Guillaume Leblon is one those artists, writes Marianne Lanavère, who “once again prefer to make reference to pictorial abstraction picturale, modern architecture, American sculpture of the 1960, conceptual art, process art, structuralist film […] in order to develop approaches which, though formally removed, stem from one and the same conception : the work of art as indicator or clue, no matter how slight, capable, single-handed of conjuring up a whole bundle of references, a construction, a history, a world”.
In each one of his shows, Guillaume Leblon confronts works (sculpture, installa­tion, films, photographs) like so many clues for creating a situation which wavers between reality and fiction, without either being distinguishable.
Azimut, the exhibition's title, evokes a way of taking up a position in relation to the horizon : the artist chooses to create cohabitation between the different scales contributing to the viewer's immersion within a complex fabric of narrative links and vanishing lines.
This monograph, whose graphic design has been devised by the artist, subtly articulates views of the exhibition at the Frac Bourgogne with a selection of earlier pieces and projects. Marianne Lanavère's essay is a general introduction to the artist's work. Eva González-Sancho's essay dwells more specifically on his film work.