Espace Saint-Ravy is delighted to welcome the La Piscine collective, comprising Asia Lapai, Fanny Momier, Cheyenne L?Huillier and Pauline Pagès-Lloberas, for the exhibition Do Not Feed Alligators, on view from July 19 to August 10, 2025. The works create a swampy, mirage-like landscape that dissects and explores the visible and invisible. Choreographer and dancer Fanny Momier will inhabit this fictional, futuristic ecosystem in a performance for the opening.
Opening on Friday, July 18 at 6.30pm.
Asia Lapai, Fanny Momier, Cheyenne L?Huillier and Pauline Pagès-Lloberas use their different practices to build a shared territory that questions what lies beneath the surface. Water is considered for its aqueous, even viscous, potential, but also to reveal tensions and desires. For the exhibition, Asia Lapai?s images focus on Geneva?s tropical greenhouse as a vestige of colonial projections and fantasies, where exoticism is staged. At the opening, Fanny Momier will activate the exhibition with a performance in the form of a hybrid creature. Dressed in a costume made from bio-plastic by artist and costume designer Louise Deldicque, she will inhabit the space throughout the exhibition, as a vestige of her passage.
Cheyenne L?Huillier presents her first film, which examines mythical and legendary female figures such as the sirens and danaids. These women choose to withdraw from the world. Water becomes a marginal space in which they manage to find their place. In a second film, the figure of the alligator is showcased for its wild, dangerous and fantasized presence. Pauline Pagès-Lloberas? sculptural ensemble borders on the organic. The works seem to swell with water. Their surfaces crackle, ooze and take on textures from which skins or masks seem to emerge. The artist questions what resists and what leaks, what holds back and what overflows.
BIOGRAPHIES
Dancer and choreographer Fanny Momier draws her inspiration from a wide range of practices and aesthetics. She trained at an intensive artistic gymnastics school, then became interested in jazz, hip hop, modern jazz and contemporary dance. She trained at the Epsedanse school in Montpellier, with Robert Zappala in Sicily (Italy) and through numerous international workshops. In 2014, she set up Compagnie Pistil, currently in the process of creating a first show with artist and actress Cosima Bevernaege. Her costume design is by Louise Deldicque, a visual artist and designer who graduated from La Martinière Diderot in Lyon. She is developing research into bio-sourced materials, including bio-plastic made from organic ingredients.
Cheyenne L?Huillier is a graduate of the Ecole Supérieure des Beaux-Arts de Montpellier (2023). Her work is centered on the exploration of vast, empty, marginal, fictional and real territories through video and installation. Her narratives are hybridizations in which the image becomes an experimental field.
Asia Lapai is a graduate of the Ecole cantonale d?art de Lausanne and the Ecole Supérieure des Beaux-Arts de Montpellier (2023). Migratory flows and narratives are at the heart of her artistic research.
Pauline Pagès-Lloberas is a graduate of the Ecole Supérieure des Beaux-Arts de Montpellier (2023). Her sculptural practice explores the hybridization of forms and materials, a source of tension between the raw and the baroque, the solid and the liquid.
Opening on Friday, July 18 at 6.30pm.
Asia Lapai, Fanny Momier, Cheyenne L?Huillier and Pauline Pagès-Lloberas use their different practices to build a shared territory that questions what lies beneath the surface. Water is considered for its aqueous, even viscous, potential, but also to reveal tensions and desires. For the exhibition, Asia Lapai?s images focus on Geneva?s tropical greenhouse as a vestige of colonial projections and fantasies, where exoticism is staged. At the opening, Fanny Momier will activate the exhibition with a performance in the form of a hybrid creature. Dressed in a costume made from bio-plastic by artist and costume designer Louise Deldicque, she will inhabit the space throughout the exhibition, as a vestige of her passage.
Cheyenne L?Huillier presents her first film, which examines mythical and legendary female figures such as the sirens and danaids. These women choose to withdraw from the world. Water becomes a marginal space in which they manage to find their place. In a second film, the figure of the alligator is showcased for its wild, dangerous and fantasized presence. Pauline Pagès-Lloberas? sculptural ensemble borders on the organic. The works seem to swell with water. Their surfaces crackle, ooze and take on textures from which skins or masks seem to emerge. The artist questions what resists and what leaks, what holds back and what overflows.
BIOGRAPHIES
Dancer and choreographer Fanny Momier draws her inspiration from a wide range of practices and aesthetics. She trained at an intensive artistic gymnastics school, then became interested in jazz, hip hop, modern jazz and contemporary dance. She trained at the Epsedanse school in Montpellier, with Robert Zappala in Sicily (Italy) and through numerous international workshops. In 2014, she set up Compagnie Pistil, currently in the process of creating a first show with artist and actress Cosima Bevernaege. Her costume design is by Louise Deldicque, a visual artist and designer who graduated from La Martinière Diderot in Lyon. She is developing research into bio-sourced materials, including bio-plastic made from organic ingredients.
Cheyenne L?Huillier is a graduate of the Ecole Supérieure des Beaux-Arts de Montpellier (2023). Her work is centered on the exploration of vast, empty, marginal, fictional and real territories through video and installation. Her narratives are hybridizations in which the image becomes an experimental field.
Asia Lapai is a graduate of the Ecole cantonale d?art de Lausanne and the Ecole Supérieure des Beaux-Arts de Montpellier (2023). Migratory flows and narratives are at the heart of her artistic research.
Pauline Pagès-Lloberas is a graduate of the Ecole Supérieure des Beaux-Arts de Montpellier (2023). Her sculptural practice explores the hybridization of forms and materials, a source of tension between the raw and the baroque, the solid and the liquid.
