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Mood Board
2025

Location:
Parliament 
Paris 

Format:
Exhibition with drawing 


Press realease written by Jade Mii Barget

Mood Board is the artist’s second solo show at Parliament, and his very first drawing exhibition. During a conversation, when I asked what he was working on, he replied with a smile and a hint of irony at the cliché: impressionism. Koetting’s impressionism isn’t just about plays of light or contemporary natural landscapes. For him, impressionism is a deeply current mode of expression, one he links to performativity in today’s economy of attention and imagery. It’s a form of communication based on immediate impact, bypassing and replacing reflection, lasting no more than three to seven seconds, according to first impressions’ experts. This phenomenon has been reified in the very design of digital platforms: impression has become a social currency to be managed and optimized, a powerful tool for personal, professional, and financial advancement. As echoed by the rounded corners of Koetting’s drawings reminiscent of the iPhone, by their frames inspired by Apple’s industrial design, or by his fictitious business cards: every image is an interface. the artist’s second solo show at Parliament, and his very first drawing exhibition. During a conversation, when I asked what he was working on, he replied with a smile and a hint of irony at the cliché: impressionism. Koetting’s impressionism isn’t just about plays of light or contemporary natural landscapes. For him, impressionism is a deeply current mode of expression, one he links to performativity in today’s economy of attention and imagery. It’s a form of communication based on immediate impact, bypassing and replacing reflection, lasting no more than three to seven seconds, according to first impressions’ experts. This phenomenon has been reified in the very design of digital platforms: impression has become a social currency to be managed and optimized, a powerful tool for personal, professional, and financial advancement. As echoed by the rounded corners of Koetting’s drawings reminiscent of the iPhone, by their frames inspired by Apple’s industrial design, or by his fictitious business cards: every image is an interface.


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