Poptronics Translation - rough version

Here's a collaborative (me and Babel fish) attempt at a translation of the Poptronics review (it's abit ropey so if any lovely French speakers out there think they can improve it I would be most grateful):


In heart of East London, between the underground stations Bethnal Green and Whitechapel, a very popular district abounding in galleries, Kathryn Cooper exposes to the PEEP! Gallery the second part of “Where C all the tea bags go?”. It is during the preparation of the first part of the exposure, with Daniel Shand Gallery, at the end of October, that poptronics met this young artist born in Yorkshire. Starting point of this exposure: a sachet of tea. So british!

Kathryn Cooper accumulates things and ideas and them realises them in many forms: artists books, collages or sound works. In “Where do all the tea bags go? ”, it is interested in manufacture of objects as banal as a cup of coffee, a milk carton or a tea bag, analyzing the process of A to Z, of the climatic conditions necessary to the good development of the plant up to the recycling or not of waste, once the good are manufactured. Kathryn Cooper attacks the economic system thus by peeling all the stages of the modular production. If the influence of the group Art & Language is obviously perceptible in this system of thought, its practice also joined the reflexions of Andreas Siekmann (in particular with its project “Aus Gesllschaft put beschränkter Haftung”, presented to Documenta 11), those of Lonnie van Brummelen and Siebren de Haan in their film “Monument with sugar  ” (2007) but also of Jean-Luc Moulène (“Produced of Palestine  ”, 2002-2004) and certain work of Christian Philipp Mueller, recently exposed to the Swiss Arts centre in Paris.

By revealing the invisible factors, even forgotten, with work during the consumption of a cup of tea, this installation rapidly outlines the general economy and the various companies which intervene in the production of this national drink. Diagrams, drawings and waste invade the space of the gallery, extend on the ground and climb on the reception office. The force of this work lies in this invasion of the space, which, in a compact and closed universe, force the visitor's reading. The written comment does not accompany work, it makes the work, underlining each digression and each failure of the reasoning. For poptronics, Kathryn Cooper comments on some of the parts of “Where do all the tea bags go?” (in English, of course).