Jérémy Laffon

When Jérémy Laffon has to appoint his potential assistants, he produces a series (a collection) of photographs of people sleeping. By dwelling on their inactivity, we might first think that the artist sees his praxis (video, sculpture, drawing...) with a certain form of quiet dilettantism. But we should also see in this negative representation of his artistic activity the context for these deep siestas: the public place. So Jérémy Laffon's oeuvre should be understood from the point of view of exhaustion as much as that of repose.
On the one hand, the processes introduced by the artist summon what we might take for idleness, by often relying on an economy of actions and means (making a tap drip on a bar of soap, sliding citrus fruit on a conveyor belt, making a ping-pong ball bounce on a racket). On the other hand, his oeuvre also has to do with Stakhanovism, because it takes a certain amount of perseverance to toss or throw all sorts of objects to the point of exhaustion (all this for videos which never last more than five minutes after editing).
So Jérémy Laffon's open oeuvre is thus situated at the exact interception between lazy production and excessive energy.