François Patoue
ART TABAC
10.APR.2025
ART TABAC
10.APR.2025
Drugged with prescription morphine, nineteenth-century Morphinées were reduced to so-called pathological symptoms, idleness and other pleasures that did not include the company of men, and were widely criticised in the press,
literature and the arts. This moral condemnation not only narrows the addiction to the substance consumed but, in this case, essentializes women at the same time. It denies that substances exist only as practices, which are much broader: a practice that takes into account the individual, the context, the social environment and the totality of the multiple associated experiences. Thinking of drugs as practices means approaching users as active people, building a relationship with the substance. The agentivity that individuals demonstrate when they enter into such a relationship bears witness to an emancipatory affirmation, an ability to choose freely according to their intuitions. The practices that surround our relationship with a substance allow us to negotiate with reality, to gain autonomy and experiment with our own desires.
Drugs are a complex mix of powers and constraints, pleasures and addictions, introspection and egotistical delusions, freedoms and addictions, therapeutic and alienating.
All drugs.
And not only drugs.
Art. Tobacco. Choose your hell. Every practice suggests skills: taking drugs —whatever the substance— is no exception. Reducing the risks. Knowing how to dose. Recognising the products. Navigating the experience itself. Managing addiction and dependence. Knowing how to do without. Quitting. Learning to deal with what we are—a malleable material of alterable experiences, conscious and unconscious, whose new perspectives are sometimes enough to give us the perspective we need to leverage what we aspire to. Time to distinguish which of our desires will inspire us favourably. What substances will have the action of a crowbar to create a gap within a constraining system, to deploy a power to act on existence, not as an absolute metaphysical freedom, but as a concrete reality of self-experience?
Drugs are a complex mix of powers and constraints, pleasures and addictions, introspection and egotistical delusions, freedoms and addictions, therapeutic and alienating.
All drugs.
And not only drugs.
Art. Tobacco. Choose your hell. Every practice suggests skills: taking drugs —whatever the substance— is no exception. Reducing the risks. Knowing how to dose. Recognising the products. Navigating the experience itself. Managing addiction and dependence. Knowing how to do without. Quitting. Learning to deal with what we are—a malleable material of alterable experiences, conscious and unconscious, whose new perspectives are sometimes enough to give us the perspective we need to leverage what we aspire to. Time to distinguish which of our desires will inspire us favourably. What substances will have the action of a crowbar to create a gap within a constraining system, to deploy a power to act on existence, not as an absolute metaphysical freedom, but as a concrete reality of self-experience?
With Art Tabac, François presents a kaleidoscopic (self-)portrait of man, cigarettes, romanticism and cynicism.
The pictorial tradition of portraiture is deployed here in reflective mirrors, big eyes staring back at us, despite their blindness.
In a mutation of the pmu-style exhibition experience (a pmu is generally a vernacullar bar and tobacconist's shop, but above all it's a meeting place of social mixing), it's a giant, collective smoke break, addressed against disappointed worldliness. Smoking, as if to breathe easier; the painter's first gesture before preparing his web, like the spider. Smoke, like the bubbles in comics, where we can already access the character's thoughts. The presence of the artist himself—light a cigarette and you'll already be closer to François; non-smokers, consider the paintings as passive smoking.
François is the most tactile painter I know. With colours, with his hands, he caresses canvases like bodies he has always loved. Before our eyes, paint absorbed by tightly woven cotton stretched over metal. Ashtrays. Cadmium surfaces. Brush-cut shapes, colour beaded in shades. Front and back. The canvas is pierced on both sides.
It's easy to understand the lure of getting high in the 19th century, and in the same way that there will always be a painter struggling to be happy in their small studio, shaped by the cultural heritage to which we have all been exposed, and who, sitting on a chair, smokes in front of canvas-covered frames.
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François Patoue, Three masks symphony, huile sur lin belge, 24 × 30 cm, 2025
François Patoue, sbagliatosbagliato, oil pastel, found book cover, 2025
François Patoue, Naomi,
oil on Belgian linen, 50 × 60 cm, 2025
François Patoue, Just hold on we’re going home, collage on raw cotton canvas, 200 × 300 cm, 2025
François Patoue, Lighthouse, glazed stoneware ceramic mounted on steel, 110 × 30 cm, 2025
A multiple is published and distributed on the occasion of the opening.
Impressions of the exhibition text by Eléonore Bonello The bar was tended by Eléonore and Renaud Flowers were provided by Renaud
Multiple published as part of the exhibition