Victor Boullet
(B. Oslo 1969)
L’Homme qui Marche I - 2013
(B/W photograph / Tsingtao beer box / Dust / Tape /
Wax table cloth / Table / Size variable)

Courtesy the Artist

This is an hypocritical parasitic artwork given to Morten Viskum for his show 1986 - 2013 / En kunstner som samler kunst.
The piece did not belong to the collection while he was planning the exhibition, in fact I waited until the exhibition catalogue was printed and then I forced the piece in. A collector can rarely say no. The Trojan horse concept is put into action.
L’Homme qui Marche I has not yet been catalogued as an existing work that belongs to Viskum’s art collection. In other words the work becomes a bastard and it belongs to no one. And I might claim the work back when his show is over. Why give him a piece? Why should he own my work?

Victor Boullet
April, Paris. 2013

Joseph Tang <info@ galerijosephtang.com>
To: Victor Boullet <w eb@boullet.com>
Date: Tue, 13 Nov 2012 11:18:28 +0100
Subject: Galerie

Hey, Victor

I'm back.
We'll have a talk about the fair soon.
In the mean time,
the gallery is smelling very bad. A few more days will be unbearable. The ramens are rotting and water continues to leak..
and we still have a month to go.
The dumplings are moldy but bearable.

Can we change the ramen to just dry ramen? Otherwise I wouldn't be able to keep it like this,
much less able to have people visit....

I open the windows for now, but it's cold after a while...

Let me know

Joe

zzzzzzzZZZzzZZZz

support this man please - http://heisanidiot.com I do just by giving him some work. easy!

BIO / CV – 2012 as pdf, extracts, I update it when possible. workworkwork
Can be contact by email use this one / victorvictorboulletboullet @ gmail .com
This site / page Work from 2000 - 2011 was made as a manic archive to get away from what was done. The same goes with this next link,(funnylink with nothing realy, nothing to watch anyway)some vid's that has been made over the years, blah blah. And yet another link where you can find I am not sure, that was a link with friends www, boring, I have no friends, I am that Gypsy Hypocrite.
And The Institute of Social Hypocrisy 2009 - 2011 / there is more stuff as well, somewhere. Beware of the players. Competition. Snobs and yourself. blah blah.

Tor Hoff (1925 - 1976)

April 19th 1976, Huitfeldts gate 17, Oslo, the artist Tor Hoff took a hammer and brutally killed his partner. He then sat himself down on a chair at their table and wrote his will, his paintings were the first thing to be mentioned, they must be taken care of. He then signed it, TOR HOFF in large, clear letters, his final pencil marks.
Then he climbed onto their window-sill and jumped eight floors down to his death.

How should one view paintings, drawings and poetry produced by a man who can also commit murder and suicide? Is our understanding of Tor Hoff’s legacy and his story, influenced by our ethics and morals?

I have invited former director of Henie Onstad Kunstsenter,
Per Hovdenakk, to talk about the art and life of Tor Hoff.
Victor Boullet
Paris 2012

Time is the Assassine by Victor Boullet 2012
Ghostwritten by Kristian Skylstad
Design by He is an idiot / Cairo
96 Pages
14 x 21 cm
Softcover
B / W Offset
Edition of 1000
2012
ISBN: 978 - 1 - 908806 - 02 - 4

Victor Boullet's new book Time is the Assassin takes the form of an autobiographical novel, ghostwritten by Kristian Skylstad. The story follows Victor, his two brothers, and two of their friends on a night out in the neighborhood were Victor grew up (and Skylstad too, as chance would have it.) Time is the Assassin is narrated chiefly in the form of a dialog between the five of them, interspersed with flashbacks to Victor's past and the increasingly perverse and surreal events of their intoxicated night as it unfolds, out of Victor's hands.

Autobiographical truth and the presumed consistency of Victor's self gradually unravels as it merges with Skylstad's attempts at expanding the reflective operations of his character across an insurmountable array of topics and references, abandoning the concept of autobiography in favour of a furious, interpretative, projective and wildly schizophrenic prose-exposition of the narrative's central character, Victor Boullet.

The text feels written with the sadistic glee of a ghostwriter that knows his subject is bound by contract to accept his version as final. Sophisticated montage technique is conflated with shameless plagiarism and downright theft. The facts that constitute the autobiographical part of this book are only a point of departure for a foray into the confused and tormented psyche of... well, that's hard to tell. Wether unwitting victim or self-abasing man-in-control, Victor Boullet emerges from the ruins of this narrative certainly not unscathed, and assuredly not whole.

•
Which were the best exhibitions, events and publications in 2012? In Kunstkritikks Calendar Kunstkritikks own writers and invited guests summarize the arts year 2012. The twenty-first in the series is Kunstkritikks editor Mariann Enge, who lives in Oslo.
•
A jagged bastard of a text, a kind of polyphonic, complex stream of consciousness consisting of a mixture of drunken and serious, acute discussions about the meaning of art and life; biographical facts and fantasies, fiction, essays, quotes, puns and poetic fragments.
It is a text with a strong linguistic and existential drift, which in short is about being “human / being / struggelin” (and thus it is in fact entirely appropriate that this is not a flawless book – maybe it is just fine that it cries out for a few rounds of copyediting and proofreading). (Pictured: From Victor Boullet’s exhibition Saturn the Flamingo at NoPlace. Time is the Assassin was launched at the exhibition opening.)
•
Which were the best exhibitions, events and publications in 2012? In Kunstkritikks Calendar Kunstkritikks own writers and invited guests summarize the arts year 2012.
The fourth in the series is the artist Stian Gabrielsen, who writes for Kunstkritikk and is one of the driving forces behind the gallery NoPlace in Oslo.
•
Victor Boullet’s somewhat unusual autobiography: Time is the Assassin, signed by the world’s least known ghost writer, Kristian Skylstad. Not a painstakingly edited text, but that was fine as there were exactly ten days from the idea being conceived until the hundred page book was printed – a piece of performative art writing in terms of quantity, beyond any editorial interference, in other words.
•

More web Debris

IRON - MiniDV to DVD - 2000
an email from the protagonist.

––––––––––––––––––––––––––––

From: campari@ annafranckinc. com
Subject: H I B Poster
Date: 24 June 2011 17:33:32
To: marius@ antennebooks. com

Dear Marius, Victor Boullet has instructed me to write you from my holiday on Hawaii about this poster. I have no clue what he has done, I gave him a rather large amount of money
for him to invest and start up his genius project Hyena Investment Bank.
All I have received so far is this poster and I think it looks amazing, but what he has done with the rest of the money that I gave him ? So I am not sure what he would like me to write or even tell you other then it looks fantastic and that I hope more will come!

xxxAnna



Anna Franck Inc
w. www.annafranckinc.com
e. campari @ annafranckinc. com

––––––––––––––––––––––––––––

Part II – Let me introduce myself
by Victor Boullet.

What I write, what I have written has to do with who I am or who I think I am or who I thought I was. What I see has made me think differently about what I thought I saw.
My temperament is what you read, but in fact is just a hypocritical facade for you to indulge in, the reason being, I am a person with four temperaments. You read what you think you need. You read who you would like to be. You read what you thought you read. You read who you are and I am not who you read or what you thought you read. I am me and you are who you think you are so let me introduce myself.

A choleric I am, a doer that is.
Ambition, energy, energy, and passion I have, instil it in others I do, I do.
Dominate people of other temperaments, especially the phlegmatic I can.
So one choleric became me, and that I can say.

For a melancholic like me, poetry, art and world cruelty I do, do like.
Considerate, worried and never on time I am.
A melancholic perfectionist, self-reliant and independent is me; one negative part of the melancholic I, is that I get so involved in what I do, I do, so I forget you, you, you.

The diplomat here is me. Self-content and kind I am, that phlegmatic is I.
Receptive, shy, consistent, relaxed, rational, curious, and observant they say I am. and let's not forget accepting and affectionate I can also be hi hi.

Sanguine , sanguine , sanguine I am. Daydream, social gatherings and, and, and, and making new friends I do, I do. The loud and creative you see, yes, that is me. Alone time is needed for my temperament and you?
Struggle with tasks all the way through I sadly do.
Late that is me chronically.
Forgetful and a tad sarcastic I can be to you.
My friend you always want to be for eternity.

Paris 2010

This is the MS for The ISH project 2009 - 2011, works for me!

– Mission Statement

The Institute of Social Hypocrisy is the Paris based artificial organization that fronts an ongoing collaborative work by the artist Victor Boullet. The Institute of Social Hypocrisy is conducted in the form of a protracted performance piece and its very existence is brought about by inviting participation with others.
Each player and event contributes vital information and connections that allow the Institute to progress.

The ISH provides a perception of authority and thus acts as a Trojan horse; it permits the contributors to covertly infiltrate organizations and to gain access people that they might not normally be able to approach.
The accepted paraphernalia that symbolize an official structure also represent The Institute. Door plaques, headed paper, business cards and a flag combine to present an authoritative façade that conceals the true internal activity.

The fundamental theme recurring in Victor Boullet’s work is that of alienation and acceptance. He highlights the aspects of intrinsically hypocritical social behaviour used to ingratiate oneself with others. This sense of exclusion, and the subsequent desire to put up an illusion of conformity, functions as the point of departure for the activities taking place within the The Institute of Social Hypocrisy

The Institute combines these two connected aspects, of simulated bureaucracy and hypocrisy to form a conceptual umbrella under which a programme of related events can take place. It provides a structure for artists to take control of the programming and direction of their work and to be responsible for the events, installations and publications that occur.

Paris 2008 / 2009

Tor Hoff - Oslo Oct - 2012

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