“The exhibition O’DA’OLDBORIN’GOLD is anchored in modernity, its starting point is an episode of collective trance, which occurred in Strasbourg in 1518. Without explanation nor symptoms, a woman started to dance frantically for five days straight. In a few weeks, nearly 400 townskolf were convulsing in tune. [...] Through this epidemy of dancing plague, turned into a proto-rave-party, David Douard questions his relationship to the spectacle and his own desire to dominate the viewer. What can an exhibition do? This question too haunts the artist’s work.” — Clément Delépine, booklet’s text.

Published on the occasion of David Douard’s solo exhibition held by Galerie Chantal Crousel on January 2019, the booklet O’DA’OLDBORIN’GOLD was conceived by the artist in order to step outside of the exhibition catalog regular framework. The Singer stitched binding positioned at one end of the booklet and not in the fold transforms the perception of the reproduced views, off-center by the layout. To accompany the visual reading of this booklet, a text by Clément Delépine offers readers a review of the exhibition and a presentation of the works which occupied the space of the gallery.