#26 art talk – Véronique Verdet About Her Exhibition “Fouloscopie”

Read the entire interview with Véronique Verdet

We talk about art at art talk, the art podcast from SaarLorLux. We meet curators and artists where they are currently exhibiting. Discover contemporary art and extraordinary art spaces in our region with us. Be part of gallery talks, exhibition openings, and finissages. You can listen to art talk wherever there are podcasts. Hello and welcome to a new episode of art talk. Today we meet the French artist Véronique Verdet, with whom we talk about her current exhibition “Fouloscopie,” which is currently on display at the St. Wendel Museum. The artist Véronique Verdet was born in Cannes in 1967. She studied sculpture and audiovisual art at the HBK Saar, and from 2004 to 2006, she was a master student of Christina Kubisch with a focus on audiovisual projects. She lives and works in Saarbrücken. Véronique Verdet creates installations, sound and video works, and she also draws classically on paper. And you can find out what topics she deals with and what drives her artistically in this podcast. I am very much looking forward to immersing myself in the unique world of Véronique Verdet’s art. As always, you can find the images of the works discussed in my blog. Have fun listening to it. Yours, Verena Feldbausch.

Verena Feldbausch: Dear Véronique, hello and welcome to art talk.

Véronique Verdet: Hello.

Artistic Motivation and Theme Selection

Verena Feldbausch: What drives you to be artistically active? How do you find your themes?

Véronique Verdet: Oh, that’s a very broad question. My topic has actually been the masses for several years now. Crowds, movement, individuality, isolation—in other words, everything that affects us humans. I would say that this has been my main topic for ten years now. I can’t really tell you how I came up with it. I think it was a general thinking about society. Less from literature or something, but more, I think, from politics actually, from everyday events.

The Creative Process Behind “Fouloscopie”

Verena Feldbausch: What does your creative process look like when you work on an exhibition like this “Fouloscopie” exhibition?

Véronique Verdet: Especially with this exhibition here, where it was clear very early on that I would be given a lot of space, it was important to me to create a whole. I would also have had the opportunity, precisely because I had so much space, to show different works or from different times or something. But it was important to me to create a whole. And so, on the one hand, I wanted this main work, this roll, this drawing, which is ten meters long. And yes, you can really see what’s bothering me in there. That is individuality, in which each point stands for itself. They are simply billions or millions or I don’t know how many dots. And they form together, they come apart, they wander, they move. Yes, that’s what I started with for St. Wendel. Because it was clear to me that I wanted to show something big from this cycle of ink drawings. So this roll really shows what is important to me. It is organic, you could say, because the roll develops, or this drawing, always develops a bit like living beings. So it flows. And I’ve actually created a little more pattern here than usual. I often just let it run its course, so to speak. But here it was also important to me to create more patterns. You can see that if you get very close, you can see the constructions, tighter, denser spheres, or denser masses. Or some even form flower-like patterns.

Verena Feldbausch: This drawing, exactly. That was the starting point, because at first, I actually thought of a landscape. It’s called “Fouloscopie,” this drawing. And this is where we come to the title of the exhibition. “Fouloscopie” comes from “la foule” and means “the crowd.” Why did you choose this title?

Véronique Verdet: “Fouloscopie,” I came across this term a few years ago after listening to a program on France Culture, with the inventor of this term. His name is Musaïd. He’s a scientist, sociologist, and so on. And he investigates mass phenomena in particular. How the masses behave in dangerous situations, for example, what movements arise, or how groups behave towards each other. I had been dealing with these issues for some time. And then I wrote to him and asked if I could use the word for a new cycle. I didn’t know at the time that I would still be working on it umpteen years later. He was very, very nice. He’s French, but at the time he was working at the Max Planck Institute in Berlin. And yes, he officially allowed me to use this word for my work. That just fits perfectly for me, because it’s really an examination of the masses. People, masses, crowds. And I vary it, as you can see here with the figures in 3D, so to speak, to represent the quantities.

Social Connections and Individual Perspectives

Verena Feldbausch: You place people at the center of your artistic practice. What connections in society do you want to highlight?

Véronique Verdet: Many. On the one hand, this togetherness. We are all the same at first glance. That’s always very important to me. But only at first glance. Because just like with the dots, the figures I have modeled here are homogeneous at first glance. But when I take a closer look, each one stands on its own. So we have individual ones here, but also groups. And yet some of them drift apart or come together. For me, that’s a symbol of us humans. So sometimes together, sometimes not, the same at first glance, but only at first glance. It’s actually like the dots.

Verena Feldbausch: Is the title of your installation here in St. Wendel also “Fouloscopie,” or is it a different title?

Véronique Verdet: No, the work here with the figures is called “Emporté par la foule.”

Verena Feldbausch: A small note: “Emporté par la foule” means “carried away by the crowd.”

The Installation “Emporté par la foule”

Véronique Verdet: This work also includes a song that I sang. That was the first time I dared to use my voice myself. That was a very big risk for me. But St. Wendel is not the first time I have shown this work. I showed them for the first time at the Kunsthalle Memmingen two years ago. Just a little differently. The platform was much bigger and without this brilliant speaker. I didn’t have that back then. And originally, that was my application for SaarArt on the subject of isolation. And that was not taken.

Verena Feldbausch: You also created this work in situ, so to speak, in St. Wendel, because it is a bit different from the work in Memmingen, as you said. So that’s also 2,500 figures, right?

Véronique Verdet: There are even more here. There are 2,600 here, because I actually had the same situation in Memmingen, i.e., a long white platform and figures. But in Memmingen, I realized that I was missing a bit of clearly smaller figures. Then I added 100 and positioned them completely differently. So here, I really tried to form somewhat narrower groups or to form more of these narrow groups. And then also this movement. What I like about this work is that you can make up many stories. So that depends on where I’m looking. And then, of course, what is always very interesting is the play of light that develops over the course of the day. And then we also have shadows here, and suddenly we also have black shadows on this white surface. So exactly, because here in St. Wendel, this room is black and white. I really didn’t want any color. The roll is, of course, black and white, the photo is black and white. And here we have the white figures and these dark shadows from time to time, depending on the incidence of light. This is practically very neutral. You can do everything else yourself, or I want the visitors to make their own images. One visitor came and said, for her, it was like taking pictures from the air. She has seen forests in there. Some people see starry skies, i.e., galaxies. Some see mushrooms.

Verena Feldbausch: Interesting. Yes, it really is up to the visitor to decide what they see.

Véronique Verdet: Yes, that’s always important.

The Figures and Sonic Intervention

Verena Feldbausch: Let’s come back to the 2,600 figures for a moment. They are faceless and look homogeneous at first glance. But on closer inspection, they are very different. So not only in size, but they also have other differences. How were the figures created? Did you make them yourself, and what are they made of?

Véronique Verdet: Yes, I made them myself, and they are made from a modeling clay that dries in the air. Which is very practical because it happens quickly. They are also small, so they don’t weigh much. And the mass can be modeled enough to have very small differences. So some are slightly bent, some are leaning. And it’s a material that, from a purely practical point of view, is easy to handle. It dries quickly, so you can get on with your work quickly. But of course, they are all glued here, because they are relatively light, it would be too risky.

Verena Feldbausch: And the initial color of the material is also white?

Véronique Verdet: Yes, exactly.

Verena Feldbausch: There is also this sonic intervention in this room, yes. You hear a song from the loudspeaker, and you sing it yourself. And what kind of song is it?

Véronique Verdet: This is a beautiful song by Edith Piaf. The song is called “La Foule.”

Verena Feldbausch: “La Foule,” yes. Here we hear a small excerpt from it. [Edith Piaf: La Foule sung by Véronique Verdet]

Véronique Verdet: The text conveys exactly what I wanted to convey. That feeling of being alone in a crowd. To be all alone. And in the course of the song, her feelings also change. In the beginning, the mass is… they laugh and they celebrate. And suddenly she feels left behind and lonely. That is precisely the paradox or contradictory situation that arises in the masses. Sometimes you feel great. And suddenly you realize: Oh dear, what am I doing here? Or suddenly: The mass can be both threatening but can also be perceived as benevolent. And that’s what I always liked about the song, that there are precisely these different aspects, actually a very sad one. In the end, she loses her husband.

The Photograph and Emotional Contrasts

Verena Feldbausch: And the fourth object in this room is this photo, the black-and-white photo of a screaming person. Why is this also part of this installation?

Véronique Verdet: Yes, this is someone who really doesn’t hide his feelings. This is really a… I also wanted that as a contrast to these faceless people. I have almost the whole face here. And he really did scream. So this is a very old work. 20 years. And I had taken a whole series of screaming portraits. And he was the best. Because he was really screaming. So the others pretended. And he really has… And at first, I remember being totally shocked myself. Because I hadn’t expected that. I thought he was doing like the others, covering his ears and opening his mouth. But he was really screaming. And I thought that was a strong… Simply a very strong feeling in this very harmonious room. And that’s where we really have an unadulterated feeling.

Diversity of Artistic Media

Verena Feldbausch: You use several media in your art. So photo, video, sound, and also classic ink on paper. Why is this diversity important to you?

Véronique Verdet: Oh, because it gives me so many possibilities. And I like to try things out. I also discard a lot. But I really don’t want to work just on paper or just modeling or… I really want to treat myself to that, so to speak. Some people reproach me… I’ve already been accused of using too many different media. But I’m definitely keeping that. Because it’s very important to me, for example… I’m not very good with colors, I think. And a little video like the one we show in the hallway here is just color. And that’s what I think is great about making art, that you can… Yes, you have all the options, and the… I would be bored if I didn’t.

Verena Feldbausch: You make the most of the possibilities.

Véronique Verdet: Yes.

The Second Room: Video and Sculptures

Verena Feldbausch: I would like to move on to the second room. Should we perhaps go there right now?

Véronique Verdet: Yes.

Verena Feldbausch: Good. So here in the second room, we first see this wall-sized video work. “Black and White” is the title. So you see black and white balls that are whirled around and almost fly. What are these balls made of, and how were they moved?

Véronique Verdet: Ha, the balls are also made of a modeling clay, but a different kind than the one for the figures. It’s even lighter. It really is as light as a feather. And of course, I also made these thousand balls myself. And they were moved on a… I had a very big table, white, and a cameraman, and I moved the balls with a hairdryer. And here we have… It’s quite simple here. This is practically my points in three dimensions. So these are really the… What happens when people or dots or spheres drift apart, gather, accumulate… and then almost simple, this black-and-white contrast.

Verena Feldbausch: So it’s about movement again, about masses too. Because there are… How many balls are there?

Véronique Verdet: I can’t see it at all.

Verena Feldbausch: And they are also individual again, because you shaped them by hand, of course. You can see little indentations or something. That’s why it fits the title “Fouloscopie” so well. You can also see figures in gold in this room. They are a bit bigger than the figures on the pedestal in the other room. They are under glass hoods. So that makes them quite precious somehow.

Véronique Verdet: Exactly.

Verena Feldbausch: And they stand on pedestals and are illuminated, and there’s an orange carpet underneath. What are these figures all about? So the characters are called “les parias,” i.e., “the pariahs.”

Véronique Verdet: And unlike the white figures, they have very distinct features. So they have breasts, they have bellies, they have potbellies. Under no circumstances do they correspond to any slimming mania dictated by fashion. But these are really individuals where you immediately see: okay, she’s completely different from the one next to her. Some look like they’re pregnant or… Some are even almost misshapen. And making them in gold was a practical way of giving them a value that they wouldn’t otherwise have. Precisely because of these non-adapted characteristics. So just because they are fat or, as I said, have pendulous breasts, these are not normally criteria that are being upgraded these days. On the contrary. This is something that I find very difficult in our time, in our society, our truly European or Western society, where we praise these ideals of beauty, these artificially created bodies. And I wanted exactly the opposite. I want those who fall out of line to become gold, yes, gold-plated. And then the glass bells and the lighting give them a museum-like, sacred quality. So I just wanted to put the pariahs up. This is almost a somewhat old-fashioned presentation, because the light, the spots directly on the figures. So it’s a bit more like an Egyptian museum or something, yes. And I liked giving them this space. And the color on the floor is, of course, not unimportant either. As I said earlier, I work almost exclusively in black and white in this exhibition. Except in the corridor.

Verena Feldbausch: We’ll come back to that in a moment. So orange doesn’t have any particular meaning for you now?

Véronique Verdet: No. I like the color.

Verena Feldbausch: Very, very nice, quiet room too. It’s almost so meditative here. Because it is also darkened so that you can see the video clearly. And then with these spots that are on these pedestals, so very pleasant to be in here.

Véronique Verdet: I thought so too. And I also thought it was very nice, the contrast to the other main room, which is all light, white… And then we come in here and are somehow protected. I also feel very comfortable in here. I think that’s great. But it’s crazy, isn’t it? It really is a completely different atmosphere.

Verena Feldbausch: Quite different.

Performance at the Vernissage

Verena Feldbausch: Interesting at your vernissage. You offered your visitors to wear orange capes, those rain capes? And they have been very well received.

Véronique Verdet: Yes.

Verena Feldbausch: That was also a kind of performance to bring color into the other room. Or why did you actually do that?

Véronique Verdet: Exactly. So like you just said, I wanted to bring color into the room. And then I also wanted people to have the opportunity to be part of the exhibition. And then I was just really curious to see if it would work. We quickly saw that. That worked. Most of them went straight for it and put on these very funny ponchos. And then I just wanted to see, will groups form? It was practically a live experiment. Because, for example, in these fouloscopy experiments that are carried out, you often have two groups. The red and black or whatever. And here we had those in plain clothes and those wearing ponchos. There were over 50 ponchos, I think. And indeed, it really worked so well. It also immediately created a completely different atmosphere to the one we normally experience at vernissages. Often you have openings that are… not really respectful. That would be too strong. But already a somewhat…

Verena Feldbausch: Perhaps solemn?

Véronique Verdet: Yes. And the fact that they put on these ponchos right at the entrance to the museum, so to speak, there was a lot of laughing and comparing and doing and stuff. And what was also nice, I thought, were the sounds that were created. Because the ponchos are made of a strange foil. And that actually produced very fine noises. But above all, I really liked the atmosphere. I think I will use this idea again. I’ve had this in the back of my mind for years. And Friederike (Steitz) gave me the opportunity to put this into practice. She agreed. And we were also very excited. How it will work? And indeed, on the evening of the opening, the first visitors were two elderly ladies, I think, from St. Wendel. And they looked a bit around at first. And then one of them said: “Yes, we’ll go along with that, we’ll go along with that.” And bang, and then it started. So I was quite happy. And that was really impressive in the white room, the colorfulness. So you had spots of color and then also in motion. And it was also great here in the dark room because it shimmered and glittered.

Verena Feldbausch: Yes, fortunately, a lot of photos were taken that evening. I will also post them on my blog.

Véronique Verdet: Ah, nice.

Verena Feldbausch: So people can take a look at what it looked like here. And anyway, we’re talking about your works. I will also post the photos on the blog so that the podcast listeners can see them.

Véronique Verdet: Yes, fine.

The Corridor: Video and Drawings

Verena Feldbausch: Yes, now I’d like to go into the corridor with you. One work is a video work, right? But before we get to the video work, Véronique tells us the story of her orange sneakers.

Véronique Verdet: Exactly, I have a little trick. Not always, but almost always for my own vernissages, I give myself shoes. And this year, they had to be orange. That is clear.

Verena Feldbausch: That’s quite clear. So, there is now a video work in the corridor of the St. Wendel Museum that shows a train journey.

Véronique Verdet: Several train journeys.

Verena Feldbausch: Can you tell me something about that?

Véronique Verdet: I take the train relatively often, and I’ve actually been filming for years. So far, I’ve never made anything of it in that sense. But here in the “Fouloscopie” exhibition, I also wanted people on the move, people going somewhere, people arriving, people leaving. I wanted to show that. But even as with the figures, they are faceless in the video. So I just wanted the situations. And you understand them directly. Of walking, suitcases, meeting, embracing. And then I edited it together. And that also adds color to what we discussed earlier. As I said, this is also something I don’t normally use. So not in the traditional way. In other words, on paint or paper or something. Rarely. And I was in the mood for that. And that’s why I’ve made some of the colors a little stronger. So pink suitcases and red and blue sky. And I like it when the landscape passes by. And you sit somewhere, and then either people or landscapes move. And that is an image that appeals to me.

Verena Feldbausch: It fits very well to the exhibition theme. And next to it, you can still see drawings. This is also probably ink on paper. And there are also colorful accents on it. They also look almost like neon colors. These, are they painted with a brush?

Véronique Verdet: Yes.

Verena Feldbausch: That’s one part, and the other is with colored flags.

Véronique Verdet: Exactly. So the drawings with the orange color accents, I made this especially for the exhibition here now. The color is ink and is with a gesture. I wanted to break up the strict black and white a little. Because this work, the sign of fouloscopie, whether on rolls or in smaller formats, is a very precise, meticulous, a little meditative work, but it requires a lot of peace and quiet and is also a lot of fun in this peace and quiet and in this time. That takes an enormous amount of time. And I wanted to break that, break it for myself too, by adding a color with a gesture. And then I placed my points around it.

Verena Feldbausch: So you started with the gesture, and then you…

Véronique Verdet: Yes. First a small experiment, and then I realized, oh yes, I like that, I just love that. There’s something lively about it. So for me, there’s something very lively about this strong gesture. And I found that quite interesting. And this 10-part cycle is the result. And exactly, and opposite we have object frames, relatively deep, I think 5 cm. And these are also from the Fouloscopie series. And for me, these are, because sometimes I talk about fictional cartography, I would say. Because, as you said earlier, you can also see landscapes in it. And then I had the idea too. And then I thought, if I work with flags, i.e., three-dimensional marker flags, then I support this idea of a map. But it can also evoke completely different associations. So some people immediately see something military. Which was not my first thought. My thought was more territories, borders, maps. But not necessarily in the sense of parties, i.e., the military. But also interesting.

Verena Feldbausch: Yes. And it’s also connected, isn’t it? When you define boundaries.

Societal Message and Spaces for Reflection

Verena Feldbausch: What message or feeling do you want to convey to visitors here at the exhibition in St. Wendel? Or is your aim more to open up mental space for the viewer with your art? To see social or political realities from a different perspective?

Véronique Verdet: More like this. That’s very important to me. And I am always delighted when people tell me what they see. I’ll deliver mine as well. That’s also the way to make this ten-meter-long roll, for example, which can take months. It is also my way of coping with everything outside. So there are millions of thoughts from me, but they are mine. And I am very happy when people see something for themselves and something completely different than me or interpret and so on. But I don’t want to explain so much myself. I like it when people think, as you said, and make their own ideas. Freedom is very important to me.

Artistic Influences and Future Projects

Verena Feldbausch: Are there any artists who have inspired you in your work or productions?

Véronique Verdet: I don’t know what inspires me, but of course, there are many artists that I think are great. When I was a child, I had a revelation: Giacometti. I discovered Giacometti as a child because I grew up in the south of France, and there we have the great good fortune to have the Fondation Maeght nearby. And indeed, my mother regularly took us, my sister and me, to museums or to the Fondation, and there are these unbelievably great Giacomettis in the courtyard. I won’t forget them. You know, it’s like, well, that really got me as a kid. There are Miros in the garden too, they are beautiful. So the moon bird is here, I loved it too. So it’s really the same right away, but not like Giacometti. And I think that really stuck with me. I definitely don’t want to compare myself, yes. But you know, this reducing, reducing, reducing, and as little as possible. That was my first great artistic love. And then there are so many. And just like I use lots of different media, I like very different people, I think. I don’t want to commit myself to one school. And at the moment, I really like Céleste Boursier-Mougenot. He was once at the Pompidou Center in Metz and is now in Paris, where he has another huge show with this work, which are beautiful. There are such huge pools of water, and there are the plates that meet. This is in the Bourse de Commerce of the Pinault. It’s beautiful, this blue water basin and white ceramics and all. They swim out of there, and I think they make noises too. He once showed them on a small scale, in Metz. And that was, on a small scale, it was, I sat there for hours. Really like this. And some people find it so gimmicky, I read today. I thought, no, that’s too strict for me. So I don’t think it’s okay to disparage that as a gimmick, because I think it’s a good thing, he just does it with so few resources. It’s water and ceramic—that’s it. And then groups form, and these subtle noises are created. Dreamlike. Really wonderful.

Verena Feldbausch: We also put the link in the show notes so that you can take a look, because I am also totally fascinated by the pictures I saw there.

Véronique Verdet: Yes, that’s great.

Verena Feldbausch: What are your future projects or themes that you would like to explore in your artistic work?

Véronique Verdet: I actually tasted blood with the video. Because this time, it was the first time I did it all on my own. For example, I also had help with the editing of the balls video. And I think I’ll be using it to edit along with my own composition for the next while. The video that we have here in St. Wendel is without sound. But I think I’ll go a bit in that direction and set the video to music myself. I really feel like it. I feel like making sound again anyway. Because that also takes a lot of time. So, when I make sound, I only make sound. Because that’s very, you have to be very focused and everything. But it’s fun. Well, I really enjoy making sound. But the project for the Federal Council is next. On July 3, an exhibition with Armin Rohr, Malgorzata Sztremer, and myself will open at the Federal Council. Because this year, the Saarland, our Minister President Ms. Rehlinger, is the President of the Bundesrat. And each country organizes an exhibition. And she wanted to focus on the Weimar Triangle, i.e., Germany, Poland, and France. And that’s why Andreas Bayer asked the three of us to exhibit together. I am very excited. And next year, possibly this project in Switzerland. It was a call for artists from Germany and Switzerland who somehow have a connection to Lake Constance. And because my German grandparents lived on Lake Constance, I have a strong connection to this area. And this is an area where many artists lived during and after the Second World War. In other words, there is already a lot of affinity for art there. This association now also wants to present free-standing sculptures on the German and Swiss banks. I will probably also work with sound. But at the moment, implementation is proving more difficult than planned. And that’s why I hope it works out.

Verena Feldbausch: Then I wish you the best of luck, and I’m very excited. But tell me, maybe I introduced you wrong. You have German grandparents. So you are German-French?

Véronique Verdet: Yes, I grew up in France. My mother is German, my grandparents were German. And they were the artistic side of the family. And my French side are the lawyers, and the Germans are the artists. And that’s why I’ve always had contact with art and being an artist. And difficulties with it. Unfortunately, this is well known in the family. But at the moment, I have an exhibition with my grandparents at the Singen Art Museum on Lake Constance. This is a really full show of work from both grandparents. And I have been given a small room to show a contemporary position. And I’m very happy about that. I was very skeptical. My grandfather’s name was Walter Herzger. And he was a Bauhaus student. He studied at the Bauhaus. With Klee, for example. And my grandmother’s name was Gertraud von Harlessem, and she had been a Burg Giebichenstein student. And they lived in Bremen at the time. And because of the war, she moved to Lake Constance because artists were already living there on the Höri Island. And then they stayed there after the war.

Verena Feldbausch: And what is the name of the exhibition again? That we mention it briefly.

Véronique Verdet: So the exhibition of the grandparents is called “The Art of Simplicity,” and my part is called “Masses, Borders, and Territories.” At the Singen Art Museum until the end of August, my part, and the grandparents a little longer. And above all, I was very, very pleased, because my grandmother, that’s a classic, tragic story. Her husband didn’t want her to make art. Just didn’t want to. And she thought he was much better anyway. And for a while, she provided for the family’s livelihood. And could no longer work. And she no longer worked artistically. And at some point, when the situation had improved, he was a professor in Karlsruhe for a while. Then things went a little better. But she hasn’t been able to continue working for tens of years.

Verena Feldbausch: She didn’t work artistically, yes. But actually took care of the family. And family finances.

Véronique Verdet: Unbelievable. And she wasn’t the only one. So, as I said, there were artists living on the Höri. Dix, for example, also lived there, and Erich Heckel. In other words, a large artists’ colony. And there was another one, I can’t remember the name right now. And that was the same. The woman was an artist, as was the man. But she went with my grandmother every day to the sewing machine factory in Switzerland and worked on the assembly line. Or to the canning factory or whatever.

Verena Feldbausch: Fortunately, things are changing a bit. And it’s very nice that you are in this exhibition with your grandparents. I think that’s a great thing too.

Véronique Verdet: Years ago, in this small Hermann Hesse Museum, that was also a nice thing. The grandparents had, during the Third Reich, fled to Italy together, so to speak. And worked there together. He didn’t have any problems with it yet, the grandfather. And they kept diaries together. With watercolors, drawings, texts. Beautiful. It’s really wonderful that there are definitely four bands. And that is what the exhibition was made of. At the time, the curator had made reproductions. And I had two small rooms there for my work. And that was already exciting. But this time, it’s different. Because this time, my grandmother’s work is greatly appreciated. And very nicely shown.

Verena Feldbausch: Fortunately, it’s so well preserved. I mean, a lot was destroyed during the war. And it wasn’t properly preserved or anything. Yes, it’s always a stroke of luck when works of art are preserved. Thank you very much, Véronique. Very nice conversation.

Véronique Verdet: I have to thank you.

Conclusion and Outlook

Verena Feldbausch: This was an insight into the fascinating world of Véronique Verdet’s art. We didn’t just talk about the exhibition “Fouloscopie” at the Sankt Wendel Museum. But I also found it very exciting to find out how she sees the world, what perspectives she shows us through her art, what family of artists she comes from, and what her plans for the future are. It is definitely worth the trip to the museum in Sankt Wendel. Véronique’s exhibition can be seen until July 6. Thank you very much for tuning in today. I am looking forward to the next episode of art talk SaarLorLux. Till soon, yours, Verena Feldbausch. Did you like art talk? Then leave 5 stars and recommend us to your friends. You can find more information about the podcast in the show notes and on our blog. Be there again when it says: We talk about art at art talk, the art podcast from SaarLorLux.