Tide, la marée, it’s the “reciprocating, periodic and daily movement of sea level, of varying amplitude, due to the attraction of the moon as well as that of the solar system.”

Emerge, it’s “come out above the surface of the water, of a liquid.”
Appear above, on the surface of any medium; appear by standing out from any environment. Manifested by the phenomenon of emergence.
Gradually become audible or visible; stand out against a background.

“Come hell or high water” is also to continue “despite all obstacles, despite all difficulties.”

And, turn the tide means, in french, « inverser le cours de [qch] »

Turn the tide #1 has the ambition to question the notion of emergence through the works of four artists from the Beaux-Arts de Marseilles at the occasion of the inauguration of the international biennial Manifesta 13 Marseilles.

Embodiment of boundless energy and expansive euphoria, Clara Cimelli‘s work is deployed in felt-tipped pen on machine paper. The poverty of the medium allows her to create in quantity and to use up the ink on the medium until it’s thirsty. Her drawings evoke the adrenaline and exhaustion of the party, of the amusement parks, of the game’s pleasure. In a large fluorescent bath, a little bit marshy, popped cartoony characters, celebrating the anti-education of underground cellars where we pile up; a drizzle of color smears, like an oil slick.

More in temperance, Morgane Portal ventures on the outskirts of carnival, its folklore around one word : charivari. Marked by a study trip to Hamburg, she discovered contemporary German painting and its ambassador, Martin Kippenberger. In her own way, she asks herself: “How do you draw an apple in paint? »And thus decides to represent the crowd like pears. Through subtle mind games, Morgane Portal portrays her nave of fools.

At the crossroads of several registers, Bronte Scott constructs a work of sculpture, writing and video that is both “conceptual and silly”. Playing with the industrial aesthetic used as much in contemporary practices as in the pages of the GIFI catalog, the artist invents forms like jokes, writes texts like pranks, thus questioning the inherent narration of objects, often domestic, their meaning, their lack of meaning and even their absurdity.

In search of “accidents” and fortuitous encounters, Rémy Bourakba‘s work is immersed in an ultra-colorful universe where meet bull riders, motorcycle GPs, panthers, rockets, trophies and hanging flags. This repertoire of symbols takes the form of thick, mass-produced fanzines in the immediacy of the monotype printing process. As in the studio, the drawing, once put into painting, acquires, shading and staging. Giant format and staggering installations invite you to enjoy the show.