Idiots, pundits?

by Nicolas Rosette

Text published in the critical monitoring program of the Salon de Montrouge artists, 2013.

Nøne Futbol Club is a duo that is capable of mobilizing as many accomplices as necessary to make their works and performances. The playful component is inseparable from their creative process which tackles the world like a playground for the expression of an art whose nature has continually bordered on the cellophane of the white cube and the great palaces must take the risk of being a mass distribution product.

The recursive principle in their work is reversal. It is not about diverting elements from pop culture(or popular culture, the term changing depending on whether this culture comes to us from one side or the other of the Atlantic Ocean) but of a reversal whose final address is always popular culture. A double inversion, whose process of revelation reflects back to us as in a mirror the possible destiny of an art world which has become less subtle than the current popular media cultures; whose practices of critical and jubilatory diversions are the foundation. Would the Nøne Futbol Club be applying to contemporary art what digital cultures have subjected Chuck Norris, the pope and Darth Vador to?

If their work can evoke that of the surrealists (for the crazy aspect) and the situationists (by the use of mass media culture) it is not through a specific desire for lineage.
In their performance Work nº 096: just married where they availed of a Parisian bus stopping to take on passengers to stick a “just married” placard on the back with a half-dozen saucepans, it is not as much the choice of elements (bus, Paris, idealized image ironmonger on marriage, performance) than the playful hacking of the urban ordinary that is at work in Work nº 078: Ram-raid when they attack the exhibition space intended to host them using a car as a battering ram. If this performance can seem to fit into a tradition, the intention here is however for a mise en abyme: who is robbing what, ultimately?

The most significant series of works and the most literal of the reversal that the artists are operating is undoubtedly the Renault cars of the 1970s and 1980s of which each piece of the body and interior work has been meticulously turned over, presenting to the exterior what should be in the interior. Heckling our perceptions and our feelings about the inside/outside, the series attacks popular representations of the car where the taste for mechanics, the morbidity of accidents, the car as a receptacle for rebellion and the fascination of the object that has become sculptural are combined. Responding as much to cynical production criteria of works by the diversion of pop icons as to a subtle desire to confront ourselves with our cultural depictions, these automobile sculptures are both seductive and iconoclast; like their creators.
Nøne Futbol Club
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