny Stöpp
March 1st
︎︎︎ March 29th, 2025
An exhibition produced in collaboration with the The Odds Art Agency.
I can’t stand nostalgia.
Thoma Lélu interviewed by Emanuele Coccia
Who hasn't dreamt of having a tag on the wall of their home, like a declaration of love or hate, or even both at the same time or a statement that only the people living there can understand? Deep down, we all dream of these phrases, which would have the advantage of saving us the trouble of talking and, above all, repeating ourselves.
Today I did noting
It's no secret that at A1043 we love contemporary art. No doubt about it, as each exhibition, even if it doesn't specifically fall within this field, seems to belong. People don't change. ‘I used to be a conceptual artist, but I am OK now’ could be our motto. With a conceptual background like ours, it's hard to escape what we have done and know how to do. So, it should come as no surprise that suddenly, a contemporary artist is taking up residence at A1043. We're talking about an installation here. Thomas Lélu is taking up residence in the sense of habitat. A table, chairs, desk, lamps and a few paintings. In other words, a kind of interior.
Rain brings flowers
Thomas Lélu is not only an artist, but also a novelist, and we could add photographer, filmmaker, graphic designer, and what else? Categorisation serves no purpose here. Thomas Lélu is an artist who uses multiple means to work, that's all, and that's delightful. What's more, he eludes all categories. That's what we like. We're a far cry from studios overflowing with piles of canvases, torn paper, pots of paint, rags abandoned on the floor, anxiety gripping our stomachs and a bloody ear lying on the floor. Of course, this does not mean that everything is effortless and light-hearted. There is a will to control, to not take the easy way out, and to spare the audience an existential doubt that does not need to be shared. So, we can see what makes a work of art: a refusal to accept convention and a desire to break away from what is commonly accepted.
It’s never too late to start now
Yet the art world has no idea what to make of Thomas Lélu. Because Thomas Lélu is never where you expect him to be. Thomas Lélu was not admitted to the entrance exam to the Beaux-Arts de Paris, but that's no big deal. When you're as determined as he is, you don't just follow the path, you invent it. Describing his career, his first book Manuel de la photo ratée, (2002), his artistic direction of Perrotin gallery (2005 to 2007), his novel Je m'appelle Jeanne Mass (2005), and his countless exhibitions, does not provide a single insight into his work, for it is so multifaceted.
Can you hear me? – No it’s too dark.
Thomas Lélu is a curious fellow. As a child, he wanted to be a stuntman. Pirouettes, somersaults, swan dives, figures, rollovers and splits are all within his remit and are no problem for him. But stunt is not a game. It demands precision and accuracy. Thomas Lélu is in fact a kind of surgeon. He leaves nothing to chance. Despite his casual appearance and seemingly effortless work, everything is mastered, even the things that do not appear so. The choice of subject, the moment, a missing letter, two letters out of place, a word that's too big - it's all deliberate.
I smile because I no have no idea what’s going on.
Although it was graphic design that enabled him to return to the world of contemporary art, it was his awareness of what is public and of the public that enabled him to invent such a unique body of work. At one time, an artist who wanted to appear in this space needed to be active in the street. However today's public space is not the street, but social networks, with Instagram at the forefront. Thomas Lélu recognised this immediately. So, it was through this medium, which corresponds perfectly to his curious and versatile nature, that he made a name for himself. Instagram is a continuous stream of images, sounds, movements and words of all kinds. Thomas Lélu uses it but turns it on its head in an almost mirror-like effect. You can decide to take it all lightly or, on the contrary, to take it all seriously. It's up to the viewer.
We Should Kiss
All these phrases, expressions and slogans speak to us. There's a kind of art of the ordinary in Thomas Lélu. You need no cultural background to appreciate him, which makes him very popular - 704,000 followers on Instagram, after all. You can also be well educated and see what's behind the scenes, not to mention the personalities from the world of art and culture who follow him. It's a real strength. When artists refuse a collaboration with a major brand on some questionable pretext, he accepts it and uses it. Everything is good to work with. This ability to use every opportunity makes Thomas Lélu one of the contemporary artists most in tune with the times.
I told my therapist about you
Since he has used media as diverse as film, novels and photography, it is also conceivable that his career could develop in another field, painting for example, as in our exhibition. Instagram is surely a turning point in the artist's career. Because if we imagine for a moment that it closes or declines, which is inevitable in any case, what will be left of this work? Fortunately, there are paintings, photographs, books - everything that makes the real real. So, it's easy to imagine a Thomas Lélu - the artist's future is a mystery - producing design objects tomorrow. Something we would love to see.
Stay tuned!
