EXERCIZING DOUBT: EXHIBITION AS RESEARCH

PIANO – ALTO!

June 2014 – Summer 2015
MAISON DES ARTS GEORGES POMPIDOU
CAC (CAJARC)
CAC CHAPELLE ST JACQUES (SAINT-GAUDENS)
BBB CENTRE D’ART (TOULOUSE)
CAREOF DOCVA (MILAN)
DOLOMITI CONTEMPORANEE (BELLUNO)

ALFRED JARRY ARCHIPELAGO

5 June – 30 August 2015
LE QUARTIER CAC (QUIMPER)
September – October 2015
MUSEO MARINO MARINI (FLORENCE)
18 October 2015 – 31 January 2016
CAC DE LA FERME DU BUISSON (NOISIEL)

THE BOOK SOCIETY #02

13 June – 18 July 2015
PEEP-HOLE (MILAN)
16 October 2015 - 28 February 2016
CAC LA SYNAGOGUE DE DELME (DELME)

DOUBLE CROSS, FROM BOTH SIDES OF A MOUNTAIN

26 September 2015 – 3 January 2016
CENTRE D’ART BASTILLE (GRENOBLE)
VIAFARINI DOCVA (MILAN)

RED SWAN HOTEL

16 May – 27 September 2015
CNEAI = (CHATOU)
27 November 2014 – 15 March 2015
MACRO MUSEO D’ARTE CONTEMPORANEA ROMA (ROME)

La démocratie est illusion – La democrazia è illusione

8 February – 3 May, 2014
PASSERELLE CENTRE D’ART CONTEMPORAIN (BREST)
14 November 2014 – 15 January 2015
VILLA CROCE MUSEO D’ARTE CONTEMPORANEA (GENOA)

The Registry of Promise

9 May – 18 July 2014
FONDAZIONE GIULIANI (ROME)
14 June – 14 September 2014
PARC SAINT LÉGER (POUGUES-LES-EAUX)
12 September – 21 December 2014
CENTRE D’ART CONTEMPORAIN D’IVRY – LE CRÉDAC (IVRY-SUR-SEINE)
25 January – 29 March 2015
DE VLEESHAL (MIDDELBURG)

SOLEIL POLITIQUE

27 September 2014 – 11 January 2015
MUSEION (BOLZANO)
CAC BRÉTIGNY (BRÉTIGNY-SUR-ORGE)

FROM & TO

9 November 2014 – 19 January 2015
VILLA ARSON (NICE)
7 February – 12 April 2015
KUNST MERAN MERANO ARTE (MERANO)

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EXERCIZING DOUBT: EXHIBITION AS RESEARCH

from 18 March to 11 July 2015 at Bétonsalon – Centre d’art et de recherche (Paris)
from 15 May to 1 August 2015 at ar/ge kunst Galerie Museum (Bolzano)

Artists: Maryam Jafri, Clémence Seilles 

Research-exhibition: despite recent curatorial experiments, the phrase still brings to mind visions of dryness and distance, of black-and-white photocopies pinned on the walls, of dusty objects safe-guarded from the visitor’s toxic hand behind a glass window. It continues to suggest passive reading and ingestion of knowledge rather than active experiences of vision, touch, learning, conversation and engagement. Since 1998 and the signature of the Bologna agreement, the interactions between art and research have been much debated among art theoreticians and critics, curators, artists and educators in France and Italy, producing a wave of experimentation in artistic and curatorial practices. Yet, if exhibitions and works are often presented as products of “a research”, the exhibition itself as a medium of and for research has rarely been explored.
In 2015, ar/ge kunst Galerie Museum and Bétonsalon – Centre for Art and Research join in a common investigation of Exhibition as Research through a curatorial and research program encompassing a variety of participating artists, researchers and interlocutors, but also formats. Exercizing Doubt considers the exhibition as a matrix and as a stage through which lines of inquiry exercise and translate into objects, relations, discussions, workshops and publications that expand the possible interactions with viewers and participants. The project will emphasize collaborations between artists and practitioners from other disciplines, from design to anthropology, architecture or history. Taking their respective local context (both geographical and relational) as a departure point, ar/ge kunst and Bétonsalon will instigate a network of exchange and experimentation to generate and circulate a fruitful dialogue around the agency of Exercizing Doubt.

Research-Exhibition (mostra come ricerca): nonostante i recenti esperimenti curatoriali, la frase riporta alla mente immagini distanti e monotone, di fotocopie in bianco e nero affisse al muro, di oggetti protetti dalle mani dei visitatori da vetrine. Continua a suggerire una lettura passiva e un consumo di conoscenza invece di un’attiva esperienza di visione, tatto, apprendimento, conversazione e partecipazione. Dal 1998 e dalla firma del trattato di Bologna, l’interazione tra arte e ricerca è stata dibattuta ampiamente tra teorici dell’arte, critici, curatori, artisti ed educatori in Francia e in Italia, producendo un’ondata di sperimentazione in pratiche curatoriali e artistiche. Tuttavia, se le mostre e i lavori sono spesso presentati come prodotti di una “ricerca”, la mostra stessa come medium “di” e “per” la ricerca è stata esplorata raramente.
Nel 2015 ar/ge kunst Galerie Museum e Bétonsalon – Centre d’art et de recherche si uniscono in un’indagine comune sulla “Mostra come Ricerca” (Exhibition as Research), attraverso un programma che include una varietà di artisti, ricercatori e interlocutori, ma anche formati. Exercizing Doubt esamina la mostra come una matrice e “stage” attraverso cui linee di analisi si esercitano e si traducono in oggetti, relazioni, discussioni, workshop e pubblicazioni che espandono la possibile interazione con il visitatore e i partecipanti. Il progetto enfatizzerà le collaborazioni tra artisti ed esperti da altre discipline, dal design all’antropologia, architettura e storia. Partendo dai loro rispettivi contesti locali (sia geografici sia relazionali) ar/ge kunst e Bétonsalon investigheranno un network di scambio e sperimentazione per generare una discussione fruttuosa intorno al senso e alla capacità di un progetto come Exercizing Doubt.

Maryam Jafri, Le Jour d’après, Bétonsalon – Centre d’art et de recherche
18 marzo – 11 luglio 2015
Mostra, residenza, workshop, discussioni e pubblicazione 

Le Jour d’après parte da una collezione di fotografie raccolte in molti paesi nel corso di diversi anni da Maryam Jafri così da far emergere questioni artistiche, politiche e storiche legate alla costituzione di un archivio post-coloniale. Il progetto si manifesterà attraverso una mostra “crescente” che riunisce lavori di Maryam Jafri con altre opere e materiali raccolti o prodotti durante il processo; allo stesso tempo presenterà una ricerca e un programma pubblico concepito dall’artista con un network di ricercatori, studiosi, giornalisti, artisti e istituzioni artistiche locali e internazionali. L’intero progetto aspira ad articolare una riflessione collettiva sull’uso e la circolazione di immagini d’archivio nel momento in cui si riesamina l’unicità dei discorsi storici in relazione con le Storie e la rappresentazioni coloniali e il loro impatto oggi.

Clémence Seilles, Bassin ouvert, ar/ge kunst Galerie Museum
16 maggio – 1° agosto 2015
Mostra, performance, workshop, eventi 

Per ar/ge kunst l’artista e designer francese Clémence Seilles produrrà una mostra di tre mesi (maggio-luglio 2015) che esplorerà la mostra come medium e come formato per ripensare modalità per ‘vivere e lavorare insieme’.
Seilles utilizza il tempo della mostra come primo materiale per definire le condizioni (spaziali e temporali) per accogliere e ospitare interventi di altri partecipanti (siano essi esperti, compagni di lavoro o membri del pubblico).
Il suo progetto ad ar/ge kunst parte dalla nozione di “exhibition design” per riconfigurare gli elementi fisici che costituiscono la vera e propria architettura della mostra e trasformarla da uno spazio di rappresentazione in uno spazio di produzione.
Traducendo nello spazio elementi architettonici che appartengono a diversi contesti culturali, l’artista produce un ambiente che si muove tra lo stage, il living room, lo studio d’artista dove attività come la performance, l’incontro e la prova si sovrappongono e confondono tra loro.
In questo senso lo spazio e il tempo della mostra sono concepiti come una situazione processuale che permette e facilita la produzione di conoscenza.
Il progetto di Clémence Seilles vede la partecipazione di vari ospiti provenienti dal panorama culturale sia italiano sia francese; artisti visivi, coreografi, filosofi, musicisti, curatori e pensatori si incontreranno in diversi momenti della mostra.

Malgré les expérimentations curatoriales des dernières années, l’expression “exposition de recherche” convoque encore des visions austères, voire poussiéreuses. On s’y voit contraint d’ingérer passivement des connaissances au lieu d’imaginer des expériences actives de vision, de toucher, de découverte, d’échanges et d’engagement. Depuis 1998 et la signature des accords de Bologne, les interactions entre art et recherche ont fait l’objet de nombreux débats parmi les théoriciens et les critiques d’art, mais aussi les curateurs, les artistes et les enseignants en France et en Italie, encourageant une vague d’expérimentations dans les pratiques curatoriales et artistiques. Pourtant, si les expositions et les œuvres sont souvent présentées comme le produit d’une recherche, l’exposition comme medium de et pour la recherche a encore rarement été explorée comme telle.
En 2015, ar/ge kunst Galerie Museum et Bétonsalon – Centre d’art et de recherche s’associent pour investiguer ensemble l’exposition comme medium de recherche à travers un programme rassemblant artistes, chercheurs et interlocuteurs divers autour de formats variés. Programme de recherche curatorial, Exercizing Doubt propose de considérer l’exposition comme une matrice et comme une scène à travers lesquelles s’exercent différentes lignes de recherche qui se traduisent sous forme d’objets, de relations, de discussions, d’ateliers et de publications en élargissant les interactions possibles avec spectateurs et participants. Le projet met en avant des collaborations entre artistes et praticiens d’autres disciplines, du design à l’anthropologie, de l’architecture à l’histoire. Prenant leur contexte respectif (géographique et relationnel) comme point de départ, ar/ge kunst et Bétonsalon initient un réseau d’échange et d’expérimentation avec le désir de générer et de partager un dialogue généreux autour des potentialités du projet.

Maryam Jafri, Le Jour d’après, Bétonsalon – Centre d’art et de recherche
18 mars – 11 juillet 2015
Exposition, résidence, workshops, conférences, publication

Le Jour d’après se développe à partir d’une collection de photographies réunies par Maryam Jafri depuis plusieurs années à travers de nombreux pays dans le but de soulever diverses questions artistiques, historiques et politiques découlant d’une réflexion autour de la constitution d’une archive post-coloniale.
Le projet prendra la forme d’une exposition expérimentale présentant une installation de Maryam Jafri ainsi que d’autres œuvres et matériaux réunis et produits tout au long du processus, accompagnés d’un projet de recherche public conçu par l’artiste avec un réseau local et international de chercheurs, de journalistes, d’artistes et d’institutions artistiques. Le Jourd’après vise à articuler une réflexion collective autour de l’usage et de la circulation des images pour mieux réexaminer l’unicité des discours historiques au regard des représentations et des histoires coloniales – et leur impact aujourd’hui.

Clémence Seilles, Bassin ouvert, ar/ge kunst Galerie Museum
16 Mai – 1er Août 2015
Exposition, performance, ateliers, événements, publication

Pour ar/ge kunst l’artiste et designer française Clémence Seilles produira une exposition d’une durée de trois mois qui s’intéressera à l’exposition comme médium ainsi que format permettant de repenser les modes du “vivre et travailler ensemble”.
Son travail à ar/ge kunst prend pour point de départ la notion de “design d’exposition”. Elle réorganise ainsi les éléments physiques qui constituent l’architecture même de l’exposition en passant d’un espace de représentation à un espace de production.
En traduisant dans l’espace architectural des éléments qui appartiennent à différents contextes culturels, l’artiste produit un environnement qui oscille entre la scène / le salon / l’atelier d’artiste et où les activités telles que la performance, les rassemblements et les répétitions se chevauchent et se fondent les unes les autres.
En ce sens, l’espace et le temps de l’exposition sont à envisager comme une situation reposant sur le processus qui permet et facilite la production collective de savoir.
Artistes, chorégraphes, philosophes, musiciens, commissaires d’exposition et critiques du paysage culturel français et italien seront invités à se réunir pour prendre part au projet de Clémence Seilles à différents moments de l’exposition.

Image:
Maryam Jafri, Independence Day 1934-1975, 2009-ongoing (detail)

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PIANO – ALTO!

June 2014 – Summer 2015
MAISON DES ARTS GEORGES POMPIDOU
CAC (CAJARC)
CAC CHAPELLE ST JACQUES (SAINT-GAUDENS)
BBB CENTRE D’ART (TOULOUSE)
CAREOF DOCVA (MILAN)
DOLOMITI CONTEMPORANEE (BELLUNO)

June – December 2014: exchange of residencies between Italian and French artists
Spring – Summer 2015: closing events at Maison des Arts Georges Pompidou CAC (Cajarc), at CAC Chapelle St Jacques (Saint-Gaudens), at BBB centre d’art (Toulouse), at Careof DOCVA (Milan), at Dolomiti Contemporanee (Belluno) (exhibition, event and/or book presentation).

Guest curator: Stefania Meazza
Artists: Nina Fiocco, Lise Lacombe and Jean-Baptiste Alazard, Jérémy Laffon, Daniele Pezzi, Guillaume Robert

8- tutulmaORIGINAL

2. Daniele Pezzi, Tutulma, 2010-2013

1 - alpeggio9

3. Daniele Pezzi, ALPEGGIO, 2011

4. Jérémy Laffon, Construction protocolaire non aléatoire, 2013

4. Jérémy Laffon, Construction protocolaire non aléatoire, 2013

5. Nina Fiocco, The Salgari Method - Santa Inés Ahuetempan, 2013

5. Nina Fiocco, The Salgari Method – Santa Inés Ahuetempan, 2013

Lise Lacombe, from the series La Tierce des Paumés, 2012

6. Lise Lacombe, from the series La Tierce des Paumés, 2012


Purposes

Getting around
1 – Building a common project between 3 art centers in various locations of the same region, and 2 art organizations in Northern Italy, will inevitably induce movement.
2 – This movement is the issue of reflections and exchanges between places and artists. The moving itself produces the core of reflections; the emergence of researches and reflections shared between France and Italy.

Utopia projections
1 – Utopia shows the conflict between the possibility of thinking about reality through its fictional representation and the radical dissociation between the dream and the action, the ideal and the real.
2 – The projections bring the artists to extract themselves from the traditional art spaces in order to interact with their social, geographical, and political environment.

Moving
1 – Dream or reality? As utopian projections, the works of the guest artists comes from the context. They change their intellectual and artistic practices. The results of their works will be the empirical product of the observation of and the adaptation to the context, with its inspirational influence.

8. Jérémy Laffon in residence in Casso

7. Jérémy Laffon in residence in Casso

8. Jérémy Laffon in residence in Casso

8. Jérémy Laffon in residence in Casso

9. Jérémy Laffon, A pacific invasion, August 2014, Casso

9. Jérémy Laffon, A Pacific Invasion, August 2014, Casso

10. Jérémy Laffon, A Pacific Invasion, August 2014, Casso

10. Jérémy Laffon, A Pacific Invasion, August 2014, Casso

11. Jérémy Laffon in Progettoborca

11. Jérémy Laffon in Progettoborca

A TWO-STEP PROJECT:

1 – Contextual residencies

The Piano – alto! project, crossing -residencies for two Italian artists in the Midi-Pyrénées region (South-West France) and three French artists in Northern Italy, plays with the topographies and the geography of each territory, mountains and plains, cities and villages, urban contexts and touristic spots.
Three art centers in the Midi-Pyrénées region will promote artists’ meetings and crossings between each place and with the professional network “Air de Midi”.
Nina Fiocco andDaniele Pezzi were selected for this project because of the high quality of their artistic activity, their travelling habit, and their ability to build utopias and a very personal vision of the world using anthropology, geography, literature. They work in a personal way, around the subject of non-mediatized social situations which they throw light upon in order to reveal paradoxes and new identities for human beings and things.
They will stay three weeks in each of the three art centers in Saint-Cirq Lapopie, Saint-Gaudens and Toulouse, between September and November 2014.
One of the primary intentions of these meetings is based on the circulations, crossing and links between the art centers during these residencies, linking histories, measuring distances, crossing territories, checking the extent.
The three art centers will combine different activities linked to the residencies (studio visits, contacts with art critics, projections…) between the end of October and the beginning of November 2014.
In the same way, the French artists will move to Italy to work in a similar context.
Guillaume Robert will stay three weeks in Milan, hosted by Careof, during the autumn, and will  move to the Dolomites too, in order to build up the idea of movement inherent to the project.
Jérémy Laffon, Lise Lacombe and Jean-Baptiste Alazard will stay four weeks in the Dolomites hosted by the Dolomiti Contemporanee organization, during the summer of 2014.

2 – A dual restitution

The flows and exchanges between the artists, the public and the superintendents involved in the Piano – alto! project will build the concept of a rendezvous, whose  form will be defined at a later stage of the project (exhibition, symposium, edition…). The concept of this restitution, in the form of a double-sided initiative on the two sides of the Alps, will be defined depending on the outcomes and reflections of the different protagonists, during 2015.

 

Polisemia di un progetto, forza del contesto

Spostarsi
1 – Realizzare un progetto comune a sei strutture molto distanti tra di loro geograficamente genera necessariamente uno spostamento.
2 – Lo spostamento produce il materiale di riflessione alla base del progetto: in particolare, l’emergenza di ricerche e riflessioni sull’arte comuni tra Francia e Italia.

Utopie e proiezioni
1 – L’utopia attesta allo stesso tempo lo scontro tra la possibilità di riflettere sul reale attraverso rappresentazioni fittizie e la dissociazione radicale del sogno e dell’atto, dell’ideale e del reale.
2 – Le proiezioni portano gli artisti a uscire dai luoghi dell’arte, abbandonandone le forme tradizionali, per interagire con il loro ambiente sociale, geografico, politico etc.

Spostare
1 – Sfide o campo dei possibili? Come proiezioni legate a un’utopia, le opere degli artisti selezionati tengono conto del contesto e operano così uno spostamento delle loro ricerche sia intellettuali che pratiche. L’emergere del loro lavoro sarà il prodotto sensibile dell’osservazione e dell’adattamento alle condizioni di un contesto, forte dei suoi poteri di immaginazione.
2 – Il contesto diventerà quindi materia che fabbrica l’opera o il gesto artistico.

12. Daniele Pezzi in residence in Saint-Cirq Lapopie

12. Daniele Pezzi in residence in Saint-Cirq Lapopie

13. Daniele Pezzi in residence in Saint-Cirq Lapopie

13. Daniele Pezzi in residence in Saint-Cirq Lapopie

14. Daniele Pezzi in residence in Saint-Cirq Lapopie

14. Daniele Pezzi in residence in Saint-Cirq Lapopie

20. Daniele Pezzi in residence in Saint-Cirq Lapopie

15. Daniele Pezzi in residence in Saint-Cirq Lapopie

19. Daniele Pezzi in residence in Saint-Cirq Lapopie

16. Daniele Pezzi in residence in Saint-Cirq Lapopie

18. Daniele Pezzi in residence in Saint-Cirq Lapopie

17. Daniele Pezzi in residence in Saint-Cirq Lapopie

17. Daniele Pezzi in residence in Saint-Cirq Lapopie

18. Daniele Pezzi in residence in Saint-Cirq Lapopie

16. Daniele Pezzi in residence in Saint-Cirq Lapopie

19. Daniele Pezzi in residence in Saint-Cirq Lapopie

15. Daniele Pezzi in residence in Saint-Cirq Lapopie

20. Daniele Pezzi in residence in Saint-Cirq Lapopie

21. Daniele Pezzi in residence in Saint-Cirq Lapopie

21. Daniele Pezzi in residence in Saint-Cirq Lapopie

1 – Residenze contestualizzate

Piano – alto!, progetto di residenze incrociate per due artisti italiani in Midi-Pyrénées e tre artisti francesi in Italia, gioca con le topografie e le geografie significative di ciascun territorio : montagna e pianura, città e paesi, siti urbani e mete turistiche.
Per i tre centri d’arte francesi, le residenze si basano sul principio di incontro e intersezione tra i luoghi, gli artisti e il network professionale ‘Air de Midi’: Nina Fiocco e Daniele Pezzi saranno infatti in residenza tre settimane in ogni centro d’arte, tra settembre e novembre 2014. Alla residenza saranno affiancati altri tipi di eventi: studio visit, incontri con critici, proiezioni…
Parallelamente, gli artisti francesi in residenza in Italia inseriranno la loro ricerca personale nel contesto che li accoglie. Guillaume Robert sarà in residenza tre settimane a Careof (Milano) in autunno e, verosimilmente, durante l’estate, altre tre settimane nelle Dolomiti, ribadendo il concetto di spostamento intrinseco al progetto.
Jérémy Laffon, Lise Lacombe e Jean-Baptiste Alazard saranno in residenza quattro settimane presso Dolomiti Contemporanee durante l’estate 2014.

2- Una doppia restituzione

Gli scambi tra gli artisti, il pubblico e i curatori coinvolti in Piano – alto! saranno alla base di una restituzione la cui forma è in corso di definizione (mostra, convegno, pubblicazione…). La natura di questo evento sarà stabilita in base alle riflessioni e ai lavori prodotti dagli artisti e i curatori associati. La presentazione pubblica funzionerà in due versioni come fronte-retro delle Alpi nel 2015.

 

Polysémie d’un projet, force du contexte

Se déplacer
1 – Fabriquer un projet commun a 3 centres d’art, disséminés en région, et 2 structures du Nord de l’Italie, induit le déplacement.
2 – Le mouvement se produit lors des découvertes et des échanges entre les lieux, les commissaires, les artistes. Ces déplacements produisent la matière de la réflexion et le statut de ce projet : l’émergence de recherches et de réflexions artistiques communes entre l’Italie et la France.

Utopies projections
1 – L’utopie atteste a la fois, de la lutte entre la possibilité de réfléchir sur la réalité par la représentation fictionnelle, de la dissociation radicale du rêve et de l’acte, de l’idéal et du réel.
2 – Les projections entraînent les artistes à vouloir s’extraire des lieux de l’art et de ses formes traditionnelles pour interagir avec leur environnement social, géographique, politique, etc.

Déplacer
1 – Gageures ou domaine des possibles ? Vues comme des projections liées aux utopies, les œuvres des artistes choisis tiennent compte du contexte. Ils déplacent leurs pratiques tant intellectuelles que plastiques. L’émergence de leur travail sera le produit sensible de l’observation et de l’adaptation aux conditions d’un contexte, fort de ses pouvoirs fictionnels.
2 – Le contexte utilisé comme matière, fabrique l’œuvre ou le geste artistique. Des lors, d’un environnement à un autre, les artistes invités déplacent et font muter les pratiques.

Avec des résidences croisées pour 2 artistes italiens en Midi-Pyrénées et 3 artistes français en Italie, Piano – alto ! joue des topographies et des géographies signifiantes de chacun des territoires, montagnes et plaines, villes et villages, sites urbains et spots touristiques pour déplacer l’utopie et envisager des projections liées aux territoires découverts et entrepris.

1- Des résidences contextualisées : relier des histoires, mesurer la distance, parcourir le territoire, vérifier l’étendue

Du nord au sud, en Midi-Pyrénées
Nina Fiocco et Daniele Pezzi se saisissent, chacun à leur manière, de présences diffuses ou de situations sociales non médiatisées, qu’ils éclairent de biais pour révéler des paradoxes et de nouvelles identités possibles aux choses et aux êtres. Ils séjourneront 3 semaines sur chacun des sites à Saint-Cirq Lapopie, Saint-Gaudens et Toulouse.

D’est en ouest, du Piémont aux Dolomites
Guillaume Robert sera reçu 3 semaines à Careof DOCVA à Milan à l’automne et le même temps dans les Dolomites, faisant rebondir le concept de déplacement inhérent au projet. Jérémy Laffon, Lise Lacombe & Jean-Baptiste Alazard seront en résidence 4 semaines dans les Dolomites avec Dolomiti Contemporanee.

2- Une restitution duelle

Les circulations et les échanges entre les artistes, le public et les commissaires impliqués dans le projet Piano – alto ! fabriqueront le concept d’un rendez-vous dont la forme définitive reste à préciser (exposition, colloque et/ou publication trilingue). Le concept de cette restitution, qui fonctionnera en recto/verso de part et d’autre des Alpes en 2015, se définira sur la base des productions et réflexions des différents protagonistes.

Nina Fiocco
Daniele Pezzi

en résidence aux Maisons Daura, à Saint-Cirq Lapopie
puis, à la Chapelle Saint-Jacques à Saint-Gaudens
enfin, au BBB centre d’art à Toulouse
entre le 29 septembre et le 10 novembre 2014.

Nina Fiocco interroge les questions de standardisation, d’identité. Elle étudie l’accent particulier de cette région du sud de la France et archive des voix qui lui serviront de base pour mettre en forme une interprétation performative et plastique. Elle mesure la portée de ces voix à l’échelle de l’espace, en une performance jouée avec des habitants, à la nuit tombée. Elle participe au rituel de l’affût, dès l’aube, avec les chasseurs… Elle entraîne et se laisse happer dans des aventures inédites pour mieux appréhender le territoire et ses limites.

Daniele Pezzi raconte des histoires inspirées par la vision d’un nomadisme absolu : il est partout ailleurs et chez lui à la fois. Les personnages de ses films sont joués par des gens rencontrés sur place et qui l’introduisent aux usages et aux mythologies des lieux. Construite dans un processus de dialogues avec les protagonistes, la narration s’installe et erre dans les paysages et les architectures perçus comme des espaces mentaux et philosophiques.

Martine Michard
décembre 2014

Images:
1. Guillaume Robert, Vérifierl’Arcadie, 2013-2014, installation, sculpture, photograph. Courtesy of the artist
2. Daniele Pezzi, Tutulma, 2010-2013, video still HD. Courtesy of the artist
3. Daniele Pezzi, ALPEGGIO, 2011, video still HD. Courtesy of the artist
4. Jérémy Laffon, Construction protocolaire non aléatoire, 2013, chewing gum sticks
5. Nina Fiocco, The Salgari Method – Santa Inés Ahuetempan, 2013, action and installation documentation image (with Rogelio Sànchez Velàzquez and Juan Luis Burke Roco). Courtesy of the artist
6. Lise Lacombe, from the series La Tierce des Paumés, 2012. Courtesy of the artist
7. Jérémy Laffon in residence in Casso. Photo dc archive
8. Jérémy Laffon in residence in Casso. Oranges floating in the hamlet of Casso. Photo dc archive
9. Jérémy Laffon, A Pacific Invasion, August 2014, Casso. Video still
10. Jérémy Laffon, A Pacific Invasion, August 2014, Casso. Working in the canonica, dc’s residence in Casso. Photo dc archive
11. Jérémy Laffon in Progettoborca. Here in the colonia (summer camp building) of the former ENI village in Borca di Cadore. Les quatre fers en l’air, August 2014. Photo dc archive
12-21. Daniele Pezzi in PIANO. Pictures from its residency in Saint-Cirq Lapopie

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STEFANIA MEAZZA IN CONVERSATION WITH NINA FIOCCO

STEFANIA MEAZZA IN CONVERSATION WITH NINA FIOCCO

NINA FIOCCO, THE DEEP ESSENCE OF LAND

Nina Fiocco was an artist in residency at Maisons Daura in Saint-Cirq Lapopie, at Chapelle Saint-Jacques in Saint-Gaudens and at BBB centre d’art in Toulouse between September and November 2014.
Nina Fiocco penetrates the reality of daily life and unveils its most hidden and meaningful aspects. By researching on site, she questions the local aspect of the context to widen the perspective and make it universal.

Interview by Stefania Meazza

Stefania Meazza Tell me about the project you developed during the Piano – alto! residencies.
Nina Fiocco To me coming to France was a way to come closer to home, without actually coming home. I was somewhere in the middle: a country which I don’t belong to but which is part of the same political and social system I live in. I live on another continent. There I was identified for the first time, and with great surprise on my behalf, as a European. I was included in a macro-system which I never thought I belonged to which is seen from the outside as consistent and well defined, not diverse.
I arrived shortly after reading Monolingualism of the Other by Jacques Derrida, so I was interested in language as a threshold, as a thin line which can despotically divide who is part of a community from who isn’t, who has the appropriate vocabulary and accent to talk about certain themes from who hasn’t. This is why, through my research, I tried to explore language as a sort of utopia, where the speaker can’t use their native language to communicate with the “other” and so invents their own language. This language doesn’t give an agreed sound a certain meaning, but it reinvents it, it experiments with it and it makes it personal.

S.M. The project carried out in Midi-Pyrénées, and in general all of your research, has an immediate connection with the context you are working in. To quote the French critic Paul Ardenne, we could call your work ‘contextual art’. How did the three different contexts you stayed in influenced your work? How did you respond to these contexts (Saint Cirq-Lapopie: medieval town and tourist attraction/Saint Gaudens: industrial town at the feet of the Pyrenees/Toulouse: a dynamic regional capital with an industrial heritage and strong student life)?
N.F. During this period, I organised my work around practice-based research. Starting from the ideas we were talking about before (the foreigner, language, threshold, utopia/dystopia of an invented language), I tried to create work in relation to the context, the people and the territory. In Saint-Cirq Lapopie I had the opportunity to collaborate with a choir. We drew inspiration from a quote of Aristotle’s Politics1 to develop a series of actions imagining a way to map out the space we lived in intangibly. In Saint-Gaudens, thanks to another accidental encounter, I worked on a video in which I explored the forms of verbal communication invented by man to establish a relationship with animals. I recorded a lot of material about these entirely personal ways to create a new language, which are sometimes successful and sometimes not. I hope I will continue this project in Italy and Mexico. Lastly, in Toulouse I tried to come to a conclusion on language. I actually left the city and started working with an artisan workshop which has been making cowbells since the 17th century. I started planning the installation for the final exhibition with them.

S.M. What do you believe your role as an artist to be in contextual art? Are you a catalyst? A researcher?
N.F. I often quote an essay by Walter Benjamin on this point, which largely influenced my work. Benjamin recognises two types of people who in the past could be considered ‘storytellers’. On one side there is the sedentary and home-based peasant, who lives in the same place as his ancestors for all of his life and thus reaches the deepest level of knowledge of time. On the other side there is the itinerant and travelling merchant, who having travelled far and wide is fully aware of space. I’ve always been interested in how understanding distance, either in time or space, can be linked to the ability of telling the truth, but also – as Benjamin adds – of finding a breakthrough towards what is ‘wonderful’, allowed by the public to the storyteller. This is what I aim to do in my artistic practice: to tell the truth so I can then allow myself to offer a wonderful abstraction from truth itself.

S.M. You often approach work through collaboration between different people. You saw the context in Midi-Pyrénées mainly as a human one. How did you establish a relationship with the locals?
N.F. In fact I always try to lay as foundation of my work the process of listening, storytelling and creating a deep connection with the local context. To use an anthropological metaphor, field work is often defined by informers, who then actually lead the following processes.

S.M. One of Piano – alto!’s distinctive traits is that it’s a research residency. Even though there various ways to elaborate and return work to the public were planned for the following months, the main aim of these weeks was to immerse yourself in a different context and stimulate your reflection. Was this the first time you took part in a research residency? What was it like?
N.F. Actually, I had been in residence at the Fondazione Bevilacqua La Masa. There I had started researching from a more theoretical point of view distance and storytelling. This first step led all of my recent research and practice, from the Monte Grappa project in Mexico to the Salgari Method. When I arrived at Piano – alto!, I had the intention to explore the area, look for paths to follow, experiment with new techniques, read and observe to come back with a baggage of new material to transform.

S.M. A residency is also a life experience. What does living in a place for a limited period of time mean to you? What were your expectations when you got to Midi-Pyrénées and what do you go back to Italy with?
N.F. An opportunity to take a break, a deep breath, do something else. I left to explore a territory I didn’t know, to understand something, however small. I come back with plenty of material, encounters, conversations, landscapes. And some doubts, which to me are a good way to come close to knowledge.

1 “(…) To the size of states there is a limit, as there is to other things, plants, animals, implements; for none of these retain their natural power when they are too large or too small, but they either wholly lose their nature, or are spoiled. For example, a ship which is only a span long will not be a ship at all, nor a ship a quarter of a mile long; yet there may be a ship of a certain size, either too large or too small, which will still be a ship, but bad for sailing. In like manner a state when composed of too few is not, as a state ought to be, self-sufficing; when of too many, though self-sufficing in all mere necessaries, as a nation may be, it is not a state, being almost incapable of constitutional government. For who can be the general of such a vast multitude, or who the herald, unless he have the voice of a Stentor? A state, then, only begins to exist when it has attained a population sufficient for a good life in the political community: it may indeed, if it somewhat exceed this number, be a greater state. But, as I was saying, there must be a limit. What should be the limit will be easily ascertained by experience. For both governors and governed have duties to perform; the special functions of a governor to command and to judge. But if the citizens of a state are to judge and to distribute offices according to merit, then they must know each other’s characters; where they do not possess this knowledge, both the election to offices and the decision of lawsuits will go wrong. When the population is very large they are manifestly settled at haphazard, which clearly ought not to be. Besides, in an over-populous state foreigners and metics will readily acquire the rights of citizens, for who will find them out? Clearly then the best limit of the population of a state is the largest number which suffices for the purposes of life, and can be taken in at a single view. Enough concerning the size of a state.” Aristotle, Politics, Book Seven, translated by Benjamin Jowett.

November 2014
Translation: thanks to Marta Sanders

NINA FIOCCO, L’INTIMA ESSENZA DEL TERRITORIO

Nina Fiocco è stata accolta in residenza alle Maisons Daura a Saint-Cirq Lapopie, alla Chapelle Saint-Jacques a Saint-Gaudens et al BBB centre d’art a Tolosa tra settembre e novembre 2014.
Nina Fiocco si insinua nei meandri della realtà comune e ne svela gli aspetti più reconditi e significativi. Come una ricercatrice sul terreno, interroga la dimensione locale del contesto per aprirla a una prospettiva universale.

A cura di Stefania Meazza

Stefania Meazza Qual è il progetto che hai sviluppato durante le residenze Piano – alto!?
Nina Fiocco Venire in Francia era per me una maniera di avvicinarmi a casa, anche se, in effetti, a casa non ero. Piuttosto mi trovavo in bilico, in un paese cui non appartengo, ma che fa comunque parte di un sistema politico-sociale del quale faccio parte anch’io. Vivendo in un altro continente, sono stata definita, per la prima volta e con grande sorpresa, europea. Sono stata inclusa in un macrosistema che non avevo mai pensato come mio e che è d’altra parte assolutamente contrario alla diversità, poiché appare dall’esterno coeso e ben definito. Al mio arrivo, dopo la recente lettura de Il monolinguismo degli altri di Jacques Derrida, ero interessata ad avvicinarmi all’idea di lingua come soglia, come una membrana che può dispoticamente scegliere tra chi è dentro e chi è fuori da una comunità, tra chi possiede strumenti lessicali e cadenza adeguati a parlare di certi temi e chi no. Per questa ragione con la mia ricerca ho cercato di investigare una dimensione in un certo senso utopica del linguaggio, in cui un soggetto, che non può valersi della propria lingua madre per entrare in contatto con “l’altro”, inventa un linguaggio proprio, che esclude un senso dato a un suono prestabilito, bensì lo reinventa, lo sperimenta, lo personalizza.

S.M. Il progetto svolto in Midi-Pyrénées, e in generale la tua ricerca, è in assonanza diretta con il contesto. Usando un’espressione coniata dal critico francese Paul Ardenne, si potrebbe definire una forma d’arte “contestuale”. Che ruolo hanno svolto i tre tipi di contesti incontrati durante la tua residenza (Saint-Cirq Lapopie: villaggio medievale destinazione turistica/Saint-Gaudens: cittadina industriale ai piedi dei Pirenei/Tolosa: capoluogo di regione, città dinamica, dall’identità industriale e studentesca)? Come hai reagito a questi contesti?
N.F. Il lavoro di questo periodo si è organizzato intorno a ricerche in practice: in base alle idee di cui abbiamo parlato prima (lo straniero, la lingua, la soglia, l’utopia/distopia di una lingua inventata) ho cercato di lavorare contestualmente agli incontri e al territorio. A Saint- Cirq-Lapopie ho avuto modo di collaborare con un coro e, insieme, partendo da una citazione sulla città ideale tratta dalla Politica di Aristotele1, abbiamo lavorato a una serie di azioni, immaginando una maniera di mappare immaterialmente gli spazi. A Saint-Gaudens, sempre a causa di un incontro fortuito, ho lavorato a un video indagando quelle forme verbali di comunicazione inventate dall’uomo per stabilire un contatto con l’animale. Ho registrato una lunga documentazione video di queste maniere del tutto personali di elaborare un linguaggio nuovo, talvolta riuscite talvolta fallimentari. L’idea è quella di proseguire questo lavoro anche tra in Italia e in Messico. Tolosa, infine, è stato il luogo in cui ho cercato di elaborare e di trovare una forma di conclusione sul linguaggio: in realtà, allontanandomi dalla città, sono entrata in contatto con un laboratorio artigianale di campane per animali in attività dal XVII secolo, con cui ho iniziato a progettare l’installazione per la mostra di restituzione finale.

S.M. Come concepisci il tuo ruolo nel processo di creazione contestuale? L’artista come catalizzatore? Come ricercatore?
N.F. In uno dei suoi saggi, che cito spesso perché ha influenzato fortemente il mio lavoro, Walter Benjamin distingue tra due tipologie di persone che in passato si potevano considerare “narratori”. Da una parte si trova il contadino sedentario che, vivendo in un luogo per tutta la sua vita come i suoi antenati, raggiunge la massima profondità temporale di conoscenza; dall’altro vi è il mercante viaggiatore che, avendo lungamente percorso il globo, possiede la piena consapevolezza di uno spazio. Mi è sempre interessato come alla conoscenza di una distanza, spaziale o temporale che sia, si possa associare la capacità non solo di raccontare la verità ma anche, come aggiunge Benjamin, di trovare un’evasione (che il pubblico complice concede al narratore) verso il “meraviglioso”. Nella mia pratica ambisco a questo, a raccontare la realtà per concedermi il lusso di proporre un’astrazione fantastica della stessa.

S.M. Il tuo modo di concepire un lavoro si basa spesso su modalità di collaborazione tra persone diverse. Anche in Midi-Pyrénées, il contesto è stato inteso come realtà eminentemente umana. Come hai impostato in questo caso il rapporto con i tuoi interlocutori?
N.F. Effettivamente alla base del mio lavoro cerco sempre di partire dall’ascolto, dalla narrazione, da un incontro intimo con una realtà locale. Se mi permetti una metafora con l’antropologia, il lavoro di campo è spesso determinato dagli informatori che sono, in realtà, coloro che orientano i processi a seguire.

S.M. La particolarità di Piano – alto! è, tra le altre, di essere una residenza di ricerca. Nonostante diverse forme di restituzione previste per i mesi a venire, lo scopo di queste settimane di residenza non era di produrre un lavoro, ma di immergersi in una realtà altra e nutrire la tua riflessione. È la prima volta che ti trovi a partecipare a una residenza di ricerca? Come hai affrontato questa esperienza?
N.F. In realtà anche in precedenza ero stata in residenza alla Fondazione Bevilacqua La Masa, dove avevo cominciato un percorso di ricerca più che altro teorico, legato alla distanza e alla narrazione, che ha condotto poi tutta la mia ricerca e pratica più recente: dal progetto Monte Grappa in Messico alla costituzione del Metodo Salgari. Sono quindi arrivata alla residenza Piano – alto! con l’idea d’esplorare un luogo e di cercare piste da seguire, sperimentare nuove tecniche, leggere e osservare con l’idea di tornare con un serbatoio rinnovato di materiale da trasformare.

S.M. Una residenza è anche un’esperienza di vita. Che cosa significa per te risiedere in un luogo durante un periodo di tempo limitato? Quali erano le tue attese arrivando in Midi-Pyrénées e con quale bagaglio riparti in Italia?
N.F. Una pausa, un respiro, un’opportunità per fare altro. Partivo con l’idea di esplorare un territorio che non conoscevo, di capire anche qualcosa di piccolo da quest’esperienza. Torno con molto materiale, tanti incontri, conversazioni e paesaggi. E pure qualche dubbio che è per me una bella maniera di avvicinarsi a sapere.

1 “(…) Ma c’è senza dubbio una misura di grandezza anche per lo stato, come per ogni altra cosa, animali, piante, strumenti: ognuno di questi, se troppo piccolo o troppo eccedente in grandezza, non conserverà la propria capacità, ma talvolta rimarrà assolutamente privo della propria natura, talvolta si troverà in cattive condizioni: ad esempio un’imbarcazione di una spanna non sarà affatto imbarcazione, e neppure una di due stadi, che, raggiunta una determinata dimensione, talvolta per la piccolezza, talvolta per la dismisura, pregiudicherà la navigazione. Ugualmente uno stato, quando ha troppo pochi abitanti, non è autosufficiente (e lo stato è qualcosa di autosufficiente), quando ne ha troppi, sarà autosufficiente nelle esigenze indispensabili, come una nazione, ma non sarà uno stato, perché non è facile che abbia una costituzione: chi sarà, infatti, lo stratego di una massa di gente troppo smisurata? o chi l’araldo se non ha la voce di Stentore? Quindi condizione indispensabile per l’esistenza dello stato è che abbia un numero tale di abitanti che sia il minimo indispensabile in vista dell’autosufficienza per un’esistenza agiata in conformità alle esigenze d’una comunità civile. È possibile, certo, che uno stato superiore a questo per massa di abitanti sia più grande, ma tale possibilità d’incremento, come s’è già detto, non è illimitata: quale poi sia il limite dell’incremento, si vede facilmente dall’esame dei fatti. Le attività dello stato sono talune di chi comanda, altre di chi è comandato: è funzione di chi comanda impartire ordini e giudicare i processi: ma per decidere questioni di giustizia e per distribuire le cariche secondo il merito, è necessario che i cittadini si conoscano a vicenda nelle loro qualità, poiché, ove ciò non si avvera, di necessità le faccende riguardanti le cariche e le sentenze giudiziarie vanno male, e né nell’una né nell’altra è giusto affidarsi all’improvvisazione, come invece apertamente si pratica dove c’è troppa popolazione. Inoltre stranieri e meteci potranno più facilmente partecipare ai diritti della cittadinanza giacché, dato l’eccessivo numero della popolazione, non è difficile passare inosservati. È chiaro, quindi, che il limite migliore della popolazione d’uno stato è il seguente: deve avere l’incremento massimo al fine di vivere una vita autosufficiente e deve essere facilmente abbracciata in un unico sguardo. Siano, dunque, queste le precisazioni per quanto riguarda la grandezza dello stato”. Aristotele, Politica, libro primo.

novembre 2014

Image:
Nina Fiocco, Sans titre, Saint-Gaudens, 2014. © Nina Fiocco

Project: Piano – alto!
Protagonists: Nina Fiocco, Stefania Meazza
Spaces: Maison des Arts Georges Pompidou CAC, CAC Chapelle St Jacques, BBB centre d’art

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ALFRED JARRY ARCHIPELAGO

5 June – 30 August 2015
LE QUARTIER CAC (QUIMPER)
September – October 2015
MUSEO MARINO MARINI (FLORENCE)
18 October 2015 – 31 January 2016
CAC DE LA FERME DU BUISSON (NOISIEL)

from 5 June to 30 August 2015 at Le Quartier CAC (Quimper)
from September to October 2015 Museo Marino Marini (Florence)
from 18 October 2015 to 31 January 2016 CAC de La Ferme Du Buisson (Noisiel)

Artists: William Anastasi, Julien Bismuth, Pauline Boudry & Renate Lorenz, Paul Chan, Pauline Curnier Jardin, Rainer Ganahl, Dora Garcia, Goldin + Senneby, Thomas Hirschhorn, Mike Kelley, Tala Madani, Nathaniel Mellors, Shelly Nadashi, Henrik Olesen, Ante Timmermans, Sarah Vanhee, William Kentridge, Dan Perjovschi, Roee Rosen, Benjamin Seror, Yoan Sorin, Emmanuel Van der Meulen, Kara Walker…

Poet, playwright, draughtsman – and for many a proto-Dadaist precursor of modernists ranging from Marcel Duchamp to Harald Szeemann via the Futurists and the Surrealists – Alfred Jarry (1873-1907) shattered the straitjackets of the social, moral and artistic orders. Over a century later, his work and ideas once more seem to be driving force for a whole segment of our society and its art. The abject and the absurd; the relationship between language, the body and machines, and between power, knowledge and desire; not to mention identity, gender and social norms: all of these, explored in his life and writings with a devastating dose of dramatics, satire and narrative, seem to be finding a singular echo today. Homing in on various “Jarryesque” leitmotifs, Alfred Jarry Archipelago comes to us as a speculative investigation of their resurfacing in the visual arts, on the cusp of politics, theatre, dance and literature. In his famous ‘pataphysical’ novel Exploits and Opinions of Doctor Faustroll, Jarry describes an initiatory island-hopping voyage that abolishes factual geography in favour of its artistic equivalent. Each chapter of Book 3 recounts a landfall on an imaginary island dedicated to a writer or artist of the time. If he were sailing through the real world, what kind of landscape would Jarry orchestrate? Inviting him aboard as a posthumous curator, Alfred Jarry Archipelago comprises a host of islands – the worlds of different artists offering uncompromisingly subjective visions of the Jarry legacy. Their works blossom in time and space along a string of places, events and publications. The first stopovers are two group exhibitions at Le Quartier in Quimper and La Ferme du Buisson in Noisiel, together with a festival at the Museo Marino Marini in Florence in the course of 2015.

Artisti: William Anastasi, Julien Bismuth, Pauline Boudry & Renate Lorenz, Paul Chan, Pauline Curnier Jardin, Rainer Ganahl, Dora Garcia, Goldin + Senneby, Thomas Hirschhorn, Mike Kelley, Tala Madani, Nathaniel Mellors, Shelly Nadashi, Henrik Olesen, Ante Timmermans, Sarah Vanhee, William Kentridge, Dan Perjovschi, Roee Rosen, Benjamin Seror, Yoan Sorin, Emmanuel Van der Meulen, Kara Walker…

Poeta, drammaturgo, disegnatore – e per molti un precursore proto-dadaista dei modernisti da Marchel Duchamp a Harald Szeemann passando per Futuristi e Surrealisti – Alfred Jarry (1873-1907) ha scardinato i vincoli degli ordini sociali, morali e artistici. Dopo oltre un secolo, la sua opera e le sue idee rappresentano ancora una fonte d’ispirazione per un intero segmento della nostra società e per la produzione artistica. L’abietto e l’assurdo, le relazioni tra il linguaggio, il corpo e le macchine, tra potere, conoscenza e desiderio, per non parlare d’identità, genere e norme sociali sono tutti concetti affrontati con una magistrale dose di satira nelle sue opere. Tutto quello che anima la sua vita e le sue opere sembra trovare oggi una singolare eco.
Il progetto Alfred Jarry Archipelago si presenta come un’indagine approfondita sulle sue tematiche che riaffiorano nel campo delle arti visive tra politica, teatro, danza e letteratura.
Nel suo famoso romanzo ‘patafisico’ Gesta e opinioni del dottor Faustroll, Jarry descrive un viaggio iniziatico da un’isola all’altra che abolisce la geografia reale in favore del suo equivalente artistico. Ciascun capitolo del Libro 3 racconta di un approdo su un’isola immaginaria dedicata a uno scrittore o un artista del tempo. Se stessimo navigando nel mondo reale che tipo di scenario avrebbe concepito Jarry? Invitandolo come curatore postumo, Alfred Jarry Archipelago è composto da una miriade di isole – i mondi di vari artisti accomunati da visioni soggettive dell’eredità di Jarry. Le loro opere si sviluppano nel tempo e nello spazio, attraverso una serie di luoghi, eventi e pubblicazioni. Le prime tappe nel corso del 2015 sono due mostre collettive a Le Quartier a Quimper e a La Ferme du Buisson a Noisiel, oltre a una serie d’incontri e performance al Museo Marino Marini di Firenze.

Artistes : William Anastasi, Julien Bismuth, Pauline Boudry & Renate Lorenz, Paul Chan, Pauline Curnier Jardin, Rainer Ganahl, Dora Garcia, Goldin + Senneby, Thomas Hirschhorn, Mike Kelley, Tala Madani, Nathaniel Mellors, Shelly Nadashi, Henrik Olesen, Ante Timmermans, Sarah Vanhee, William Kentridge, Dan Perjovschi, Roee Rosen, Benjamin Seror, Yoan Sorin, Emmanuel Van der Meulen, Kara Walker…

Poète, dramaturge et dessinateur – qualifié de proto-dadaïste tant il paraît avoir anticipé certains développements de la modernité à venir (de Marcel Duchamp à Harald Szeemann en passant par les futuristes et les surréalistes) – Alfred Jarry (1873-1907) a pulvérise les limites de l’ordre social, moral et esthétique. D’un tournant de siècle à l’autre, l’œuvre et les idées de Jarry semblent de nouveau irriguer tout un pan de la société et de l’art contemporains. L’abject et l’absurde, la relation entre le langage, le corps et la machine, entre le pouvoir, le savoir et le désir, l’identité, le genre et les normes sociales, explorés tant dans sa vie que dans ses écrits à travers un usage destructeur de la théâtralité, de la satire et de la narration, semblent trouver un singulier écho aujourd’hui. Identifiant ainsi un certain nombre de motifs « jarryques », Alfred Jarry Archipelago se présente comme une quête spéculative de leurs résurgences dans les arts visuels, à la lisière du politique, du théâtre, de la danse et de la littérature. Dans son célèbre roman pataphysique, Gestes et Opinions du Docteur Faustroll, pataphysicien, Jarry décrit un voyage initiatique d’île en île dans lequel une géographie artistique se substitue à la géographie réelle. Chaque chapitre du livre III correspond à une halte dans une île fictive dédiée à un écrivain ou un peintre de son temps. S’il naviguait dans le monde actuel, quel paysage composerait l’auteur ? Convoquant la figure de Jarry comme curateur posthume, Alfred Jarry Archipelago se compose d’une multitude d’îles matérialisant l’univers de divers artistes pour esquisser une vision résolument subjective de son héritage. Les œuvres s’épanouissent dans le temps et dans l’espace à travers un chapelet de lieux, d’événements et de publications. Les premières escales sont constituées de trois projets collectifs en 2015 : au Quartier à Quimper, à la Ferme du Buisson à Noisiel et au Museo Marino Marini à Florence.

Image:
1. Tala Madani, Ol’Factory, 2014, single channel colour animation, 2’49. Courtesy the artist and Pilar Corrias gallery

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THE BOOK SOCIETY #02

13 June – 18 July 2015
PEEP-HOLE (MILAN)
16 October 2015 - 28 February 2016
CAC LA SYNAGOGUE DE DELME (DELME)

from 13 June to 18 July 2015 at Peep-Hole (Milan)
from 16 October 2015 to 28 February 2016 at CAC La Synagogue de Delme (Delme)

1.succulent

2. Rometti Costales, Succulent Strategies – Estrategias Suculentas, 2014 (detail)

2. Rometti Costales, Worn contingencies and their shadows (on a Riffian beach), 2013

3. Rometti Costales, Worn contingencies and their shadows (on a Riffian beach), 2013

The Book Society #02 develops from the collaboration between Peep-Hole and CAC La Synagogue de Delme, in continuity with the first edition organized in 2013 by Peep-Hole at Museum Villa Croce in Genoa.
The Book Society #02 intends to further contribute on the reflection on book as space of experimentation of contemporary artistic languages, through a program of exhibition, workshops and presentations taking place in Milan and Delme, creating different possibilities of analysis around art publishing.
At Peep-Hole, The Book Society #02 will see the realization of a reading room in the space of the art center, that will allow the public to access the publications by some of the most interesting European publishers. During the opening days, a theoretical-practical workshop lead by one of the invited publishers will take place, concerning issues of conception, creation and distribution of art publications.

3. The Book Society

4. The Book Society

The reading room will be conceived by Rio Grande, a creative platform in which craftsmanship and imagination, trial and error, materials and experimentation, all are used to create limited-edition objects characterized by uncommon combinations of shapes, textures, and surfaces. The program will include a special edition of Book Machine,an ongoing initiative by onestar press (Paris) connecting emerging designers and public participants through the creation of books, and consisting on a workshop and on a public presentation and discussion.

4. The Book Society

5. The Book Society

At CAC La Synagogue de Delme, The Book Society #02 will take shape of an exhibition by Julia Rometti (Nice, 1975) and Victor Costales (Minsk, 1974), who investigate, among other formats, the form of book as space to develop their long lasting researches. Rometti / Costales’ practice mixes many references, ranging from philosophy, poetry, literature, art history or anthropology… Their modus operandi include collages, multiplication of perspectives on a single object, inclusion of different agents in their production process, human or not (it can be stones, plants, craftsmen, insects…). The unpredictable, mistakes, permanent movements between memory and oblivion are always included in their production. If their whole work were a book, this book would be continuously “in translation”, from one perspective to another.
They will produce for La Synagogue de Delme a new project, thought especially for this venue, which will be a new chapter of their ongoing research.

5. The Book Society

6. The Book Society

The Book Society #02 est le fruit d’une collaboration entre Peep-Hole et La Synagogue de Delme, dans la continuité d’une première édition, organisée par Peep-Hole en 2013 à la Villa Croce de Gênes.
The Book Society #02 tend à poursuivre une réflexion autour du livre comme lieu d’expérimentation du langage artistique, à travers un programme d’expositions, de workshops et de présentations ayant lieu à Milan et à Delme, tout en créant différentes possibilités d’analyse autour de l’édition en art.
A Peep-Hole, The Book Society #02 consiste en une salle de lecture, qui permet au public d’avoir accès aux publications de certains des éditeurs les plus passionnants en Europe. Pour l’ouverture, un atelier théorique et pratique est mené par un des éditeurs invités, autour des questions de conception, création et distribution des éditions d’art. La salle de lecture est conçue par Rio Grande, une plateforme créative dans laquelle artisanat et imagination, essais et erreurs productifs, matériaux et expérimentation sont utilisés pour créer des éditions limitées, jouant de formes, de textures et de surfaces. Le programme inclut une édition spéciale de Book Machine, une initiative de One Star Press (Paris) qui implique des designers émergeants et la participation du public pour créer des livres, à l’occasion d’un atelier et d’une discussion publique.
A La Synagogue de Delme, le projet prend la forme d’une exposition personnelle de Julia Rometti (Nice, 1975) et Victor Costales (Minsk, 1974) : entre autres formats, le livre constitue pour eux un espace de recherche et d’expérimentation au sein d’une pratique qui mêle de multiples références, qu’elles soient philosophiques, poétiques, littéraires, ou encore historiques et anthropologiques. Leur mode opératoire inclue le collage, la multiplication de perspectives sur un objet unique, l’inclusion de différents agents dans leur processus de création, qu’ils soient humains ou pas (il peut s’agir de pierres, de plantes, d’artisans, d’insectes…). L’improvisation, l’erreur, les mouvements permanents entre mémoire et oubli sont récurrents dans leurs œuvres. Si l’ensemble de leur travail était un livre, ce livre serait continuellement « en traduction », d’une perspective à l’autre. Ils produiront pour La Synagogue de Delme un nouveau projet, pensé spécialement pour le lieu, qui constituera un nouveau chapitre au sein de leurs recherches actuelles.
En parallèle et dans la continuité de l’exposition, les artistes conçoivent un livre à paraître en 2016 aux éditions Guayaba Press (Mexico).

Images:
1. Rometti Costales, Succulent Strategies – Estrategias Suculentas, 2014 (detail), cacti, concrete posts and reinforcement rods. Exhibition view Vamoose, all cacti jut torrid nites, Kunsthalle Basel, 2014. Photo: Serge Hasenböhler. Courtesy Galerie Jousse entreprise and the artists
2. Rometti Costales, Succulent Strategies – Estrategias Suculentas, 2014 (detail), cacti, concrete posts and reinforcement rods. Courtesy Galerie Jousse Entreprise and the artists. Photo: the artists
3. Rometti Costales, Worn contingencies and their shadows (on a Riffian beach), 2013 (detail), 26 collages, C-prints, old paper, 45 x 35 cm. Courtesy of the artists, Galerie Jousse Entreprise, Paris and joségarcía ,mx. Photo: Caylon Hackwith
4-6. The Book Society

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DOUBLE CROSS, FROM BOTH SIDES OF A MOUNTAIN

26 September 2015 – 3 January 2016
CENTRE D’ART BASTILLE (GRENOBLE)
VIAFARINI DOCVA (MILAN)

26 September 2015 – 3 January 2016 at Centre d’Art Bastille (Grenoble)
Fall 2015 at Viafarini DOCVA (Milan) 

Curated by Simone Frangi and Vincent Verlé
Artists: Alessandro Di Pietro, Simon Fravega, Jacopo Miliani, Emilie Parendeau 

In the current scientific language, the double cross is a genetic process that produces a hybrid entity of two existing hybrid entities. As part of PIANO, a Franco-Italian curatorial platform created by d.c.a, two transdisciplinary vocation structures, open to the flow and crossroads of contemporary artistic languages, the CAB – Centre d’Art Bastille (Grenoble) focused on the impact of post-digital culture on artistic production, and Viafarini DOCVA (Milan) which addresses the performative and living practices analyzed in their social and political intelligibility, combined to create a draft bilateral exchange capable of hybridizing artistic directions of both contemporary production sites. The two artistic directors, Vincent Verlé and Simone Frangi, respectively chose two Italian artists and two French artists who were offered the opportunity to spend a residency of one month at CAB in Grenoble and a residency of one month at Viafarini DOCVA Milan (both in the Fall 2015). Each residency has the objective of achieving exposure, thus contributing to the ongoing research of both centers, and will be an opportunity for a one-week workshop with the students of the School of Fine Arts in Grenoble (for Jacopo Miliani and Alessandro Di Pietro) and with students of the Academy of Fine Arts of Brera and NABA – Nuova Accademia di Belle Arti in Milan (Simon Fravega and Emilie Parendeau).

Dans le langage scientifique actuel, la double croix est un processus génétique qui permet de produire une entité hybride de deux entités hybrides déjà existantes. Dans le cadre de PIANO, plateforme curatoriale franco-italienne, deux structures à vocation transdisciplinaire et ouverte à la fluidité et au croisement des langages artistiques contemporains, le CAB – Centre d’Art Bastille (Grenoble), porté sur l’impact de la culture post-digital sur la production artistique, et Viafarini DOCVA (Milan), porté sur les pratiques performatives et les pratiques vivantes, analysé dans leur intelligibilité sociale et politique, s’associent pour créer un projet d’échange capable d’hybrider les directions artistiques de ces deux sites de production contemporaine. Les deux directeurs artistiques, Vincent Verlé et Simone Frangi, ont choisi respectivement deux artistes italiens et deux artistes français qui se voient offrir la possibilité de passer un mois de résidence au CAB à Grenoble et un mois de résidence à Viafarini DOCVA à Milan (automne 2015). Chaque résidence a pour objectif la réalisation d’une exposition dans leur lieu de résidence, contribuant ainsi à la recherche en cours dans les deux centres, et sera l’occasion d’un workshop d’une semaine avec les étudiants de l’Ecole Supérieure des Beaux Arts de Grenoble (pour Jacopo Miliani et Alessandro Di Pietro) et avec les étudiants de l’Académie des Beaux-Arts de Brera et NABA à Milan (pour Simon Fravega et Emilie Parendeau).

Image:
Alessandro Di PIetro, NEW VOID (The Movie), 2014, HD video, 29′ 42” / Directed by Alessandro Di Pietro, Written by Alessandro Di Pietro and Ana Shametaj, Music by Enrico Boccioletti

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RED SWAN HOTEL

16 May – 27 September 2015
CNEAI = (CHATOU)
27 November 2014 – 15 March 2015
MACRO MUSEO D’ARTE CONTEMPORANEA ROMA (ROME)

from 23 June to 7 July 2014: residency of curators Maria Alicata, Daniele Balit, Adrienne Drake (1:1projects) at Cneai = (Chatou)
27 November 2014 – 15 March 2015: exhibition at MACRO Museo d’arte contemporanea Roma (Rome)
16 May – 27 September 2015: exhibition at Cneai = (Chatou)

Guest curators: Maria Alicata, Daniele Balit, Adrienne Drake (1:1projects, Rome)
Artists: Continuous Project, Pascal Doury, Michel Journiac, Ben Kinmont, Pierre Leguillon, Seth  Price, Yann Sérandour, Samon Takahashi. 

Red Swan Hotel_Takahashi_Polar Praxis

2. Samon Takahashi, Polar Praxis, 2009

9. Samon Takahashi, Axe, 2014

3. Samon Takahashi, Installation view, 2014

8. Yann Sérandour, Le Plein, 2008

4. Yann Sérandour, Le Plein, 2008

7. Pierre Leguillon, Cherchez l’auteur, 2006

5. Pierre Leguillon, Cherchez l’auteur, 2006

6. Ben Kinmont, Promised relations: or thoughts concerning a few artists’ contracts, 1996

6. Ben Kinmont, Promised relations: or thoughts concerning a few artists’ contracts, 1996

5. Ben Kinmont, Congratulations, 1995-present

7. Ben Kinmont, Congratulations, 1995-present

4. Red Swan Hotel, Installation view, MACRO

8. Red Swan Hotel, Installation view, MACRO

3. Red Swan Hotel, Installation view, MACRO

9. Red Swan Hotel, Installation view, MACRO

2. Red Swan Hotel, Installation view, MACRO

10. Red Swan Hotel, Installation view, MACRO

Red Swan Hotel is a three-fold project, which consists of a research residency by members of the curatorial collective 1:1projects (Maria Alicata, Daniele Balit and Adrienne Drake) at Cneai (Chatou), an exhibition at MACRO Museo d’Arte Contemporanea Roma (Rome), and an exhibition at Cneai.
Since 2006, 1:1projects has developed an archive of artists’ portfolios, visual material, film and video, and sound pieces, which highlight current methodologies in contemporary art; in 2012 1:1projects and MACRO initiated a collaboration in which the archive is now housed at the museum.
FMRA, the archive collection at Cneai, is a rich and extensive collection of artist editions, books and documentary materials. Situated on the Île des Impressionistes at the edge of Paris, Cneai is an active centre in the field of production and diffusion of contemporary art practice, establishing an important profile of research and experimentation, known on a national and international level.
The collaboration between 1:1projects, MACRO and Cneai will focus on and develop around the theme of the archive format: the creation of an archive, the requisites for such a creation, the collecting processes, and – primarily – on forms of activation and display.
After a research residency at Cneai, the curators will develop two distinct, though inter-dependent, exhibitions. The show at MACRO will focus on a selection of materials drawn directly from Cneai’s FMRA collection; during the course of the exhibition there will also be a program of lectures, artist interventions and performances that demarcate the process of activating an archive. The exhibition at Cneai will instead be orientated towards the presentation of artworks by artists who are included in the archive of 1:1projects. This exhibition also foresees a series of performances and commissioned artworks loosely based on the question of archive and activation.

 

 

 

Una ricerca sui due archivi, (quello italiano di 1:1projects e quello francese della collezione FMRA del Cneai) sarà condotta da un gruppo di curatori italiani e francesi e svilupperà forme di attivazione (produzioni artistiche, riflessioni teoriche, lecture, performance…), che daranno luogo a una mostra declinata in due versioni diverse, negli spazi del MACRO e del Cneai.
Circa dieci artisti saranno invitati ad attivare e implementare opere esistenti negli archivi, dando luogo a nuove produzioni e performance. Il progetto prevede dunque una mostra al MACRO, una mostra al Cneai, un programma di attività (performance, interventi, produzioni) e una pubblicazione.
Il progetto e incentrato su ciò che viene definito come pratiche dell’“ephemera“: un campo di sperimentazione e di produzione che si sviluppa in tutte le sfere artistiche e che risponde alle attuali urgenze di fluidità, rete, scambio e trasmissione. Tre costanti sembrano essere determinanti per valutare queste pratiche artistiche, che infrangono le frontiere tra le categorie (visivo, sonoro, letterario) e tra le forme (oggetti, performance, immagini):
- Forme derivate: curatoriali, editoriali, di collezionismo e ricerca. Un numero crescente di attori agisce in parallelo sulla questione dell’edizione artistica.
- La messa in discussione delle frontiere culturali. Le produzioni richiamano tanto espressioni poetiche che letterarie, musicali, filmiche, scientifiche, o di design.
- Gli attori ibridi. Gli attori sono di volta in volta artisti, editori, curatori, collezionisti, venditori o ricercatori. Essi confermano l’attualità della frase di Godard degli anni settanta: “un produttore libero e indipendente va messo dalla parte degli artisti”.

 

Une recherche au sein de deux archives, l’une italienne (1:1projects), l’autre française (collection FMRA du Cneai) est menée par un groupe de curateurs italiens et français et développe des sujets d’activations par des artistes donnant lieu a une exposition qui sera présentée sous deux versions actualisées dans les espaces du MACRO et du Cneai.
Une dizaine d’artistes seront invités à augmenter et activer des pièces existantes dans les collections. L’aboutissement du projet prévoit donc : une exposition au MACRO, une exposition au Cneai, un programme d’activation (performances et productions), une publication.
Le projet traite de ce qu’il est convenu de nommer la pratique de l’éphéméra. Ce champ d’expérimentation et de production se développe dans toutes les sphères artistiques, et répond aux urgences actuelles : fluidité, réseau, échange, transmission. Trois constantes paraissent déterminantes pour évaluer ces pratiques artistiques multi-modales qui brisent les frontières entre les catégories (visuelle, sonore, littéraire) et entre les formes (objets, performances, images) :
- Les actes dérivés : curatoriaux, éditoriaux, de collection et de recherche. Un nombre croissant de collectionneurs agit en parallèle des commissaires et éditeurs comme des chercheurs sur la question de l’édition en art.
- La mise en cause des frontières culturelles. Les productions font autant appel a l’expression poétique que littéraire, musicale, filmique, scientifique ou au design.
- Les acteurs hybrides. Une partie des acteurs sont tour a tour artistes, éditeurs, curateurs, collectionneurs, vendeurs ou chercheurs. Ils démontrent aujourd’hui la pertinence du slogan lancé par Godard dans les années soixante-dix : « un producteur libre et indépendant est à ranger du côté des artistes ».

Images:
1. Promenadologues #2 (exhibition of FMRA collection), Cneai, Chatou, 2012. Photo: Aurélien Mole
2. Samon Takahashi, Polar Praxis, 2009, wood, stainless steel. Courtesy the artist. Photo: Giorgio Benni
3. Samon Takahashi, installation view MACRO Museo d’arte contemporanea Roma, 2014. Photo: Giorgio Benni
4. Yann Sérandour, Le Plein, 2008, digital print on paper; dimensions variable. Courtesy the artist and gb agency, Paris. Photo: Giorgio Benni
5. Pierre Leguillon, Cherchez l’auteur, 2006, coconut mat. Collection cneai =. Photo: Giorgio Benni
6. Ben Kinmont, Promised relations: or thoughts concerning a few artists’ contracts, 1996. Courtesy the artist and Air de Paris. Photo: Giorgio Benni
7. Ben Kinmont, Congratulations, 1995-present. Courtesy the artist and Air de Paris. Photo: Giorgio Benni
8-10. Red Swan Hotel, installation view MACRO Museo d’arte contemporanea Roma, 2014. Photos: Giorgio Benni

 

 

 

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La démocratie est illusion – La democrazia è illusione

8 February – 3 May, 2014
PASSERELLE CENTRE D’ART CONTEMPORAIN (BREST)
14 November 2014 – 15 January 2015
VILLA CROCE MUSEO D’ARTE CONTEMPORANEA (GENOA)

from 8 February to 3 May 2014 at Passerelle Centre d’art contemporain (Brest)
from 14 November 2014  to 15 January 2015 at Villa Croce Museo d’Arte Contemporanea (Genoa)
Artists: Goldschmied & Chiari

CAP-Goldshmied Chiari-004

2. Exhibition view, Passerelle Centre d’art contemporain

CAP-Goldshmied Chiari-005

3. Exhibition view, Passerelle Centre d’art contemporain

CAP-Goldshmied Chiari-009

4. Exhibition view, Passerelle Centre d’art contemporain

CAP-Goldshmied Chiari-027

5. Exhibition view, Passerelle Centre d’art contemporain

CAP-Goldshmied Chiari-051

6. Exhibition view, Passerelle Centre d’art contemporain

7. Exhibition view, Museo d'arte contemporanea Villa Croce

7. Exhibition view, Museo d’arte contemporanea Villa Croce

8. Exhibition view, Museo d'arte contemporanea Villa Croce

8. Exhibition view, Museo d’arte contemporanea Villa Croce

9. Exhibition view, Museo d'arte contemporanea Villa Croce

9. Exhibition view, Museo d’arte contemporanea Villa Croce

10. Exhibition view, Museo d'arte contemporanea Villa Croce

10. Exhibition view, Museo d’arte contemporanea Villa Croce

11. Exhibition view, Museo d'arte contemporanea Villa Croce

11. Exhibition view, Museo d’arte contemporanea Villa Croce

For their solo exhibition entitled La démocratie est illusion / La democrazia è illusione, Goldschmied & Chiari focus on the similarities between the practices of illusionism and those of the intelligence service, both used in the representation of deception and to persuade and fascinate the viewer. Through various media such as collage, photography, installations, video, as well as ethereal materials like sand, smoke, scenic devices and mirrors, Goldschmied & Chiari construct an imaginary set in which the secret operations during the Cold War are staged through sleight of hands and the materials used by the most famous illusionists in history.

A large part of the works exhibited reveals the inspiration and influences drawn from famous magicians. Above all Harry Houdini with his famous tricks, like “hiding the elephant”, the “needle trick”, the “torture watercell”, the “metamorphosis trick”, and the “handcuff trick”. In his escapology performances the use of conflict and the extreme challenge made him unique. Other influences come from the illusionists Jasper Maskerlyne and John Mulholland. The artists themselves state that what mostly influenced them during the realization of the project was “the actual collaboration, during major military operations, between professional magicians and the intelligence.” A prime example was the illusionist Jasper Maskerlyne, who served in the British MI16 during the Second World War. He invented techniques of camouflage and disguise that enabled the Allies to stop a series of German military actions in North Africa. Thanks to a game of light and a blinding device made with a mirror, Maskerlyne architected the disappearance of the Canal of Suez from the sight of German bombers. He camouflaged thousands of trucks, carrying tanks. He “moved” the port of Alexandria, and built a reproduction of it with straw, mud and wood, only a few miles away from the real port, therefore diverting the Italo-German bombers. Another example of collaboration is the one between the magician John Mulholland and the CIA. The illusionist wrote a secret essay, CIA Manual of Trickery and Deception (1950), a manual of magic that provided guidance to the CIA agents to decipher certain behaviors, and suggested specific techniques to hide themselves and to conceal documents. As affirmed by the former CIA director John McLaughlin, “Just as a magician’s methods must elude detection in front of a closely attentive audience, so an intelligence officer doing espionage work must elude close surveillance and pass messages and material without detection.”

 

La democrazia è illusione mette a fuoco l’interesse delle artiste per l’illusionismo e la similitudine tra le pratiche della magia e quelle dei servizi segreti nella rappresentazione dell’inganno e nella persuasione e fascinazione dello spettatore/cittadino. Attraverso vari media come collages, fotografia, installazioni, video e materiali eterei come sabbia, fumo, dispositivi scenici e specchi, Goldschmied & Chiari costruiscono un set immaginario nel quale le operazioni segrete durante la Guerra fredda vengono messe in scena attraverso l’uso dei prestigi e dei materiali usati dai più famosi illusionisti. Molte delle opere presenti in mostra sono ispirate alle performances del mago Harry Houdini, ai suoi famosi tricks, come hiding the elephant, the needle trick, the torture watercell, the metamorphosis trick e the handcuff trick, che si strutturavano come sfide in situazioni estreme nei suoi spettacoli di escapologia. Goldschmied & Chiari affermano: “l’effettiva collaborazione tra maghi professionisti e servizi segreti in importanti operazioni militari ci ha affascinato. Esemplare l’Illusionista Jasper Maskelyne: al servizio del MI16 britannico durante la seconda guerra mondiale ideo tecniche di mimetizzazione e mascheramento che permisero agli Alleati di far fallire molte azioni belliche tedesche nel Nord-Africa. Maskelyne, grazie a giochi di luce e un dispositivo accecante realizzato in specchio, fu artefice della “sparizione” del Canale di Suez, nelle mire dei bombardieri tedeschi.

 

Dans La démocratie est illusion / La democrazia è illusione, Goldschmied & Chiari (précédemment goldiechiari) explorent les similitudes entre les pratiques de l’illusionnisme et celles des services secrets, toutes deux utilisées dans la représentation de la tromperie pour persuader et fasciner le spectateur. A travers différents médias comme le collage, la photographie, les installations, la vidéo mais aussi des matériaux éthérés comme le sable, la fumée, les dispositifs scéniques et les miroirs, Goldschmied & Chiari construisent un ensemble imaginaire dans lequel les opérations secrètes durant la guerre froide sont mises en scène à travers les tours de mains et les matériaux utilisés par les plus grands illusionnistes de l’histoire. Une grande partie des œuvres exposées révèle l’inspiration et les influences des plus grands magiciens et principalement les célèbres tours de Harry Houdini comme le dispositif de disparition de l’éléphant, le tour de l’aiguille, la chambre aux tortures, le tour de la métamorphose, ou encore le tour des menottes. Ses performances d’évasion, les luttes et les challenges extrêmes ont fait de lui un personnage unique. Les illusionnistes Jasper Maskerlyne et John Mulholland ont également beaucoup inspiré le travail de Goldschmied & Chiari. Elles affirment elles-mêmes que ce qui les a essentiellement influencé dans la réalisation de leur projet est « la réelle collaboration durant les opérations militaires majeures entre les magiciens professionnels et les services de renseignements ».

Images:
2-6. Goldschmied & Chiari, La démocratie est illusion / La democrazia è illusione, exhibition views, Passerelle Centre d’art contemporain. Photos: © Aurélien Mole, 2014
7-11. Goldschmied & Chiari, La democrazia è illusione, 2014, Museo d’Arte Contemporanea Villa Croce, Genova. Photos: Nuvola Ravera

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Marcella Beccaria in conversation with Goldschmied & Chiari

 FOR SECRET EYES ONLY

With great coherence, Goldschmied & Chiari have been investigating the role of women artists born in Italy, a country where contradictions seem endless and belonging to a specific historical time in which events, spread around through the web sometimes even before they take place, relentlessly shake off the concreteness of reality, redrawing the concept of truth. In recent years, Goldschmied & Chiari have also investigated the idea of the nation, and, focusing on facts which Italians seem to prefer to forget, produced Genealogia di damnatio memoriae. The series consists of tall trees on which the artists carved lists of dates and places to represent the sequence of tragic events that run in Italian history. I meet the artists in the gardens of the Castle of Rivoli, where the three trees, which they worked on for the exhibition La storia che non ho vissuto [History I did not live through] in 2012, are planted.

rivoli

1. Genealogia di damnatio memoriae Torino 1965-1982, 2012

Marcella Beccaria I often find myself watching how visitors behave when facing these works. The connection with the tragic reality that each tree tells – from the terrible events occurred in Italy from 1969 up to the killing of Pasolini, and then the series of murders at the hands of the Red Brigades in Italy – often happens gradually, as if history revealed itself slowly, and only to those who really care for it.

gen_5

2. Genealogia di Damnatio Memoriae 1965-1981, 2009

Goldschmied & Chiari Genealogie di damnatio memoriae are a series of works we worked on for four years, from 2009 to 2013. They consist of trees which have been carved but are living, hence still enduring seasonal changes and the normal growth and life of trees, suggesting a relationship with history in constant evolution and change. It is this relationship that we address and which involves, as you noted, the development of a certain kind of relationship with the people who come into contact with the works – something that entails a gradual unveiling.M.B. Last year there was a further evolution, I would say. New works that expand to investigate the history of Europe and a new type of relationship with the visitor, whom I think you aim to “captivate” in an almost etymological sense of the term and with many references to the performances of early century illusionists.

G.&C. Research on Italian history of the seventies led us to explore the countless international geopolitical connections related to the Western bloc strategies during the Cold War. Following these connections, we often came across the strong influence and the role of intelligence agencies in defending the State and interfering with the domestic politics and the agenda of countries belonging in the Atlantic Pact. This way of acting behind the scenes of democracy – bypassing the eyes of citizens with cunning cover-up tricks and manipulating information – has many similarities with the way illusionists, through their stage machines, speed of action and clever talk enact their trickeries.

M.B. So the result of your interest for the two activities is the large installation Hiding the Elephant, which you presented in Brest?

G.&C. Yes, with the title intended in the literal sense. The work refers to the extraordinary performance which the illusionist Harry Houdini held in 1918 at the Hippodrome in New York, where he made an elephant disappear in front of a crowd of thousands. Our work consists of 160 two-dimensional head silhouettes suspended in midair. Each has its twin, carrying on one side a digital portrait and on the other a mirror surface. All the characters portrayed are presidents, politicians, poets and journalists who “mysteriously” disappeared, were exiled or persecuted for political reasons during the cold war, and victims of international actions by Western intelligence agencies. Like in a magic trick, these face silhouettes hang at different heights, and when moving produce different shadow and light effects on the walls.

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3. Dispositivo di rimozione #5, 2010

M.B. One has to stop in the exhibition room for a while to make contact with this work.

G.&C. Once in a while, the area around the work is filled with dense smoke which conceals the faces, making them hazy and unrecognizable. Then the smoke gradually vanishes, revealing the faces clearly. In this installation, the metaphor of Houdini’s trick is staged via the smoke, the light, and the reflections of the mirrors, reproducing the disappearance/removal of the history of the characters portrayed and the covert actions in which they were involved.

M.B. In this exhibition the idea of illusion also includes the way in which the different works engage with each other. There are “magic boxes” that reflect in large mirrors, with smoke appearing to seep out of the boxes themselves and entering the reflected world, and there are “tricks” that seem to hark back to the dawn of the history of cinema.

G.&C. Yes, it’s as if the works were in constant interaction with each other, and changed with time and the viewers. Using mirror as the material of choice for many of the works makes the show relational and open to the constant change of context. La démocratie is always changing depending on weather and daylight. The face silhouettes of Hiding the Elephant revolve on themselves, and lit by direct light they cast shadows and send reflections all over the room, sometimes blinding visitors for a few seconds, creating an effect of movement and life in the installation itself. The reflections also find their way into the other room, casting shadows on the Fragments (2014) video and on the Medusa Mirrors (2014). The Boîtes Magiques [Magic Boxes] (2014) are in turn reflected in the smoke-stained mirrors, creating the illusion that the colored smoke is seeping through the boxes while it is instead actually smeared on the surface of the Medusa Mirrors.

M.B. In Brest the exhibition route begins with a strong statement, La démocratie est illusion, written with large reflecting letters in an almost gothic typeface. Where does the quote come from?

G.&C. This is the first work of the series, and was born as a watercolor, to be then transformed into an installation, and finally into the title of the Brest and Genoa exhibitions. La démocratie est illusion [Democracy is an illusion] (2014), located at the entrance of the exhibition, challenges the visitor and introduces the installation Hiding the Elephant. The reflecting surface of the letters produces an optical effect, making them appear like windows into another dimension, as if there were a twin room on the other side of the wall, forcing the viewer to look carefully and not to be deceived by appearances. What we like to explore is the similarity in the practice of deception and illusion in representing reality between stage magic and intelligence agency procedures. By making his trick realistic, the magician deceives the spectator and makes him blind to the stage, producing a sense of childlike wonder and disbelief. The relationship between stage magic and intelligence agency procedures is that the public wants to be other-directed, it does not want to find out about the trick. The question lies in the “the difference between believing and seeing, between believing one sees and seeing between, catching a glimpse – or not” (Jacques Derrida).

Project: La démocratie est illusion
Protagonists: Goldschmied & Chiari
Spaces: Passerelle Centre d’art contemporain, Villa Croce Museo d’Arte Contemporanea

 

Con grande coerenza, da anni Goldschmied & Chiari indagano il loro ruolo di artiste donne, figlie di un Paese come l’Italia, nel quale le contraddizioni sembrano inesauribili e di un preciso tempo storico nel quale gli eventi, diffusi attraverso il web talvolta ancora prima di accadere, si scrollano con insistenza dalla concretezza del reale, ridisegnando il concetto di verità. In anni recenti, Goldschmied & Chiari si sono interrogate sull’idea di nazione, e soffermandosi su fatti che gli italiani sembrano preferire dimenticare, hanno realizzato Genealogia di damnatio memoriae. La serie consiste in alberi di alto fusto sui quali le artiste incidono nella forma di elenchi di date e luoghi la tragica sequenza di sangue che corre nella storia italiana. Incontro le artiste nel giardino del Castello di Rivoli, dove sono piantati i tre alberi che hanno sviluppato nel 2012, in occasione della mostra La storia che non ho vissuto.

Marcella Beccaria Spesso mi ritrovo ad osservare come i visitatori si comportano davanti a queste opere. L’incontro con la tragica realtà che ciascun albero racconta – dalla sequenza di stragi accadute in Italia dal 1969 fino all’assassinio di Pasolini e poi la serie di omicidi ad opera delle Brigate Rosse a Torino – è spesso graduale, è come se la storia si svelasse lentamente, e solo per coloro che davvero la cercano.

Goldschmied & Chiari Le Genealogie di damnatio memoriae sono il ciclo di opere alle quali abbiamo dedicato gli ultimi quattro anni di ricerca, dal 2009 al 2013. Sono alberi viventi intagliati, come tali sono suscettibili alla trasformazione data dal ciclo delle stagioni e dalla crescita e dalla vita dell’albero, suggerendo un rapporto con la Storia in continua evoluzione e cambiamento. È questa relazione che ci interessa e che include, come dici, lo sviluppo di un certo tipo di relazione con chi incontra l’opera, pensando proprio a uno svelamento graduale. 

M.B. Lo scorso anno c’è stata un’evoluzione ulteriore direi. Nuove opere che si allargano a indagare la storia europea e un nuovo tipo di relazione con gli spettatori, che mi sembra vogliate “accattivare”, nel senso quasi etimologico del termine e con molteplici riferimenti alle pratiche degli illusionisti di inizio secolo.

G.&C. La ricerca sulla storia italiana degli anni Settanta ci ha portato a esaminare la molteplicità di connessioni geopolitiche internazionali connesse alle strategie del blocco occidentale durante la guerra fredda. Seguendo queste connessioni ci siamo imbattute più volte nella forte influenza e nel ruolo dei servizi segreti nella difesa dello Stato e nelle ingerenze nel determinare la politica interna e l’agenda degli Stati appartenenti al patto atlantico. Questo modo di agire dietro le quinte della democrazia – aggirando lo sguardo della cittadinanza con abili trucchi di insabbiamento e manipolazione dell’informazione – ha molte similitudini con la pratica e il modo di operare degli illusionisti che attraverso macchine sceniche, velocità d’azione e affabulazione mettono in scena i propri prestigi.

M.B. Quindi il risultato dell’interesse per le due pratiche è la grande installazione Hiding the Elephant che avete presentato a Brest?

G.&C. Si, con il titolo inteso in senso letterale: occultando l’elefante. L’opera si riferisce alla spettacolare performance del mago Harry Houdini che nel 1918 all’ippodromo di New York fece scomparire un elefante di fronte a migliaia di spettatori. L’opera consiste di 160 sagome di teste bidimensionali, sospese nello spazio espositivo. Ognuna di esse ha la sua gemella, composta su un lato da un ritratto fotografico digitale e sull’altro da una superficie specchiante. Tutti i personaggi ritratti sono presidenti, politici, poeti e giornalisti “misteriosamente” scomparsi, esiliati o perseguitati durante la guerra fredda per motivi politici e vittime di operazioni internazionali dei servizi segreti occidentali. Come in un trucco magico, queste silhouettes di volti sono sospese a diverse altezze e si muovono producendo differenti effetti di proiezione di ombre e luci sulle pareti.

M.B. Bisogna sostare per un po’ nella sala espositiva per entrare in contatto con questo lavoro.

G.&C. Ciclicamente lo spazio dell’opera è invaso da un fumo denso che nasconde i volti e li rende confusi e irriconoscibili. Il disvelamento avviene dopo pochi minuti di attesa, nei quali pian piano il fumo si dirada, mostrando chiaramente i visi. Nell’installazione la metafora dell’illusione di Houdini viene messa in scena grazie al fumo, alla luce e alle riflessioni degli specchi, riproducendo la sparizione/rimozione della storia dei personaggi ritratti e delle operazioni segrete nelle quali erano coinvolti.

M.B. In questa mostra l’idea di illusione include anche il modo in cui le diverse opere entrano in relazione le une con le altre. Ci sono “scatole magiche” che si riflettono in grandi specchi, con l’illusione che del fumo esca dalle stesse scatole ed entri nel mondo riflesso, ci sono “trucchi” che sembrano guardare anche agli albori della storia del cinema.

G.&C. Si, è come se le opere fossero in continuo dialogo fra loro e cambiassero con il passare degli spettatori e del tempo. La scelta di utilizzare lo specchio come materiale di molti dei lavori rende la mostra relazionale e suscettibile al continuo cambiamento del contesto. La démocratie si modifica continuamente a seconda delle condizioni atmosferiche e della luce del giorno. Le silhouettes dei visi di Hiding the Elephant ruotano su sé stesse, illuminate da una luce diretta producono ombre e riflessioni in tutta la sala accecando a volte per pochi secondi lo spettatore, producendo un effetto di movimento e vita dell’installazione stessa. Le riflessioni invadono l’altra sala e proiettano le loro ombre sul video Fragments (2014) e sugli specchi Medusa Mirrors (2014). Le scatole magiche (Boîtes Magiques, 2014) si riflettono a loro volta negli specchi stampati con fumo, creando l’illusione nella riflessione che siano le scatole stesse a produrre il fumo colorato stampato sulla superficie dei Medusa Mirrors.

M.B. A Brest il percorso della mostra inizia con una dichiarazione forte, La démocratie est illusion, che avete sviluppato con grandi lettere specchianti, in grafia quasi gotica. Da dove viene la citazione?

G.&C. Si tratta del primo lavoro della serie e nasce come acquerello, successivamente viene trasformato in una installazione e nel titolo della mostra di Brest e Genova. La démocratie est illusion (2014), che si trova all’ingresso del percorso espositivo, provoca lo spettatore e lo introduce all’installazione Hiding the elephant. La superficie specchiante produce un effetto ottico, nel quale le lettere sembrano l’ingresso per un’altra dimensione, come se ci fosse una sala gemella al di là del muro. Sfida lo spettatore a guardare attentamente e a non farsi ingannare dalle apparenze.
Ciò che ci interessa è la similitudine nella pratica dell’inganno e  dell’illusione nella rappresentazione della realtà da parte della magia scenica e della politica dei servizi segreti. Rendendo il trucco realistico, il mago inganna lo spettatore e lo rende cieco di fronte al palco, restituendo una sensazione di stupore infantile e incredulità. La relazione tra la magia e le pratiche dei servizi segreti sta nel fatto che il pubblico vuole essere etero-diretto, non vuole scoprire il trucco. La questione si gioca nella “differenza tra credere e vedere, tra credere di vedere e intravedere o meno” (Jacques Derrida).

Images:
1. Goldschmied & Chari, Genealogia di damnatio memoriae Torino 1965-1982, 2012. Courtesy Catsello di Rivoli
2. Goldschmied & Chari, Genealogia di Damnatio Memoriae 1965-1981, 2009
3. Goldschmied & Chari, Dispositivo di rimozione #5, 2010

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The Registry of Promise

9 May – 18 July 2014
FONDAZIONE GIULIANI (ROME)
14 June – 14 September 2014
PARC SAINT LÉGER (POUGUES-LES-EAUX)
12 September – 21 December 2014
CENTRE D’ART CONTEMPORAIN D’IVRY – LE CRÉDAC (IVRY-SUR-SEINE)
25 January – 29 March 2015
DE VLEESHAL (MIDDELBURG)

from 9 May to 18 July 2014 at Fondazione Giuliani (Rome)
from 14 June to 14 September 2014 at Parc Saint Léger (Pougues-les-Eaux)
from 12 September to 21 December 2014 at Centre d’art contemporain d’Ivry – le Crédac (Ivry-sur-Seine)
from 25 January to 29 March 2015 at De Vleeshal (Middelburg, Netherlands)

Guest curator: Chris Sharp

Artists: Peter Buggenhout, Jochen Lempert, Marlie Mul, Jean-Marie Perdrix / Patrick Bernatchez, Juliette Blightman, Rosalind Nashashibi, Francisco Tropa, Andy Warhol, Anicka Yi / Nina Canell, Alexander Gutke, Mandla Reuter, Hans Schabus, Michael E. Smith, Antoine Nessi / Becky BeasleyMichael DeanJean-Luc MoulèneMatt MullicanReto PulferLucy SkaerCarlo Gabriele Tribbioli

The Registry of Promise is a series of exhibitions that reflect on our increasingly fraught relationship with what the future may or may not hold in store for us. These exhibitions engage and play upon the various readings of promise as something that simultaneously anticipates a future, its fulfillment or lack thereof, as well as a kind of inevitability, both positive or negative. Such polyvalence assumes a particular poignancy in the current historical moment. Given that the technological and scientific notions of progress inaugurated by the enlightenment no longer have the same purchase they once did, we have long since abandoned the linear vision of the future the enlightenment once betokened. Meanwhile, what is coming to substitute our former conception would hardly seem to be a substitute at all: the looming specter of global ecological catastrophe. From the anthropocentric promise of modernity, it would seem we have turned to a negative faith in the post-human. And yet the future is not necessarily a closed book. Far from fatalistic, The Registry of Promise takes into consideration these varying modes of the future while trying to conceive of others. In doing so, it seeks to valorize the potential polyvalence and mutability at the heart of the word promise.
Taking place over the course of approximately one year, The Registry of Promise consists of four autonomous, inter-related exhibitions, which can be read as individual chapters in a book. It will be inaugurated by The Promise of Melancholy and Ecology at the Fondazione Giuliani, Rome, which will be followed by The Promise of Multiple Temporalities at Parc Saint Léger, Pougues-Les-Eaux, then The Promise of Moving Things at Centre d’art contemporain d’Ivry – le Crédac, and will conclude with The Promise of Literature, Soothsaying and Speaking in Tongues at De Vleeshal, Middelburg.

The Promise of Melancholy and Ecology
Artists: Peter Buggenhout, Jochen Lempert, Marlie Mul, Jean-Marie Perdrix.
This exhibition explores the relationship between melancholy and ecology.

Peter Buggenhout, Gorgo #29, 2013

2. Peter Buggenhout, Gorgo #29, 2013

Peter Buggenhout, Gorgo #33, 2013

3. Peter Buggenhout, Gorgo #33, 2013

Jochen Lempert, The Skins of Alca Impennis, 1995-2013

4. Jochen Lempert, The Skins of Alca Impennis, 1995-2013

Marlie Mul, Puddle (Black Disposable), 2013

5. Marlie Mul, Puddle (Black Disposable), 2013

Jean-Marie Perdrix, Cheval, bronze à la chair perdue 3, 2013

6. Jean-Marie Perdrix, Cheval, bronze à la chair perdue 3, 2013

Part one, The Promise of Melancholy and Ecology addresses our increasingly forlorn and conflicted relationship to nature. Like so many Freudian melancholics, we are, it seems, unable to properly mourn the loss of something we can only imperfectly grasp – that is nature, or our conception of it – because we can no longer separate it from our own egos. Thus this exhibition explores our perception of nature as something remote, largely of the domain of the unrecoverable past, and which can only be represented through extinction, as in the photos of German artist Jochen Lempert of the Alca Impennis, or the Great Auk, which went extinct in the middle of the 19th century. Over the course of the past twenty years, Lempert has photographed 35 of the 78 extinct examples, which can be found in natural history museums all over the world. The harrowing bronze and carbon sculptures of truncated animals by the French artist Jean-Marie Perdrix, which are made with the lost wax technique, speak to a similarly bygone intimacy with nature, but one whose infernal indexicality cannot but directly evoke Pompeii. The Belgian artist Peter Buggenhout’s tenebrous detrital assemblages tend toward a revised conception of the so-called natural by investing industrial materials with a quasi-organic quality. Finally, Dutch artist Marie Mul’s dark resin puddles, occasionally inflected with cigarette butts and plastic bags, assume a disturbing cogency in this context, as if they were the only plausible fluids available to our increasingly desolate conception of nature. And yet for all its apparent gloom, the work in this exhibition nevertheless collectively gestures toward the possibility that our perception of what it seeks to preserve, as opposed to mourn, might be less flexible than nature itself.

The Promise of Multiple Temporalities
Artists: Patrick Bernatchez, Juliette Blightman, Rosalind Nashashibi, Francisco Tropa, Andy Warhol, Anicka Yi.

Fransisco Tropa, Lantern (drop), 2012

7. Fransisco Tropa, Lantern (drop), 2012

parc

8. Juliette Blightman, This World Is not My Home, 2010

Rosalind Nashashibi, The Prisoner, 2008

9. Rosalind Nashashibi, The Prisoner, 2008

Part two, The Promise of Multiple Temporalities, responds to the collapse of faith in progress, and the singularly conception of linear time that underpinned it with another conception of time, which is multifarious, contradictory, and nevertheless co-existent. Here time spiders out into a variety of directions, alternatively expanding, coming to a grinding halt, circling back upon itself, or transforming into water. A single revolution of Canadian artist Patrick Bernatchez’s Black Watch (2011), specially commissioned to a Swiss watch maker, requires not the usual twenty four hours to go full circle, but a thousand years, and in doing so, dwarfs human cycles of time to virtually nothing. Where this work uses the watch to extend time virtually beyond human comprehension, Portuguese, Lisbon-based artist Francisco Tropa’s Lantern (2012) goes back, so to speak, to the beginning of time. Part of his ongoing investigation of antique time-telling devices, Lantern, is a recreation of a clepsydra– an ancient device for measuring time by the regulated flow of water through a small aperture– which is then projected on the wall, like a magic lantern. English, Berlin-based artist Juliette Blightman’s This World is not My Home (2010) telescopes time onto two periods of the afternoon, 3 pm, which could be considered the dead time of the day, as well as 6 pm, which is traditionally quitting time. The work is comprised of a chair on a rug with a fire grate placed in front of an open window. Everyday at 3 pm, a single log is placed on the grate and lit, and then every day at 6 o’clock the song This World is not My Home by Jim Reeves plays.
Rosalind Nashashibi’s The Prisoner (2008) could be said to compress the loop embedded in Blightman’s work. This 16mm two-projector film installation, which feeds the same film through both projectors at naturally non-synchronized screenings, depicts a woman climbing a set of stairs over and over again, as if trapped in the same infernal instant. Andy Warhol’s Sleep (1963), which consists of an image of John Giorno sleeping for five hours and twenty minutes is a classic literalization of cinematic time as time. American, New York based Anicka Yi’s work Tenzingbaharakginaeditscottronnienikolalosangsandrafabiansamuelaninahannahelaine (2013) embodies, among other things, the sense of memento mori that inevitably courses through the entire exhibition. For this sculptural installation, Yi deep fried flowers in tempura batter and then placed them in a Donald Judd-like series of card board boxes full of resin. What is more, given the organic nature of this work, it is necessarily dialectical, in so far as, it is unstable and it will evolve over time.

The Promise of Moving Things
Artists: Nina Canell, Alexander Gutke, Mandla Reuter, Hans Schabus, Michael E. Smith, Antoine Nessi

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10. Alexander Gutke, Auto-scope, 2012

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11. Michael E. Smith, Untitled, 2014

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12. Nina Canell, Treetops, Hillsides and Ditches, 2011

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13. Antoine Nessi, Unknown Organs, 2014

2. Mandla Reuter, The Agreement, Vienna, 2011

14. Mandla Reuter, The Agreement, Vienna, 2011

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15. Nina Canell, Present Tense, 2014

Positing the possibility of a post-human, object-oriented world, this exhibition embraces the impossibility of imaging a world outside of a human perspective.

The Promise of Literature, Soothsaying and Speaking in Tongues
Artists: Becky BeasleyMichael DeanJean-Luc MoulèneMatt MullicanReto PulferLucy SkaerCarlo Gabriele Tribbioli

 

 

Michael Dean

16. Michael Dean, hnnnhhnnn-hnnnhnnnnh (Analogue Series), 2014

Addressing the future as essentially unknowable, this exhibition deals with language’s attempts and failures, which are both beautiful and ridiculous, to access the inaccessible.

 

Articolato in una serie di mostre, The Registry of Promise è un progetto che riflette sulla nostra relazione sempre più tesa con ciò che il futuro potrebbe o non potrebbe avere in serbo per noi. Ogni mostra fa leva sulle diverse letture del significato di una promessa, da intendere come qualcosa che contemporaneamente anticipa un futuro, il suo realizzarsi o venir meno, come anche una sorta di inevitabilità, sia positiva che negativa. Tale polivalenza acquista particolare intensità nell’attuale momento storico. Appurato che le nozioni tecnologiche e scientifiche del progresso, inaugurate dall’Illuminismo, non hanno più la stessa presa, ormai abbiamo abbandonato la visione lineare che il futuro una volta indicava. Nello stesso tempo ciò che viene a sostituire le nostre precedenti certezze non sembrerebbe affatto un’alternativa: lo spettro incombente di una catastrofe ecologica. Partendo dalla promessa antropocentrica della modernità, sembrerebbe che abbiamo ripiegato su una fede negativa nel post-umano. Eppure il futuro non è necessariamente un libro chiuso. Lontano da un’ottica fatalista, The Registry of Promise prende in considerazione queste diverse modalità del futuro mentre, nello stesso tempo, prova a concepirne di nuove. Così facendo si cerca di valorizzare la potenziale polivalenza e mutevolezza del termine ‘promessa’.

 

The Registry of Promise est une série d’expositions-réflexions sur ce que l’avenir pourrait nous réserver, ou pas. Ces expositions abordent et jouent sur des lectures multiples et simultanées du concept de promesse : anticipation du futur, maintien ou rupture de la promesse, ainsi qu’un sentiment d’inéluctabilité, positif et négatif. Une telle polyvalence revêt, en ce moment historique, un caractère particulièrement poignant.
Les notions de progrès technologique et scientifique inaugurées par le Siècle des Lumières n’ont plus la côte d’autrefois, et nous avons abandonné depuis longtemps la vision linéaire de l’avenir qui leur était associée. Cette ancienne vision a entre-temps été remplacée – si l’on peut parler de remplacement – par le spectre menaçant d’une catastrophe écologique globale. De la promesse anthropocentrique de la modernité, nous sommes apparemment passés à une foi négative dans le post-humain. Et pourtant, l’avenir n’est pas nécessairement un livre clos. Loin d’être fataliste, The Registry of Promise prend en considération les différents modes du futur tout en essayant d’en concevoir de nouveaux. Tout cela dans une tentative de valoriser le potentiel de polyvalence et de muabilité au cœur du mot « promesse ».

Images:
1. Marlie Mul, Puddle (Daub), 2013, sand, stones, resin, plastic bag, 90 x 77 cm. Courtesy Fluxia, Milan. Photo: Andrea Rossetti
2. Peter Buggenhout, Gorgo #29, 2013, mixed media: plastic, leather, blood, horse hair, Plexiglas, paper, cloth; work: h 86 x 105 x 130 cm + glassbox & pedestal: h 185 x 105 x 152 cm
3. Peter Buggenhout, Gorgo #33, 2013, mixed media: wax, plastic, blood, horse hair, cardboard, PU6foam, polyester; work: h 48 x 72 x 49 cm + glassbox & pedestal: h 147 x 80 x 60 cm
4. Jochen Lempert, The Skins of Alca Impennis, 1995-2013, 34 b/w photographs, silver gelatin prints, 18 x 24 cm each. Ed. 5. Courtesy ProjecteSD, Barcelona
5. Marlie Mul, Puddle (Black Disposable), 2013, sand, stones, resin, object, 78 x 76 cm. Courtesy Fluxia, Milan. Photo: Andrea Rossetti
6. Jean-Marie Perdrix, Cheval, bronze à la chair perdue 3, 2013, cast of copper alloy, carbon and ash, 25 x 77 x 33 cm
7. Juliette Blightman, This World Is not My Home, 2010, window, paint, rug, chair, song, brazier, fire, environmental dimensions. Courtesy Jacopo Menzani
8. Francisco Tropa, Lantern (drop), 2012, lantern (brass, wood, stone, projector), limestone cylinder, glass, liquid, screen, mixed media, variable dimensions. Photo: Pedro
Tropa/Teresa Santos. Courtesy Galerie Jocelyn Wolff
9. Rosalind Nashashibi, The Prisoner, 2008, 16 mm film, 5 minutes. Installation view, Manifesta 7, Trentino Italy 2008
10. Alexander Gutke, Auto-scope, 2012. 16 mm film; 1mn loop.View of the exhibition The Promise of Moving Things (curator: Chris Sharp), Centre d’art contemporain d’Ivry – le Crédac, 2014. Photo: André Morin / le Crédac. Courtesy of Galerija Gregor Podnar, Berlin / Ljubljana
11. Michael E. Smith, Untitled, 2014. Wire harness; variable dimensions. View of the exhibition The Promise of Moving Things (curator: Chris Sharp), Centre d’art contemporain d’Ivry – le Crédac, 2014. Photo: André Morin / le Crédac. Courtesy of the artist, Clifton Benevento, New York & Michael Benevento, Los Angeles
12. Nina Canell, Treetops, Hillsides and Ditches, 2011. Mastic gum, logs; variable dimensions.  View of the exhibition The Promise of Moving Things (curator: Chris Sharp), Centre d’art contemporain d’Ivry – le Crédac, 2014. Photo: André Morin / le Crédac. Courtesy Konrad Fischer Galerie, Berlin and Private collection, Belgium. © Nina Canell / Adagp, 2014
13. Antoine Nessi, Unknown Organs, 2014. Stainless steel, aluminium, brass, galvanized steel; variable dimensions. View of the exhibition The Promise of Moving Things (curator: Chris Sharp), Centre d’art contemporain d’Ivry – le Crédac, 2014. Photo: André Morin / le Crédac
14. Mandla Reuter, The Agreement, Vienna, 2011. 198 x 129 x 85 cm. View of the exhibition The Promise of Moving Things (curator: Chris Sharp), Centre d’art contemporain d’Ivry – le Crédac, 2014. Photo: André Morin / le Crédac. Courtesy Galerie Mezzanin, Vienna. © Mandla Reuter/ Adagp 2014
15. Nina Canell, Present Tense, 2014. Frequency generator, Spring reverb, copper thread, tape; variable dimensions. View of the exhibition The Promise of Moving Things (curator: Chris Sharp), Centre d’art contemporain d’Ivry – le Crédac, 2014. Photo: André Morin / le Crédac. Courtesy Galerie Wien Lukatsch, Mother’s Tankstation et Daniel Marzona. © Nina Canell / Adagp 2014
16. Michael Dean, hnnnhhnnn-hnnnhnnnnh (Analogue Series), 2014, book, ink, 16 cm x 23 cm x 9 cm. Courtesy the artist, Herald St. London, Supportico Lopez Berlin

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ILARIA MAROTTA IN CONVERSATION WITH CHRIS SHARP

ILARIA MAROTTA IN CONVERSATION WITH CHRIS SHARP

Ilaria Marotta “In January 1982, thirty-one years ago, Primo Levi was asked to say something about the future, giving voice to the writer of science fiction – or biology fiction, as Calvino said – that was in him,” writes Marco Belpoliti talking about the future in a recent article appeared on doppiozero. “He did it” – he continues – “ in Tuttolibri, together with and next to James G. Ballard, a far more apocalyptic author. Levi simply reiterated the predictions made twenty years earlier by Arthur Clarke, commenting on what had actually come true and what had not. Among the various things that happened, there was the landing on the moon, one year before Clarke’s prediction; Clarke had also envisioned a “personal radio” by 1980: Levi thought this was easy but not convenient to produce: better let it go. Now that we have the Internet and social networks, something similar has happened…”. Here, the author stresses that talking about the future always entails the idea of a bet or a prediction. We can only speak of the future in the present. And similarly, your project The Registry of Promise, whose first event has been presented at the Fondazione Giuliani in Rome, investigates not so much your vision of the future as an aspiration for the future, or rather a promise for the future. What is the future that artists seem to promise?

5_FG_Buggenhout_Gorgo-#33_3

2. Peter Buggenhout, Gorgo #33, 2013

Chris Sharp It is indeed true that the future can only speculated about from the position of the present. As for what you say about The Registry of Promise and the proprietorship of visions (mine or the artists’), I hadn’t thought about that before, but now that I do, I think it is actually shared – that it, this vision, is something that we produce, or maybe better yet, experience together, curator and artist, as if we coincide and enter in a kind of complicity. In fact, it is this kind of ideal complicity that prevents, I believe, a show from being about ideas as opposed to art (i.e., using art to illustrate ideas) and which is why I never feel comfortable with term “research,” and why I feel like I don’t really do any, properly speaking, nor do any of the artists with whom I have the great privilege to work. If I am not mistaken, the term presupposes a quantifiable scientific method (hypothesis, proof) which, contrary to recent popular opinion, has very little, if anything, to do with the fundamental, insuperable and incommensurable (unquantifiable) sense of uncertainty and mystery intrinsic to art.

Jochen Lempert, Untitled (from: Symmetry and the Architecture of the Body), 1997

3. Jochen Lempert, Untitled, 1997

As for the question of the future and promise, the relationship of the artists in this overall exhibition with time, is, I hope, much more complex. It has as much to do with the past and the present as with future. It’s more a question of the ambiguity at the heart of the notion of promise – its ultimate lack of allegiance to a given or specific temporality.
I am not sure what kind of future artists can offer us. Part of me wants to believe in this utopian relic of the avant-garde, and another part believes that it is, to a certain extent, responsible for some of the least interesting art being made today, whether it be through the predominantly affirmative, non-critical embrace of the internet and technology among the majority of what is commonly referred to as “post-internet art” or through the positivistic instrumentalization of art in “social practice.” This much I can unoriginally say, great art usually allows me to perceive things in a way I would have never perceived them before, that which in turn inevitably opens up new perspectives. I can also say that I believe that there is a lot of compassion in the work I am showing – something I am coming to value more and more in art (as well as in literature), which is rare and which probably has more to do with the future than we might initially think, even if it is essentially timeless.

Marlie Mul, Puddle (Faint Blue), 2014

4. Marlie Mul, Puddle (Faint Blue), 2014

I.M. In that same article, the writer supports the idea of a return to primitivism, the need to recover deep roots, the reassertion of basic needs to address the advancement of new technologies, social networking, a virtual context. If we look at historical determinism, we know that every action is the result of a previous one. So the future is actually in progress. In this perspective, the prediction of a future action is no longer something abstract, but rather something that we build day by day in the present. In an exhibition that I recently curated, called The Time Machine (The Survivors), there was a clear reference to the in-progress perception of the future. What is the aspect that most attracts you about the future? The new languages, new aesthetics, or specific issues (ecology, the legacy of history, nature…)? Which of these areas have you explored or will explore in your four exhibition projects, and in what order was the general design of the exhibition envisioned? 

Jean-Marie Perdrix, Cheval, bronze à la chair perdue 3, 2013

5. Jean-Marie Perdrix, Cheval, bronze à la chair perdue 3, 2013

C.S. I suppose that the aspect that most attracts me about the future is its ability to generate if not narrative, then form (which is always a kind of narrative, or way to prevent the story from yielding up its contents, once and for all, and ending) – which is one of the primary points of this show. To what extent can the future generate narrative and form? Or rather, to what extent is our western perspective of the future capable of generating it? If that perspective has been exhausted (the dominant western narrative/mythology seems to be not just the end of the world, but how it will end) then how can we imagine other perspectives, other forms? By shedding the old one (melancholy); abandoning a linear conception of time and embracing a multiplicity of times (multiple times); accepting the impossibility of a non-human narrative (moving things); and lastly, by stretching literature and language itself to new limits. But all of that makes the exhibitions that compose The Registry of Promise sound more prescriptive and idea-based than they actually are. Their relationship to ideas is probably closer to poetry’s relationship to ideas, which is one of form, at least where Wallace Stevens is concerned, when he writes: “The poem must resist the intelligence almost successfully.”

Jochen Lempert, Fire, 2008

6. Jochen Lempert, Fire, 2008

I.M. I found the first event of the project at the Giuliani really well arranged, sophisticated, almost metaphysical in the choice of the large voids between each work. Such an arrangement of space is a curatorial choice, but can it also be interpreted as your own personal reading of an imaginary future? Rarefaction, order, or entropy?

8_FG_Lempert_Martha_2

7. Jochen Lempert, Martha, 2005

C.S. Thank you very much. Metaphysical is not a term I would have ever selected to describe it, but now that you mention it, de Chirico does come to mind, as well as a corresponding sense of deliberateness, meaning (or lack thereof), crisis, and even desolation. The latter probably has more to do with my spatial decisions in the Giuliani show than anything. I wanted to create a potent, yet understated sense of drama. All the work in the show is very powerful and I wanted to emphasize that power, even if I did so toward non-specific narrative ends – for instance, it seems like something has happened in The Promise of Melancholy and Ecology, which is very much of the order of aftermath, but whatever has happened has less to do with an event than, say, a psychological condition: melancholy (a condition, which, predicated on loss, inwardly leans more toward emptying out the world than filling it up).
I also think that some, if not all the works really deserved the space. Jean-Marie Perdrix’s amalgamated, bronze horse head, for instance – an object as beautiful as it is harrowing – needed a room all to itself, I believe, in order to fully realize itself. But then again, to speak generally, I think all great art deserves a lot of space in order to be properly seen, and that, reversing the same logic, all the space in Giuliani can be gleaned as a measure of not only how powerful the art in it is, but also, by extension, how fortunate I am to be able to work with it.

Images:
1. Jochen Lempert, Untitled, 2005, silver gelatin print; 37 x 28 cm. Courtesy ProjecteSD, Barcelona.
2. Peter Buggenhout, Gorgo #33, 2013, mixed media: wax, plastic, blood, horse hair, cardboard, PU-foam, polyester; 48 x 72 x 49 cm; vitrine and pedestal 147 x 80 x 60 cm. Courtesy Galerie Laurent Godin, Paris
3. Jochen Lempert, Untitled (from: Symmetry and the Architecture of the Body), 1997, 2 silver gelatin prints; 18 x 24 cm each. Courtesy ProjecteSD, Barcelona
4. Marlie Mul, Puddle (Faint Blue), 2014, sand, stones, resin, objects; 95 x 88 cm. Courtesy Fluxia, Milan
5. Jean-Marie Perdrix, Cheval, bronze à la chair perdue 3, 2013, cast of copper alloy, carbon and ash; 25 x 77 x 33 cm. Courtesy Desiré Saint Phalle, Mexico City
6. Jochen Lempert, Fire, 2008, 6 silver gelatin prints; 18 x 24 cm each. Courtesy ProjecteSD, Barcelona
7. Jochen Lempert, Martha, 2005, silver gelatin print; 30 x 28 cm. Courtesy ProjecteSD, Barcelona

Photos: Giorgio Benni

Project: The Registry of Promise
Spaces: Fondazione Giuliani, Parc Saint Léger, Centre d’art contemporain d’Ivry – le Crédac, De Vleeshal
Protagonists: Chris SharpPeter Buggenhout, Jochen Lempert, Marlie Mul, Jean-Marie Perdrix, Patrick Bernatchez, Juliette BlightmanRosalind Nashashibi, Francisco Tropa, Andy Warhol, Anicka Yi, Nina Canell, Alexander Gutke, Mandla Reuter, Hans Schabus, Michael E. Smith, Antoine Nessi

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SOLEIL POLITIQUE

27 September 2014 – 11 January 2015
MUSEION (BOLZANO)
CAC BRÉTIGNY (BRÉTIGNY-SUR-ORGE)

Guest curator: Pierre Bal-Blanc
Museion (Bolzano)
CAC Brétigny (Brétigny-sur-Orge)
from 27 September 2014 to 11 January 2015 at Museion
opening 26 September 2014
Artists: Mathieu K. Abonnenc, Silvano AgostiMarie Cool Fabio Balducci, Josef DabernigAlberto Garutti, Marcus Geiger, Isa GenzkenPrinz Gholam, Dan Graham, Mauricio Guillén, Sanja Iveković, Benoît MaireMarcello Maloberti, Marianne Maric, Rä di Martino, Mattin, Isidoro Valcárcel MedinaMarta Minujín, Deimantas Narkevicius, Rainer OldendorfRoman Ondák, Christodoulos PanayiotouEmilie Parendeau, Gianni Pettena, Pratchaya Phinthong, Emilio PriniLili Reynaud-DewarR&Sie(n) François Roche, Stéphanie Lavaux, Jean NavarroBernhard RüdigerMatthieu SaladinSantiago Sierra, Terre Thaemlitz, Slaven Tolj, Ron Tran, Annie Vigier & Franck Apertet, Marie VoignierClemens von Wedemeyer, Lois WeinbergerLawrence Weiner.
Including works by: Raimund Abraham, Robert Breer, KP Brehmer, Marcel Broodthaers, CAPC musée d’art contemporain de Bordeaux – Philippe Thomas, Achille CastiglioniGiorgio De Chirico, Felix Gonzalez-Torres, Pier Paolo Pasolini, Walter Pichler, Carlo ScarpaAllan Sekula, Sturtevant.

 Soleil politique
The museum between light and shadow

32 Lili Reynaud deware Vivre avec a¦üa Soleil politique Museion Bolzano (Conflit lie¦ü au codage Unicode)

2. Lili Reynaud-Dewar, Vivre avec ça ?!, 2014

22 Lili Reynaud deware Vivre avec a¦üa Soleil politique Museion Bolzano (Conflit lie¦ü au codage Unicode)

3. Lili Reynaud-Dewar, Vivre avec ça ?!, 2014

4. Lili Reynaud-Dewar, Vivre avec ça ?!, 2014

4. Lili Reynaud-Dewar, Vivre avec ça ?!, 2014

5. Lili Reynaud-Dewar, Vivre avec ça ?!, 2014

5. Lili Reynaud-Dewar, Vivre avec ça ?!, 2014

Marcel Broodthaers, Soleil Politique, 1972

6. Marcel Broodthaers, Soleil Politique, 1972

Prozession mit Tragbarem Schrein, 1970

7. Prozession mit Tragbarem Schrein, 1970. (Walter Pichler and Werner Stupka).

Allan Sekula, Meat Mass, 1972

8. Allan Sekula, Meat Mass, 1972

Emilio Prini, Stampa di un consumo - Monaco '71 Il caffè del Kunstverein, 1971

9. Emilio Prini, Stampa di un consumo – Monaco ’71 Il caffè del Kunstverein, 1971

Marta Minujín, El obelisco acostado, 1978

10. Marta Minujín, El obelisco acostado, 1978

Marcel Broodthaers, fig. 1, fig. 0, fig. 12, 1972

11. Marcel Broodthaers, fig. 1, fig. 0, fig. 12, 1972 

The title of the exhibition Soleil politique (Political Sun) is taken from a work of the same name by Marcel Broodthaers, made in 1972 using a black and white illustration cropped from an encyclopedia. The artist altered the illustration depicting the relative size of the planets in the Solar System. In adding the word ‘politics’ to the largest sphere depicting the Sun, Broodthaers praises the Sun’s emancipatory force and, at the same time, reveals the hegemonic character of a power that demands obedience. In completing the work by altering the smallest circle, depicting the Earth, he places his discourse in space and affirms a consciousness of its finitude. In merging planet Earth with the darkness of the universe, as rendered by the page’s black background, the former director of the Musée d’Art Moderne, Départment des Aigles (Museum of Modern Art, Department of Eagles) brings to light the risk of a return to obscurantism. With the stroke of a pen, Broodthaers eclipses the entire planet with ink, and thus points to the somber threat that an identity oblivious to its incompleteness and insufficiency poses.
The exhibition Soleil politique is presented at the Bolzano Museion (Italy), the name of which takes us back to the origins of the museum as it was founded in 391 BC by the Ptolemy Dynasty. During the French Revolution, the term ‘Museion’, from the Latin ‘museum’, referred to the sanctuary that housed the riches of collective memory previously in the possession of the monarchy or the clergy and subsequently handed over to the people. At the time, it was still inhabited, as indeed it was in Ancient Egypt. Ancient or revolutionary, it is the refuge for a community of artists and trans-disciplinary scholars in constant dialogue with their students and temporary guests.
We return here to this polymorphous and living model shared by philosophers, from both the ancient world and the Enlightenment, in order to build the Museum of the twenty-first century. The industrial age and its taxonomy gave body to the modern art museum in the twentieth century. Yet its dogmatism, such as that of the encyclopedia, the outmoded form of which Marcel Broodthaers relied upon to make his work, will end up decalcifying the skeletal structure of an edifice otherwise subjected to economic profit, divisions of labor and the compartmentalization of specialized areas of competence. Recent attempts to reinvigorate the museum institution with internal changes (by introducing museum educators and docents or de-compartmentalizing disciplines) or external trends (opening the museum to new geographies and populations) should not hide the causes of such reforms. Endogenesis or exogenisis are not sufficient to stop an organism from reviving the same dangerous traditions in which it continues to prospect for deposits of authenticity as a potential source of profit, as its architecture and segmentary programs reveal.
Is the museum the site that consecrates capitalist homogeneity or the site of a ‘heterogenetic’ process?
In the age of urban and digital revolution, the domestic market colonizes the globe and mental space. The exhibition Soleil politique infiltrates the vast, multitudinous systems to which we belong. It relies on the stories and scripts of artists or authors and borrows their distinct creative and operational methods in order to thwart the organized insecurity which pervades society through the dominant system of commodity exchange. Existing or specially commissioned works produced in the heart of the borderland Alto Adige Valley introduce spatial perspectives that, in all ways, exceed distinct regions. They establish temporal rhythms that stimulate an intentionally involuntary memory. The exhibition Soleil politique replaces this years trends and media events with an program of moods and feelings.

Pierre Bal-Blanc, Paris, 2014.

 

 

L’intenzione della mostra è interrogare il ruolo del museo nella città ripensando alla sua storia attraverso lo sguardo di artisti provenienti da diverse discipline: architetti, registi, performer, musicisti e compositori. Il visitatore è invitato a intraprendere un percorso che, una volta superata la soglia del museo, inizia direttamente nel cuore delle opere per svilupparsi in seguito nella città.
Il primo gesto curatoriale è infatti invertire la gerarchia che regola la suddivisione degli spazi museali dall’entrata ai piani nobili, dal basso verso l’alto dell’edificio. Quest’atto spaziale sottolinea l’uso del luogo. Il museo d’arte contemporanea, così utilizzato, si distacca dalla regola normalmente imposta dai musei tradizionali. Dall’ultimo piano del museo, trasformato in belvedere, il visitatore potrà lasciar vagare il proprio sguardo sulla città, condizionato dai riferimenti offerti nella mostra al piano terra, per poi in seguito scendere e proseguire la visita degli spazi urbani imboccando realmente strade, vie.
Saranno presentati in mostra maquette, sculture, cortometraggi o documentari di artisti già riconosciuti (Marcel Broodthaers, Achille Castiglioni, Giorgio De Chirico, Isa Genzken, Sanja Iveković) o che lo stanno diventando (Deimantas Narkevičius, Slaven Tolj, Alejandra Riera, Josef Dabernig, R&Sie(n) François Roche, Stéphanie Lavaux, Jean Navarro, Roman Ondák), ma anche opere più intime come quelle di Isidoro Valcárcel Medina, Emilio Prini, Terre Thaemlitz.
La mostra è associata inoltre a opere chiave che hanno ispirato il progetto e che hanno partecipato alla nostra comprensione della storia della museografia, da La forma della città di Pier Paolo Pasolini, alla presentazione della statua equestre di Cangrande della Scala di Carlo Scarpa al Museo di Castelvecchio di Verona e altre ancora.

 

L’exposition Soleil politique invite le visiteur a s’engager dans un parcours qui débute, une fois le seuil du musée franchi, directement au cœur des œuvres, pour s’étendre ensuite a l’échelle de la ville.
Le premier geste curatorial est d’inverser la hiérarchie qui distribue d’ordinaire les espaces d’accueil et les contenus nobles, du bas vers le haut de l’édifice. Cet acte spatial souligne un usage particulier du lieu. Cet emploi des espaces se distingue de la règle imposée par le Palais des beaux-arts traditionnel ou par le temple religieux qui préparent l’accès aux contenus progressivement et par paliers. Du dernier étage du musée transformé en belvédère, on pourra promener son regard sur la ville, conditionné par les repères offerts dans l’exposition, pour ensuite redescendre et poursuivre la visite de la cité en empruntant réellement ses rues, ses avenues et ses ponts.
Le contenu de l’exposition est formé par des maquettes, sculptures, courtsmétrages ou documents, émanant d’artistes reconnus (Marcel Broodthaers, Achille Castiglioni, Giorgio De Chirico, Isa Genzken, Sanja Iveković) ou confirmés (Deimantas Narkevičius, Slaven Tolj, Alejandra Riera, Josef Dabernig, R&Sie(n) François Roche, Stéphanie Lavaux, Jean Navarro, Roman Ondák), mais aussi à l’appui d’œuvres d’artistes plus confidentiels comme Isidoro Valcárcel Medina, Emilio Prini, Terre Thaemlitz.
Leur travail est associé a des œuvres-clefs qui ont inspiré ce projet et qui participent à notre compréhension de l’histoire de la muséographie : La forma della città de Pier Paolo Pasolini, l’exposition de la statue de Cangrande della Scala par Carlo Scarpa au Musée du Castelvecchio de Vérone, le portrait du musée d’art de Cincinatti par Félix González-Torres, le Nu descendant un escalier d’Elaine Sturtevant, l’œuvre identifiée sous le nom CAPC musée d’art contemporain de Bordeaux de Philippe Thomas ou l’obélisque couchée de Marta Minujín en sont quelques exemples.

Video:
Marta Minujín, El Obelisco acostado, 1978–1985, Music by Laurie Anderson. © Marta Minujín

Images:
1-5. Lili Reynaud-Dewar, Vivre avec ça ?!, 2014
6. Marcel Broodthaers, Soleil Politique, 1972, print and collage on paper and ink, 25,5 x 35,5 cm. Copyright Estate Marcel Broodthaers
7. Prozession mit Tragbarem Schrein, 1970. (Walter Pichler and Werner Stupka). Photo: Marina Faust
8. Allan Sekula, Meat Mass, 1972. Photo: Allan Sekula and David Alward. © Generali Foundation
9. Emilio Prini, Stampa di un consumo – Monaco ’71 Il caffè del Kunstverein, 1971. Courtesy Galleria Pio Monti, Rome
10. Marta Minujín, El obelisco acostado, 1978. 1st Latin American Biennial of São Paulo. Courtesy of the artist
11. Marcel Broodthaers, fig. 1, fig. 0, fig. 12, 1972, paper and photograph collage, white soft-lead pencil frame, 36 x 44 cm. Copyright Estate Marcel Broodthaers

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FROM & TO

9 November 2014 – 19 January 2015
VILLA ARSON (NICE)
7 February – 12 April 2015
KUNST MERAN MERANO ARTE (MERANO)

from 9 November 2014 to 19 January 2015 at Villa Arson (Nice)
from 7 February to 12 April 2015 at Kunst Meran Merano Arte (Merano)
Artists: Diane Blondeau, Lorraine Châteaux, Quentin Derouet, Tony Fiorentino, Julia Frank, Sonia Leimer, Roberto Pugliese, Leander Schwazer, Vivien Roubaud, Thomas Teurlai

2. Diane Blondeau / Vivien Roubaud / Thomas Teurlai, Jambes de bottes, 2014

2. Diane Blondeau / Vivien Roubaud / Thomas Teurlai, Jambes de bottes, 2014

3. Lorraine Château, Installation The Cloud, 2014

3. Lorraine Château, Installation The Cloud, 2014

4. Quentin Derouet, Sans titre, 2014

4. Quentin Derouet, Sans titre, 2014

04-Fiorentino-Tony

5. Tony Fiorentino, Dominium Melancholiae, 2014

6.  Julia Frank, BSA (Body Surface Area), series, London 2014

6. Julia Frank, BSA (Body Surface Area), series, London 2014

7. Sonia Leimer, Table ronde, 2014 /  Leander Schwazer, Independance, 2014

7. Sonia Leimer, Table ronde, 2014 / Leander Schwazer, Independance, 2014

8. Roberto Pugliese, Emergences acoustiques, 2014. Courtesy: Associazione Culturale Dello Scompigio, Vorno, Capannori (Italy) and Galerie Mario Mazzoli, Berlin

8. Roberto Pugliese, Emergences acoustiques, 2014

9. Roberto Pugliese, Emergences acoustiques, 2014. Courtesy: Associazione Culturale Dello Scompigio, Vorno, Capannori (Italy) and Galerie Mario Mazzoli, Berlin

9. Roberto Pugliese, Emergences acoustiques, 2014

In a project entitled FROM & TO, five Italian artists and five French artists were invited to organize an exhibition together. The exhibition was created throughout 2013 and 2014 through meetings, workshops and exchanges. The first workshop was held in July 2013 at the Villa Arson. The second was held at the Kunst Meran/Merano Arte the following October. An Internet platform was created to enable the participants to exchange information.
Since then the artists have worked both individually and in groups. The artistic directors of both institutions (Valerio Deho and Éric Mangion) chose not to impose any particular theme or constraint, preferring to give free rein to their creativity and to the specific works that were originally chosen according to the variety of their practices. All of the works were produced specifically for the exhibition. Thus the Villa Arson will become an in vivo production studio during the month of October and the beginning of November 2014. Everything will come together on site, the way in which the works will confront each other, creating links or not. It is a gamble with ten young artists on the value of exchange, cross-fertilization and freedom.

With the support of Jeanne Zéler (Brussels) and La Station (Nice).

 

Nell’Aprile 2013, Éric Mangion e Valerio Dehò, rispettivamente direttore del Centro nazionale d’arte contemporanea di Nizza e direttore artistico di Kunst Meran / Merano Arte, hanno selezionato i dieci artisti che faranno parte del progetto “From & To” 2014-2015.
La collaborazione tra artisti francesi e italiani si sviluppa attraverso un confronto sia teorico sia pratico avviato con il primo incontro avvenuto a Nizza a luglio 2013 e continuato con l’incontro meranese avvenuto tra il 21 e il 25 ottobre 2013. Gli incontri a Nizza e a Merano hanno gettato le basi per un contatto e uno scambio d’idee che porterà alla realizzazione da parte dei giovani artisti di un progetto espositivo in cui si confronteranno tra loro realizzando opere collettive. Gli artisti hanno scelto in completa autonomia le tematiche dei loro progetti e con chi svilupparle. Ognuno dispone di un budget spesa che include i costi di realizzazione delle opere e le spese di trasporto. Le opere saranno realizzate tra settembre e novembre presso i laboratori artistici di Villa Arson.
Per facilitare la comunicazione tra curatori e artisti, si è provveduto a costituire una piattaforma digitale che raccoglie le idee e i contenuti trattati dai partecipanti. Grazie a un blog e alla possibilità di condividere file, la piattaforma documenta le fasi di elaborazione del progetto, permettendo allo stesso tempo lo scambio di informazioni a distanza.
I curatori hanno il compito di coordinare le fasi preparatorie del progetto, l’esposizione finale e il catalogo/brochure che accompagnerà la mostra.

Con il sostegno de Jeanne Zéler (Bruxelles).

 

Sous le titre FROM & TO, cinq artistes italiens et cinq artistes français sont invités à réaliser ensemble une exposition. Cette dernière s’est construite tout au long des années 2013 et 2014 au travers de rencontres, workshop et échanges. Un premier workshop s’est déroulé en juillet 2013 à la Villa Arson. Le second a eu lieu au Kunst Meran/Merano Arte au mois d’octobre suivant. Une plateforme web d’échange d’informations entre les acteurs du projet a été créée dans la foulée.
Depuis, les artistes ont travaillé par groupes ou de manière individuelle. Aucune thématique, aucune contrainte n’ont été imposées par les directeurs artistiques des deux structures (Valerio Deho et Éric Mangion), laissant libre cours à la créativité et aux travaux spécifiques des artistes dont le choix initial s’est opéré en fonction de la diversité de leurs pratiques. Les œuvres sont toutes produites pour l’exposition. La Villa Arson se transforme ainsi durant le mois d’octobre et début novembre 2014 en atelier de production in vivo. Tout va se jouer sur place quant à la manière dont les œuvres vont se confronter les unes aux autres, formant ou non des liens. Il s’agit d’un pari pris avec dix jeunes artistes sur les valeurs d’échanges, de croisements et de liberté.

Exposition produite avec le soutien de Jeanne Zéler (Bruxelles) et de La Station (Nice).

Images:
1. Quentin Derouet, Les autres, 2014. Courtesy: Galerie Helenbeck, Nice
2. Diane Blondeau / Vivien Roubaud / Thomas Teurlai, Jambes de bottes, 2014
3. Lorraine Château, Installation The Cloud, 2014
4. Quentin Derouet, Sans titre, 2014
5. Tony Fiorentino, Dominium Melancholiae, 2014
6. Julia Frank, BSA (Body Surface Area), series, London 2014
7. Sonia Leimer, Table ronde, 2014 / Leander Schwazer, Independance, 2014
8-9. Roberto Pugliese, Emergences acoustiques, 2014. Courtesy: Associazione Culturale Dello Scompigio, Vorno, Capannori (Italy) and Galerie Mario Mazzoli, Berlin

Photos: Villa Arson / Jean Brasille

 

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VINCENT HONORÉ IN CONVERSATION WITH ERIC MANGION, VILLA ARSON, NICE

VINCENT HONORÉ IN CONVERSATION WITH ERIC MANGION, VILLA ARSON, NICE

Vincent Honoré The Villa Arson is an institution that includes an art school, artist residencies, a multimedia library and a centre d’art. One could say that it’s an institution where contemporary art is taught, researched, produced and exhibited. The only thing missing is a collection, despite a few perennial works installed in 1989-90. How do you conceive your programme’s link to the site’s various other activities, particularly to the art school?
Eric Mangion We very simply try to programme exhibitions, meetings or residencies in relation to practices in or around the school. Sometimes we extend direct invitations to members of the teaching staff who are creating projects–as we did between February and May 2015 with the exhibition Bricologie led by Burkard Blümlein, Thomas Golsenne and Sarah Tritz, all teachers at the Villa Arson. This can also be more indirect projects with residents (Oliver Beer & Shingo Yoshida or Sébastien Remy & Cyril Verde), or invitations to external curators who develop research projects that are close to our interests, as we’ll be doing in 2016 with Géraldine Gourbe.

2. Ryan Gander. The Die Is Cast, 2009. Installation view

2. Ryan Gander. The Die Is Cast, 2009. Installation view

V.H. In a geographical area like yours, specifically what are the main responsibilities of a director of a centre d’art in 2014? And what is your relationship with politics?
E.M. I’m not the managing director of the establishment (that’s Jean-Pierre Simon’s job). So I have no direct involvement in the political side. On the other hand, when I arrived in Nice, I thought about the question of a political territory. This is why in 2007 and 2011 we conducted two research and exhibition projects on the history of performance and on the history of music and sound practices on the Côte d’Azur. These are two ventures that the local population isn’t very aware of, and yet they were rich in very fascinating contents. For me this was all about redefining our political view of a region known more for gloss than artistic experimentation. Quite frankly, it can’t really be said that it worked locally!

Roman Ondák, Door Leading to Many Directions, 1997

3. Roman Ondák, Door Leading to Many Directions, 1997. Installation view

V.H. The fact that the Villa doesn’t have responsibility for a collection: is this a flaw?
E.M. The Villa Arson has a very official status as a school that houses a centre d’art that paradoxically has no status. No school or centre d’art, as far as I know, has the mission of assembling a collection. We have so much else to do that I don’t even consider this question, and I don’t think anyone else here does either.

V.H. How can the DNA of a centre d’art be defined? What distinguishes it from other similar organisations?
E.M. In my view, the Villa Arson centre d’art should–like all of the other centres d’art –serve as a place for artistic experimentation. A place where you test art, where you thoroughly explore not contemporary art as a genre but contemporary creativity full stop. Experimenting means above all testing things without thinking of market values or meeting some predetermined measure of success. The luxury of Villa Arson is to work in a school with its workshops, its research programmes, its enormous library, its complex and multifaceted architecture, and its residencies. Our DNA is to work according to the modus operandi of a potluck, with everyone bringing their own knowledge and experience. However there’s no denying that this system has constraints. The educational concerns are not necessarily the same as the expectations of a centre d’art, and vice versa. Even if we keep up the spirit of a laboratory, we’re a big machine and this catches up with us quite often. We’re constantly living in our own paradoxes.

4. Diane Blondeau / Vivien Roubaud / Thomas Teurlai, Jambes de bottes, 2014

4. Diane Blondeau / Vivien Roubaud / Thomas Teurlai, Jambes de bottes, 2014

V.H. Why did you decide to take part in PIANO, and what’s the project you’re presenting?
E.M. PIANO enabled us to work with Italy, whose geographical and cultural proximity to Nice is well known, and especially to work with the Kunst Meran Merano Arte with which we very quickly shared the same idea. During preparatory meetings between the AMACI and the d.c.a, Valerio Dehò(artistic director of the Kunst Meran) suggested that we revive a project they had initiated in 2007 under the title FROM & TO. It was all about getting young artists to work together without imposing any themes or guidelines whatsoever. We thought this idea seemed just right in the context of an exchange between two organisations, two countries and, quite obviously, between different artists who initially had nothing to do with one another. So we assembled ten artists, five from Italy and five from France who had very different practices. We organised two workshops, then created an exchange platform. The collaborations didn’t live up to our hopes. On the other hand, what worked was that the exhibition very clearly reflects the practices of each artist without any added value. Even if it’s uneven as a whole, we revealed a work site, one that isn’t cohesive but is decidedly generous, and that was the purpose of the game.

5. Lorraine Château, Installation The Cloud, 2014

5. Lorraine Château, Installation The Cloud, 2014

Vincent Honoré La Villa Arson est une institution qui inclut une école d’art, des résidences d’artistes, une médiathèque et un centre d’art. C’est en quelque sorte un institut dans lequel l’art contemporain est enseigné, recherché, produit et montré. Seule manque une collection, malgré quelques œuvres pérennes installées en 1989/90. Comment concevez-vous l’articulation de votre programme avec les différentes autres activités du site, en particulier avec l’école d’art ?
Eric Mangion Nous essayons tout simplement de programmer des expositions, rencontres ou résidences en lien avec les pratiques menées dans ou à la frontière de l’école. Parfois il s’agit d’une invitation directe à des membres du corps pédagogique porteurs de projets – comme entre février et mai 2015 avec l’exposition Bricologie menée par Burkard Blümlein, Thomas Golsenne et Sarah Tritz, tous enseignants à la Villa Arson. Cela peut être aussi des projets plus indirects avec des résidents (Oliver Beer & Shingo Yoshida ou Sébastien Remy & Cyril Verde), ou des invitations faites à des commissaires extérieurs qui développent des projets de recherche proches de nos préoccupations tel que nous le ferons en 2016 avec Géraldine Gourbe.

V.H. Dans un secteur géographique comme le votre, en particulier, quelles sont les principales responsabilités d’un directeur de centre d’art en 2014 ? Et quelles sont vos relations avec le politique ?
E.M. Je ne suis pas directeur général de l’établissement (Jean-Pierre Simon assure cette fonction). Du coup je n’ai pas de prise directe avec le politique. Par contre quand je suis arrivé à Nice, je me suis posé la question d’un territoire politique. C’est pour cette raison que nous avons mené entre 2007 et 2011 deux projets de recherche et d’exposition sur l’histoire de la performance et sur l’histoire des pratiques musicales et sonores sur la Côte d’Azur. Ce sont deux aventures peu connues du public local et qui pourtant sont riches de contenus tout à fait passionnants. Il s’agissait pour moi de redéfinir le regard politique que nous portons sur une région plus connue pour ses strass que pour son expérimentation artistique. Pour être très franc, on ne peut pas dire que cela ait fonctionné localement !

V.H. Le fait que la Villa n’ait pas la responsabilité d’une collection : est-ce un manque ?
E.M. La Villa Arson a un statut très officiel d’école dans laquelle cohabite un centre d’art paradoxalement sans statut. Aucune école et aucun centre d’art n’ont à ma connaissance mission à constituer une collection. Nous avons tant d’autres choses à entreprendre que cette question ne se pose pas pour moi, ni je crois pour quelconque ici.

V.H. Comment définir l’A.D.N. du centre d’art, ce qui le singularise par rapport a d’autres structures similaires ?
E.M. Le centre d’art de la Villa Arson doit à mon sens – comme tous les autres centres d’art – fonctionner comme un lieu d’expérimentation artistique. Un lieu où l’on teste l’art, où l’on met à plat non pas l’art contemporain comme genre mais la création contemporaine tout court. Expérimenter c’est avant tout tester les choses sans penser aux valeurs du marché ou à une quelconque réussite programmée d’avance. Le luxe de la Villa Arson est de travailler dans une école avec ses ateliers, ses programmes de recherche, son énorme bibliothèque, son architecture complexe et multiple, et ses résidences. Notre ADN est de fonctionner selon le mode opératoire d’une auberge espagnole dans laquelle tout le monde amène son expérience et ses savoirs. Par contre on ne peut pas nier que ce système a ses contraintes. Les enjeux pédagogiques ne sont pas forcément les mêmes que les attentes d’un centre d’art. Et inversement. Même si nous entretenons l’esprit laboratoire, la grosse machine que nous sommes nous rattrape bien souvent. Nous vivons en permanence dans nos propres paradoxes.

V.H. Pourquoi avoir décidé de faire partie de PIANO et quel est le projet que vous présentez ?
E.M. PIANO a permis de travailler avec l’Italie dont on connaît la proximité géographique et culturelle avec Nice, mais surtout de travailler avec le Kunst Meran Merano Arte avec qui nous avons très vite partagé une pensée complice. Lors des rencontres préparatoires entre AMACI et d.c.a, Valerio Dehò (le directeur artistique du Kunst Meran) nous a proposé de réactiver un projet qu’ils avaient initié en 2007 sous le titre FROM & TO. Il s’agissait de faire travailler des jeunes artistes ensemble sans imposer de thème ni d’axe quelconque. Cette idée nous est apparue très juste dans le cadre d’un échange entre deux structures, deux pays et, bien évidemment, entre différents artistes qui au départ n’avaient rien à faire ensemble. Nous avons donc réuni dix artistes, dont cinq italiens et cinq français en fonction de pratiques très variées. Nous avons organisé deux workshops, puis créé une plateforme d’échanges. Les collaborations n’ont pas été à la hauteur de nos espérances. Par contre, ce qui a fonctionné c’est que l’exposition reflète très clairement les pratiques de chacun sans valeur ajoutée. Même si l’ensemble est inégal, nous avons mis au jour un plateau de travail, non pas cohérent mais résolument généreux, ce qui était le but du jeu.

Images:
1. Roberto Pugliese, Emergences acoustiques, 2014. Courtesy: Associazione Culturale Dello Scompigio, Vorno, Capannori (Italy) and Galerie Mario Mazzoli, Berlin
2. Ryan Gander, Cyclopean Illusion (Remi), 2009. C-print framed under serigraphed glass, 45 x 30 cm (photograph), 40 x 55 x 4 cm (frame). Courtesy of the artist; Ryan Gander, Gallery Cover, 2000-2007 installation (orange canvas, runners, 9 spots), dimensions of the room. Courtesy of the artist and Annet Gelink Gallery, Amsterdam. Exhibition The Die Is Cast, Villa Arson, 26 June – 18 October 2009
3. Roman Ondák, Door Leading to Many Directions, 1997, installation, 168 x 95 x 27 cm. Courtesy of the artist. Exhibition Shaking Horizon, Villa Arson, 2 July – 17 October 2010
4. Diane Blondeau / Vivien Roubaud / Thomas Teurlai, Jambes de bottes, 2014
5. Lorraine Château, Installation The Cloud, 2014

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