Kayu is Lucie Fontaine new branch in Indonesia.

Kayu aims to provide an incubation space to give the opportunity of information and knowledge exchange between Bali and the
outside art world to ignite the growth and awareness of contemporary art. In the same time the space will be active in creating
experimental and conceptual activities in order to be the forefront of Indonesian art scene and have the capability to communicate
with International art world.

Lucie Fontaine is an art employer who lives and works in Colmar, France. Describing herself as an “art employer”, Lucie
Fontaine avoids harnessing her practice to a specific figure of the art field, preferring to cultivate a modus operandi driven solely
by her relationship with two* employees, a concept of self-generated labor similar to the Master-Slave dialectic presented by
Hegel is his master-piece, The Phenomenology of Spirit. Her two* art employees like to define her as the Jamie
Lynn Spears of contemporary art: “pregnant and in search of easy success”. Thus, Lucie Fontaine incarnates the following three
assumptions:
1.
The anti-hierarchical perception of the art field, where artists, curators, gallerists, collectors, editors and critics are all
considered “players” in the same game.
2.
The theory of expanded practice, in which the artist is not only considered the “creator” of an artwork, but also a cultural
operator able to write, manage galleries, curate, collect, and so on.
3.
The consideration of the entire discourse around the artwork: conception / creation / production / presentation / distribution /
communication / promotion.

* “L’Anti-Oedipe was written by the two of us, and since each of us was several, we were already quite crowd”.
Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, 1. Introduction: Rhizome.

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