Laetitia Gendre

*1973 in Chinon, France, lives in Paris and Brussels

Laetitia Gendre’s primary medium is drawing, which she approaches with an eye informed by her early work as a painter. There is a great sensitivity to her large-scale 3D drawings and paper sculptures from the past several years, but she does not limit herself to the materiality of drawing. The premise with which she works is more complex, not only because she also uses media such as slideshows, video, printed material, text and sound, but also because her works generally feature collage effects and associations. She juxtaposes such divergent elements as the history of perspective with roller coasters or shooting targets, early cinema and CCTV, Warburg’s atlas and B-movie posters. Her art consists of erased, folded, found, scrambled or hidden images. The cross-references yield multiple possibilities for interpretation and often reveal a tongue-in-cheek humour.

Laetitia Gendre's work has been presented at La Maison Rouge, Paris; TENT, Rotterdam; Samsa, Berlin; Wiels, Brussels.

Laetitia Gendre - The fake, the fold and the erased, 2014

Laetitia Gendre - The Direct Matching Hypothesis, 2011

Interview in "Collection - A magazine about contemporary drawing" (PDF)
CV (PDF)
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Our Dried Voices, 2008, Video, 13 min | 2/15
Our Dried Voices, 2008, Video, 13 min | 3/15
Our Dried Voices, 2008, Video, 13 min | 4/15
Our Dried Voices, 2008, Video, 13 min | 5/15
Our Dried Voices, 2008, Video, 13 min | 6/15
Our Dried Voices, 2008, Video, 13 min | 7/15
Our Dried Voices, 2008, Video, 13 min | 8/15
Our Dried Voices, 2008, Video, 13 min | 9/15
Our Dried Voices, 2008, Video, 13 min | 10/15
Our Dried Voices, 2008, Video, 13 min | 11/15
Our Dried Voices, 2008, Video, 13 min | 12/15
Our Dried Voices, 2008, Video, 13 min | 13/15
Our Dried Voices, 2008, Video, 13 min | 14/15
Our Dried Voices, 2008, Video, 13 min | 15/15
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The Direct Matching Hypothesis, Installation view, Galerie Thomas Fischer, 2011 | 2/4
The Direct Matching Hypothesis, Installation view, Galerie Thomas Fischer, 2011 | 3/4
The Direct Matching Hypothesis, Installation view, Galerie Thomas Fischer, 2011 | 4/4
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