{"id":653,"date":"2018-05-03T10:34:45","date_gmt":"2018-05-03T08:34:45","guid":{"rendered":"http:\/\/sisume.com\/?post_type=portfolio&p=653"},"modified":"2024-12-06T10:31:13","modified_gmt":"2024-12-06T09:31:13","slug":"olympic-stadium","status":"publish","type":"portfolio","link":"https:\/\/sisume.com\/index.php\/portfolio\/olympic-stadium\/","title":{"rendered":"Olympic Stadium"},"content":{"rendered":"
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Olympic Stadium<\/i><\/span><\/span><\/h3>\n\t\t\t<\/div>\n\n\t[vc_column_text]\n
Artist Marion Gambin<\/strong><\/span><\/h5>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/6″][\/vc_column][vc_column width=”2\/3″ el_class=”text-center” offset=”vc_hidden-sm vc_hidden-xs”]\t
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Olympic Stadium<\/i><\/span><\/span><\/h3>\n\t\t\t<\/div>\n\n\t[vc_column_text]\n
Artist Marion Gambin<\/strong><\/span><\/h5>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/6″][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1578631984263{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md”][vc_column_text]Emblematic of an architecture currently threatened, Phnom Penh\u2019s Olympic Stadium crossed several key historical periods of Cambodia. It has significantly become one of the preferred public space areas of the capital\u2019s inhabitants \u2014a place of expression and unique appropriation, un-transposable. Behind its monumental facade a \u2018micro-wolrd\u2019 unveils. Marion Gambin explores how the historically \u2014memorially\u2014 loaded building is used nowadays. Delicately, she entices us to consider it a character apart who rocks generously those who visit it.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/6″][\/vc_column][vc_column width=”2\/3″ offset=”vc_hidden-sm vc_hidden-xs”][vc_column_text]Emblematic of an architecture currently threatened, Phnom Penh\u2019s Olympic Stadium crossed several key historical periods of Cambodia. It has significantly become one of the preferred public space areas of the capital\u2019s inhabitants \u2014a place of expression and unique appropriation, un-transposable. Behind its monumental facade a \u2018micro-wolrd\u2019 unveils. Marion Gambin explores how the historically \u2014memorially\u2014 loaded building is used nowadays. Delicately, she entices us to consider it a character apart who rocks generously those who visit it.[\/vc_column_text][\/vc_column][vc_column width=”1\/6″][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1578632018342{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md”]\t
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\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_empty_space height=”120px”]\t
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\n\t\t\t\"\"\t\t\t\t\t<\/div>\n\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t[vc_empty_space height=”50px”][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1578632051283{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md”][vc_column_text]Fascinated by the close relationships maintained by men with their environments \u2014built as natural\u2014 the photographer deciphers the functioning of given territories, their own rules and the ecosystems they generate. If she likes to discover the facets that make up these universes, it is not the dissection of pure and isolated objects that guides her practice. On the contrary, the nodal point of her approach is the human component, infusing life in the places it invests, lives or crosses. It is the human who gives relief to the material, imprinting a particular vibration. Marion Gambin often approaches circumscribed spaces, floating almost out of the world in a singular temporality. This form of insularity, with real boundaries, allows the emergence and the invention of specific forms of being and acting. Olympic Stadium<\/em> (2011), amongst her first series, contributes to this quest.[\/vc_column_text][vc_column_text]The shots of Olympic Stadium<\/em> resonate with subtle melancholy as the existence of the stadium is continually jeopardised. Marion Gambin, sensitive to the unequaled aura of this Phnom Penh\u2019s haven, plays on the notions of interstice and border. Oscillating from dawn to sunset, she reveals the gap between the city \u2019s swarm and the intrinsic order of the stage. For the photographer, time has, indeed, another consistency: it is the sun that dictates its rhythm to the stadium, a seemingly return to an archaic cadence. If her practice allures as documentary, her language is far from being descriptive. It is marked by the search for incongruous details that act as signs of a sliding from reality to fiction. Marion Gambin reframes reality seeking what can arouse surprise in it. The micro-events she extracts imperceptibly underline the strange familiarity of parallel universes that might exist or that we may have dreamed.[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1571409156883{padding-bottom: 4vh !important;}”][vc_column offset=”vc_hidden-sm vc_hidden-xs”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text]Fascinated by the close relationships maintained by men with their environments \u2014built as natural\u2014 the photographer deciphers the functioning of given territories, their own rules and the ecosystems they generate. If she likes to discover the facets that make up these universes, it is not the dissection of pure and isolated objects that guides her practice. On the contrary, the nodal point of her approach is the human component, infusing life in the places it invests, lives or crosses. It is the human who gives relief to the material, imprinting a particular vibration. Marion Gambin often approaches circumscribed spaces, floating almost out of the world in a singular temporality. This form of insularity, with real boundaries, allows the emergence and the invention of specific forms of being and acting. Olympic Stadium<\/em> (2011), amongst her first series, contributes to this quest.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text]The shots of Olympic Stadium<\/em> resonate with subtle melancholy as the existence of the stadium is continually jeopardised. Marion Gambin, sensitive to the unequaled aura of this Phnom Penh\u2019s haven, plays on the notions of interstice and border. Oscillating from dawn to sunset, she reveals the gap between the city \u2019s swarm and the intrinsic order of the stage. For the photographer, time has, indeed, another consistency: it is the sun that dictates its rhythm to the stadium, a seemingly return to an archaic cadence. If her practice allures as documentary, her language is far from being descriptive. It is marked by the search for incongruous details that act as signs of a sliding from reality to fiction. Marion Gambin reframes reality seeking what can arouse surprise in it. The micro-events she extracts imperceptibly underline the strange familiarity of parallel universes that might exist or that we may have dreamed.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1578632051283{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md”]\t
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Press<\/h3>\n[\/vc_column_text]\t\n\t\tLES INROCKS<\/span>\n\t\t\t\t<\/a>\n\n\t[\/vc_column][\/vc_row][vc_row el_class=”align-center” css=”.vc_custom_1571409137203{padding-top: 8vh !important;padding-bottom: 4vh !important;}”][vc_column width=”1\/2″ css=”.vc_custom_1733477424465{padding-right: 5% !important;padding-left: 5% !important;}” offset=”vc_hidden-sm vc_hidden-xs”]\t
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Press<\/h3>\n[\/vc_column_text]\t\n\t\tLES INROCKS<\/span>\n\t\t\t\t<\/a>\n\n\t[\/vc_column][\/vc_row][vc_row css=”.vc_custom_1578632051283{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md”][vc_column_text]\n

\u2018Il vient souvent ici. Presque tous les jours avant de rentrer \u00e0 la maison. Il commence par en faire le tour sauf quand les sportifs ont pris d\u2019assaut le terrain. Il lui est arriv\u00e9 de se faire mettre dehors \u00e0 coups de pied, alors il pr\u00e9f\u00e8re ne pas forcer. G\u00e9n\u00e9ralement, il commande un jus de canne \u00e0 sucre. Celui dans le sachet en plastique, car ceux en bouteille sont trop chers. La dame des jus le conna\u00eet bien. Pour autant, il ne leur est jamais arriv\u00e9 de se parler. Ils se saluent, c\u2019est tout. Il aime s\u2019installer en haut des gradins. De l\u00e0, en un regard, il englobe le monde. Alors, tel un chef d\u2019orchestre, il commande \u00e0 la foule et met en mouvement les \u00eatres pour ex\u00e9cuter son \u0153uvre.\u2019<\/span><\/p>\n

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\u2014 Quotes by Sarah M\u2019bodji & Marion Gambin<\/span><\/p><\/blockquote>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row thb_full_width=”true” thb_row_padding=”true” thb_column_padding=”true”][vc_column offset=”vc_hidden-sm vc_hidden-xs”][vc_row_inner][vc_column_inner][vc_column_text]\n

\u2018Il vient souvent ici. Presque tous les jours avant de rentrer \u00e0 la maison. Il commence par en faire le tour sauf quand les sportifs ont pris d\u2019assaut le terrain. Il lui est arriv\u00e9 de se faire mettre dehors \u00e0 coups de pied, alors il pr\u00e9f\u00e8re ne pas forcer. G\u00e9n\u00e9ralement, il commande un jus de canne \u00e0 sucre. Celui dans le sachet en plastique, car ceux en bouteille sont trop chers. La dame des jus le conna\u00eet bien. Pour autant, il ne leur est jamais arriv\u00e9 de se parler. Ils se saluent, c\u2019est tout. Il aime s\u2019installer en haut des gradins. De l\u00e0, en un regard, il englobe le monde. Alors, tel un chef d\u2019orchestre, il commande \u00e0 la foule et met en mouvement les \u00eatres pour ex\u00e9cuter son \u0153uvre.\u2019<\/span><\/p>\n

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\u2014 Quotes by Sarah M\u2019bodji & Marion Gambin<\/span><\/p><\/blockquote>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1578632051283{padding-top: 4vh !important;}”][vc_column offset=”vc_hidden-lg vc_hidden-md”]\t

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Le Patio, Paris, France
\n<\/span>May 14-31, 2018<\/strong><\/span><\/h3>\n

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Le Patio, Paris, France
\n<\/span>May 14-31, 2018<\/strong><\/span><\/h3>\n

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Related projects \u2014<\/span> Memory, transmission, places
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Au loin les signaux, al lou\u2019lou’<\/h6>\n\t\t\t\t\t\t