Vincent Fournier was born in 1970 and lives in Paris. After graduating with a sociology degree and a Masters in Visual Arts, he obtained a diploma from the National School of Photography in Arles in 1997. His works are regularly exhibited in international galleries and institutions, such as Les Rencontres d’Arles, Mori Art Museum (Tokyo), Musée des Arts Décoratifs of Paris, Fondation EDF in Paris, Centre d’Art Contemporain in Pontmain (France), Architekturforum Aedes in Berlin, Z33 House for Contemporary Art in Genk (Belgium), Netherlands Architecture Institute, Rotterdam, Centre de la Photographie in Genève, Quai 1 Vevey in Switzerland, Diesel Gallery in Tokyo, 798 Space in Bejiin.
His pictures can also be found in public and private art collections such as the Metropolitan Museum, permanent collection (New York) LVMH Contemporary Art Collection in Paris, MAST Fondation in Bologna (Italy), The Schlumberger-Primat Collection, The Baccarat Art Collection in New York.
Vincent Fournier has already collaborated with several brands for specific projects : Baccarat, the Synthetic Flesh Flowers, for the new Baccarat Hotel in New York with the designers Gilles&Boissier, Diesel for the ISETAN Department Store in Tokyo with the Archeology of the Future project, Columbia Picture in the movie Spiderman 2 with Post Natural History, Le Bon Marché Department Store in Paris for the Brasilia series. Vincent Fournier has published the books Tour Operator (AD design – 2007), Space Project (Verlhac 2008), Past Forward (360° – 2012), Brasilia (Be-Poles – 2013) and the Post Natural History box(Be-Poles – 2013).
For its first exhibition, Piano Nobile hosts “Post Natural History”, presented in the format of a contemporary cabinet of curiosities. The showcase runs through a large universe, linking photography with 3D application.
The result of a great attention to contradictions and the imponderable, Fournier’ s works are poetic and meticulous, freely nurtured by cinematographic and literary inspirations. Fascinated by science, architecture, technology and its mysteries, his installations explore all fictional potential.
Post Natural History recounts the story of a voyage through time and projects a near and imaginary future. A subtitled “archaeology of the future”, this exhibition mixes history and anticipation, memory and science fiction. It reveals a collection of creatures that are “beginning to appear”, imagined through synthetic and cybernetic biology. Composed of three declinations around the possible transformation of the living world, the exhibition questions the relationships of man with nature and with technology, and emphasises the futility of vanity. The presentation, with “scientific” explanations accompanying images, paradoxically reinforces reality as well as fiction.
