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Aurelie Pertusot

@aurelie_pertusot

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This sunday in Noiseberg Berlin ! Performance in progress De-composition for dry leaves @noiseberg.berlin Aurélie B. Pertusot — Generous Rustlings Dry leaves don’t just fall. They move, shake, whirl, dance, their resonating bodies carrying the memory of a drought-stricken summer. Aurélie asks it to give one last thing: sound. Rubbed against surfaces of all kinds, the leaves creak into rhythms, repetitive and hypnotic, a skeleton made to sing. It is a De-composition in both senses, and an electroacoustic reminder that even the thinnest, driest things can be generous. Régis Lemberthe Photos : @elma.riza_artist Vidéo :@laure_catugier It was in the frame of the exhibition Holzig?! At @retramp curated by @katiahermann5869 by @aurelie_pertusot
This sunday I am happy to perform with my new performance in progress "de-composition for fry leaves" for Noiseberg in Atelier Äuglein. Oppelner Straße 12, 10997 Berlin 01.11.26 Start at 5.30pm Change was needed for things to become fresh again, for Noiseberg to find its heart back after too long a hiatus. And so it was that change did happen, the heart is back and bright and keen to give back more than ever before. A new community to help run the events, and a new principle: proceeds will be donated. We take money out of the equation. We asked artists if they would play for the love of their craft, to share with their audience and each other, to raise funds for those who need it most. All those who have reached out to play in future shows have said a generous yay to the idea, and the only way we can thank them is by organising the best concerts and coming to enjoy their art. Starting with the following five acts: PROGRAMME @aurelie_pertusot @itsbeensaid.band @elsa_blbr @mattisttda @feinetrinkersbeipinkelsdaheim @deermeadow_ @noiseberg.berlin by @aurelie_pertusot
In Munich in November, the great artist and curator Tommy Schmidt will open the doors of his private art collection. There will be plenty of great art to see by thirty different artists including 2 of my artworks. It's on Sunday, November 22nd, from 2:00 PM to 8:00 PM, in Entenbachstraße 14 in Au, near Reichenbachbrücke. I will be unfortunatly not present in Munich. Here a picture of one of the artwork: Ephemeral memories, print on paper, 2020 production : @villedestrasbourg in the frame of les résidences croisées in Gdansk at Laznia centre for contemporary art @artpros_tommyschmidt by @aurelie_pertusot
English below Toucher du bois, 30 x 33 x 5,5 cm, 2026 Tamponnage au doigt, encre sur planche à découper en bois Les lettres ont été tamponnée au doigt trempé dans l'encre sur une vieille planche à découper en fin de vie... L'expression suppose que l'humain touche activement le bois pour conjurer le sort mais ici le sens de cette superstition est inversé. Ce n'est plus nous qui touchons du bois, c'est le bois qui, par sa déformation nous touche. En retournant cette signification avec une planche usagée et tordue qui « touche en retour », la pièce dépouille le geste-croyance de son pouvoir protecteur et donne une voix tactile à la matière. Le bois ne protège plus : il témoigne de la fragilité, de l'usure, de l'impossibilité de tenir. Il nous dit : "je ne tiendrai pas. Je n'ai jamais tenu. Je n'ai jamais été fait pour tenir". La superstition bascule alors dans la désillusion. Eng Touch Wood, 30 × 33 × 5.5 cm, 2026 Finger stamping, ink on wooden cutting board The letters were stamped by a finger dipped in ink onto an old cutting board warped by time. The expression assumes that the human actively touches the wood to master fate. Here the meaning of the expression is reversed. It is no longer the human touching the wood to ward off fate; it is the wood which, through its deformation, touches the human. By inverting it — a warped, worn board that "touches back" — the piece strips the gesture of its protective power. The wood no longer protects: it bears witness to fragility, to wear, to the impossibility of holding. It tells us: "I will not hold. I never held. I was never made to hold." The superstition then tips over into disillusionment. This new artwork was presented in the frame of the duo exhibition Holzig?! With Elma Riza. The exhibition was curated by Katia Hermann at Retramp gallery Berlin. @retramp @katiahermann5869 @elma.riza_artist #holzig #artworks by @aurelie_pertusot
Yesterday was the finissage of our duo exhibition #Holzig?! Thank you everyone for coming to see and listen ! Thank you @elma.riza_artist for inviting me, @katiahermann5869 to care about it and for having fun together and Verity for the amazing place ! HOLZIG?! List of works Room 1 - The Invisibles, 2026, Elma Riza Portraits of the trees on Reuterstrasse
 18 photographs, Fine Art Prints, 13x18 cm
 - Lonely wolf, 2026, Aurélie Pertusot 
Drawing, Pencil on paper, 11 x 16,5 cm - Vue du ciel, 2019/2026, Elma Riza 4 Sculptures bark/drawings, various formats -Vue du ciel, 2019, Elma Riza Fine Art Print, 40 x 61 cm
 - the last tree, 2026
 Aurélie Pertusot Drawing, gesso, ink and pencil on wood, 20 x 65 cm - Chèques en bois, 2026
, Aurélie Pertusot, Picture, Digital print on chalk paper, 14 cheques, 56 x 43 cm -Instabiles Umfeld pour future forêt de forets, 2026, Aurélie Pertusot 
Installation with 2 drawings and an object crayons on paper, drill bits and sponge in glas - Ras la casquette, 2026 Aurélie Pertusot 
Installation with cap and Gynco leaves, 16 x 26 cm - Déjeuner sur l’herbe, 2026
 Aurélie Pertusot Pencil on paper, 16 x 21 cm - Forest Gram, 2026
, Aurélie Pertusot Crayons on paper, 29,5 x 42 cm - Toucher du bois, 2026, Aurélie Pertusot Ink on wooden cuttting board, 33 x 31 cm Room 2 - A travers les chemins, 2023/2024, Elma Riza Acrylic on canvas that were used for the performance Circle, Cross, Rectangle, 100 x 100 cm - A travers les chemins, 2023/2024
, Elma Riza video by Elma Riza; Camera Assistant: David Jacobs
Pian – Fürstenberg/Havel, 9 min. 05, 4K, 16:9 - À sec, 2026, Aurélie Bernadette Pertusot electroacoustic performance, 25 min De-composition for dry leaves instrumentarium (Magnolia leaves, Holm Oak leaves, Gynco leaves, Ficus leaves, Ash leavesand) and diverse objects." 🙏 @patrickjambon @_sil_now_ @katharina_ziemke @manoir_mouthier @laure_catugier @marionorfila @evgenija_wassilew @delphinelefort_berlin @xulfni .... I probably forgot someone here and I 'm sorry for it. #artworks #curators by @aurelie_pertusot
@elma.riza_artist @katiahermann5869 @retramp Merci @xulfni for Helping me with the sound and @laure_catugier for collecting ginkgo leaves for me ! #soundperformance #deeplistening #artworks #performanceart #artists by @aurelie_pertusot
Here one of the piece I'm currently showing in the duo exhibition Holzig?! In @retramp gallery with @elma.riza_artist curated by @katiahermann5869 The exhibition runs until this sunday ! (French below) Ras la casquette (means: I'm fed up with) Cap, Gingko leaves, 2026 Saturation and Pharmakon The backward cap becomes a metaphor for our own skull. By filling it with Ginkgo Biloba leaves—known to stimulate memory and concentration—the object evokes the precise moment when the cure turns into poison. This is the point of no return. Information overload saturates our mental, bodily, and digital spaces. Ginkgo is no longer a tool for clarity, but the symbol of an accumulation that has become impossible to process. This bursting cap questions our relationship with boundaries. It illustrates the shifting of a consciousness that can no longer sort, store, or create meaning, and which ultimately buckles under the invisible weight of the connected virtual and real worlds. A.B.P Français Ras la casquette Casquette, feuilles de Gingko, 2026 Saturation et pharmakon La casquette retournée devient la métaphore de notre propre boîte crânienne. En la remplissant de feuilles de Ginkgo Biloba — reconnues pour stimuler la mémoire et la concentration —, l'objet évoque le moment précis où le remède devient le poison. C’est le point de non-retour. L'infobésité sature nos espaces mentaux, corporels et numériques. Le Ginkgo n'est plus un outil de clarté, mais le symbole d'une accumulation devenue impossible à traiter. Cette casquette pleine à craquer interroge notre rapport à la limite. Elle montre le basculement d'une conscience qui ne peut plus trier, stocker ou donner du sens, et qui finit par ployer sous le poids invisible du virtuel et du réel connectés. A.B.P by @aurelie_pertusot
A SEC performance by A. Pertusot Sunday, October 11, 2026, 6:00 pm   Electro-Acoustic performance, De-composition for an instrumentation of dry leaves and various objects. Far from being dead, dormant, dry leaves become musical instruments here, resonating bodies carrying a seasonal memory recently affected by drought. Drawing inspiration from this fragile condition marked by water scarcity and its associated temporality, I explore the sonic potential of this plant matter by rubbing it against various surfaces. From these gestures emerge dynamic rhythms that seek to leverage this skeletal state, transmuting it into sonic vitality. An energetic performance featuring repetitive and hypnotic creaks. #dryleavesinstrumentarium #dryleaves #leaves #soundperformance by @aurelie_pertusot
Happy to invite to the upcoming exhibition: Holzig?! Duo Exhibition Elma Riza & Aurélie Pertusot @retramp 2.10.2026 - 11.10.2026 Opening: Friday, October 2, 2026, 5:00 p.m. to 10:00 p.m. Performance “à sec“ by Aurélie Pertusot, 6:30 p.m. Open Fridays, Saturdays, and Sundays from 3:00 p.m. to 7:00 p.m. The duo exhibition *Holzig?!* presents thematically curated works by visual artists @elma.riza_artist and @aurelie_pertusot for the Retramp Gallery in Berlin. Both artists, who work across disciplines – Elma Riza in Berlin and Aurélie Pertusot in Nancy and Berlin – have collaborated on various projects in recent years and consistently explore the relationship between body and space. In their works ‘space’ can refer to urban space, architecture or landscape. Through their artistic practice, perceptions of our inner and outer environments are repeatedly and playfully questioned, and relationships renegotiated. (…). Alongside works on paper, relief works and photographs, Elma Riza’s video work *A travers les chemins* will be screened and Aurélie Pertusot will perform her work *à sec* – a ‘leaves concert’ based on an ensemble of dried leaves – live at the opening and closing events at the Retramp Gallery. Curated by Katia Hermann Full text on www.retramp.com #duoshow #contemporaryart #berlinart #tree #multidisciplinary by @aurelie_pertusot
(please activate the sound) A Propos De Minos Improvisation for radio August 2nd, 2026 w/ A.B.Pertusot http://rohsprod.free.fr https://www.rcn-radio.org https://p-node.org, hybrid radio/stream platform by @aurelie_pertusot
Micro-coupoles (ou restes de pleureuses) broderie tridimensionnelle pour pelure d'oignon et fil, recherche 2026 Transformation d'une pelure d'oignon en une micro-architecture rappelant les coupoles peintes des églises. Évocation de l'architecture sacrée et de la fragilité organique. C'est une sculpture éphémère destinée à retourner à la terre. La forme géométrique tridimensionnelle naît de la présence des lignes dans la pelure d'oignon. Le fil traverse la pelure d'oignon en la déformant à peine : une forme d'écoute et d'équilibre fragile se tisse entre deux matières. Le geste crée une interaction de type de co-dépendance. La trajectoire de la ligne influence la pelure d'oignon tandis que la pelure d'oignon influence la trajectoire de la ligne, tel que les planètes influencent l'humain et l'humain influence les planètes. by @aurelie_pertusot
27.06.2026 Berlin, U-S bahn Neukölln: storing of plastic bottles in direct sunlight Temperatures: over 40 degrees by @aurelie_pertusot

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