Jean-Luc Moulène

Guillaume Robert

Jérémy Laffon

PATRICK BERNATCHEZ

Prinz Gholam

Adrienne Drake

JOSEF DABERNIG

Jochen Lempert

MARIE VOIGNIER

1:1PROJECTS

SIMON FRAVEGA

Gianluca d’Incà Levis

CAPC – PHILIPPE THOMAS

Pratchaya Phinthong

KP BREHMER

Julia Frank

FRANCISCO TROPA

Matthieu Saladin

Gianni Pettena & PIERRE BAL-BLANC

MARYAM JAFRI

CARLO GABRIELE TRIBBIOLI

MÉLANIE BOUTELOUP

ROBERT BREER

MARIE COZETTE

Martine Michard

Carlo Scarpa

Roberto Pugliese

Isidoro Valcárcel Medina

ANICKA YI

RON TRAN

Jean-Marie Perdrix

Nathalie Ergino

Émilie Parendeau/BERNHARD RÜDIGER

BECKY BEASLEY

Hans Schabus

Isa Genzken

R&Sie(n) François Roche, Stéphanie Lavaux, Jean Navarro

TERRE THAEMLITZ

SANTIAGO SIERRA

QUENTIN DEROUET

CLÉMENCE SEILLES

LOIS WEINBERGER

Benoît Maire

Mattin

Cécile Poblon

VINCENT VERLÉ

MICHAEL DEAN

Marcus Geiger

ALESSANDRO DI PIETRO

Hou Hanru

Walter Pichler

CLEMENS VON WEDEMEYER

Deimantas NARKEVIČIUS

Goldschmied & Chiari

Alexander Gutke

LORRAINE CHATEAUX

Stefania Meazza

DIANE BLONDEAU

Pier Paolo Pasolini

JULIE PELLEGRIN

ELAINE STURTEVANT

Félix González-Torres

Roman Ondák

Letizia Ragaglia

RAIMUND ABRAHAM

JULIETTE BLIGHTMAN

Marianne Maric

Marie Cool Fabio Balducci

JOHN CAGE

GIANNI PETTENA

Lili Reynaud-Dewar

PIERRE BAL-BLANC

Marlie Mul

SIMONE FRANGI

JACOPO MILIANI

ANNIE VIGIER & FRANCK APERTET (LES GENS D’UTERPAN)

Rä di Martino

Marta Minujín

VALERIO DEHÒ

ILARIA BONACOSSA

LORENZO BENEDETTI

Sandra Patron

KEREN DETTON

Valérie Mazouin

Marcello Maloberti

SYLVIE BOULANGER

CHIARA AGNELLO

ACHILLE CASTIGLIONI

DANIELE BALIT

PETER BUGGENHOUT

Dan Graham

MARCEL BROODTHAERS

Ann Veronica Janssens

Éric Mangion

Alessandro Rabottini

Tony Fiorentino

MARIA ALICATA

Mauricio Guillén

EMILIE PARENDEAU

Allan Sekula

GIORGIO DE CHIRICO

ENRICO BOCCIOLETTI

SLAVEN TOLJ

Mandla Reuter

Daniele Pezzi

RETO PULFER

Nina Fiocco

MICHAEL E. SMITH

Leander Schwazer

Alberto Garutti

LEONARDO BIGAZZI

Rosalind Nashashibi

Silvano Agosti

EMANUELE GUIDI

Christodoulos Panayiotou

VIRGINIE BOBIN

Rainer Oldendorf

Emilio Prini

LUCY SKAER

Antoine Nessi

ANDREA VILIANI

Bernhard Rüdiger

THOMAS TEURLAI

Rometti Costales

LAWRENCE WEINER

Chris Sharp

Sonia Leimer

Sanja Iveković

ANDY WARHOL

MATHIEU KLEYEBE ABONNENC

MATT MULLICAN

Vivien Roubaud

NINA CANELL

ERIC DE CHASSEY

GUSTAV ANDREAS WOLFGANG

Claire Le Restif

ETIENNE BERNARD

Lise Lacombe and Jean-Baptiste Alazard

en - it - fr

SYLVIE BOULANGER

 

sylvie_boulanger-(1)

Sylvie Boulanger is founder and curator of Salon Light since its creation in 2004.
She has directed Cneai since 1997. She curated over a hundred exhibitions, published more than seventy books (artist’s books, journals, catalogues) and produced several documentaries. She is a member of several research labs, she also contributes to academic reviews like Multitudes and she lectures in art schools and universities. She was the founder of the production agency APC (Art Public Contemporain) that she directed for ten years (1990-1997) after occupying the position of associate director “exhibition and communication” within the Ministry of Culture visual arts delegation (1987-1990).

Project: Ephemera
Space: Cneai =
Partner: Salon light
Focus: Prepared Piano – Model for a New Institutionalism

 

Dirige il Cneai dal 1997. Ha curato un centinaio di mostre, pubblicato più di settanta opere (tra libri d’artista, cataloghi, riviste) e diretto alcuni documentari. È ricercatrice associata in diversi laboratori di ricerca, collabora con varie riviste scientifiche, come la rivista Multitudes, e tiene conferenze nelle Accademie di Belle Arti e nelle Università. Ha fondato l’agenzia di produzione APC (Art Public Contemporain) che ha diretto per dieci anni (1990-1997), dopo essere stata direttrice aggiunta alla delegazione delle arti plastiche del Ministero della Cultura francese.

 

Sylvie Boulanger dirige le Cneai depuis 1997. Elle a été commissaire d’une centaine d’expositions, a publié plus de 70 ouvrages (livres d’artistes, revues, catalogues) et produit quelques documentaires. Elle est chercheur associée de plusieurs laboratoires de recherche, contribue à des revues scientifiques comme la revue Multitudes, et donne des conférences dans des écoles d’art et des universités. Elle a fondé l’agence de production APC (Art Public Contemporain) qu’elle a dirigé pendant dix ans (1990-1997), après avoir été directrice adjointe « exposition et communication » à la délégation aux arts plastiques du ministère de la Culture (1987-1990).

close
en - it - fr

VINCENT HONORÉ IN CONVERSATION WITH SYLVIE BOULANGER, CNEAI =, CHATOU

VINCENT HONORÉ IN CONVERSATION WITH SYLVIE BOULANGER, CNEAI =, CHATOU

Vincent Honoré When was the Cneai formed and what triggered its creation?
Sylvie Boulanger The history of the place prepared the art centre to adopt the question of art as media. Indeed, it was there that the Fauve artists Maurice de Valminck and André Derain practised the craft of engraving from 1905 for the publication of a young Guillaume Apollinaire’s L’Enchanteur pourrissant (The Rotting Magician) by Daniel-Henry Kahnweiler. When the art centre was created in 1997, the question was whether to make it a place for engraving, but three years of research and production with thirty or so artists including Claude Closky, Robert Morris and Peter Downsbrough, led us to consider engraving as an original form of publication. Historically desktop publishing originated in Dada and Russian Constructivism and developed in the ’60s. A new generation of curators has recently formed, considering space made public as public space and the act of publishing as an artistic act. They adjust to current artistic crises: fluidity, network, complexity of sources and exchanges, sharing of authority, collaborative gestures, nomadic artistic practices, interwoven with creation, quotes and interpretation.
Alongside the exhibition, production and publishing programme, we have therefore created tools at the service of this scene: in 1997 exhibition spaces, in 2000 FMRA research funds (ephemera), in 2007 the Floating House – designed by Erwan and Ronan Bouroullec – which acts as residence, lastly in 2011 the new space designed by Philippe Bona and Elisabeth Lemercier. Other ideas are being finalised …

Cneai’s staircase by Bona-Lemercier

Cneai’s staircase by Bona-Lemercier

V.H. The projects seem quite diverse reading the venue’s statement of intent. How can the first intent, that is its very essence be summed up?
S.B. The subject is redefined every day according to artistic needs: a parallel history of art generated by distribution matters that at once establish distribution as an act of criticism. The definition of artistic activity, wrote Marcel Broodthaers with a certain provocation, ‘is found, above all, in the field of distribution.’
Editorial practice is a field of research that we are passionate about, as it compromises the act of distribution as a critical act and collaborative practice. And if publishing etymologically means to make public, it is recognised that the transmission, distribution and reception of art are three fundamental indices of the work of the Cneai.
It is also a place that we try to keep free from any institutional project, that is open to projects by art protagonists who invent a new function for a decompartmentalised art scene, emancipated from academic categories and therefore extended to sound, writing and performance… as well as collaborative fields.

V.H. The Cneai is responsible for a collection comprising 11,000 pieces. How does the collection initiate the programme, or even the structure of the site? Pontus Hultén declared: ‘A collection isn’t a shelter into which to retreat. It’s a source of energy for the curator as much as for the visitor.’ What about the Cneai collection?
S.B. This quote is new to me and I love it. The energy between the collection and the programme is prolific. The value of an artist’s publication lies in action – reading, listening, exhibition… – so it is both an account but also a tool.
That is exactly why we have had the Cneai redeveloped and expanded by Elisabeth Lemercier and Philippe Bona to enable this exchange of energy between the collection and the programme. In order to be able to offer a new programme model in the form of scenarios from several points of view where the exhibition registers and the presentation of the collections blend with the presentation of an isolated work or a publication.
We use pieces from the collection for their research potential, and we increase the collection according to the needs of the artists and guest curators. This double movement gives meaning to the establishment of the fund, likewise the programme.

Cneai’s Maison Flottante

Cneai’s Maison Flottante

V.H. Since the end of the ’90sthearchitecture of museums and art centres, has become the subject of debates about the mission of museums and art centres: there has been a change, as analysed by Charlotte Klocek, from the ‘educated citizen’ (19th century) to the ‘informed consumer’ (20th century). The spectacular architecture of Gehry, Hadid, Nouvel, and Herzog & de Meuron are visible signs of it. How do you situate the Floating House in this context?
S.B. Surprisingly this architecture by the Bouroullec brothers was very badly received by certain local cultural players! It seems that in small towns journalists, curators and other cultural producers, who are neither educated citizens nor informed consumers, confront us. The Floating House installation traumatised all those who were living on their island, because of their nostalgic for their status as curators from the time of the impressionists.
The art centre and the Floating House are located sufficiently far from the town, from work, but relatively close to housing areas, a little isolated in nature, in the middle of a wooded island, between the two banks of the Seine and near to a park, with walkways and stopping places to eat, picnic and play. The location gives a feeling of privacy and vacuity, a condition necessary for encountering art… The Floating House is both an extremely simple and intuitive to use residential property and an object for contemplation.

V.H. Charles Esche described his ideal museum as fundamentally vague: both, simultaneously, and integrally, a community centre, laboratory, institute and a gallery. It is a place where production is not necessarily ‘productive’ and a place under constant reconfiguration; a form open to incomplete architecture. How did you structure the curatorial approach to the place, to the institution?
S.B. The art centre is in fact for me a place ‘void of project,’ whose artistic project is by definition in a state of perpetual movement triggered by the artists and players themselves. Consequently it is more about creating a context than a place or a programme.
The Cneai therefore proposes a new dynamic model:
- collaborative: artists, curators, editors are invited to share the artistic programme. Currently, Christophe Lemaitre has been invited to share the art direction, for Yona Friedman it is a forum for experimentation, for three years Jef Geys has been an important partner to test the levels of values in art;
- cooperative: the projects are proposed to a network of fellows so that they can also be developed elsewhere and to others. We work on average with about a hundred partners every year;
- cultural: beyond the scope of art is acceptable as a source of work and as such been made visible in the programme: music, cinema, science etc;
- transmissible : each invitation leads to several forms of transmission, from exhibition to performance including publication and research residencies. Festivals and study days have replaced previews…

Cneai’s exhibition space

Cneai’s exhibition space

V.H. What is the role of a contemporary art centre director in 2014?
S.B. To resolve a multitude of paradoxical equations:
- to create a context for creation and research in a venue destined for a wide audience and therefore to have the power to believe in humans;
- to reconcile the often contradictory objectives of the artists and figures in the art scene with those of the financial partners and to be a mediator between them;
- to produce personal research whilst remaining devoted to a team and a programme;
- to enrol the place in a synthetic vision between the history of art, current events and movements taking place;
- and above all, to take sides between figures who seek to gain financially or through the media – and those for whom the pleasure remains in spite of it all, the transmission of the artistic experience.
The M/M (Paris) aptly named the role of art centre director when, at the end of their exhibition at the Cneai, I was treated like a Swiss Army knife… Finally, it means to continually entice first-hand experience at reinventing a place as a desirable space.

V.H. PIANO wishes to create a space for exchange and dialogue between Italian and French art venues. Why did you want to participate and what programme are you offering?
S.B. The first residency in the Floating House by Daniele Balit, Maria Alicata and Adrienne Drake, three Italian curators, fired up passionate discussions about the question of version. We have identified works from the collection that have been considered in reference to other older works, whether from the visual arts, musical, cinematic or any other domain. Now it is a question of inviting these artists to develop or activate their old projects (version 3) here and now, at the MACRO and at the Cneai, during two exhibitions that will take place in October 2014 in Rome and in autumn 2015 at the Cneai.
The project is largely research carried out within two archives, one Italian (1:1projects), the other French (FMRA collection).
Our project will attempt to provide concrete answers to questions about formal frontiers (objects, performances, images); about cultural borders (literary, musical, film, scientific, design…); about derived artistic processes (curatorial, editorial, collection and research); and about hybridization of the figures (artists, editors, curators, collectors, sellers or researchers).

 

Vincent Honoré Quand a été créé le Cneai et qu’est-ce qui a présidé à sa création ?
Sylvie Boulanger L’histoire du lieu prédisposait le centre d’art à se situer sur la question de l’art comme média. En effet, les peintres fauves Maurice de Valminck et André Derain y expérimentent dès 1905 la technique de la gravure pour l’édition de L’Enchanteur pourrissant du jeune Guillaume Apollinaire par Daniel-Henry Kahnweiler. Quand le centre d’art est créé en 1997, la question se pose d’en faire le lieu de la gravure, mais trois années de recherches et de production avec une trentaine d’artistes dont Claude Closky, Robert Morris ou Peter Downsbrough, nous amènent à considérer la gravure comme une forme de publication originale. Historiquement la pratique de la micro-édition prend sa source dans Dada et le Constructivisme russe et se développe dans les années 60. Une nouvelle génération de curateurs s’est constituée récemment, considérant l’espace publié comme un espace public et l’acte de publier comme un acte artistique. Ils s’ajustent aux urgences artistiques actuelles : fluidité, réseau, complexité des sources et des échanges, partage de l’autorité, actes collaboratifs, pratiques artistiques nomades, métissées de création, de citations et d’interprétation.
Aux côtés du programme d’exposition, de production et d’édition, nous avons donc créé les outils au service de cette scène : en 1997 les espaces d’expositions, en 2000 les fonds de recherche FMRA (éphéméras), en 2007 la Maison Flottante – dessinée par Erwan et Ronan Bouroullec – qui nous sert de résidence, enfin en 2011 les nouveaux espaces dessinés par Philippe Bona et Elisabeth Lemercier. D’autres idées sont en cours de définition…

V.H. En lisant la note d’intention du lieu, ses missions semblent assez diverses. Comment en résumer l’intention première, l’essence ?
S.B. Le sujet se redéfinit chaque jour avec les nécessités artistiques : une histoire de l’art parallèlegénérée par des questions de distribution qui instaurent d’emblée la diffusion comme acte critique. La définition de l’activité artistique, écrivait Marcel Broodthaers avec une certaine provocation, « se trouve, avant tout, dans le champ de la distribution ».
La pratique éditoriale est un champ de recherche qui nous passionne, car il met en jeu l’acte de diffusion comme acte critique et pratique collaborative. Et si publier signifie étymologiquement rendre public, on comprendra que la transmission, la diffusion et la réception de l’art sont trois indices fondamentaux de l’activité du Cneai.
C’est aussi un lieu que nous tentons de garder vide de projet institutionnel, c’est à dire ouvert au projet des acteurs de l’art qui inventent un nouveau fonctionnement pour une scène artistique décloisonnée, émancipée des catégories académiques et donc à la fois étendue aux domaines du son, de l’écrit, de la performance… et collaborative.

V.H. Le Cneai est responsable d’une collection de 11.000 pièces. Comment la collection informe le programme, voire la structure du lieu ? Pontus Hultén a pu déclarer : « A collection isn’t a shelter into which to retreat. It’s a source of energy for the curator as much as for the visitor ». Qu’en est-il de la collection au Cneai ?
S.B. Je ne connaissais pas cette citation, elle me ravit. Les liens d’énergie entre la collection et le programme sont prolifiques. Une publication d’artiste tient sa valeur de l’action – lecture, écoute, exposition… – dont elle est à la fois le témoignage mais aussi l’outil.
C’est précisément pour permettre cet échange d’énergie entre la collection et la programmation que nous avons fait agrandir et réaménager le Cneai par Elisabeth Lemercier et Philippe Bona. Afin de pouvoir proposer un nouveau modèle de programmation sous forme de scénarios en plusieurs points de vue où les registres de l’exposition et de la présentation des collections se conjuguent à la présentation d’une œuvre isolée ou d’une publication.
Nous utilisons les pièces de la collection pour leur potentiel de recherche, et nous augmentons la collection en fonction des besoins des artistes et curateurs invités. Ce double mouvement donne tout son sens à la constitution du fonds, comme au programme.

V.H. L’architecture des musées et des centres d’art, depuis la fin des années 90, est devenu l’objet de débats sur la mission des musées et des centres d’art : on est passé, comme l’a analysé Charlotte Klocek, du « citoyen éduqué » (XIXe siècle) au « consommateur informé » (XXe siècle). Les architectures spectaculaires de Gehry, Hadid, Nouvel, ou Herzog & de Meuron en sont les signes évidents. Comment situez-vous la Maison Flottante dans ce contexte ?
S.B. L’architecture des frères Bouroullec a étrangement été très mal accueillie par certains acteurs culturels locaux ! Il semble que nous soyons confrontés, dans les petites villes, à des journalistes, conservateurs et autres producteurs culturels qui ne soient ni citoyens éduqués, ni consommateurs informés. L’installation de la Maison Flottante a provoqué un traumatisme pour tous ceux qui vivaient sur leur île, par leur statut nostalgique de conservateurs du temps des impressionnistes.
Le centre d’art et la Maison Flottante sont situés suffisamment loin de la ville, du travail, mais relativement proche des quartiers d’habitations, plutôt isolé dans la nature, au milieu d’une île arborée, entre les deux berges de la Seine et à proximité d’un parc, avec des chemins de marche et des haltes pour se restaurer, pique-niquer ou jouer. La situation donne une sensation d’intimité et de vacuité, état nécessaire à la rencontre de l’art… La Maison Flottante est à la fois un objet d’habitation d’usage extrêmement simple et intuitif et un objet de contemplation.

V.H. Charles Esche a décrit son musée idéal comme étant fondamentalement incertain : à la fois, simultanément, et intégralement, centre communautaire, laboratoire, institut, galerie. Un lieu ou la production n’est pas obligatoirement « productive », un lieu en permanente reconfiguration, une forme ouverte à l’architecture incomplète. Comment avez-vous structuré l’approche curatoriale du lieu, de l’institution ?
S.B. Le centre d’art est en effet pour moi un lieu « vide de projet », dont le projet artistique est par définition dans un perpétuel mouvement déclenché par les artistes et les acteurs eux-mêmes. Par conséquent il s’agit plus de créer un contexte qu’un lieu ou un programme.
Le Cneai propose donc un nouveau modèle, de type dynamique :
- collaboratif : des artistes, curateurs, éditeurs sont invités à partager le programme artistique. Actuellement, Christophe Lemaitre est invité à partager la direction artistique, Yona Friedman en fait son lieu d’expérimentation, Jef Geys est un partenaire important pour expérimenter depuis trois ans les niveaux de valeurs dans l’art… ;
- coopératif : les projets sont proposés à un réseau de confrères pour qu’ils puissent se développer aussi ailleurs et à plusieurs. Nous travaillons en moyenne avec une centaine de partenaires tous les ans ;
- culturel : le hors-champs de l’art est assumé comme source de travail et à ce titre rendu visible dans les programmations : musique, cinéma, sciences… ;
- transmissible : chaque invitation donne lieu à plusieurs formes de transmission, de l’exposition à la performance en passant par l’édition ou la résidence de recherche. Les festivals et les journées d’études ont remplacé les vernissages…

V.H. Quel est le rôle d’un directeur de centre d’art contemporain en 2014 ?
S.B. Résoudre une multitude d’équations paradoxales :
- créer un contexte de création et de recherche dans un lieu destiné aux publics les plus larges et donc croire absolument en l’humain ;
- concilier les objectifs souvent contradictoires des artistes et acteurs de l’art avec ceux des partenaires financiers et donc être traducteur français/français ;
- produire une recherche personnelle tout en se consacrant à une équipe et un programme ;
- inscrire le lieu dans une vision synthétique entre l’histoire de l’art, l’actualité et les mouvements en train de se faire ;
- et surtout, choisir son camp entre les acteurs qui poursuivent le profit par l’art – financier ou médiatique – et ceux dont le plaisir reste en dépit de tout, la transmission de l’expérience artistique.
Les M/M(Paris) ont bien nommé le rôle d’un directeur de centre d’art quand, à l’issu de leur exposition au Cneai, ils m’ont traitée de couteau suisse… Finalement, il s’agit de tenter éternellement une expérience concrète de réinvention d’un lieu comme espace désirable.

V.H. PIANO veut créer un espace d’échange et de dialogue entre des lieux d’art italiens et français. Pourquoi avez-vous souhaité participer et quel programme proposez-vous ?
S.B. La première résidence sur la Maison Flottante de Daniele Balit, Maria Alicata et Adrienne Drake, les trois curateurs italiens, a généré des discussions passionnantes sur la question de la version. Nous avons identifié des œuvres de la collection qui avaient été pensées en références à d’autres œuvres plus anciennes, qu’elles soient issues du domaine plastique, musicale, cinématographique ou autre. Il est question maintenant d’inviter ces artistes à développer ou activer leurs anciens projets (version 3) ici et maintenant, au MACRO et au Cneai, lors de deux expositions qui auront lieu en octobre 2014 à Rome et à l’automne 2015 au Cneai.
Le projet se résume donc en une recherche effectuée au sein de deux archives, l’une italienne (1:1projects), l’autre française (collection FMRA).
Notre projet tentera d’apporter des réponses concrètes aux questions de frontièresformelles (objets, performances, images) ; de frontières culturelles (littéraire, musicale, filmique, scientifique, design…) ; d’actes artistiques dérivés (curatoriaux, éditoriaux, de collection et de recherche) ; et d’hybridation des acteurs (artistes, éditeurs, curateurs, collectionneurs, vendeurs ou chercheurs).

Images:
1. Jef Geys, Coloring book for adults, 1963-2014. Photo: Steven Decroos. Courtesy Mu.ZEE, Ostend. Exhibition Jef Geys. C’est aujourd’hui dimanche, tiens ma jolie maman voilà des roses blanches, toi qui les aimes tant!, 8 February – 22 June 2014
2. Cneai’s staircase by Bona-Lemercier. Photo: Cneai
3. Cneai’s Maison Flottante. Photo: Sebastien Agnetti
4. Cneai’s exhibition space. Photo: Aurélien Mole

Protagonist: Sylvie Boulanger
Space: Cneai =
Project: Ephemera

close
en

Éric Mangion

Eric_Mangion

Éric Mangion has been the director of the Villa Arson’s art center since 2006. He has organized a cycle of exhibitions on ephemeral practices (sound, theater, poetry or performance art): Ne pas jouer avec des choses mortes (Not to Play With Dead Things) in 2008, Bernard Heidsieck’s Poésie Action (Action Poetry), L’Encyclopédie de la Parole (The Encyclopedia of Speech) and Le temps de l’écoute (A Time for Listening) in 2011, À la vie délibérée ! (To Deliberate Life!) in 2012, Des récits ordinaires (Ordinary Tales) and L’encyclopédie des guerres (The Encyclopedia of Wars) in 2014. He has also produced several solo exhibitions including: Iain Baxter&, 2006, Gino De Dominicis, 2007, Zoe Leonard, 2007, Claire Fontaine, 2007, Tatiana Trouvé, 2007, Jean Dupuy, 2008, Ryan Gander, 2009, Roman Ondàk, 2010, Oliver Beer and Shingo Yoshid, 2013.
He directed the FRAC Provence Alpes-Côte d’Azur from 1993 to 2005 where he focused on collecting upgradable works built from generic elements. He produced amongst other exhibitions Ugo Rondinone, 2001, Christophe Berdaguer and Marie Péjus, 2001, La Société Perpendiculaire, 2002, Patrick Van Caeckhenberg, 2003, Björn Dalhem, 2004, Tatiana Trouvé, 2005 and Self in Material Conscience at the Fondazione Sandretto Re Rebaudengo in Turin, 2002.
He has been the curator of numerous exhibitions including Gérard Gasiorowski’s Recommencer, Commencer de nouveau la peinture (Starting Over, Starting Painting Again) at the Carré d’art in Nîmes, 2010, Arthur Barrio at the University of Philadelphia, 2006, and Vivien Roubaud, Thomas Teurlai and Tatiana Wolska at the Palais de Tokyo in 2014.
He was also artistic director of the 2010 edition of the festival Printemps de Septembre (September Spring), Une forme pour toute action (Every Action Has a Form), and associate curator of the Festival Live in Vancouver in 2011.
As an art critic he has contributed to numerous magazines, including art press, and was artistic director of the review Fresh Théorie III in 2007.

Project: From & To
Space: Villa Arson

close
en

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

close
en

JULIETTE BLIGHTMAN

PLE-TPOMPT-076

Born 1980, Farnham, United Kingdom
Lives and works in Berlin, Germany

Image:
Juliette Blightman, This World Is not My Home, 2010, window, paint, rug, chair, song, brazier, fire, environmental dimensions. © Aurélien Mole / Parc Saint Léger (Courtesy: Jacopo Menzani)

Project: The Registry of Promise

close
en - it - fr

Guillaume Robert

Mariage

Guillaume Robert, Vérifier l’Arcadie, 2013-2014

Born 1975, France
Lives and works in Lyon, France
His work has essentially developed out of video, but over the last few years his practice has opened onto installation, object-based work, sound, writing and photography. His work involves scripted forms exploring the creative process, carried out as a series of invitations given to a (Bosnian) garage mechanic, a geophysicist (to model the propagation of riots across the globe),performers (dancers and actors), a blacksmith, a musician, a beekeeper, a sound artist…His projects bring into play specific materials and contexts (historical, architectural, geopolitical or literary…) which, after a process of appropriation, are then linked into the display environment.

Project: Piano – alto!

 

(1975, vive e lavora a Lione)
Guillaume Robert sviluppa il suo lavoro per progetti, spinto dall’interesse per tutto ciò che fa mondo (linguaggio, storia, politica, scienza, rappresentazione, percezione…) La sua produzione video si apre da alcuni anni all’oggetto, all’installazione, al testo, al suono o alla fotografia. L’artista riunisce materiali e contesti specifici, si basa su processi di creazione dalla forma narrativa che si risolvono attraverso il coinvolgimento di varie collaborazioni (un meccanico, un geofisico, degli interpreti, di danza o teatro, un fabbro, un musicista, un apicoltore…). Le strategie processuali e plastiche procedono per accumulazione e sovrapposizione di strati (sedimentazione narrativa, sedimentazione di materiali, di senso, sedimentazione del tempo).

 

Né en 1975, vit et travaille à Lyon. Sa pratique se développe par projets. Il explore des formes variées, souvent transversales, traversées par le souci d’embrasser ce qui fait un monde (langage, histoire, politique, science, représentation, perception…). Sa pratique de la vidéo s’ouvre depuis quelques années à l’objet, à l’installation, au texte, au son ou à la photographie. Il convoque des matériaux et des contextes spécifiques, s’appuie sur des formes scénarisées de processus de création qui se résolvent via l’invitation lancée à un garagiste, un géophysicien, des interprètes (danse, théâtre), un forgeron, un musicien, un apiculteur… Les stratégies processuelles et plastiques mises en place procèdent par accumulation, superposition de couches.

Image:
Guillaume Robert, Vérifier l’Arcadie, 2013-2014, installation, sculpture, photograph. Courtesy of the artist

close
en

Claire Le Restif

AppleMark

Holder of a Master’s Degree in Art History / Curatorial Studies from the University of Rennes (France), Claire Le Restif was born in 1967. Independent curator from 2001 to 2003, she has been director of Centre d’art contemporain d’Ivry – le Crédac, since March 2003, where she invited artists like Lara Almarcegui, Leonor Antunes, Mircea Cantor, Peter Coffin, Koenraad Dedobbeleer, Aurélien Froment, Geert Goiris, Friedrich Kunath, Mathieu Mercier, Bojan Sarcevic, Jessica Warboys… She has organized exhibitions in different places: Attitudes, Genève, unsthausbaselland, Basel, the Smack Mellon Center, Brooklyn, the Kunsthalle Palazzo, Basel, AKSANAT Art Center, Istanbul, Kunstverein, Nürnberg, Academia de Bellas Artes, Madrid. She taught by the past at the University and at the School of Fine Arts.
Claire Le Restif conceives curating as a consideration of the context in which she works, not to answer a request but to offer to the public the current artistic peculiarity. Known for its will to cultivate the ground and to give their chance to young artists, le Crédac associates an excellent politics in term of artistic choice with a search for closeness with the public.
She is a member of IKT, International Association of Curators of Contemporary Art.

Project: The Registry of Promise
Space: Centre d’art contemporain d’Ivry – le Crédac

close
en

Vincent Honoré in conversation with Claire Le Restif, Centre d’art contemporain d’Ivry – le Crédac, Ivry-sur-Seine

VINCENT HONORÉ IN CONVERSATION WITH CLAIRE LE RESTIF, LE CRÉDAC, IVRY-SUR-SEINE

Vincent Honoré How was the Crédac created and what is its fundamental purpose?
Claire Le Restif The art centre was created in 1987, instigated by artists and political will. It is one of the first art centres in Île-de-France. Situated in Ivry-sur-Seine, the Crédac is a place whose visitors comprise locals from Ivry and French residents passing through the region or from Paris to visit the exhibitions or attend meetings. The question of public transit is central, as is the relationship between Paris and its outskirts.
Although the art centre is the location of the artist’s project above all, it remains no less a laboratory for the transmission of art, its questions, utopias and forms.

V.H. The Crédac is one of many art centres that form a dynamic network in France and without which a large proportion of contemporary culture and art would undoubtedly be inaccessible. How does its DNA differentiate it in this network?
C.L.R. The art centre is a public place. Also the project that I am developing strives to eliminate as far as possible the notion of personal taste or aesthetic line to the benefit of exhibiting a wider range of creativity and its aesthetic and critical issues. I express more of a relationship with art by inviting artistic projects that develop different issues embodied by forms that interpret the wealth of current artistic expression. I also regard certain forms of publication as spaces to ‘curate’. We do not publish exhibition booklets but a free publication called Le Mecca. It provides information about activity issues at the Crédac, the planning and mediation alike. It also opens an additional avenue for reinterpretation and memory.
Lastly, there is Royal Garden, a virtual world extension of Crédac’s artistic mission. It’s a sort of virtual review montage, a multidisciplinary place of production and critical, theoretical and artistic exquisite corpse.

6. Lara Almarcegui, Ivry souterrain

2. Lara Almarcegui, Ivry souterrain, 2013

V.H. There is a fundamental phrase in the presentation of the centre: ‘an art centre is not just a space defined in terms of square metres. For artists it is also a place for intellectual, critical and technical mentoring.’ I would like you to elaborate on this notion of mentoring.
C.L.R. An art centre is not just a place measured in square metres, a showcase… For the artists it is a place to carry out research, to experiment and for intellectual, critical and technical support. It is a place for artistic yet all too often illegitimate, freedom.
When I talk about mentoring, it is regarding the artists for whom we are benchmarks when required, but it is also the mentoring that has been instigated between art centres.

V.H. I am more interested in the programme than the exhibition in my interviews with institution directors, both for the project PIANO and CURA. magazine. That is, in the structure behind a vision, a dynamic and a horizon for a place, a project and a team. This problem interests me all the more as the gap between spheres of intellectual strength or experiment and sanctuaries of global culture is widening (without personal preference for one or the other). In your opinion, what is the role of an art centre director in 2014?
C.L.R. To ensure that the venues at best develop and consolidate, and in the worse case scenario they are sustained! We have to be in permanent contact with the artists and liaise with civil society, another mission that is important in my eyes! But the context in which we work is very important. It should be taken into consideration in a peaceful but also resistant way (laughter). To support what we believe should be stated and exhibited, sometimes against the advice of fashion, the art market and public taste!
To explain our relationship with art, to feel part of the cultural heritage of an exhibition history as a source for reflection even about the history of recent art, whilst putting to the test our ability to continue to invent new forms of exhibits and more broadly new ways of working together.

3. View of the exhibition Mathieu Mercier

3. View of the exhibition Mathieu Mercier. Sublimations, 2012

V.H. Charles Esche described his ideal museum as being inherently uncertain: simultaneously and integrally a community centre, a laboratory, an institute and a gallery. A place where the production is not necessarily ‘productive,’ but a continual process of reconfiguration and a form open to incomplete architecture. How did you structure the curatorial approach to the venue, the institution?
C.L.R. The programme that I drew up for the Crédac when I arrived was very bound to the context and the topography of the underground location, situated until 2011 within the foundations of the Jeanne Hachette Centre, built by the architect Jean Renaudie between 1970 and 1975. To kick off, I set up an exhibition in two parts called La partie continue (The Games Goes On), a small show to present the goals of my programme. The project was initially inspired by this unusual venue, the sloping white cube and compromised geometry. This title bore the notion of continuous and discontinuous play. Having formulated the concepts of citing, misappropriation, mixing and borrowing, it was more the loss of the notion of authority, of ownership and the calling into question of inheritance that interested me.
We left this venue for a factory built in 1913. La Manufacture has thus resumed its original production studio activity: studios in which artists can create, mature and produce; studios for artistic practices, experimentation and mediation for different audiences; studios for discussion and reflection during workshops, meetings and debates.

V.H. PIANO wishes to create a space for exchange and dialogue between Italian and French art venues. Why did you want to participate and what programme are you offering?
C.L.R. We have the impression, most notably with Sandra Patron and Lorenzo Benedetti, that the role of art centres is not studied, analysed and promoted enough. I feel it is crucial to defend the role played by art centres in implementing networks for artistic presentation on a European level.
How would a museum collection become established today if the network of European art centres ever disappeared? What issues would occur for an artistic community without a local venue for peripheral circulation? Lastly, how does the economic crisis endanger the art ecosystem?
I had an in-depth discussion concerning these questions with Chris Sharp who had his project The Registry of Promise in mind. My idea was to set up an association of four dynamic venues that he is also in regular contact with: the Fondazione Giuliani in Rome, Parc Saint Léger in Pougues-les-Eaux and De Vleeshal in Middelburg.

5. Boris Achour,

4. Boris Achour, Une partie d’Assemblée, 2012

 

Vincent Honoré Comment a été créé le Crédac et quelle est sa mission fondamentale ?
Claire Le Restif Le Centre d’art a été créé en 1987 à partir d’une initiative d’artistes et d’une volonté politique. Il est un des centres d’art pionniers en Île-de-France. Situé à Ivry-sur-Seine, le Crédac est un lieu dont le public est constitué à la fois d’Ivryens et de métropolitains qui traversent la région ou qui viennent de Paris pour visiter les expositions ou assister à des rencontres. Cet enjeu de déplacement des publics est central, comme l’est la relation qu’entretient Paris avec sa périphérie.
Bien que le centre d’art soit avant tout le lieu du projet de l’artiste, il n’en demeure pas moins un laboratoire de transmission de l’art, de ses questions, de ses utopies et de ses formes.

V.H. Le Crédac fait partie des nombreux centres d’art qui forment en France un réseau dynamique, et sans qui une grande part de la culture contemporaine et de l’art contemporain ne serait certainement pas visible. Dans ce réseau, quel est son ADN, sa différence ?
C.L.R. Le centre d’art est un lieu public, aussi le projet que je développe tente de gommer le plus possible la notion de goût personnel ou de ligne esthétique au profit de l’exposition d’un état élargi de la création, de ses enjeux esthétiques et critiques. J’énonce davantage un rapport à l’art en invitant des projets artistiques qui développent des enjeux différents incarnés par des formes traduisant la richesse des langages artistiques actuels. Je considère aussi que certaines formes de publication sont des espaces à « curater ». Nous n’éditons non pas des journaux d’exposition mais une publication gratuite intitulée Le Mecca. Elle donne des indications sur les enjeux des activités du Crédac, la programmation comme les actions de médiation. Elle ouvre également une voie supplémentaire, celle de la relecture et de la mémoire.
Enfin, il y a Royal Garden, véritable prolongement sur le mode virtuel du projet artistique du Crédac. C’est une sorte de revue virtuelle hirsute, un lieu de production pluridisciplinaire, un cadavre exquis critique, théorique et artistique.

V.H. Dans la présentation du centre, il y a cette phrase fondamentale : « un centre d’art n’est pas simplement un espace qui se définit en mètres carrés. C’est aussi, pour les créateurs, un lieu de compagnonnage intellectuel, critique et technique ». J’aimerais que vous reveniez sur cette notion de compagnonnage et que nous la définissions davantage.
C.L.R. Un centre d’art ce n’est pas simplement un lieu, des mètres carrés, une vitrine… C’est, pour les artistes, un lieu de recherche, d’expérimentation, d’accompagnement intellectuel, critique et technique. C’est un lieu de permission pour les artistes, mais qui reste trop souvent encore illégitime.
Lorsque j’aborde l’idée du compagnonnage, c’est envers les artistes pour lesquels nous sommes des référents lorsqu’ils ont besoin d’aide, mais c’est aussi le compagnonnage que l’on met en place entre centres d’art.

V.H. Dans mes entretiens avec des directeurs d’institutions, tant pour le projet PIANO que pour CURA. magazine, je m’intéresse davantage au programme qu’à l’exposition. Davantage à la structure qui sous-tend une vision, une dynamique et un horizon pour un lieu, un projet et une équipe. Cette problématique m’intéresse d’autant plus que l’écart entre zones de résistances intellectuelles ou d’expérimentations et temples de la culture globale se creuse (sans aucune préférence personnelle pour l’un ou l’autre). Selon vous, quel est le rôle d’un directeur de centre d’art en 2014 ?
C.L.R. Faire en sorte que les lieux, au mieux se développent et se consolident, et au pire qu’ils se maintiennent ! Il faut être en contact permanent avec les artistes et faire le lien avec la société civile, autre mission qui est, à mes yeux, importante. Mais le contexte dans lequel nous travaillons importe beaucoup. Il faut tour à tour en tenir compte de manière pacifiée mais aussi hostile (rires). Maintenir ce qui nous semble devoir être énoncé et exposé, parfois contre l’avis de la mode, du marché de l’art, du goût du public !
Exposer notre rapport à l’art, se sentir héritiers d’une histoire de l’exposition comme support de réflexion, jusqu’à l’histoire de l’art récente, tout en mettant à l’épreuve notre capacité à inventer toujours de nouvelles formes d’expositions et plus largement de nouvelles manières de travailler ensemble.

V.H. Charles Esche a décrit son musée idéal comme étant fondamentalement incertain : à la fois simultanément et intégralement, centre communautaire, laboratoire, institut, galerie. Un lieu où la production n’est pas obligatoirement « productive », un lieu en permanente reconfiguration, une forme ouverte à l’architecture incomplète. Comment avez-vous structuré l’approche curatoriale du lieu, de l’institution ?
C.L.R. Le programme que j’avais défini pour le Crédac à mon arrivée était très lié au contexte et à la topographie du lieu underground, situé jusqu’en 2011 dans les fondations du Centre Jeanne Hachette, construit par l’architecte Jean Renaudie entre 1970 et 1975. Pour démarrer, j’avais mis en place une exposition en deux volets intitulée La partie continue, un petit manifeste pour présenter les enjeux de mon programme. Le projet était inspiré au départ par ce lieu à la topographie singulière, le white cube en pente et à la géométrie contrariée. Ce titre portait en lui la notion de jeu entre continuité et discontinuité. Une fois les concepts de citation, de détournement, de mixage et d’emprunt posés, c’était davantage la disparition de la notion d’autorité, de propriété, et la remise en question des héritages qui m’intéressaient.
Nous avons quitté ce lieu pour une usine construite en 1913. La Manufacture est ainsi rendue à son activité initiale d’atelier de production : ateliers de création, de mûrissement et de production pour les artistes ; ateliers de pratiques artistiques, d’expérimentation et de médiation pour les différents publics ; ateliers de discussion et de réflexion lors de workshops, de rencontres et de débats.

V.H. PIANO veut créer un espace d’échange et de dialogue entre des lieux d’art italiens et français. Pourquoi avez-vous souhaité participer et quel programme proposez-vous ?
C.L.R. Nous avions le sentiment, avec Sandra Patron et Lorenzo Benedetti notamment, que le rôle des centres d’art n’était pas assez étudié, analysé et mis en avant. Il me paraît essentiel de défendre le rôle joué par les centres d’art dans la mise en place de réseaux de diffusion artistique au niveau européen.
Comment se constituerait la collection d’un musée aujourd’hui si d’aventure le réseau des centres d’art européens disparaissait ? Quels seraient les enjeux d’une communauté artistique sans lieu de diffusion périphérique et de proximité ? Enfin, comment la crise économique met en danger l’écosystème de l’art ?
J’avais un échange riche sur ces questions avec Chris Sharp qui avait en tête son projet The Registry of Promise. J’ai eu l’idée de mettre en place une association de quatre lieux dynamiques et qui sont également en dialogue régulier avec lui. La Fondazione Giuliani à Rome, le Parc Saint Léger à Pougues-les-Eaux et le centre d’art de Vleeshal à Middelburg.

Images:
1. Mandla Reuter, The Agreement, Vienna, 2011, armoire, 198 x 129 x 85 cm. Installation view Galerie Mezzanin, 2011. Courtesy the artist and Galerie Mezzanin. Photo: Karl Kühn
2. Lara Almarcegui, Ivry souterrain, 2013, book, 80 pages, 11 x 18 cm, 22 black-and-white illustrations, 2000 copies. Photo: © André Morin / le Crédac. Courtesy of the artist & Ellen de Bruijne Projects, Amsterdam. Exhibition Lara Almarcegui. Ivry souterrain, 19 April – 23 June 2012
3. View of the exhibition Mathieu Mercier. Sublimations, 20 January – 25 March 2012, Centre d’art contemporain d’Ivry – le Crédac. Photo: © André Morin / le Crédac. Courtesy of the artist
4. Boris Achour, Une partie d’Assemblée, 2012, video, 15 mn. Photo: © André Morin / le Crédac. Courtesy of the artist. Exhibition Boris Achour. Séances (Sessions), 13 April – 3 June 2012

Space: Centre d’art contemporain d’Ivry – le Crédac
Protagonist: Claire Le Restif
Project: The Registry of Promise

close
en

FRANCISCO TROPA

2. Francisco Tropa, Lantern, 2012

Born 1968, Lisbon, Portugal
Lives and works in Lisbon, Portugal

Image:
Francisco Tropa, Lantern (drop), 2012, lantern (brass, wood, stone, projector),
limestone cylinder, glass, liquid, screen, mixed media, variable dimensions.
© Aurélien Mole / Parc Saint Léger (Courtesy: galerie Jocelyn Wolff)

Project: The Registry of Promise

close
en - it

SANTIAGO SIERRA

Born 1966, Madrid, Spain
Lives and works in Madrid, Spain

In his work, Santiago Sierra exposes the power structures underlying our everyday lives. Since the 1990s, he has produced numerous projects based on reallife situations of exploitation and marginalization encountered in various parts of the world. His works are a critical revisitation of minimalism, combined with performance practices presented in the form of video, film, and photography. In many cases, the artist pays those willing to take part in his projects, thus underlining the way in which the underprivileged are exploited in modern society. Dientes de los ultimos gitanos de Ponticelli (Teeth of the last gipsies of Ponticelli), which was presented in 2009 on the occasion of a solo show at the MADRE Museum in Naples, entails both an action in the public space and one inside the museum. The project examines the situation in the working-class neighborhood of Ponticelli, east of Naples, where social tensions run high. On the billboards in the area, the artist presented photographic enlargements of the clenched teeth of the last two families of Roma gypsies living in a local encampment before they, too, were evicted. This abstract rendering of a detail—in this case the teeth of those concerned—renders the individuals unrecognizable but exposes the Roma people to the public gaze, highlighting their presence in the area and their anger and despair at their impotence in the face of their plight.

Nato a Madrid, Spagna, nel 1966
Vive e lavora a Madrid, Spagna

Nel suo lavoro, Santiago Sierra denuncia le strutture di potere che operano nella vita di tutti i giorni. Dalla metà degli anni ’90, Sierra realizza numerosi progetti partendo da situazioni reali di sfruttamento e di marginalizzazione, riscontrate in diverse parti del mondo. I suoi lavori consistono in una rivisitazione critica del minimalismo, cui sono associate pratiche performative restituite poi da video, film e fotografie. In molti suoi progetti, l’artista cerca di retribuire in denaro chi si rende disponibile per le sue performance di denuncia, sottolineando così il meccanismo di sfruttamento ai danni dei più deboli che caratterizza la società moderna. Dientes de los ultimos gitanos de Ponticelli (Denti degli ultimi gitani di Ponticelli) è stato presentato nel 2009 in occasione di una mostra personale di Sierra al Museo MADRE di Napoli, e prevede sia un’azione in uno spazio pubblico e sia un intervento all’interno del museo. Nato da un confronto diretto dell’artista con la realtà di Ponticelli, quartiere operaio a est di Napoli carico di tensioni sociali, il progetto ha visto la presentazione, negli spazi cittadini riservati ai cartelloni pubblicitari, di ingrandimenti fotografici dei denti digrignati delle ultime due famiglie di zingari che abitavano il campo Rom di Ponticelli prima che fosse sgomberato. Attraverso un processo di astrazione e di riduzione al dettaglio della bocca, Sierra ha reso irriconoscibile il singolo individuo, ma, esponendo i Rom pubblicamente, ha anche evidenziato la presenza della comunità, mostrando la disperazione e la rabbia delle persone che ne facevano parte per l’impotenza a cui erano stati condannati.

Project: Soleil politique

close
en - fr

EMILIE PARENDEAU

Born 1980, Ambilly, France
Live and work in Paris, France

Emilie Parendeau reinterprets the works of other artists, with the intention of updating them, according to their terms of appearance, more than to introduce in them its own concerns. By supporting the process that accompanies their materialization, she introduces variations that are intended to make these active works in the present. She realized most of these activations in the project A LOUER and in various exhibition venues (CAC Brétigny, Brétigny; Peep-Hole, Milan; Gallery Arko, Nevers; Le Quartier, Quimper).

Née à Ambilly, France, en 1980
Vit et travaille à Paris, France

Émilie Parendeau s’attache à interpréter les œuvres d’autres artistes, moins pour y introduire ses propres préoccupations, que dans l’intention de les actualiser en fonction de leurs conditions d’apparition. En prenant en charge le processus qui accompagne leur matérialisation, elle introduit des variations qui ont pour objet de rendre ces œuvres actives dans le présent. Elle a réalisé la plupart de ces activations dans le cadre du projet A LOUER et dans divers lieux d’exposition (CAC de Brétigny ; Peep-Hole, Milan ; Galerie Arko, Nevers ; Le Quartier, Quimper).

Project: Double Cross, From Both Sides of a Mountain

close
en

PATRICK BERNATCHEZ

PLE-TPOMPT-013

Born 1972 Montreal, Canada
Lives and works in Montreal, Canada

Image:
Patrick Bernatchez, BW (Black Watch) (detail), 2010 © Aurélien Mole / Parc Saint Léger (Courtesy of the artist and Battat Contemporary)

Project: The Registry of Promise

close
en - it - fr

Marcus Geiger

Marcus Geiger, Sozial, Radikal, Minimal, Kapital, 2007-2010

Marcus Geiger, Sozial, Radikal, Minimal, Kapital, 2007-2010

Born 1957, Muri, Switzerland
Lives and works in Vienna, Austria

In his work, Marcus Geiger often uses domestic materials and painstaking processes that provoke ironic ruptures between the conceptual precision with which they are treated and the stereotypical image of a comfortable interior that they convey. He explores and demystifies the meaning of the artwork as a concept, disrupting the ways in which the art market attributes value. Geiger is also interested in the “confrontation between space and art,” in which space is considered broadly to include its social, cultural, and political ramifications. In 1998, for example, he repainted the Vienna Secession red, thus transforming an architectural monument into a pictorial medium. The artist deployed the same concepts in his project for Erste Campus, the future home of the Erste Bank in Vienna.
In the context of Raumwahrnehmung (Perception of Space), a call for art projects to accompany the conversion of an abandoned brewery in Vienna into a housing complex, Geiger submitted Sozial Radikal Minimal Kapital, a minimalist proposal with decisive material and symbolic import. In the context of a social housing complex, which tends, for rational and economic reasons, to limit the living space of its inhabitants to a minimal floor area, the artist revealed the processes at work by introducing a conspicuous rupture within the project’s main layout. He removed one of the 123 planned apartments, thus leaving a gaping hole in both sides of the building, left in unfinished state and abandoned to birds and weeds. The proposal also carried concrete and financial consequences, rendering commercially unviable one of the housing development’s 123 units. Geiger thus responded in a critical way to the project brief, which raises questions concerning the current integration of art and architecture in the context of social housing and its economic conditions: “What can art provide for social housing?” How “to give access to light, air and sun?”
For the work Untitled, presented for the first time at the Haus der Kulturen der Welt in Berlin, Marcus Geiger covered the floors of the exhibition space with material used to protect building sites, blurring the distinction between areas of the building devoted to different activities such as corridors, the project room, restaurant, entrance hall, and bookshop. His project thus confronted the desire for clarity, openness, and transparency in the modernist project. During the exhibition, this was made all the more apparent as the surfaces became dirty and worn. The project thus reflected on the sanitizing dictates of museum conservation, which, as such, isolate the work from its host environment. Paradoxically, his intervention criticized the ideology of conservation at the same time as it prevented the project from leaving its trace or interfering with the building itself.

Nato a Muri, Svizzera, nel 1957
Vive e lavora a Vienna, Austria

Le opere di Marcus Geiger utilizzano spesso materiali comuni e processi laboriosi, provocando delle rotture ironiche tra la precisione concettuale del loro trattamento e l’immagine stereotipata di un arredamento confortevole che veicolano. L’artista esplora e demistifica i significati del concetto di opera d’arte, scompigliando i meccanismi di attribuzione di valore del mercato. Geiger s’interessa al “confronto dello spazio con l’arte”, estendendo la nozione di spazio alle sue implicazioni sociali, culturali e politiche. È il caso, per esempio, di quando nel 1998 ridipinge di rosso il palazzo della Secessione di Vienna, che da monumento diventa supporto pittorico. Gli stessi principi torneranno nel suo progetto per Erste Campus, futura sede di una banca eponima a Vienna.
In occasione di Percezione dello spazio, una “call for proposal” per la trasformazione di un vecchio ristorante di Vienna in immobile destinato a uso residenziale, Geiger ha presentato Sozial Radikal Minimal Kapital (Sociale, radicale, minimale, capitale), una proposta minimalista, con una forte portata materiale e simbolica. In un contesto di edilizia popolare, istituzione economica razionale che cerca di concentrare gli abitanti nella minor superficie possibile, l’artista rivela i processi all’opera con un gesto che introduce una vistosa spaccatura nell’organizzazione dello schema guida. Geiger lascia allo stato grezzo uno dei centoventitre appartamenti previsti, creando così una grande lacuna su entrambi i lati dell’edificio, e in preda agli uccelli e alle piante selvatiche. Questo atto contiene anche una denuncia economica concreta: uno dei centoventitre elementi che rappresentano un utile finanziario nel progetto immobiliare è divenuto improduttivo. Geiger risponde così in maniera critica alla call for proposal, che si proponeva di indagare “nuove modalità di unire l’arte e l’architettura nei termini economici dell’edilizia popolare”, “che cosa possa fare l’arte per l’edilizia popolare”, e come “fare in modo che i residenti abbiano accesso a luce, aria e sole”.
Per l’opera Ohne Titel, inizialmente presentata alla Haus der Kulturen der Welt a Berlino, Marcus Geiger ricopre i pavimenti della sede della mostra con un materiale specifico per proteggere le aree di lavoro, rendendo uniformi i diversi spazi destinati ad attività differenti, come i luoghi di passaggio, la Project room, il ristorante, la reception e la libreria. Entra così in conflitto con la volontà di chiarezza, apertura e trasparenza del progetto modernista, tanto più che, per tutta la durata della mostra, la superficie si sporca e si deteriora. Il progetto è quindi una riflessione sulle sterili regolamentazioni della conservazione museale, che di fatto isolano l’opera dal suo luogo-ospite. Paradossalmente, l’intervento dell’artista critica l’ideologia della conservazione, preservando l’edificio da ogni traccia e interferenza con il progetto che accoglie.

Né à Muri, Suisse, en 1957
Vit et travaille à Vienne, Autriche

Les œuvres de Marcus Geiger utilisent souvent des matériaux domestiques et des processus laborieux, provoquant des ruptures ironiques entre la précision conceptuelle de leur traitement et l’image stéréotypée d’un intérieur confortable qu’elles véhiculent. Il explore et démystifie les significations du concept d’œuvre d’art, brouillant les mécanismes d’attribution de valeur du marché artistique. Geiger s’intéresse aussi à « la confrontation de l’espace avec l’art », la notion d’espace étant étendue à ses implications sociales, culturelles et politiques, par exemple lorsqu’en 1998 il repeint le bâtiment de la Sécession de Vienne en rouge, qui de monument devient alors support pictural. Ces principes seront reconduits dans son projet pour Erste Campus, le futur siège de banque éponyme à Vienne.
Dans le cadre de « Perception de l’espace », un appel à projets artistiques qui accompagnait la reconversion d’une ancienne brasserie à Vienne en immeuble d’habitation, Geiger a réalisé une proposition minimale avec une forte portée matérielle et symbolique. Dans un contexte de logement social, organisation économique rationnelle qui tend à concentrer les habitants sur un minimum de surface, l’artiste révèle les processus à l’œuvre avec un geste qui introduit une fissure flagrante dans l’ordonnancement du schéma directeur. Il retire un des 123 appartements prévus, laissant un trou béant des deux côtés de l’immeuble, à l’état de chantier et en proie aux oiseaux et plantes sauvages. Cet acte a aussi une portée financière concrète : un des 123 éléments de revenu de cette promotion immobilière est rendu inopérant. Geiger répond ainsi de manière critique à cet appel qui questionne les « nouvelles façons de combiner l’art et l’architecture dans les conditions économiques du logement social », « ce que peut l’art pour le logement social », comment « donner accès à la lumière, l’air et le soleil ».
Pour cette œuvre, initialement présentée au Haus der Kulturen der Welt à Berlin, Marcus Geiger recouvre les sols du lieu d’exposition avec une matière servant à protéger les zones en travaux, uniformisant les espaces spécialisés et dédiés aux différentes activités, telles que les passages, le Project room, le restaurant, le hall d’accueil et la librairie. Il entre ainsi en conflit avec la volonté de clarté, ouverture et transparence du projet moderniste, d’autant plus que, pendant la durée de l’exposition, la surface se salit et se délabre. Le projet est aussi une réflexion sur les réglementations stérilisantes de la conservation muséale, qui de fait isolent l’œuvre de son lieu-hôte. Paradoxalement, son intervention critique l’idéologie de la conservation, tout en préservant le bâtiment de toute trace et interférence avec le projet accueilli.

Image:
Marcus Geiger, Sozial, Radikal, Minimal, Kapital, 2007-2010, Soleil politique, Museion 2014. Photo: Luca Meneghel

Project: Soleil politique

close
en

Letizia Ragaglia

Born in Montebelluna in 1969, Letizia Ragaglia majored in museology and contemporary art at the universities of Florence and Bologna as well as at the École du Louvre and the Sorbonne in Paris.
She worked as a freelance curator specializing in projects for public spaces on behalf of various Italian and international institutions. She was a member of the jury for the 54. Venice Biennale and a member of the jury for the Vienna-based project KÖR (Kunst im Öffentlichen Raum / art in public spaces) from 2010 until 2013.
Since 2009, Ragaglia has been director of the Museion in Bolzano, where she has curated solo exhibitions of Monica Bonvicini, Isa Genzken, Andro Wekua, VALIE EXPORT, Carl Andre, Claire Fontaine, Paweł Althamer, Rosemarie Trockel, Danh Vo, Klara Lidén and Ceal Floyer.
She lives and works in Bolzano.

Project: Soleil politique
Space: Museion

close
en

VINCENT HONORÉ IN CONVERSATION WITH LETIZIA RAGAGLIA, MUSEION, BOLZANO

VINCENT HONORÉ IN CONVERSATION WITH LETIZIA RAGAGLIA, MUSEION, BOLZANO

Vincent Honoré In the mission statement of the museum, one reads: “Museion works as an international research laboratory and as a commissioner of works of art […]. The aim is to be interdisciplinary and these efforts can be seen in the fact that not only figurative art finds its place at Museion, but also architecture, music, performance, film and theatre all have a space in the yearly programme.” I am curious to know how structurally interdisciplinarity informs your programme? How do you articulate it? And, importantly, why is it still relevant to be interdisciplinary?
Letizia Ragaglia The fact that visual arts cannot be perceived in isolation from other forms of art is not a new discovery. Reference to such statements can be found in ancient periods as well as in the present. However, I see contemporary art as a hybrid construction – in a positive sense – which not only connects different cultural disciplines, but also integrates disciplines that are far beyond the cultural field. In my opinion, therefore, a museum of contemporary art has to underline and to create different links that move through the present-day cultural scene.
Museion’s “core business” is still visual art, but we want to show that rigid barriers cannot be erected. This Summer, for example, a young Italian artist, Luca Trevisani, was invited to create a video for our media façade: he, in turn, invited MK, a dance company, giving rise to an ensuing fruitful collaboration with the Bolzano dance festival. This Fall, moreover, we will present a show, in which Carol Bove, an American artist, interacts with the well-known architect Carlo Scarpa: how can a museum avoid considering architecture and, more particularly, reflecting on the display of works? In our show When Now Is Minimal. The Unknown Side of the Sammlung Goetz we hosted concerts with minimal music and we also pursue collaborations with designers such as Martino Gamper, who continuously move between art and design. These are just a few examples of how we articulate “interdisciplinarity,” although I must admit I’m not a fan of this word. Regarding the importance of interdisciplinarity: it is a mirror of how contemporary culture moves.

2. Danh Vo, We the people

2. Danh Vo, We the people, Museion, 2013

V.H. There are different models of what a museum should be, of what its missions should be. What is your vision, in 2014, of what a museum should be?
L.R. I can only answer for a museum of contemporary art, a museum which works predominantly with living artists and which, therefore, differs slightly from other museums that deal with artists and objects from the past. Although it is true that these other kinds of museums also constantly re-enact their collections and put them into a dialogue with the present, this process is accentuated in a museum for contemporary art, where the scientific work on the collections is continuously related to collaborations the museum has with the artists invited to create/produce new shows. Is the traditional museum dead? I don’t think so: a museum must constantly question its own role and, even if the years of institutional critique are over, it must remain aware of its public task and try to keep up with the times, providing new inputs to the traditional tasks of conserving, researching, exhibiting and communicating.

3. Klara Lidén, Invalidenstraße

3. Klara Lidén, Invalidenstraße, Museion, 2013

V.H. I particularly appreciate a question asked by Nikolaus Hirsch: “who are the authors in the construction of institutional space?”. Who are the authors of Museion?
L.R. Last year, Museion invited Carol Yinghua Lu and Liu Ding as guest curators and they created a very interesting show, Little Movements. Self-practices in Contemporary Art. The show analyzed different individual practices in the field of contemporary art and pointed out the importance of individual movements/actions. At the same time, the show gave us the chance to go through each different individual practice in our team, from the security guards in the exhibition rooms, to the accountant and the secretary. Each employee made a presentation to the public on a separate occasion and offered a glance into their own, special task within the “Museion machine:” for me, it is all of those people that are the authors of Museion.

4. Paweł Althamer, Polyethylene, Museion, 2012

4. Paweł Althamer, Polyethylene, Museion, 2012

V.H. Who do you speak to? How would you describe the persons visiting Museion: a public, an audience, actors, spectators, clients?
L.R. That’s a tricky question! In 2014, the guest curator of Museion is Pierre Bal-Blanc. We will talk about him further on in relation to the PIANO collaboration. I invited Pierre Bal-Blanc because I saw his show The Death of the Audience at the Secession in Vienna. Among the many inspirations I received from that show, I read between the lines that nowadays there is not one single public, but a number of different ones. At this point, I would also like to quote Félix González-Torres, who once said that one (i.e. the public) cannot look at an artwork without considering his or her political, social, economic and sexual background. I would never use the word “clients” nor “spectators” or “actors”: audience and public is fine, but much more important than the definition itself is the fact that I/we really believe that it is very important to make the museum accessible for everybody. We have high, even “elitist” contents, but we want everybody to share them with us, therefore we offer a large variety of mediation services, that can be accepted or ignored. I think that one should never underestimate his or her public! And if you keep in mind Félix González-Torres you have to go further and consider that your public may also come from non-western cultures or, for example, that elderly people may have different needs than younger ones.
Furthermore, I have a dream: to eliminate the word “comprehension.”. We want to be there for people who want to engage and have an experience. This involves delving much farther beyond our rationality.

5. Museion, Media façade: Michael Fliri, the unseen looks like something you have never seen, 2011

5. Museion, Media façade: Michael Fliri, the unseen looks like something you have never seen, 2011

V.H. PIANO intends to create a network of art spaces working together, exchanging and interacting. Why did you decide to join the project and how are you participating in it?
L.R. I have to be sincere and explain that Museion had already thought about a collaboration with Pierre Bal-Blanc and the CAC Brétigny before the possibility of the PIANO platform arose. Once we heard about that, though, we were obviously enthusiastic about collaborating in a wider network. I strongly believe in exchanges and collaboration with other institutions, especially if the partners share needs and mission-statements. As a guest curator, Pierre Bal-Blanc has done a lot of research on our territory and brought his perspective from outside in order to make us perceive our context in a different way. Thanks to his excellent skills, he has managed to produce a “local” exhibition of international relevance. And I think that the fact that the show is present on the PIANO platform has added value to it.

 

Vincent Honoré Nella mission del museo si legge: “Museion è un laboratorio internazionale di ricerca e un committente di opere d’arte […]. Museion coltiva una vocazione all’interdisciplinarità: non solo l’arte figurativa, ma anche l’architettura, la musica, la performance, il cinema e il teatro trovano espressione nel programma annuale”. Mi interessa sapere in che modo il programma di Museion sia improntato strutturalmente all’interdisciplinarietà. Come viene articolato? E, cosa ancor più rilevante, perché è ancora importante essere interdisciplinari?
Letizia Ragaglia Il fatto che le arti visive non possano essere percepite in maniera isolata rispetto ad altre forme d’arte non è una scoperta. L’applicazione di questa idea può essere rintracciata nell’antichità così come nel presente. In ogni caso, ritengo che l’arte contemporanea sia una costruzione ibrida, in senso positivo, che non solo si ricollega agli altri campi culturali, ma integra in sé discipline anche lontane dalla cultura. A mio avviso un museo d’arte contemporanea deve insistere e creare diversi collegamenti all’interno della scena culturale attuale.
Il “core business” di Museion resta l’arte visiva, ma sentiamo il bisogno di oltrepassare la rigidità dei confini. Quest’estate, per esempio, un giovane artista italiano, Luca Trevisani, è stato invitato a realizzare un video per la nostra facciata mediale: a sua volta, ha invitato MK, una compagnia di danza, dando vita così a una fertile collaborazione con il festival di danza di Bolzano. Quest’autunno, inoltre, presenteremo una mostra, in cui l’artista americana Carol Bove interagirà con il noto architetto Carlo Scarpa: come può un museo esimersi dalla relazione con l’architettura e, in particolare, dalla riflessione sul display delle opere? Nella nostra mostra When Now Is Minimal. The Unknown Side of the Sammlung Goetz, abbiamo ospitato concerti di musica minimale e portato avanti collaborazioni con designer come Martino Gamper, che si muovono continuamente tra l’arte e il design. Sono solo alcuni esempi di come articoliamo l’idea dell’“interdisciplinarietà”, anche se devo ammettere che non amo questo termine. Sempre a proposito dell’importanza dell’interidisciplinarietà: è lo specchio di come si muove la cultura contemporanea.

V.H. Ci sono diversi modelli di cosa dovrebbe essere un museo e di quale debba esserne la mission. Cosa pensi debba essere un museo nel 2014?
L.R. Posso rispondere solodal punto di vista di un museo d’arte contemporanea, ossia un museo che lavora specificamente con artisti viventi e che, per questo, differisce in maniera significativa dagli altri musei che hanno a che fare con artisti e oggetti del passato. Sebbene anche gli altri tipi di museo riallestiscano costantemente le loro collezioni e le facciano dialogare con il presente, questo processo si accentua in un museo d’arte contemporanea, in cui il lavoro scientifico sulle collezioni è sempre legato alle collaborazioni che il museo intesse con gli artisti invitati a realizzare/produrre nuove mostre. Il museo tradizionale è morto? Non credo: un museo deve interrogarsi senza sosta sul proprio ruolo e, anche se gli anni dell’institunional critique sono passati, deve continuare a prestare attenzione al proprio compito pubblico e cercare di tenersi al passo con i tempi, dando nuova vita alle tradizionali funzioni di conservazione, ricerca, esposizione e comunicazione.

V.H. Trovo molto interessante questa domanda formulata da Nikolaus Hirsch: “chi sono gli autori della costruzione di uno spazio istituzionale?”. Chi sono gli autori di Museion?
L.R. Lo scorso anno, Museion ha invitato come guest curators Carol Yinghua Lu e Liu Ding, che hanno realizzato una mostra molto interessante, Little Movements. Self-practices in Contemporary Art. Il progetto prendeva in esame diverse pratiche individuali nel campo dell’arte contemporanea e insisteva sull’importanza dei movimenti/azioni individuali. Allo stesso tempo, la mostra ci ha dato l’opportunità di mettere in luce le pratiche individuali di ciascun membro del nostro staff, dal personale di sicurezza all’interno delle sale espositive al personale amministrativo e della segreteria. Ogni impiegato ha fatto una presentazione personale al pubblico e offerto la possibilità di gettare uno sguardo sul proprio specifico compito all’interno della “macchina Museion”: per me gli autori di Museion sono tutte queste persone.

V.H. A chi ti rivolgi? Come descrivile persone che visitano Museion: un pubblico, un’audience, attori, spettatori, clienti?
L.R. Domanda insidiosa! Nel 2014 il guest curator di Museion è Pierre Bal-Blanc. Ne parleremo più avanti in relazione alla collaborazione di PIANO. Ho invitato Pierre Bal-Blanc dopo aver visto la sua mostra The Death of the Audience alla Secession di Vienna. Tra le molte ispirazioni che ho tratto da quella mostra, mi pare di aver letto tra le righe che oggi non esiste un unico pubblico, ma diversi. A tal proposito vorrei anche citare Félix González-Torres, che una volta ha affermato che il pubblico non può guardare un’opera senza tenere conto del proprio background politico, sociale, economico e sessuale. Non userei mai i termini “clienti” o “spettatori” o “attori”: audience e pubblico funzionano meglio, ma ciò che conta di più, al di là della definizione, è il fatto che credo e crediamo fortemente nell’importanza di rendere il museo accessibile a tutti. Proponiamo contenuti elevati, persino “elitari”, ma desideriamo condividerli con tutti, motivo per cui forniamo una gran varietà di servizi di mediazione, che possono essere utilizzati o meno. Penso che non si debba mai sottovalutare il pubblico! E, tendendo a mente Félix González-Torres, bisogna andare oltre e considerare la possibilità che il pubblico possa essere composto anche da non-occidentali, per esempio, o il fatto che le persone anziane hanno bisogni diversi rispetto a quelle giovani.
E poi, ho un sogno: cancellare la parola “comprensione”. Vogliamo avere a che fare con persone che desiderano essere coinvolte e vivere un’esperienza, andando a fondo e superando i confini della razionalità.

V.H. PIANO intende creare un network di spazi espositivi che lavorano insieme, attraverso lo scambio e l’interazione. Perché hai deciso di aderire al progetto e come si attua la tua partecipazione?
L.R. Devo dire la verità: Museion aveva già pensato di avviare una collaborazione con Pierre Bal-Blanc e il CAC Brétigny prima che si presentasse la possibilità della piattaforma PIANO. Una volta che questa è emersa, abbiamo reagito con entusiasmo alla possibilità di collaborare all’interno di una rete più ampia. Credo fortemente nello scambio e nella collaborazione con altre istituzioni, specialmente se i partner hanno gli stessi bisogni e le stesse mission. Pierre Bal Blanc, in qualità di guest curator, ha portato avanti una approfondita ricerca sul nostro territorio e ha offerto il proprio punto di vista esterno per farci percepire il nostro contesto in maniera diversa. Grazie alle sue eccezionali qualità, è riuscito a produrre una mostra “locale” di rilevanza internazionale [Soleil politique]. E penso che l’inserimento della mostra nella piattaforma PIANO non faccia altro che aggiungere valore all’iniziativa.

Images:
1. Museion. Photo: Ludwig Thalheimer / Lupe
2. Danh Vo, We the people. Exhibition Fabulous Muscles, Museion, 2013. © Danh Vo, courtesy Galerie Chantal Crousel. Photo: Othmar Seehauser
3. Klara Lidén, Invalidenstraße, exhibition view, Museion 2013. Courtesy Galerie Neu, Berlin / Reena Spaulings, NY / the artist. Photo: Othmar Seehauser
4. Paweł Althamer, Polyethylene, Museion, 2012. © Pawel Althamer, courtesy neugerriemschneider, Berlin and Foksal Gallery Foundation, Warsaw. Photo: Othmar Seehauser
5. Museion, Media façade: Michael Fliri, the unseen looks like something you have never seen, 2011, Collection Museion. Photo: Othmar Seehauser

Protagonist: Letizia Ragaglia
Space: Museion
Project: Soleil politique

close
en - it - fr

ILARIA BONACOSSA

Ilaria_Bonacossa

Ilaria Bonacossa is art director of Villa Croce Museo d’Arte Contemporanea in Genoa after working seven years at Fondazione Sandretto Re Rebaudengo in Turin. Founder of Art@Work, a collective that commissions and develops profit and non-profit contemporary art projects, she has curated numerous solo exhibitions of international and Italian artists like Nick Devereaux, Ian Kiaer, Zhang Enli, Tony Conrad, Julieta Aranda, Massimo Grimaldi, Alberto Tadiello, Katrin Sigurdardottir and Thomas Grunfeld and group shows such as Subcontingent. Art from the Indian Subcontinent and Greenwashing. Art Perils and Proposals. She has published monographs on the work of Cristof Yvoré, Kees Goudswaard, Marlene Dumas and Tomas Saraceno. Since February 2014 she is a member of the curatorial Commitee of PAC Padiglione Arte Contemporanea in Milano. She is a permanent member of the Technical Committee for Acquistions of FRAC Provence-Alpes-Côte d’Azur of Marseille. In 2007 she was a member of the jury for the Golden Lions of the 52nd Venice Biennale and in 2013 International Jury member of the Inamori Foundation Prize, Kyoto. She holds a Degree in Contemporary Art History at Università Statale di Milano and a Master in Curatorial Studies from Bard College, New York.

Project: La démocratie est illusion
Space:  Villa Croce Museo d’Arte Contemporanea

 

Ilaria Bonacossa è direttrice artistica del Museo Villa Croce a Genova, dopo aver lavorato sette anni come senior curator alla Fondazione Sandretto Re Rebaudengo di Torino. Fondatrice di Art@Work, un collettivo attivo nel settore profit e no profit per la produzione di progetti d’arte contemporanea, ha curato numerose mostre collettive e personali in Italia e all’estero lavorando con artisti come Nick Devereux, Ian Kiaer, Zhang Enli, Tony Conrad, Julieta Aranda, Massimo Grimaldi, Alberto Tadiello, Gintaras Didziapetris e Thomas Grunfeld; le piu importanti collettive da lei curate sono Subcontinent. Art from Indian Subcontinent e Greenwashing. Arte Pericoli e Promesse. Ha curato alcune monografie di artisti come Cristof Yvoré, Kees Gouddswaard, Marlene Dumas e Tomas Saraceno. È membro del Comitato Tecnico per gli Acquisti del FRAC Provence-Alpes-Côtes-d’Azur di Marsiglia. Nel 2007 è stata una dei cinque membri della giuria per i leoni d’oro della 52a Biennale Internazionale di Arte Contemporanea di Venezia e nel 2013 membro della giuria del Premio della Inamori Foundation a Kyoto. Ha co-curato il padiglione Islandese di Katrin Sigurdardottir alla Biennale di Venezia.

 

Ilaria Bonacossa est directrice artistique du Museo Villa Croce a Gênes après avoir travaillé sept ans a la Fondation Sandretto Re Rebaudengo a Turin. Fondatrice d’Art@Work, collectif qui produit et accompagne des projets d’artistes, elle a été commissaire d’expositions personnelles d’artistes italiens ou internationaux comme Nick Devereux, Ian Kiaer, Zhang Enli, Tony Conrad, Julieta Aranda, Massimo Grimaldi, Alberto Tadiello, Katrin Sigurdardottir ou Thomas Grunfeld et d’expositions collectives comme Subcontinent. Art from Indian Subcontinent et Greenwashing. Art Perils and Proposals. Elle a édité des monographies de Cristof Yvoré, Kees Gouddswaard, Marlene Dumas et Tomas Saraceno. Elle est également membre du comité technique du FRAC Provence-Alpes-Côtes-d’Azur à Marseille. En 2007, elle a fait partie du jury de la 52ème Biennale Internationale d’Art Contemporain de Venise et en 2013 du jury du Inamori Foundation Prize a Kyoto.

close
en - fr

VINCENT VERLÉ

Born 1974, Nancy, France
Lives and works in Grenoble, France

After studying History of Arts and Cultural Engineering in Nancy, Vincent Verlé arrived in Grenoble in 2001 when integrating and administrating the artistic collective “Ici Même (Grenoble)”. He then became art critic for a local cultural weekly (Le Petit Bulletin), while at the same time collaborating as one of the contributors for the Nouvelle Galerie, a contemporary art gallery in Grenoble. In 2006, when the CAB is created, he joins the team as Manager for Public Programmes before becoming the art centre’s Curator. He took on Directorship in 2011, meanwhile continuing the program he had started to develop in 2007, concentrating on “composing and creating coherent approaches and dialogues towards and between the artworks.”

Né à Nancy, France, en 1974
Vit et travaille à Grenoble, France

Après des études en Histoire de l’art et en Ingénierie culturelle à Nancy, Vincent Verlé est arrivé à Grenoble en 2001 pour intégrer le collectif artistique Ici Même (Grenoble). Il devient ensuite critique d’art pour un hebdomadaire culturel grenoblois (Le Petit Bulletin), puis dans le même temps collaborateur à la Nouvelle Galerie, galerie d’art contemporain grenobloise. C’est en 2006, date de création du Centre d’Art Bastille qu’il rejoint l’équipe du centre d’art en devenant chargé des publics, puis commissaire des expositions qui y sont présentées. Il en prend ensuite la direction en 2011 développant la programmation qu’il a mis en place depuis 2007 en s’attachant à «  (…) composer des parcours cohérents, faire dialoguer les œuvres entre elles. Et toujours, raconter une histoire (…) » à travers elles.

Space: Centre d’Art Bastille
Project: Double Cross, from Both Sides of a Mountain

close
en - it - fr

GIANNI PETTENA

Born 1940, Bolzano, Italy
Lives and works in Fiesole, Italy

An artist, architect, designer, critic, architectural historian, curator, and teacher, Gianni Pettena is one of the central figures of Italian radical architecture alongside Archizoom, Superstudio, and UFO. His book L’Anarchitetto, published in 1972, has influenced several generations of artists and architects: in it, the author refuses to acknowledge the boundaries between different disciplines and defines himself as an “anarchitect,” one for whom speaking about architecture is a means of communicating a creative condition destined to become architecture, yet one that culminates in an art of living. Among the tools and subjects that can be found in his work are the use of language, a relationship to nature and context, and the parallel between reality and reproduction. Gianni Pettena’s first realized public project, for the town hall in Canazei (Trentino-Alto Adige), stems from his interest in the restoration and conservation of historical buildings. The town hall was built in 1930s by senior Ettore Sottsass, a major figure in pre-war Italian architecture. Threatened with demolition, the building was saved in part due to Gianni Pettena’s intervention. He proposed extending the building—a necessity given the rise in tourism—in the form of a mirror construction that establishes a dialog with the original building. The same architectural phrase is thus written in the styles of two different periods. The facing façades of the two buildings are similar in appearance and are united by a glass structure that transforms the space between them as a convivial public meeting place.

Nato a Bolzano, Italia, nel 1940
Vive e lavora a Fiesole, Italia

Artista, architetto, designer, critico e storico dell’architettura, curatore di mostre e insegnante, Gianni Pettena fa parte del nucleo iniziale dell’Architettura Radicale Italiana, a fianco di Archizoom, Superstudio e UFO. La sua opera L’Anarchitetto, pubblicata nel 1972, segnerà molte generazioni di artisti e di architetti: l’autore rifiuta le frontiere tra le discipline e si definisce un “anarchitetto”, per il quale parlare di architettura è un modo per parlare di una condizione creatrice destinata sì a produrre delle architetture, ma anche rappresentativa di un’arte del vivere. Tra gli strumenti e i temi del suo lavoro vanno ricordati l’uso del linguaggio, il rapporto con la natura e con il contesto, i collegamenti tra realtà e riproduzione.
Il progetto per il primo edificio pubblico realizzato da Pettena deriva dal suo interesse per il restauro e la conservazione degli edifici storici. Nel caso specifico, il comune di Canazei (Trentino Alto Adige) era stato costruito negli anni ’30 da Ettore Sottsass padre, figura importante dell’architettura italiana anteguerra. A rischio di demolizione, ha potuto essere in parte conservato grazie all’intervento di Gianni Pettena. Egli ha proposto un’espansione, resa necessaria dalla crescita del turismo, sotto forma di una costruzione speculare che installa un dialogo aperto con l’edificio esistente: una stessa frase architettonica, scritta nei linguaggi formali di due epoche distinte. Le facciate laterali dei due edifici hanno un aspetto simile e sono unite da una struttura in vetro, che riqualifica l’interstizio in uno spazio pubblico di incontro.

Né à Bolzano, Italie, en 1940
Vit et travaille à Fiesole, Italie

Artiste, architecte, designer, critique et historien de l’architecture, commissaire et enseignant, Gianni Pettena fait partie du noyau d’origine de l’Architecture radicale italienne, aux côtés d’Archizoom, Superstudio et UFO. Son ouvrage L’Anarchitetto, publié en 1972, marquera plusieurs générations d’artistes et d’architectes : l’auteur y refuse les frontières entre les disciplines et se définit comme un « anarchitecte », celui pour qui parler d’architecture est un mode pour parler d’une condition créatrice destinée à faire de l’architecture, mais qui aboutit à un art de vivre. Parmi les outils et les sujets présents dans son travail, on peut mentionner l’utilisation du langage, le rapport à la nature et au contexte, les jonctions entre réalité et reproduction.

Nuovo Municipio di Canazei, Trento (1990-97)
Avec Oswald Zoeggeler
Le projet pour le premier bâtiment public réalisé par Pettena découle de son intérêt pour la restauration et la conservation des bâtiments historiques. Dans ce cas particulier, la mairie de Canazei (Trentin-Haut-Adige) avait été construite dans les années 1930 par Ettore Sottsass père, figure majeure de l’architecture italienne d’avant-guerre. Menacée d’une démolition, elle a pu être conservée en partie grâce à l’intervention de Gianni Pettena. Il a proposé une extension, rendue nécessaire par l’essor du tourisme, sous la forme d’une construction en miroir qui établit un dialogue ouvert avec le bâtiment existant : une même phrase architecturale écrite dans les langages formels de deux époques distinctes. Les façades latérales des deux édifices ont une apparence similaire et sont unies par une structure vitrée qui requalifie l’interstice en un espace public de rencontre.

Project: Soleil politique

close
en - it - fr

Prinz Gholam

Wolfgang Prinz born 1969, Leutkirch, Germany and Michel Gholam born 1963, Beirut, Lebanon
Live and work in Berlin, Germany

Wolfgang Prinz and Michel Gholam have worked together since 2000 as Prinz Gholam. Together they have developed a performance practice in which objects and bodies are placed in confrontational situations through the interaction of material and dance movements. Their performances focus on the ways in which we envisage the world through images stored in our minds, as well as images derived from art history and the media.
In response to an invitation by the Centre Pompidou Metz (France) to participate in the exhibition Chefs-d’œuvre?, Prinz Gholam staged a performance in the museum’s expansive nave featuring a series of historical poses. One pose consisted of two boys awkwardly dancing a waltz, from the final scene of Pier Paolo Pasolini’s feature film Salo, or the 120 Days of Sodom, a free adaptation of the Marquis de Sade’s novel. In choosing the scene from Pasolini’s film, the artists thus commented on the context of the invitation. Pasolini shot the scene in the interior of a villa that contained a collection of Cubist and Futurist artworks, whose owners in the film, the Duke, the Bishop, the Judge, and the President, represent four distinct figures of power. In Metz, Prinz Gholam replaced Pasolini’s chosen film set with the French national museum’s collection of modern art, in front of which they reenacted the pose, adding a replica rifle leaning against one of the museum’s walls. In Bolzano, the artists and the curator have restaged the film’s original decor with works from Museion’s collection, thus updating the power relations portrayed in the film.

Wolfgang Prinz nato a Leutkirch, Germania, nel 1969 e Michel Gholam nato a Beirut, Libano, nel 1963
Vivono e lavorano a Berlino, Germania

Wolfgang Prinz e Michel Gholam lavorano insieme dal 2000 sotto il nome di Prinz Gholam. La coppia ha sviluppato una pratica di performance nella quale degli oggetti e dei corpi sono posizionati in situazioni di confronto, attraverso l’interazione tra materia e movimento danzato. Gli artisti s’interessano al modo in cui percepiamo il mondo, sfruttando le associazioni di immagini registrate nelle nostre menti e provenienti dalla storia dell’arte e dei media.
Invitati dal Centre Pompidou di Metz (Francia) in occasione della mostra Chefs-d’œuvre?, sono intervenuti nella grande navata con la performance faces shapes gestures tones acts places (Facce forme gesti toni atti luoghi) articolata in un insieme di pose storiche, tra le quali una riproponeva un celebre film.
Si tratta della scena finale di Salò o le 120 giornate di Sodoma di Pier Paolo Pasolini, liberamente ispirato a un testo del marchese De Sade, in cui due ragazzi ballano un valzer in modo goffo. La scelta della scena commenta anche il contesto dell’invito, essendo stata filmata in una cornice che rappresenta una collezione di opere cubiste e futuriste, i cui proprietari, il Duca, il Vescovo, il Giudice e il Presidente, sono i rappresentanti di quattro poteri distinti. A Metz, Prinz Gholam sostituiscono la cornice del film con la collezione del museo francese di arte moderna, davanti alla quale riproducono la stessa posa, aggiungendovi un falso fucile appoggiato al muro del museo. A Bolzano, gli artisti e il curatore riprendono il contesto iniziale con delle opere di Museion, rendendo così attuali i rapporti tra i poteri.

Wolfgang Prinz né à Leutkirch, Allemagne, en 1969 et Michel Gholam né à Beyrouth, Liban, en 1963
Vivent et travaillent à Berlin, Allemagne

Wolfgang Prinz et Michel Gholam travaillent ensemble depuis 2000 en tant que Prinz Gholam. Le duo a développé une pratique performative dans laquelle des objets et des corps sont placés en situation de confrontation. À travers l’interaction entre matière et mouvement dansé, ils se penchent sur la manière dont nous envisageons le monde, par des associations d’images présentes dans nos esprits et issues de l’histoire de l’art et des médias.
A l’occasion de leur invitation par le Centre Pompidou Metz (France) dans le cadre de l’exposition Chefs-d’œuvre ?, ils ont réalisé une performance dans la grande nef, articulant un ensemble de poses historiques dont une issue d’un film de cinéma. La pose est celle des deux garçons qui dansent maladroitement une valse, dans la scène finale de Salò ou les 120 Journées de Sodome de Pier Paolo Pasolini, adaptation libre du texte du marquis de Sade. Le choix de cette scène commente le contexte de l’invitation, la séquence du film ayant été filmée dans un décor qui représente une collection d’œuvres cubistes et futuristes, dont les propriétaires, le Duc, l’Évêque, le Juge et le Président, sont les représentants de quatre pouvoirs distincts. À Metz, Prinz Gholam substituent au décor du film la collection du musée national d’art moderne, devant laquelle ils réactivent cette pose en y ajoutant un fusil factice appuyé contre la cimaise. À Bolzano, les artistes et le curateur reconstituent le décor initial avec des œuvres appartenant au Museion, actualisant ainsi les rapports des pouvoirs.

Project: Soleil politique

close
en - it

Pratchaya Phinthong

Born 1974, Ubon Ratchathani, Thailand
Lives and works in Bangkok, Thailand

Pratchaya Phinthong’s works bring together remote situations that would otherwise remain extraneous. The physical and semantic connections and shifts that he forges reveal new angles on social, geographic, and economic scenarios. The viewer is invited to bridge the apparent distance between the elements chosen by Phinthong, as happens in the piece Broken Hill, in which a copy of the skull of the first human found in Africa, together with other related materials, become the elements of a performance. When the skull was discovered, in 1921, in Broken Hill (now Kabwe, Zambia) the English colonial authorities had it taken to the Natural History Museum in London. The skull kept in the Lusaka National Museum in Zambia is a copy of the original find. The first version of the performance, presented in London in 2013, involved the guide from the Lusaka museum, Kamfwa Chishala, who recounted the finding and removal of the skull, as he normally does during his museum tours in Zambia. Phinthong asked the African museum to lend him its copy of the skull and purchased another copy on the internet to display in Lusaka for the duration of the loan. The installation on show here comprises a skull bought online, a series of photographs documenting Kamfwa Chishala’s experiences in London, and a case that is a reproduction of the one in the London museum containing the original skull.

Nato a Ubon Ratchathani, Thailandia, nel 1974
Vive e lavora a Bangkok, Thailandia

Le opere di Pratchaya Phinthong mettono in relazione situazioni agli antipodi, che, altrimenti, resterebbero lontane. Le connessioni e gli spostamenti, sia semantici sia fisici, che l’artista stabilisce in questo modo fanno emergere nuovi punti di vista su contesti sociali, geografici ed economici. Lo spettatore è invitato a colmare la distanza apparente tra gli elementi selezionati da Phinthong nei propri lavori. È il caso di Broken Hill, in cui una copia del teschio del primo essere umano trovato in Africa, insieme ad altri materiali correlati, diventa la scenografia per una performance. Quando il teschio fu scoperto, nel 1921, nella località allora chiamata Broken Hill (oggi Kabwe, Zambia), le autorità coloniali inglesi lo trasferirono presso il Natural History Museum di Londra. Il museo nazionale di Lusaka, in Zambia, ne espone invece una copia. Nella prima versione della performance presentata nel 2013 a Londra, è stato coinvolto Kamfwa Chishala, guida del museo di Lusaka, per spiegare ai visitatori la storia del teschio, del ritrovamento e della sostituzione, ciò che fa normalmente nei suoi tour in Zambia. Phinthong ha chiesto in prestito la copia del teschio al museo africano e ha acquistato su Internet un’altra copia, da esporre a Lusaka per tutto il periodo del prestito. L’installazione qui esposta è costituita da un teschio acquistato online, da una serie di fotografie che raccontano l’esperienza di Kamfwa Chishala a Londra, e da una cassa che riproduce quella contenente il teschio originale nel museo londinese.

Project: Soleil politique

close
en - it

Allan Sekula

Allan Sekula, Meat Mass, 1972

Allan Sekula, Meat Mass, 1972

Born 1951, Erie, PA, USA
† 2013, Los Angeles, CA, USA

Photographer and filmmaker Allan Sekula was committed to a vision of art as a tool for critiquing and exposing reality. As a creator, historian, theoretician, and critic, for almost half a century he explored and challenged the traditional canons of photographic representation. His work took him around the world, tracing the routes of global commerce, and shipping in particular. Having grown up near the port of Los Angeles, Sekula was profoundly struck by the lifestyles of the dockers and the dynamics governing international flows of goods. His first photographic works of the 1970s reveal his interest in systems of representation and his political and social activism, as can be seen in the work Meat Mass. The work consists of black-and-white photographic documentation, a series of shots of the performance the artist staged in January 1972. Over a few weeks, Sekula stole packets of meat from various supermarkets and stored them in a freezer. He then threw the frozen steaks onto a busy road, where they were crushed by passing vehicles, symbolically interrupting the capitalist circulation of luxury goods by means of theft and waste. Rather than focusing on single shots, reminiscent of the tradition of painting, Sekula always preferred serial photographic projects that enabled him to create narrative sequences closer to film and theater than to pure photography.

Nato a Erie, PA, USA, nel 1951
† 2013, Los Angeles, CA, USA

Allan Sekula, fotografo e film-maker, si è sempre battuto affinché l’arte fosse strumento di critica attiva e di denuncia, radicata nel confronto con la realtà. Per quasi mezzo secolo, l’artista ha indagato e sfidato la rappresentazione fotografica tradizionale in qualità di creatore, storico, teorico e critico. Ha viaggiato molto per tracciare le rotte del commercio globale, in particolare del trasporto marittimo delle merci. Cresciuto nel contesto del porto di Los Angeles, Sekula è stato profondamente influenzato dai destini di chi lavora nel settore delle operazioni portuali, e dalle dinamiche che regolano il traffico di merci, soprattutto internazionale. Nei primi lavori fotografici degli anni ’70 emerge il suo interesse per i sistemi di rappresentazione, e il suo impegno in questioni politiche e sociali, come dimostra Meat Mass (Massa di carne). L’opera consiste nella documentazione fotografica in bianco e nero, presentata come una sequenza di scatti, di una performance che l’artista realizzò nel gennaio del 1972. Per alcune settimane, Sekula rubò delle confezioni di carne da vari supermercati, conservandole in un congelatore e lanciando poi le bistecche surgelate al centro di una strada trafficata, così che fossero schiacciate dai veicoli in transito. L’azione dell’artista mirava a interrompere il sistema di circolazione capitalistica dei beni di lusso, attraverso il furto e lo spreco. Invece di privilegiare il singolo scatto, più legato alla tradizione pittorica, Sekula ha sempre prediletto progetti fotografici seriali, che gli consentivano di creare una sequenza narrativa più vicina al cinema o al teatro, che non alla fotografia tout court.

Image:
Allan Sekula, Meat Mass, 1972. Photo: Allan Sekula and David Alward. © Generali Foundation

Project: Soleil politique

close
en - it - fr

1:1PROJECTS

1:1projects is a network of independent art producers, which provides a platform for the initiation, development, production and promotion of contemporary local and international art projects and activities. The network operates as a point of intersection for the development of diverse and innovative projects including exhibitions, events, publications, symposia and talks, audio and live art beyond traditional institutional structures.
1:1projects’ archive highlights current methodologies in contemporary art. Intended as a tool for research and collaboration, it is actively engaged in a trans-national network between art professionals, operating in partnership with other archives located in Europe.
At the intersection between cultural mediation and distribution, 1:1projects produces workshops, seminars, events and exhibitions in an attempt to construct a research space which offers new modes of dialogue, exchange, and the reception and diffusion of contemporary art and culture.
1:1projects was founded in 2006 by Maria Alicata, Daniele Balit, Cecilia Canziani, Chiara Compostella, Benedetta Di Loreto, Adrienne Drake, Andrea Fontemaggi, Athena Panni, and Francesco Ventrella.

Project: Ephemera

 

1:1projects è un network indipendente di curatori e professionisti del mondo dell’arte contemporanea per lo sviluppo, la creazione e la promozione di progetti d’arte contemporanea, a livello sia locale sia internazionale. Il network opera come punto di intersezione nello sviluppo di modalità di produzione quali mostre, eventi, pubblicazioni, simposi, conferenze e performance che si pongono aldilà delle tradizionali strutture istituzionali. Nel corso degli anni 1:1projects ha istituito un archivio di artisti italiani e internazionali, focalizzato sulle metodologie più attuali dell’arte contemporanea. Inteso come strumento di ricerca e collaborazione, l’archivio è alla base di scambi con altri network internazionali e opera partnership con altri archivi europei. 1:1projects è stato fondato a Roma nel 2006 da Maria Alicata, Daniele Balit, Cecilia Canziani, Chiara Compostella, Benedetta di Loreto, Adrienne Drake, Andrea Fontemaggi, Athena Panni e Francesco Ventrella.

 

1:1projects est un réseau de commissaires et producteurs indépendants, qui constitue une plateforme d’initiatives, de développement, de production et de promotion de l’art contemporain au niveau local et international. Ce réseau représente un point de rencontre pour le développement de projets divers et innovants incluant expositions, événements, publications, conférences et rencontres, productions sonores et concerts, au-delà des structures institutionnelles habituelles. Au fil des années, 1:1projects a constitué des archives d’artistes italiens et internationaux qui mettent en lumière les méthodologies actuelles en matière d’art contemporain. Compris comme un outil de recherche et de collaboration, elles sont activement engagées dans les relations transnationales entre professionnels de l’art, opérant en partenariat avec les autres archives situées en Europe. 1:1projects a été créé en 2006 par Maria Alicata, Daniele Balit, Cecilia Canziani, Chiara Compostella, Benedetta di Loreto, Adrienne Drake, Andrea Fontemaggi, Athena Panni et Francesco Ventrella.

close
en - it - fr

JEAN-MAX COLARD IN CONVERSATION WITH 1:1PROJECTS (MARIA ALICATA, DANIELE BALIT, ADRIENNE DRAKE)

JEAN-MAX COLARD IN CONVERSATION WITH 1:1PROJECTS (MARIA ALICATA, DANIELE BALIT, ADRIENNE DRAKE)

Jean-Max Colard How did the project of Red Swan Hotel, that comprises a residency and two exhibitions in Rome and Chatou, begin?
1:1projects (Maria Alicata, Daniele Balit, Adrienne Drake) The project began by setting up a think tank that allowed us to share our different experiences and stories (both as individuals, but also as members of two different communities: the 1:1projects curatorial collective in Rome and the CNEAI in Chatou). We quickly identified the archive as our research thread, starting from what seemed to us quite a strong paradox inherent to the practice of archiving ephemera as the CNEAI is doing: the idea of conserving forms that have a short existence, trying to inscribe them in longer temporalities. A bit like collecting butterflies!
It’s true that such a paradox, epitomized by the FMRA collection (whose acronym in French reads ‘ephemera’) is a peculiarity of the archive format. In a way, all archives are ephemeral. The stories they preserve are there to be rewritten each time, to be brought to a new life on the occasion of each new display. That’s why Ben Kinmont’s motto “on becoming something else” could have been ours as well. Particularly if we think about the current moment in which there’s a search for a continuous migration of the artwork: through different mediums, formats, and notably through a network of interpersonal relations, as Kinmont’s projects suggest. This is something that became more and more relevant as we researched the archive material at CNEAI. Gradually, our research took the form of a historical perspective on some individuals, institutions and groups, who share similar preoccupations and who are trying to articulate them – or should we say, with Seth Price, to disperse them – through a variety of media.

IMG_1453

J.M.C. Why this title?
1:1 Red Swan Hotel is the title of the exhibition held at MACRO, and draws direct inspiration from Irish author Flann O’Brien’s 1939 novel At Swim-Two-Birds. The novel’s protagonist, a rather idle and drunken university student, spends much of his time writing short stories in which each of the characters’ own stories eventually begin to interconnect and overlap. As in the novel, in which the various protagonists meet at the Red Swan Hotel to plot the overthrow of the writer’s authority, so did the works in the exhibition reflect on the concept of the “authorship of the artist” and the “uniqueness of the artwork.” Wetlands Hero, the title of the show at CNEAI, is simply an anagram of Red Swan Hotel.

IMG_1364

J.M.C. How did you work all together?
1:1 The starting point of the project was a curatorial residency at CNEAI in June 2014. This was the occasion to approach and study the archive both individually and as a group. Each of us initially focused on our own personal curatorial interests and research, but at this stage we shared a common discussion on artists and their practices, which led to the identification of authorship as a crucial topic for the project. Gradually, we defined the group of artists we wanted to include in the first show in Rome, which was a selection of predominantly French artists. In reality, it was quite immediate not only for their works, but also because it was an opportunity to show historical artists such as Pascal Doury and Michel Journiac, who are not well known in Italy.
As we defined the second step of the project – evolving from the concept of authorship and singularity of the artwork to the role of the artist as curator – we worked more specifically in relation to the site of the CNEAI collection (such as Yann Sérandour’s work based on CNEAI’s own production of editions), together with artists and works from the first show, such as Ben Kinmont (with Promised Relations and archive material from Congratulations). We also included Italian artist Maurizio Nannucci and Jonathan Monk, whose practice is based on collaboration and appropriation.

IMG_1363

J.M.C. What are the continuity and the main differences between Rome and Chatou exhibitions?
1:1 As the play with the anagram suggests, Wetlands Hero is both a continued investigation into some of the issues that we had addressed previously in Red Swan Hotel, but also a shift in focus to the role of artist as curator, and to the space of action between art and its transmission. Some of the same artists are present in both shows, but there are artists and works “unique” to each. It was important, therefore, that each exhibition had a distinct title, but that were still directly connected in order to create continuity from one show to the next. Wetlands Hero seemed particularly fortuitous because it also very appropriately makes reference to CNEAI’s physical location – on the Île des Impressionnistes – and pays homage to the artists participating in both shows: makers of quiet heroic gestures.

J.M.C. How did you consider the collections of CNEAI?
1:1 A very interesting aspect that we soon seized upon during our residency on the Île des Impressionnistes is that the specificity of the CNEAI’s collection is related to its function as a platform for the distribution of art. This is of course true for any archive, the issues of access and display being at the center of its operations. But in the case of the FMRA archive, the whole idea of collecting editions and ephemera is really centered on exploring the possibilities of circulation and transmission of this specific type of art object. We were confronted with this very interesting dialectic between the fetishism of the collector (impulsive collecting, accumulation and preservation of ephemera…) and the endeavor of distributing it, which often implicates the questioning of the aura of the art object itself. With the exhibitions we wanted to emphasize such types of dualities. We then coupled a more classical way of selecting some wonderful material from the archive (such as the Pascal Doury’s or Michel Journiac’s files) with a different mode of relating to it – perhaps more focused on its meta-discourses. This was done by involving some figures for which archiving, collecting, re-framing, displaying, editing or distributing is at the core of their practice, and who contribute with their hybrid activities to the critical thinking and redefinition of the field. In other words, we wanted to share with these artists and their productions the processes of activating the archive. That was for us the most coherent way to present the FMRA collection, and also a response to some of the lines of research that emerged through the material itself.

Images:
1-4. Wetlands Hero, installation views, CNEAI, 2015

Project: Red Swan Hotel
Space: CNEAI
Protagonists: 1:1projects, Maria Alicata, Daniele Balit, Adrienne Drake

close
en - it - fr

Roberto Pugliese

Roberto Pugliese, Risuonanti pressioni materiche, 2014

Roberto Pugliese, Risuonanti pressioni materiche, 2014

Born 1982, Naples, Italy
Lives and works in Bologna, Italy
Roberto Pugliese was born in Naples in 1982. He earned his Master degree in Electronic Music at the Conservatorio San Pietro in Majella, Naples. He teaches at the same institution (Music Systems, Sound Art and Laboratory for Electro-acoustic and Informatics), he creates sound installations, plays and composes music. His research is inspired by two artistic movements: sound art and kinetic and programmed art. By using mechanical tools controlled by a software that interact one with the other, as well as with the environment and the observer, he investigates sound phenomena and analyzes the processes of the human psyche. His art explores the relationship between man and technology, and at the same time he keeps a particular focus on its visual quality and aesthetics. His works in permanent collections are to be found at ZKM Museum, Karlsruhe, Germany. He was awarded the Honorary mention for sound art and music, Ars electronica Linz (2013). Selected solo shows: Concerto per natura morta, Studio la Città, Verona (2014); Echi liquidi, TRA, Treviso ricerca arte, Treviso (2013); Gervasuti Mix, omaggio a Cage, Gervasuti Foundation, Venice (2012); Unexpected Machines, Galerie Mario Mazzoli, Berlin (2011). Selected group shows: Noise, 55. Venice Biennale, collateral event, Venice (2013); Ghostbusters, Charlottenburg Museum, Copenhagen, Oscillator, Science Gallery, Trinity college, Dublin (2013); Data Deluge, Ballroom Marfa, Marfa, Texas (2012).

Project: From & To

 

Roberto Pugliese nasce a Napoli nel 1982. Consegue la laurea in Musica Elettronica presso il Conservatorio San Pietro a Majella di Napoli, dove oggi insegna. La sua ricerca trae energia essenzialmente da due correnti, la sound art e l’arte cinetica e programmata. Servendosi di apparecchiature meccaniche pilotate da software, esplora nuove prospettive di ricerca sui fenomeni legati al suono e alla psiche umana. Opere in collezione permanente: ZKM Museum, Karlsruhe, Germania. Tra le principali mostre personali: Concerto per natura morta, Studio la città, Verona (2014); Gervasuti Mix, omaggio a Cage, Fondazione Gervasuti, Venezia (2012). Tra le recenti mostre collettive: Noise, 55a Biennale di Venezia, evento collaterale; Oscillator, Science Gallery, Trinity College, Dublino (2013); Data Deluge, Ballroom Marfa, Marfa, Texas (2012). Vive e lavora a Bologna.

 

Né à Naples en 1982. Vit et travaille à Bologne. Diplômé de musique électronique au Conservatoire de San Pietro a Majella de Naples, ou il enseigne maintenant. Ses travaux de recherche tirent leur énergie principalement de deux courants : l’art sonore et l’art cinétique et programmé. En utilisant des équipements mécaniques pilotés par logiciel, il explore de nouvelles pistes de recherche sur les phénomènes liés au son et la psyché humaine. Œuvres dans la collection permanente du ZKM Museum, Karlsruhe, Allemagne. Principales expositions personnelles : Concerto pour nature morte, Studio la città, Vérone (2014), Gervasuti Mix, hommage a Cage, Fondation Gervasuti, Venise (2012). Expositions récentes : Noise, 55e Biennale de Venise, Oscillator, Science Gallery, Trinity College, Dublin (2013), Data Deluge, Ballroom Marfa, Marfa, Texas (2012).

Image:
Roberto Pugliese, Risuonanti pressioni materiche, 2014. Photo: Michele Alberto Sereni. Courtesy Studio la Città, Verona

close
en - it - fr

DANIELE BALIT

Daniele Balit is a curator, theoretician and art historian living in Paris. He holds a PhD in Contemporary Art History from the University of Paris 1 Pantheon-Sorbonne, in which he has investigated the impact of sound-based practices on exhibition contexts. He’s the founder of Birdcage: an itinerant sound gallery producing in situ interventions. She is a founding member of the non-profit curatorial platform 1:1projects. www.dbarchives.net

Project: Red Swan Hotel

 

Curatore indipendente, critico e storico dell’arte, vive a Parigi. Nell’aprile 2012 ha conseguito un dottorato all’Università La Sorbonne Paris 1, attraverso il quale ha indagato le origini delle sperimentazioni sonore e l’impatto del suono sui contesti espositivi. Nel marzo 2009 ha dato avvio a Birdcage, galleria sonora itinerante e site specific. È tra i fondatori della piattaforma curatoriale non-profit 1:1projects.

 

Daniele Balit est commissaire d’expositions, théoricien et historien de l’art, vivant à Paris. Il est membre fondateur de la plateforme curatoriale 1:1projects à Rome et initiateur de Birdcage, espace itinérant autour des pratiques sonores. Il est docteur de recherche à l’université La Sorbonne – Paris 1, avec une thèse qui porte sur l’origine des expérimentations sonores et sur leur impact dans les contextes d’exposition. Daniele Balit a exposé et développé des projets à Rome, Paris, Melbourne, Pékin, Prague, Milan, Anvers.

close
en - it - fr

JEAN-MAX COLARD IN CONVERSATION WITH 1:1PROJECTS (MARIA ALICATA, DANIELE BALIT, ADRIENNE DRAKE)

JEAN-MAX COLARD IN CONVERSATION WITH 1:1PROJECTS (MARIA ALICATA, DANIELE BALIT, ADRIENNE DRAKE)

Jean-Max Colard How did the project of Red Swan Hotel, that comprises a residency and two exhibitions in Rome and Chatou, begin?
1:1projects (Maria Alicata, Daniele Balit, Adrienne Drake) The project began by setting up a think tank that allowed us to share our different experiences and stories (both as individuals, but also as members of two different communities: the 1:1projects curatorial collective in Rome and the CNEAI in Chatou). We quickly identified the archive as our research thread, starting from what seemed to us quite a strong paradox inherent to the practice of archiving ephemera as the CNEAI is doing: the idea of conserving forms that have a short existence, trying to inscribe them in longer temporalities. A bit like collecting butterflies!
It’s true that such a paradox, epitomized by the FMRA collection (whose acronym in French reads ‘ephemera’) is a peculiarity of the archive format. In a way, all archives are ephemeral. The stories they preserve are there to be rewritten each time, to be brought to a new life on the occasion of each new display. That’s why Ben Kinmont’s motto “on becoming something else” could have been ours as well. Particularly if we think about the current moment in which there’s a search for a continuous migration of the artwork: through different mediums, formats, and notably through a network of interpersonal relations, as Kinmont’s projects suggest. This is something that became more and more relevant as we researched the archive material at CNEAI. Gradually, our research took the form of a historical perspective on some individuals, institutions and groups, who share similar preoccupations and who are trying to articulate them – or should we say, with Seth Price, to disperse them – through a variety of media.

IMG_1453

J.M.C. Why this title?
1:1 Red Swan Hotel is the title of the exhibition held at MACRO, and draws direct inspiration from Irish author Flann O’Brien’s 1939 novel At Swim-Two-Birds. The novel’s protagonist, a rather idle and drunken university student, spends much of his time writing short stories in which each of the characters’ own stories eventually begin to interconnect and overlap. As in the novel, in which the various protagonists meet at the Red Swan Hotel to plot the overthrow of the writer’s authority, so did the works in the exhibition reflect on the concept of the “authorship of the artist” and the “uniqueness of the artwork.” Wetlands Hero, the title of the show at CNEAI, is simply an anagram of Red Swan Hotel.

IMG_1364

J.M.C. How did you work all together?
1:1 The starting point of the project was a curatorial residency at CNEAI in June 2014. This was the occasion to approach and study the archive both individually and as a group. Each of us initially focused on our own personal curatorial interests and research, but at this stage we shared a common discussion on artists and their practices, which led to the identification of authorship as a crucial topic for the project. Gradually, we defined the group of artists we wanted to include in the first show in Rome, which was a selection of predominantly French artists. In reality, it was quite immediate not only for their works, but also because it was an opportunity to show historical artists such as Pascal Doury and Michel Journiac, who are not well known in Italy.
As we defined the second step of the project – evolving from the concept of authorship and singularity of the artwork to the role of the artist as curator – we worked more specifically in relation to the site of the CNEAI collection (such as Yann Sérandour’s work based on CNEAI’s own production of editions), together with artists and works from the first show, such as Ben Kinmont (with Promised Relations and archive material from Congratulations). We also included Italian artist Maurizio Nannucci and Jonathan Monk, whose practice is based on collaboration and appropriation.

IMG_1363

J.M.C. What are the continuity and the main differences between Rome and Chatou exhibitions?
1:1 As the play with the anagram suggests, Wetlands Hero is both a continued investigation into some of the issues that we had addressed previously in Red Swan Hotel, but also a shift in focus to the role of artist as curator, and to the space of action between art and its transmission. Some of the same artists are present in both shows, but there are artists and works “unique” to each. It was important, therefore, that each exhibition had a distinct title, but that were still directly connected in order to create continuity from one show to the next. Wetlands Hero seemed particularly fortuitous because it also very appropriately makes reference to CNEAI’s physical location – on the Île des Impressionnistes – and pays homage to the artists participating in both shows: makers of quiet heroic gestures.

J.M.C. How did you consider the collections of CNEAI?
1:1 A very interesting aspect that we soon seized upon during our residency on the Île des Impressionnistes is that the specificity of the CNEAI’s collection is related to its function as a platform for the distribution of art. This is of course true for any archive, the issues of access and display being at the center of its operations. But in the case of the FMRA archive, the whole idea of collecting editions and ephemera is really centered on exploring the possibilities of circulation and transmission of this specific type of art object. We were confronted with this very interesting dialectic between the fetishism of the collector (impulsive collecting, accumulation and preservation of ephemera…) and the endeavor of distributing it, which often implicates the questioning of the aura of the art object itself. With the exhibitions we wanted to emphasize such types of dualities. We then coupled a more classical way of selecting some wonderful material from the archive (such as the Pascal Doury’s or Michel Journiac’s files) with a different mode of relating to it – perhaps more focused on its meta-discourses. This was done by involving some figures for which archiving, collecting, re-framing, displaying, editing or distributing is at the core of their practice, and who contribute with their hybrid activities to the critical thinking and redefinition of the field. In other words, we wanted to share with these artists and their productions the processes of activating the archive. That was for us the most coherent way to present the FMRA collection, and also a response to some of the lines of research that emerged through the material itself.

Images:
1-4. Wetlands Hero, installation views, CNEAI, 2015

Project: Red Swan Hotel
Space: CNEAI
Protagonists: 1:1projects, Maria Alicata, Daniele Balit, Adrienne Drake

close
en

Antoine Nessi

2487-09

Born 1985, Paris, France
Lives and works in Paris, France

Image:
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

Project: The Registry of Promise

close
en - it - fr

MATHIEU KLEYEBE ABONNENC

Born 1977, Paris, France
Lives and works in Metz, France
Mathieu Kleyebe Abonnenc seeks to question the cultural hegemony on which the evolution of contemporary societies is based. He examines the principles of dominant representation by appropriating preexisting elements and events, notably those associated with the imperial and colonial history of “developed” countries.
For Soleil politique, Abonnenc interrogates the origins of modern scientific knowledge as it is intimately associated with and facilitated by colonial domination and the destiny of the relationship between “primitive people” and their colonizers. The installation comprises documents and archives from ethnographic and entomological collections that the artist’s grandfather Émile Abonnenc gathered in Gabon and French Guyana in 1931 while working as a sanitary worker. His collection of living insects includes a mosquito that now bears his name.
The installation also presents rushes from the film in progress Secteur IX B de Prophylaxie de la Maladie du Sommeil (Section IX B Prophylaxis of Sleeping Sickness). The film explores, in fictional form, a historical event and space, using a narrative structure inspired by Michel Leiris’s travelogue L’Afrique fantôme (Phantom Africa). Narrated by two female figures whose personalities are revealed as the story unfolds, the plot takes place in several museums in France and Africa, disconnected from the dimensions of time and the outside world, and serves as a pretext for a reflection on historical collective and personal perception.

 

Nato a Parigi, Francia, nel 1977
Vive e lavora a Metz, Francia
Mathieu Kleyebe Abonnenc è particolarmente interessato a indagare le forme di egemonia culturale su cui si è fondata l’evoluzione delle società contemporanee, esplorando i principi di rappresentazione dominanti, e appropriandosi degli elementi e degli eventi preesistenti, principalmente legati alla storia imperiale e coloniale dei Paesi cosiddetti “sviluppati”.
Per Soleil politique l’artista s’interroga sulle origini della conoscenza scientifica moderna, legata a filo doppio alla dominazione coloniale, e sul destino delle relazioni tra i popoli “primitivi” e i loro colonizzatori. L’installazione si compone di documenti d’archivio, provenienti dalle collezioni etnografiche ed entomologiche di reperti che il nonno di Kleyebe, Émile Abonnenc, aveva raccolto in Gabon e in Guyana francese nel 1931, quando lavorava come operatore sanitario. Si tratta di differenti esemplari di insetti, tra cui una zanzara che porta il nome di Abonnenc, insieme a una presentazione del materiale già girato di Secteur IX B de Prophylaxie de la Maladie du Sommeil (Settore IX B di Profilassi della Malattia del Sonno), il film sul quale l’artista sta lavorando. Questo è un film di finzione, sotto forma di esplorazione di un fatto storico e di un luogo, la cui struttura narrativa si ispira a quella impiegata da Michel Leiris nel suo diario di viaggio L’Afrique Fantôme (L’Africa fantasma). Attraverso il punto di vista di due figure femminili, delineate man mano che la sceneggiatura avanza, la trama si sviluppa in diversi spazi museali tra la Francia e l’Africa, fuori dal tempo e dal mondo, e serve da pretesto per una riflessione sulla percezione storica, collettiva e personale.

Né à Paris, France, en 1977
Vit e travaille à Metz, France
Mathieu Kleyebe Abonnenc s’attache à interroger les formes d’hégémonie culturelle sur lesquelles s’est appuyée l’évolution de nos sociétés contemporaines. Il explore les principes de représentation dominants en s’appropriant des éléments et des événements préexistants, principalement liés à l’histoire impériale et coloniale des pays dits développés.
Pour Soleil Politique, l’artiste interroge les origines de la connaissance scientifique moderne, étroitement liée et facilitée par la domination coloniale et le destin des relations entre les peuples « primitifs » et leurs colonisateurs.
L’installation se compose de documents et d’archives issus des collections ethnographiques et entomologiques que son grand-père Émile Abonnenc avait réunies au Gabon et en Guyane française en 1931 alors qu’il travaillait comme agent sanitaire, de différents spécimens d’insectes vivants dont un moustique qui porte le nom de ce grand-père, ainsi qu’une présentation des rushes de Secteur IX B de Prophylaxie de la Maladie du Sommeil, un film en cours de réalisation. Ce dernier est une fiction sous forme d’exploration d’un fait historique et d’un espace dont la structure narrative s’inspire de celle employée par Michel Leiris dans son journal de voyage L’Afrique fantôme. Révélée à travers deux figures féminines, dont on découvre les personnages au fil du scénario, l’intrigue se déroule dans plusieurs institutions muséales entre la France et l’Afrique, en dehors du temps et du monde, et sert de prétexte à une réflexion sur les modalités collectives ou personnelles de perception de l’histoire.

Project: Soleil politique

close
en

PETER BUGGENHOUT

5_FG_Buggenhout_Gorgo-#33_3

Peter Buggenhout, Gorgo #33, 2013

Born 1963, Dendermonde, Belgium
Lives and works in Ghent, Belgium
His work has been internationally exhibited in both institutional and commercial venues. He had solo exhibitions at the Palais de Tokyo, Paris (2013), at the Ludwig Forum, Aachen (2012) and at the Museum Dhont-Dhaenens, Deurle Belgium (2009). He is represented by Gladstone Gallery in New York and Galerie Laurent Godin in Paris.

Image:
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

Project: The Registry of Promise

close
en

Alessandro Rabottini

Alessandro Rabottini is an art critic and curator based in London. He is Curator at Large at the Madre Museum in Naples (where he recently curated a mid-career retrospective of Padraig Timoney and the survey show of Ettore Spalletti) and served as guest curator for several international institutions. In his capacity as Curator at Large at GAMeC in Bergamo he curated solo exhibitions of artists such as Robert Overby, Mircea Cantor, Latifa Echakhch, Victor Man, Pratchaya Phinthong, Pietro Roccasalva, Tim Rollins & K.O.S, Sterling Ruby, Tris Vonna-Michell and Jordan Wolfson.

Focus: Prepared Piano – Model for a New Institutionalism
Partner: MADRE

close
en - it

Rä di Martino

Born 1975, Rome, Italy
Lives and works in Turin, Italy

Rä di Martino works with video and imagery related to the cinema, exploring the mechanisms that determine the dividing line between fact and fiction. In her videos, photography, and most recently installations, her attention is devoted to the power of the image, the way it is constructed, the things that excite our collective imagination, and the remains of the sets used to create the make-believe worlds of film and theater.
She shot the video If You See the Object, the Object Sees You in the Paris studio/apartment of the artist and architect Yona Friedman. The camera homes in on a succession of different elements in each shot, revealing architectural models created by Friedman using reclaimed and recycled materials. Without any single element prevailing, the various articles and materials gradually emerge from the apparent jumble of assorted objects in the flat/ studio, bringing Friedman’s architectural visions to light.
These ephemeral structures that never saw construction resonate with Rä di Martino’s work on abandoned film and theater sets. The title of the video refers to Friedman’s final statement, which in turn underlines Di Martino’s own use and reuse of materials and artistic media.

Nata a Roma, Italia, nel 1975
Vive e lavora a Torino, Italia

Rä di Martino lavora con il video e con l’immaginario legato al cinema. Ha sviluppato un’attenta ricerca sui meccanismi che determinano il confine tra finzione e realtà. Nei suoi video, nelle fotografie, e come pure nelle installazioni più recenti, la sua attenzione è sempre rivolta alla forza dell’immagine, al modo di costruirla, a ciò che alimenta l’immaginario collettivo e, soprattutto, a quello che rimane delle strutture che costituiscono le scenografie di un’opera teatrale o cinematografica, ovvero i mondi fittizi creati per il cinema o per il teatro.
Il video If You See the Object, the Object Sees You (Se vedi l’oggetto, l’oggetto vede te) è stato girato nell’appartamento-studio parigino dell’architetto e artista Yona Friedman. La telecamera mette a fuoco in successione elementi diversi all’interno delle medesime inquadrature, mostrando via via plastici architettonici e modellini realizzati da Friedman con materiali di recupero o riciclati. Senza mai prevalere uno sull’altro, i vari elementi e materiali emergono in maniera graduale dall’apparente confusione e dalla eterogeneità degli oggetti collezionati nella casa-studio, restituendo le visioni architettoniche di Friedman. Queste architetture effimere e non realizzate trovano corrispondenza nei lavori di Rä di Martino sulle scenografie e sui set cinematografici abbandonati. Il titolo del video si riferisce alla frase finale che Friedman pronuncia rivolto alla telecamera, e nella quale sottolinea il processo di uso e riuso di materiali e mezzi espressivi.

Project: Soleil politique

close
en - it - fr

Sanja Iveković

Born 1949, Zagreb, Yugoslavia
Lives and works in Zagreb, Croatia

Sanja Iveković is associated with the “Nova Umjetnička Praksa” (New Art Practice), a generation of Croatian artists who emerged in the 1960s and sought to renew artistic practice and assert its place in society. Using collaborative strategies, she has produced performances, collages, sculptures, and installations that privilege themes of gender, identity, and memory. In a patriarchal culture, her politically inspired work challenges the stereotypical construction of female identity and its substantial political role in history. The figure of Rosa Luxemburg, assassinated for her radical political position in 1919, is a major inspiration for the artist. In 2001, at the Casino Luxembourg, Iveković appropriated the Gëlle Fra (The Golden Woman), a monument dedicated to Luxembourgish volunteers who fought in the 20th Century wars. The statue became a pregnant Lady Rosa of Luxembourg, her pedestal inscribed with the words “Resistance,” “Kultur,” “Kapital,” “Virgin,” “Madonna,” and “Bitch.”
In response to an invitation to produce a work for the city of Aalborg in Denmark, Sanja Iveković proposed rebuilding a monument designed by Ludwig Mies van der Rohe in memory of Rosa Luxemburg and Karl Liebknecht. Inaugurated in Berlin in 1926, the monument was destroyed by the Nazis in 1935. For the new version of the anti-Fascist memorial, the artist plans to gather the bricks needed to rebuild it with the help of international donations. During the exhibition Soleil politique, Iveković will launch the project with a public appeal.

 

Nata a Zagabria, Yugoslavia, nel 1949
Vive e lavora a Zagabria, Croazia

Sanja Iveković fa parte della “Nova Umjetnička Praksa” (Nuova Pratica Artistica), generazione di artisti croati che vuole rinnovare la pratica dell’arte e rivendicare la propria iscrizione nella società. Attraverso delle strategie collaborative, l’artista realizza performance, collage, sculture o installazioni legate ai temi che predilige: le questioni di genere, l’identità e la memoria. In una cultura patriarcale, il lavoro impegnato di Iveković mette a confronto la costruzione identitaria e stereotipata della donna a quello che è il suo autentico ruolo politico nella storia. La figura di Rosa Luxemburg, assassinata a causa delle sue idee politiche, è un punto di riferimento per l’artista. Nel 2001, al Casino Luxembourg, Lussemburgo, Iveković trasforma la scultura della Gëlle Fra (Donna dorata), monumento in onore dei soldati lussemburghesi. La statua diventa Lady Rosa of Luxembourg, e questa volta è incinta: sulla base del nuovo monumento l’artista iscrive le parole “Résistance”, “Kultur”, “Kapital”, “Virgin” e “Madonna”.
Invitata a eseguire un’opera per la città di Aalborg, in Danimarca, Sanja Iveković propone di ricostruire un monumento ideato da Mies van der Rohe in omaggio a Rosa Luxemburg e Karl Liebknecht (Berlino, 1926), distrutto dai nazisti nel 1935. Per la nuova versione del memoriale antifascista, l’artista desidera riunire i mattoni necessari alla riedificazione attraverso una colletta internazionale. In Soleil Politique, Sanja Iveković inaugura questo progetto con il lancio di un annuncio pubblico.

Née à Zagreb, Yugoslavie, en 194

9
Vit et travaille à Zagreb, Croatie

Sanja Iveković est associée à la « Nova Umjetnička Praksa » (Nouvelle Pratique Artistique), génération d’artistes croates qui vise à renouveler la pratique de l’art et revendique son inscription dans la société. À travers des stratégies collaboratives, elle réalise des performances, collages, sculptures ou installations liées à ses thématiques de prédilection : le genre, l’identité et la mémoire. Dans une culture patriarcale, son travail de nature engagée confronte la construction identitaire et stéréotypée de la femme et son véritable rôle politique dans l’histoire.
Rosa Luxemburg, assassinée à cause de ses positions politiques, est une référence majeure pour l’artiste. En 2001, au Casino Luxembourg, Iveković réinvestit la Gëlle Fra (femme dorée), monument dédié aux soldats luxembourgeois. La statue devient Lady Rosa of Luxembourg, cette fois en gestation. Sur son socle sont inscris les mots « Résistance », « Kultur », « Kapital », « Virgin » et « Madonna ».
Suite à l’invitation à produire une œuvre pour la ville d’Aalborg au Danemark, Sanja Iveković propose de rebâtir un monument conçu par Mies van der Rohe en hommage à Rosa Luxemburg et Karl Liebknecht (Berlin, 1926) et détruit par les nazis en 1935. Pour la nouvelle itération du mémorial antifasciste, l’artiste souhaite rassembler les briques nécessaires à sa réédification par une collecte internationale. Dans le cadre de Soleil Politique, Sanja Iveković inaugure ce processus par le lancement d’un appel public.

Project: Soleil politique

close
en - it

GUSTAV ANDREAS WOLFGANG

Born 1692, Augsburg, Germany
† Augsburg, Germany, 1775

The work Beleuchtetes Merkantilgebäude Anlässlich Der Durchreise Von Maria Isabella Von Bourbon shows the Via Argentieri façade of Palazzo Mercantile in Bolzano by night. Under a large pavilion on the first floor are three paintings depicting Maria Teresa, Archduke Joseph of Austria, and Princess Maria Isabella of Bourbon. Below, between the two entrances, the Austrian double-headed eagle wearing the imperial crown sits above the coat of arms of the Magistrato Mercantile. The façade is atmospherically lit by more than 3,000 candles on the windowsills and band courses between floors. At the bottom of the print is the long dedication from the Guild of Merchants to their guest, with the names of the two groups of judges in office in 1760 and the chancellor. Two of the three portraits displayed for the occasion are those belonging to the Magistrato Mercantile.
The print was created to commemorate the presence of the Princess of Parma (on 19 September 1760) on her way to Vienna to marry Archduke Joseph II on 6 October.

Nato ad Augusta, Germania, nel 1692
† Augusta, Germania, 1775

L’opera Palazzo mercantile illuminato in occasione del passaggio di Maria Isabella di Borbone rappresenta il prospetto del Palazzo Mercantile di Bolzano su via Argentieri in un’ambientazione notturna. Sotto un grande padiglione al primo piano, sono esposti tre quadri raffiguranti Maria Teresa, l’arciduca Giuseppe d’Austria e la principessa Maria Isabella di Borbone. In basso, fra i due portoni, l’aquila bicipite austriaca con la corona imperiale che sormonta lo stemma del Magistrato Mercantile di Bolzano. La facciata del palazzo è scenograficamente illuminata da oltre 3000 candele collocate su candelabri sui davanzali e sulle fasce marcapiano dell’edificio. La stampa reca in basso la lunga scritta con dedica del Collegio dei mercanti all’ospite, con i nomi dei componenti delle due terne di giudici in carica nel 1760 e del cancelliere. Due dei tre ritratti, esposti per l’occasione, sono identificabili con le tele di proprietà del Magistrato Mercantile.
La stampa venne eseguita a ricordo del transito a Bolzano della principessa di Parma (19 settembre 1760) che a Vienna – il 6 ottobre – andò sposa all’arciduca Giuseppe II.

Project: Soleil politique

close
en

Mandla Reuter

SONY DSC

Mandla Reuter, The Agreement, Vienna 2011

Born 1975, Nqutu, South Africa
Lives and works in Berlin, Germany and Basel, Switzerland

Image:
Mandla Reuter, The Agreement, Vienna 2011, Installation view Galerie Mezzanin, 2011. Courtesy the artist and Galerie Mezzanin. Photo: Karl Kühn

Project: The Registry of Promise

close
en - it

Dan Graham

Born 1942, Urbana, IL, USA
Lives and works in New York, NY, USA

Dan Graham’s career spans various artistic genres: performance, film, video, photography, installations, architecture, and music. He has always tried to include the viewer in his works, with varying levels of participation being essential to complete each piece. Given that viewers do not approach works from one direction alone, in his architectural projects and video installations Graham challenges and deconstructs the Renaissance theory of perspective.
In 1984, in collaboration with the architect Marie-Paule MacDonald, he presented his proposal for a museum devoted to the French-American artist Gordon Matta-Clark.
It includes a memorial honoring the artist, a museum, and a research center. The model features a series of houses of the same size, one of which plays host to the museum. The design for the latter drew inspiration from one of Matta-Clark’s projects, Splitting, created in New Jersey in 1974, in a working-class neighborhood featuring the typical suburban housing built after the war. In his proposal, Graham both underlines how Gordon Matta-Clark’s project highlights the system of division and distribution of residential buildings in space, and sets out to “rematerialize” Matta-Clark’s conceptual work and equate urban planning and conceptual art.
Homes for America reveals another area that Dan Graham has been interested in since the 1960s: postmodern architecture and models of urban life. This work, in the style of a photographic reportage, explores the American suburbs and their rows of identical homes.

Nato a Urbana, IL, USA, 1942
Vive e lavora a New York, NY, USA

La carriera artistica di Dan Graham attraversa diversi linguaggi: performance, cinema, video, fotografia, installazioni, architettura e musica. L’artista ha sempre cercato di includere nei suoi lavori lo spettatore, con vari livelli di partecipazione, in quanto indispensabile alla realizzazione dell’opera. Dato che il punto di vista dello spettatore non è unico né unidirezionale, nei suoi progetti architettonici e nelle sue installazioni video Graham decostruisce la teoria della prospettiva rinascimentale. Nel 1984 Dan Graham, in collaborazione con l’architetto Marie-Paule MacDonald, presenta la proposta per un museo dedicato all’artista franco- americano Gordon Matta-Clark. La proposta comprende un memoriale in onore dell’artista, un museo e un centro di ricerca sull’urbanistica. Il modellino consiste in una serie di case della medesima dimensione, una delle quali ospita il museo. Il design di quest’ultimo si ispira a uno dei progetti di Matta-Clark, Splitting (Spaccature), realizzato nel 1974 in New Jersey, in un quartiere di case operaie tipiche dei sobborghi americani del dopoguerra. Nella sua proposta, Graham da una parte sottolinea come il progetto di Gordon Matta Clark evidenzi il sistema di divisione e distribuzione degli edifici abitativi nello spazio; dall’altra, rimaterializza il lavoro concettuale di Matta-Clark e crea una forte relazione tra urbanistica e arte concettuale. Homes for America (Case per l’America) è un altro esempio dell’interesse dell’artista, manifestato già negli anni ’60, per l’architettura e per i modelli di vita urbana proposti nella cultura quotidiana del postmodernismo. Si tratta di una serie di fotografie di taglio giornalistico, dedicate agli spazi della periferia americana e alla serialità delle sue abitazioni.

Project: Soleil politique

close
en

VALERIO DEHÒ

Valerio_Deho

Valerio Dehò, born in Taranto in 1955, earned his degree in “Philosophy of language” at the University of Bologna. He is Professor of Aesthetics at the Academy of Fine Arts in Bologna. He has worked as a publicist since 1988 in Milan for the publishing house Electa, and for the editorial department of “L’Italia Moderna” directed by Omar Calabrese. From 1997 to 1999 he was the director of the project “Novecento” for the municipality of Reggio Emilia. Since 2001, he has been the Art Director of Kunst Meran Merano Arte. In 2005, he was nominated commissioner of the XVI Quadriennale Nazionale in Rome. He curated the following main exhibitions: Metropolismo, Rome 1993; Carte, segni, segreti, Bologna 1995; Aldo Mondino, Mazel Tov, 1997; Gina Pane, Reggio Emilia 1998; Wolf Vostell, I disastri della pace, Reggio Emilia 1998; 2001, l’immagine della parola, Bologna 2000; DNArt, arte e genetica, Merano 2002; Meta.fisica, arte e filosofia, Merano 2003; + Positive, Merano 2004; Robert Mapplethorpe, Bologna, Merano 2004; Man Ray, Magie, Merano 2005; Sound Zero, Merano 2006; Mimmo Jodice, Light, Bologna 2006; Vespa Arte Italiana, Pietrasanta 2006; Ironica, Milano 2006; Damien Hirst New Religion, Venice 2007; L’occhio di Meret Oppenheim, Merano 2008; Boris Mikhailov, Merano 2008; Moana. Casta diva, Bologna, Milan, Brescia 2010; Tony Cragg, Venice, Merano 2010; Peter Blake, Venice Suite, Venice 2010-2011; Dennis Oppenheim “Electric City”, Merano; Fluxus Jubileum, Treviso 2012; Vito Acconci e Franco Vaccari “Intersection”, Venice 2013.

Project: From & To
Space: Kunst Meran Merano Arte

close
en

VINCENT HONORÉ IN CONVERSATION WITH VALERIO DEHÒ, KUNST MERAN MERANO ARTE

VINCENT HONORÉ IN CONVERSATION WITH VALERIO DEHÒ, KUNST MERAN MERANO ARTE

Vincent Honoré Can you tell us about the origin of Kunst Meran?
Valerio Dehò Kunst Meran Merano Arte was born from an association of art lovers in the mid-’90s. The idea was to give to the town of Merano a relevant role in the local contemporary art scene. In past times some very famous people, such as Kafka, Mahler, Ezra Pound (whose daughter still lives in the castle of Brunnenburg) spent their time here. Even Peggy Guggenheim has organized exhibitions in Merano in the ’50s. Since 2001 the venue is a house in the town center, which was restored and restructured to become a gallery and art museum.

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

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

V.H. What fundamentally makes this institution different from others in Italy and on an international level?
V.D. Merano Arte is a very special museum in Italy, I would say that it’s unique of its kind. We are neither a commercial art gallery nor a municipal venue, even if our role is similar to that of a public space.
Our funds come both from the private and public spheres, but it has to be noticed that the museum management stays free from any political influence. This is an exceptional status in Italy. In Germany you can find art spaces that you can compare with Merano Arte from this point of view.

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

3. Roberto Pugliese, Emergences acoustiques, 2014

V.H. PIANO intends to create a network of art spaces working together, exchanging and interacting. Why did you decide to join the project and how are you participating in it?
V.D. We work following a strong aim which is bringing contemporary art to the attention of common people. The “elite side” of art is not what we really like to consider when we think about a new exhibition project, even if the quality of what we decide to exhibit has certainly be validated by the perspective of a scientific and curatorial analysis.
The project PIANO suits in a very proper way the mission of our museum. We also think that sharing projects with other international contemporary art spaces represents an important occasion of growth. A network is essential to make collaborations happen. Contemporary art is an instrument that Europe can use to connect different national realities and bring them really together. PIANO is a platform for exchanges and relations, that’s what we were looking for.

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

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

V.H. The exhibition has been co-curated with Éric Mangion, director of Villa Arson in Nice. Why this collaboration?
V.D. The idea of working with Éric Mangion and Villa Arson was born one year before the birth of PIANO. Both museums work with contemporary art and aim to value young artists.
My proposal was to develop the format FROM & TO, created by Kunst Meran Merano Arte in 2007 (an exhibition based on the collaboration between artists of different generations). Mangion and I immediately agreed to give life to an exhibition with young selected artists. They have been invited to produce new works and to collaborate for a project. It took a lot of time to plan and coordinate every detail of the project. Young artists are very focused on what they want to express through their art. We pushed them to think about the idea of building an exhibition together on site. The collaboration with Éric Mangion and Villa Arson has been really successful in this sense.

V.H. What are the main responsibilities of a curator and of an art institution in Italy nowadays?
V.D. It’s always the same: be honest with the public and try to give life to significant projects that might show a cultural relevance through time. The temporary exhibitions have an important role in the history of contemporary art, this perspective was introduced during the ’60s and the ’70s thanks to the art critic and curator Harald Szeemann. He actually changed the roles within the art system by inventing the function of the “curator”, who is an intellectual, an art historian and a manager all at once.
In the period of economic uncertainty and confusion between cultural and market’s values we’re living in, the Italian art institutions have a main responsibility to cope with: continue to produce exhibitions and events, but also try to involve and support young worthy Italian artists.

Vincent Honoré Puoi raccontarci come è nato Kunst Meran?
Valerio Dehò Kunst Meran Merano Arte è nato da un’associazione di appassionati di arte alla metà degli anni Novanta. L’idea era quella di dare alla città di Merano un ruolo centrale nel lambito della scena artistica contemporanea locale. Nel passato molti personaggi celebri hanno vissuto a Merano, da Kafka, a Mahler, a Ezra Pound (la cui figlia vive ancora nel castello di Brunnenburg). Anche Peggy Guggenheim ha organizzato mostre a Merano nel corso degli anni Cinquanta. Dal 2001  Kunst Meran Merano Arte ha la sua sede in un edificio del centro città, che è stato restaurato e ristrutturato per diventare una galleria e un museo d’arte.

V.H. Cosa rende questa istituzione diversa da altre in Italia o all’estero?
V.D. Kunst Meran Merano Arte è un museo molto particolare nel contesto italiano, quasi unico nel suo genere. Non siamo né una galleria d’arte commerciale né uno spazio municipale, sebbene il nostro ruolo sia simile a quello di uno spazio pubblico. I nostri fondi provengono sia dalla sfera privata sia da quella pubblica, ma va sottolineato che la gestione del museo è indipendente da ogni influenza politica. Si tratta di una condizione eccezionale in Italia. In Germania esistono spazi comparabili a Merano Arte da questo punto di vista.

V.H. PIANO mira a creare una rete di spazi espositivi che lavorano insieme, attraverso forme di scambio e interazione. Perché avete deciso di aderire al progetto e come si realizza la vostra partecipazione?
V.D. Lavoriamo seguendo l’obiettivo fondamentale di portare l’arte contemporanea all’attenzione della gente comune. L’aspetto elitario dell’arte non ci interessa quando concepiamo un progetto espositivo, per quanto la qualità di ciò che decidiamo di esporre sia sempre avvalorata dalla prospettiva di un’attento studio scientifico e curatoriale.
Il progetto PIANO corrisponde perfettamente alla mission del nostro museo. Pensiamo inoltre che condividere progetti con altri spazi internazionali dediti all’arte contemporanea rappresenti un’importante occasione di crescita. La presenza di un networl è fondamentale perché le collaborazioni abbiano luogo. L’arte contemporanea può essere usata dall’Europa per mettere in relazione le diverse realtà nazionali e unirle davvero. PIANO è una piattaforma di scambi e relazioni, è ciò che stavamo cercando.

V.H. La mostra è co-curata con Éric Mangion, direttore di Villa Arson a Nizza. Perché questa collaborazione?
V.D. L’idea di lavorare con Éric Mangion e Villa Arson è nata un anno prima la nascita di PIANO. Entrambi i musei lavorano con l’arte contemporanea e mirano a valorizzare il lavoro dei giovani artisti.
La mia proposta è stata quella di sviluppare il format FROM & TO, creato da Kunst Meran Merano Arte nel 2007 (una mostra basata sulla collaborazione tra artisti di diverse generazioni). Mangion e io abbiamo immediatamente concordato di dare vita a una mostra con giovani artisti selezionati, che sono stati invitati a produrre opere inedite e a collaborare tra loro per un progetto nuovo. L’organizzazione e il coordinamento di ogni dettaglio del progetto hanno richiesto molto tempo. I giovani artisti sono molto concentrati su ciò che vogliono esprimere attraverso il loro lavoro. Li abbiamo stimolati a riflettere sull’idea della costruzione di una mostra collettiva site-specific. La collaborazione con Éric Mangion e Villa Arson è stata un grande successo in questo senso.

V.H. Quali sono le principali responsabilità di un curatore di un’istituzione artistica in Italia oggi
V.D. Sempre le stesse: essere onesto con il pubblico e cercare di produrre progetti dotati di una rilevanza culturale che resista nel tempo. Le mostre temporanee hanno un ruolo importante nella storia dell’arte contemporanea: questa prospettiva p stata introdotta negli anni Sessanta e Settanta grazie al critico d’arte e curatore Harald Szeemann, che trasformò i ruoli del sistema dell’arte inventando la funzione del curatore, allo stesso tempo intellettuale, storico dell’arte e manager.
Nel periodo di incertezza economica e confusione tra valori culturali e di mercato in cui viviamo, le istituzioni artistiche in Italia hanno una fondamentale responsabilità con cui fare i conti: continuare a produrre mostre ed eventi, ma anche cercare di coinvolgere e sostenere giovani artisti italiani di talento.

Images:
1. Quentin Derouet, Sans titre, 2014
2. Diane Blondeau / Vivien Roubaud / Thomas Teurlai, Jambes de bottes, 2014. Metal, mixed media, sound installation, 543 X 143 x 87 cm
3. Roberto Pugliese, Emergences acoustiques, 2014, environmental sound installation. Courtesy Associazione Culturale Dello Scompigio, Vorno, Capannori (Italy) and Galerie Mario Mazzoli, Berlin
4. Sonia Leimer, Table ronde, 2014, mixed media, 320 x 220 cm / Leander Schwarzer, Independance, 2014, ink-jet print on canvas, 264 x 320 cm
Photos: Villa Arson / Jean Brasille

Project: From & To
Protagonist: Valerio Dehò

close
en - it - fr

CLEMENS VON WEDEMEYER

Born 1974, Göttingen, Germany
Lives and works in Berlin and Leipzig, Germany

Clemens von Wedemeyer makes experimental and short fiction films that combine different influences and modes of writing. Procession is part of a triptych, The Cast, conceived for the exhibition of the same title presented at the MAXXI National Museum of XXIst Century Arts in Rome in 2013. The Cast depicts the history of “the most powerful weapon of modern society”: the film industry from the perspective of Rome. In the triptych’s third episode, a procession is formed of the bodies of auditioned extras, a labor force of American mass-produced cinema that emerged in the 1950s. In a long black-and-white take, the artist restaged an incident from 1958 at the Cinecittà, the Italian “Hollywood” studios founded by Benito Mussolini in 1937. During the film, the film critic and historian Mino Argentieri recounts, in a documentary-style voice-over, the uprising of thousands of extras who interrupted the filming of Ben Hur, a monument of cinema given the scale of its production. The casting of extras was delegated in black market conditions to the Christian Association of the Festival of Italian Film, while William Wyler’s epic production did not meet all the candidates’ hopes of employment.
The camera follows the procession of unemployed extras in reverse, from the climax of the riot to its beginnings, breaking with the theatrical “fourth wall” and culminating in a shot of the waiting actors. The procession was enacted by protestors who are currently occupying the Teatro Valle Occupato, the oldest theater in the Roman capital, which has become a symbol of cultural resistance following the withdrawal of public funding.

Nato a Göttingen, Germania, nel 1974
Vive e lavora a Berlino e a Lipsia, Germania

Clemens Von Wedemeyer è regista di film sperimentali e di cortometraggi di finzione, che mescolano diverse influenze e tipologie di scrittura. Procession (La processione) è un elemento del trittico The Cast, sviluppato in precedenza nella mostra eponima del 2013 al MAXXI. The Cast s’interessa alla storia romana dell’“arma più potente della società moderna”, vale a dire l’industria cinematografica. In questa parte del trittico si tratta della processione delle comparse che fanno i provini, nuova manodopera di massa delle produzioni americane degli anni ’50 del Novecento. Attraverso lunghi piani sequenza in bianco e nero, l’artista rende nuovamente attuale un episodio avvenuto nel 1958 a Cinecittà, la Hollywood italiana inaugurata da Mussolini a Roma nel 1930. Nel film, il tono documentario di Mino Argentieri, critico e storico del cinema, racconta la sommossa di migliaia di comparse che provocò l’interruzione delle riprese di Ben Hur, divenuto per la grandezza e la maestosità della sua messinscena un vero e proprio monumento del cinema. I provini furono passati al mercato nero dall’Associazione Cristiana del Festival del Film Italiano e il film di genere peplum di William Wyler non soddisfece tutte le speranze di assunzione.
La videocamera filma la processione degli sventurati nel percorso inverso, dall’acme all’origine, si rivolge al pubblico e si blocca sugli attori in attesa. Gli interpreti, infatti, sono i militanti che oggi occupano il Teatro Valle Occupato, il più antico teatro della Capitale e simbolo della resistenza culturale dopo il disimpegno delle partnership pubbliche.

Né à Göttingen, Allemagne, en 1974ù
Vit et travaille à Berlin et Leipzig, Allemagne

Clemens Von Wedemeyer réalise des films expérimentaux et des courts métrages de fiction qui croisent différentes influences et mode d’écriture.
Procession est un élément du triptyque The Cast précédemment développé dans l’exposition éponyme présentée au MAXXI en 2013. The Cast traite de l’histoire romaine de l’arme la plus puissante de la société moderne, l’industrie cinématographique. Dans ce volet, le cortège est celui des corps de figurants auditionnés, nouvelle main d’œuvre de masse des productions américaines pendant les années 1950. Par de longs plans-séquence noir et blanc, l’artiste réinscrit dans l’actualité un incident survenu en 1958 à la Cinecitta, le Hollywood de Mussolini bâti à Rome en 1930. Dans le film le ton documentaire de Mino Argentieri, critique et historien du cinéma, raconte le soulèvement des milliers de figurants qui provoqua l’interruption du tournage de Ben-Hur, monument du cinéma par l’ampleur de sa mise en scène. Les auditions au casting sont déléguées au marché noir par l’Association Chrétienne du Festival du Film Italien et le péplum de William Wyler ne satisfait pas tous les espoirs d’embauche.
La caméra filme la procession des désavoués à l’envers, de son acmé à son origine, brise le quatrième mur et s’arrête sur les acteurs en attente. Les interprètes sont en fait les militants occupant actuellement le Teatro Valle Occupato, le plus ancien de la capitale romaine et devenu symbole de la résistance culturelle suite au désengagement des partenaires publics.

Project: Soleil politique

close
en - it - fr

MÉLANIE BOUTELOUP

Mélanie Bouteloup is a co-founder and the current director of Bétonsalon – Centre for art and research. Over the last ten years, she has curated numerous projects in various forms that anchor research in society on process-based, collaborative and discursive levels, following different time spans, in cooperation with various local, national and international organizations. In 2012, Mélanie Bouteloup is associate curator with artistic director Okwui Enwezor of the Paris Triennale – an event organised on the initiative of the Ministry of Culture and Communication/DGCA, the Centre National des Arts Plastiques and the Palais de Tokyo.

Mélanie Bouteloup è cofondatrice e direttrice del Bétonsalon – Centre d’art et de recherche. Nel corso degli ultimi dieci anni ha curato numerosi progetti in varie forme che ancorano la ricerca nella società attraverso livelli discorsivi, collaborativi e processuali, che seguono differenti temporalità; progetti che sono stati realizzati in cooperazione con varie organizzazioni locali, nazionali e internazionali. Nel 2012 Mélanie Bouteloup è stata curatrice associata del direttore artistico Okwi Enwezor alla Triennale di Parigi, un evento organizzato su iniziativa del Ministero della cultura e Comunicazione/DGCA, Centro Nazionale delle Arti Plastiche e del Palais de Tokyo.

Mélanie Bouteloup est co-fondatrice et directrice du centre d’art et de recherche Bétonsalon. Au cours des dix dernières années, elle a dirigé de nombreux projets visant à ancrer l’art en société, en partenariat avec de nombreuses organisations locales, nationales et internationales. En 2012, Mélanie Bouteloup est commissaire associée auprès du directeur artistique Okwui Enwezor de La Triennale – manifestation organisée à l’initiative du ministère de la Culture et de la Communication/DGCA, par le Centre national des arts plastiques et le Palais de Tokyo. En 2014, Mélanie Bouteloup est nommée Chevalier dans l’Ordre des Arts et des Lettres par le Gouvernement français.

Project: Exercizing Doubt: Exhibition as Research
Space: Bétonsalon

close
en - it - fr

VINCENT HONORÉ IN CONVERSATION WITH MÉLANIE BOUTELOUP, BÉTONSALON - CENTRE D'ART ET DE RECHERCHE, PARIS

VINCENT HONORÉ IN CONVERSATION WITH MÉLANIE BOUTELOUP, BÉTONSALON - CENTRE D'ART ET DE RECHERCHE, PARIS

Vincent Honoré What prefigured the creation of Bétonsalon in Paris? Is there a precedent or theoretical model for the space?
Mélanie Bouteloup Bétonsalon was born in 2003 from the assembling of a group that included artists from the École des Beaux-Arts de Paris and art historians, especially from the École du Louvre. We came together around the shared view that Paris lacked places that were midway between art school and institution, places where it was possible to test ideas, make mistakes and show the work of unestablished artists, whether they were still students or were older but unrecognised. At that time, there was Public near the Centre Pompidou and this provided a model, and also the Paris Project Room, which was an important place for the École des Beaux-Arts de Paris.

V.H. How does Bétonsalon fit into its environment, and how is it different from other spaces in Paris?
M.B. Today the Bétonsalon Centre for Art and Research is located in the 13th arrondissement in Paris, on the ground floor of Paris 7 University. It is one of the few independent art centres located on a university campus in France. Because of this, we enjoy a special relationship with the Ministry of education and we are developing a programme that questions standardised forms of knowledge production, classification and distribution. I think art centres have a role to play, supporting art research and rearticulating the position of education, research and creativity in society.

SONY DSC

2. Bétonsalon façade

V.H. Has Bétonsalon’s mission evolved over the course of its 10-year existence?
M.B. As the years and meetings have passed, the organisation has become more professional and its ambitions have asserted themselves. The opening of the Centre for art and research in 2007 was a key moment. At that time we met many university researchers and students whom we gradually got to know well. Bétonsalon’s activities develop in a process-based, discursive way in collaboration with a variety of local, national and international organisations. Today the programming is conceived according to various formats and timeframes, and includes several annual exhibitions interspersed with associated events. Different seminars and workshops are also organised in collaboration with professors from Paris Diderot University.

J3888x2592-00599

3. Bétonsalon façade

V.H. How might one conceive of the possibility of spaces for independent programming in the face of accelerated globalisation, a ubiquitous art market and the hitting power of the largest institutions?
M.B. I think flexible, small-scale organisations like Bétonsalon are needed to preserve this possibility of experimenting with ways of working that involve direct dialogue, even joint construction, with other non-profit organisations. Faced with this crisis situation, there is an urgent need to reconsider how we do things. Cross-disciplinary navigation tactics need to be invented. This could be done as soon as renewed conception of the territory of art could be agreed: a conception of art that favours what’s happening instead of what’s seen, processes instead of objects. An art centre should make the social and cultural frictions of the present perceptible.

4. Exhibition view, Le jour d'après, Bétonsalon - Centre d'art et de recherche

4. Exhibition view, Maryam Jafri. Le jour d’après, Bétonsalon – Centre d’art et de recherche

V.H. Under these conditions, what are the responsibilities of the director of an art centre?
M.B. The responsibility of the whole staff of an art centre is therefore enormous. We have to challenge ourselves, working as closely as possible with the region by maintaining a network of relationships that should be broadened day by day to increase the number of collaborations. To me, an art centre is a contact zone (in Mary Louise Pratt’s sense) in which heterogeneous positions are brought together with the goal of producing new ways of conceiving and influencing a globalised world in crisis.

V.H. PIANO wants to create a network of Italian and French art centres, an exchange zone. Why did you want to join this project and what will you be presenting?
M.B. I wanted to join this project because it fits perfectly with our ambition to be a member of a network of contacts from a variety of backgrounds extending beyond France’s borders. I had a fascinating discussion with Emanuele Guidi, director of ar/ge kunst in Bolzano, about the desire for a research-exhibition, that is to say an exhibition format that makes it possible to work with a diverse group of artists and researchers who all contribute to reflecting on a problem or question. Emanuele Guidi joined forces with Clémence Seilles, I worked with Maryam Jafri. And we built our exhibition with Virginie Bobin, associate curator in charge of the visitors’ project at Bétonsalon. Le jour d’après takes as its point of departure a collection of photographs that show the independence ceremonies of around twenty countries in Asia and Africa, collected by the artist over the past few years with the help of a constellation of researchers. It is a reflection on how history is written. Therefore it is crucial to be able to hear voices other than the official ones, hence the invitation extended to the Italian collective Invernomuto to come and contribute to the exhibition.

1. Exhibition view, Le jour d'après, Bétonsalon - Centre d'art et de recherche

5. Exhibition view, Maryam Jafri. Le jour d’après, Bétonsalon – Centre d’art et de recherche

Vincent Honoré Qu’est-ce qui a préfiguré la création de Bétonsalon à Paris ? L’espace a-t-il un précédent ou un modèle théorique ?
Mélanie Bouteloup Bétonsalon est né en 2003 du rassemblement d’un groupe d’artistes de l’Ecole des Beaux-Arts de Paris et d’historiens de l’art notamment issus de l’Ecole du Louvre. Nous nous sommes réunis autour du constat qu’il manquait à Paris des lieux intermédiaires entre l’école d’art et l’institution, des lieux où tester des idées, faire des erreurs et montrer le travail d’artistes non établis, qu’ils soient encore étudiants ou plus âgés mais méconnus. A l’époque, il y avait Public près du Centre Pompidou qui a constitué un modèle, mais aussi Paris Project Room, qui a été un lieu important pour l’école des Beaux-Arts de Paris.

V.H. Comment Bétonsalon s’inscrit dans l’environnement qui est le sien, et quelle est sa différence par rapport aux autres espaces parisiens ?
M.B. Le centre d’art et de recherche Bétonsalon est aujourd’hui situé dans le 13ème arrondissement de Paris, au rez-de-chaussée de l’Université Paris 7. Il est un des rares centres d’art indépendants implantés dans un campus universitaire en France. De ce fait, nous bénéficions de relations privilégiées avec l’Education nationale et développons un programme qui questionne les formes normalisées de production, de classification et de distribution du savoir. Je pense que le centre d’art a un rôle à jouer pour accompagner la recherche en art et réarticuler la position de la pédagogie, de la recherche et de la création en société.

V.H. Est-ce que la mission de Bétonsalon a évolué au cours de ses 10 années d’existence ?
M.B. Au fur et à mesure des années et des rencontres, la structure s’est professionnalisée et les ambitions se sont affirmées. L’ouverture du centre d’art et de recherche en 2007 constitue un moment clé. Nous avons alors rencontré de nombreux chercheurs et étudiants du milieu universitaire avec lesquels nous nous sommes peu à peu familiarisés. Les activités de Bétonsalon se développent de manière processuelle et discursive, en collaboration avec une variété d’organisations locales, nationales et internationales. Conçue selon divers formats et temporalités, la programmation comprend aujourd’hui plusieurs expositions annuelles ponctuées d’événements associés. Différents séminaires et ateliers sont de plus organisés en collaboration avec des professeurs de l’Université Paris Diderot.

V.H. Comment concevoir la possibilité d’espaces de programmation indépendants face à une globalisation accélérée, à un marché de l’art omniprésent et à la puissance de frappe des plus grandes institutions ?
M.B. Je pense que des structures flexibles de petite échelle comme Bétonsalon sont nécessaires pour conserver cette possibilité d’expérimenter des manières de travailler en dialogue direct, voire en co-construction, avec d’autres acteurs associatifs. Face à cette situation de crise, il est urgent de repenser nos manières de faire. Des tactiques de navigation transversale doivent être inventées. Cela pourra se faire à partir du moment où une conception renouvelée du territoire de l’art pourra être entendue : une conception de l’art qui privilégie ce qui se passe plutôt que ce que l’on voit, les processus plutôt que les objets. Un centre d’art doit rendre sensible les frictions sociales et culturelles du présent.

V.H. Dans ces conditions, quelles responsabilités pour un directeur de centre d’art ?
M.B. La responsabilité pour toute l’équipe d’un centre d’art est donc énorme. Il s’agit de se remettre en question, travailler au plus près du territoire en entretenant un réseau de relations qu’il convient d’étendre au jour le jour pour multiplier les collaborations. Un centre d’art est pour moi une zone de contacts (au sens de Mary Louise Pratt) où des positions hétérogènes sont assemblées dans le but de produire de nouvelles façons de penser et d’agir sur un monde globalisé, en crise.

V.H. PIANO veut créer un réseau de centres d’art italiens et français, une zone d’échange. Pourquoi avez-vous souhaité rejoindre ce projet et qu’allez-vous présenter ?
M.B. J’ai souhaité rejoindre ce projet car il correspond parfaitement à notre ambition d’être partie prenante d’un réseau d’interlocuteurs issus d’horizons variés au-delà des frontières françaises. J’ai engagé une discussion passionnante avec Emanuele Guidi, directeur de ar/ge kunst à Bolzano, autour de l’envie de l’exposition-recherche, c’est-à-dire un format d’exposition qui permet de travailler avec un groupe d’artistes et de chercheurs à géométrie variable qui tous contribuent à réfléchir autour d’un problème ou d’une question. Emanuele Guidi s’est rapproché de Clémence Seilles et moi de Maryam Jafri. Et c’est avec Virginie Bobin, commissaire associée en charge du projet des publics à Bétonsalon, que nous avons construit notre exposition. Le jour d’après prend comme point de départ une collection de photographies représentant les cérémonies d’indépendance d’une vingtaine de pays en Asie et en Afrique, rassemblées par l’artiste au cours de ces dernières années grâce à une constellation de chercheurs. Il s’agit alors de réfléchir à comment l’Histoire s’écrit. Il est alors crucial de pouvoir entendre d’autres voix que celles officielles, d’où l’invitation faite au collectif italien Invernomuto de venir intervenir dans l’exposition.

Images:
1-3. Bétonsalon façade
4-5. Exhibition views, Maryam Jafri. Le jour d’après, Bétonsalon – Centre d’arte et de recherche. Photos: Aurélien Mole

close
en - it - fr

Goldschmied & Chiari

CAP-Goldshmied Chiari-009

Goldschmied & Chiari, La démocratie est illusion, 2014

Sara Goldschmied born 1975, Vicenza, Italy and Eleonora Chiari born 1971 Rome, Italy
Live and work in Rome and Milan, Italy
Goldschmied & Chiari (formerly Goldiechiari) was founded in 2001 by Sara Goldschmied and Eleonora Chiari. Using installation, video and photography, they explore the concepts of history and memory in terms of the division between amnesia and deletion/reconstruction and reflection. Analyzing specific moments in recent political history, they demonstrate the opacity of memory, together with the strategies employed to wipe out truths or create new ones. They focus too on sexuality and female identity interpreted as the products of real and imaginary experiences imposed by society and the ambient culture.
They have had solo exhibitions at MACRO in Rome, Museion in Bolzano and Centro d’Arti Visive Pescheria in Pesaro, Italy. The duo has also taken part in numerous group shows in venues like Castello di Rivoli, Torino (2012), the MoCA Shanghai (2010), Museo de Arte Contemporaneo in Córdoba (2007), the Musée de Grenoble (2007) and Fondazione Sandretto Re Rebaudengo (2007). Their work has been presented at the biennials in Venice (2009), Tel Aviv (2010) and Dublin (2011).

Image:
Goldschmied & Chiari, La démocratie est illusion / La democrazia è illusione. Photo: Aurélien Mole, 2014

Project: La démocratie est illusion
Focus: For secret eyes only. Marcella Beccaria in conversation with Goldschmied & Chari

 

Goldschmied & Chiari è un duo di artiste fondato nel 2001. Le loro opere esplorano i concetti di storia e di memoria al confine tra amnesia e cancellazione, tra ricostruzione e rimosso. Analizzando specifici momenti della storia recente, dimostrano l’opacità della memoria e le strategie impiegate per insabbiare la verità e costruirne altre narrazioni. Ugualmente nella loro ricerca concentrano il proprio sguardo sulla sessualità e l’identità femminili, interpretate come il prodotto di esperienze reali e immaginarie imposte dalla società e dalla cultura. Le loro opere sono state esposte al MACRO di Roma, al Museion di Bolzano e al Centro d’arti visive Pescheria di Pesaro, al Museo di arte contemporanea di Cordoba, al MOCA di Shangai, al MAMbo di Bologna e al Castello di Rivoli di Torino. Hanno partecipato alla Biennale di Venezia (2009), Tel Aviv (2010) e Dublino (2011). Hanno vinto il Premio dei giovani artisti italiani del Castello di Rivoli nel 2012.

 

Goldschmied & Chiari est un duo d’artistes fondé en 2001 par Sara Goldschmied et Eleonora Chiari. Leurs œuvres proposent une recherche sur les concepts d’histoire et mémoire, clivées entre amnésie et effacement, reconstruction et réflexion. Elles ont analysé des moments spécifiques de l’histoire politique récente, en montrant visuellement l’opacité du souvenir et les stratégies utilisées pour effacer des vérités ou en créer des autres. Elles touchent également aux thèmes liés à la sexualité et à l’identité féminine, interprétées comme le produit d’expériences réelles et imaginaires imposées par la société et la culture. Leur travail a fait l’objet d’expositions au MACRO (Rome), Museion (Bolzano), au Centro d’Arti Visive Peschiera (Pesaro), au Museo de Arte Contemporaneo (Cordoue), au MOCA (Shanghai), au MAMbo (Bologne) et au Castello di Rivoli (Turin). Elles ont participé aux Biennales de Venise (2009), Tel Aviv (2010) et Dublin (2011). Elles sont lauréates du Prix des Jeunes Artistes Italiens du Castello di Rivoli en 2012.

close
en - it - fr

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.

2013-goldiechiari-WORKS-web-16

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

close
en - it - fr

MARIA ALICATA

Maria Alicata is a curator and art historian based in Rome. From September 2011 to December 2013 she was the curator at MACRO Museo d’arte contemporanea Roma for young artists and its residency program, for which she curated solo and group shows.
She runs the public art program Nuovi Committenti for the Adriano Olivetti Foundation in Rome, and also curates art commissions for private companies and public institutions.
Since 2006, she is a founding member of the non-profit curatorial platform 1:1projects.

Project: Red Swan Hotel

 

Curatrice e storica dell’arte, vive a Roma. Dal 2011 al 2013 ha curato per il MACRO il programma e le residenze per giovani artisti. È responsabile del programma di arte pubblica Nuovi Committenti per la Fondazione Adriano Olivetti. Maria Alicata cura inoltre committenze d’arte per aziende private e istituzioni pubbliche. È tra i fondatori della piattaforma curatoriale no profit 1:1projects, che realizza varie attività tra cui talks con artisti e curatori, screening, mostre, presentazioni di libri e workshop

 

Maria Alicata est commissaire d’expositions et historienne de l’art à Rome. Jusqu’a décembre 2013, elle a été commissaire au MACRO d’expositions de jeunes artistes (solo et group show) et de résidences. Elle est membre fondateur de l’association de commissaires 1:1projects et elle dirige le programme Nuovi Committenti pour la Fondation Adriano Olivetti à Rome, et à la charge du commissariat d’expositions pour des entreprises privées et des institutions publiques.

close
en

Ann Veronica Janssens

Born 1956, Folkestone, United Kingdom
Lives and works in Brussels, Belgium
Her work has been the subject of numerous solo exhibitions such as Serendipity at WIELS Contemporary Art Centre in Brussels, Are you experienced at the Espai d’art contemporani Castelló, the Museum Morsbroich Leverkusen, the Neue Nationalgalerie in Berlin, the Kunstverein München, the Musée d’Orsay in Paris, the CCA Wattis Institute for Contemporary Arts in San Francisco, the Ikon Gallery in Birmingham, the Kunsthalle Bern and [mac] Marseille.
Since 1985 she has also participated in important group exhibitions at the Museum of Contemporary Art in Los Angeles, The Power Plant – Contemporary Art Gallery in Toronto, Ontario, the Generali Foundation in Vienna, the Chisenhale Gallery and Hayward Gallery in London, Witte de With and the Museum Boijmans Van Beuningen in Rotterdam, the Kröller-Müller Museum in Otterlo, the Kunstverein in Munich as well as various international biennials (Sydney, Istanbul, São Paulo, Seoul, and in 1999 Venice, where she represented Belgium with Michel François).
In 2000, she visited Berlin within the program of the DAAD. She regularly collaborates with choreographers (Drouler Pierre and Anne Teresa De Keersmaeker). Since 2009 she has also initiated with Nathalie Ergino the Laboratory Space Brain IAC Villeurbanne. Her work has been presented within the exhibition Passion Fruit at the Centre Pompidou, Paris and on the occasion of the exhibition Dynamo. A century of light in art, 1913-2013 at the Galeries Nationales du Grand Palais. Ann Veronica Janssens is the author of a public commission for the chapel of St Vincent de Grignan, opened May 25, 2013.

Focus: Prepared Piano – Model for a New Institutionalism
Partner: IAC

close
en

Prepared Piano – Model for a new Institutionalism

Round table discussion moderated by Pierre Bal-Blanc
organized in the frame of PIANO, Prepared Platform for Contemporary Art – France-Italie 2014-2015

Villa Medici
Viale Trinità dei Monti, 1 – 00187 Roma
Friday May 9, 2014
10 – 12 am

The panel discussion Prepared Piano: Model for a New Institutionalism presents artists, curators, as well as the managers of places where various projects have been produced over the past few years in Europe. These projects have in common that they make novel use of cultural exchange instruments, while giving their activities both a local and international scope.

Various case studies will be presented during this panel discussion to bring back into play notions of crossdisciplinarity (Théâtre des expositions at Villa Medici), process (Per_formare una collezione at the MADRE in Naples), and plasticity of relations (Laboratoire Espace Cerveau at the IAC in Villeurbanne). The discussions as a whole will echo the desire to found “a new institutionalism”, which has developed over the past few years through initiatives coming from both artists and curators. The desire to reconfigure the institution based on the model of a community centre, laboratory, open school, and other places that are not mainly governed by market laws, is linked with the creative momentum that led to Prepared Piano. The proposed discussion aims to demonstrate that PIANO, as well as Salon Light, dedicated to independent publishing, and Vdrome, a distribution network for artist films, are today all tangible initiatives.

Pierre Bal-Blanc is the director of the CAC Brétigny. He is also an independent curator and the vice-president of the d.c.a / French association for the development of centres d’art. Since 2003, in resonance with the social thought of Charles Fourrier, he has been developing the “Phalanstère Project” within a centre d’art. This is a series of specific offerings that critically rework the principles of artwork accumulation.
His exhibition series “Living Currency” and “Draft Score for an Exhibition” negotiate the historical and contemporary analysis of the body and of strategies linked to performance in the visual arts. “The Death of the Audience “ and “Reversibility” are reflections on the consequences that the materiality of art objects has on the configuration of art-world protagonists, the role and form of cultural institutions today.

Interdisciplinary stage
Theater of Exhibitions / Villa Medici, Rome / presentation by Eric de Chassey

Conceived by the director Éric de Chassey and organised by the French Academy in Rome – Villa Medici every year since 2010, the Theatre of Exhibitions has been devised as a moment of encounter between the fellows in residence and the public, as well as one of dialogue and confrontation among the artists and scholars in residence. The different spaces of Villa Medici become ephemeral stages for installations, performances, projections, readings. The concept of openness, a predisposition to dialogue and confrontation among different disciplines is the characteristic that unites the projects, which are presented. The Theatre of Exhibitions has been designed as a “multiform laboratory” which displays the diversity of artistic practices and research, thus confirming the centrality of the French Academy in Rome in contemporary creation.

Éric de Chassey is the Director of the French Academy in Rome – Villa Medici since 2009. He is also Professor of Contemporary Art History at the École Normale Supérieure in Lyon. Since the beginning, his scientific activities have focused on the US and abstract art. He has published books and essays on XXth and XXIst century art. He has also curated numerous exhibitions, accompanied by publications such as Soulages XXIth century (Rome, Villa Medici, 2013) or Simon Hantaï (Rome, Villa Medici, 2014).

Thought’s spatialization
Space Brain Laboratory / IAC, Villeurbanne / presentation by Nathalie Ergino and Ann Veronica Janssens

Initiated in 2009 by the artist Ann Veronica Janssens and Nathalie Ergino, director of the Institut d’art contemporain, the project aims at starting from experiments in art to explore practical and theoretical research linking space and the brain. This interdisciplinary laboratory brings together the reflections and experiments of artists and scientists and also philosophers, anthropologists, art historians and theoreticians, thus providing as much coverage by neuroscience, physics and astrophysics as by hypnosis, telepathy and shamanism.

Since January, 2006, Nathalie Ergino is the director of the Institut d‘art contemporain. Former director of the School / FRAC Champagne-Ardenne (1994-2000), and of the museum of contemporary art [mac] of Marseille (2001-2005), she has curated big monographic exhibitions (Jimmie Durham, Rodney Graham, Raymond Hains, Ann Veronica Janssens, Carsten Höller) as well as collective exhibitions (Maisons-Cerveaux, Subréel).

Born in 1956 in Folkestone (UK), Ann Veronica Janssens lives and works in Brussels (BE). Her work has been the subject of numerous solo exhibitions. Since 1985, she has also participated in important group exhibitions, as well as various international biennials and in 1999 Venice where she represented Belgium with Michel François. She regularly collaborates with choreographers (Drouler Pierre and Anne Teresa De Keersmaeker). Her work has been presented recently within the exhibition Passion Fruit at the Centre Pompidou, Paris and within Dynamo, A century of light in art, 1913 – 2013 at the Galeries Nationales du Grand Palais.

Organizing the perceptible
Vdrome / Mousse, Milano / presentation by Enrico Boccioletti

Vdrome is an online platform that offers regular, high quality screenings of films and videos directed by visual artists and filmmakers, whose production lies in-between contemporary art and cinema. Each screening is presented during a limited period, as in a movie theatre. Vdrome makes available a program of exceptional artists’ films and videos that are selected due to their importance, quality and innovative strength, many of which are only shown in the context of film festivals, exhibitions or specific surveys, being therefore of very limited access. Vdrome is an initiative conceived and promoted by Mousse, curated by Edoardo Bonaspetti, Jens Hoffmann, Andrea Lissoni and Filipa Ramos, and maintained by Enrico Boccioletti.

Enrico Boccioletti is an artist and musician active under multiple names – Death in Plains, 4SICSX, spcnvdr and Enrico B – in the fields of postconceptual, new vernacular, performance and sound, interested into incompleteness and circularity, duplication and accumulation, waste, layering, forgery, faux-real. He also works for Mousse Magazine and Vdrome.

Incarnation of the collection
Per_formare una collezione / Madre, Naples / presentation by Andrea Viliani and Alessandro Rabottini

Per_forming a collection is an on-going project designed to develop the formation of the Museo MADRE’s permanent collection in Naples. It focuses on artists of different generations whose works have been conceived as physical and mental instruments that bring together thought and action in every possible media, linking visual arts to theatre and literature. The project aims to shape a collection that is articulated over time, combining archival research with commissions for new works taking into account the role of the museum as a place of memory and preservation as well as a continuing research and production laboratory. All the works presented have a relation with the city and its history: works conceived or exhibited here, from artist who happened to exhibit in Naples or works belonging to private or public local collections.

Since 2013 Andrea Viliani is the director of the Fondazione Donnaregina per le arti contemporanee – Madre, Napoli. He previously worked from 2009 to 2012 as Director of Fondazione Galleria Civica – Centro di Ricerca sulla Contemporaneità in Trento. In 2012 he was a member of the Core Agents Group of dOCUMENTA(13) and he co-curated the related position in Kabul and Bamiyan (Afghanistan). From 2005 to 2009, Viliani was curator at the MAMbo – Museo d’Arte Moderna di Bologna. Among the 60 “players” of the 2007 Biennale de Lyon, he is a frequent contributor to FROG, Mousse, Kaleidoscope and Flash Art.

Alessandro Rabottini is an art critic and curator based in London. He is Curator at Large at the Madre Museum in Naples (where he recently curated a mid-career retrospective of Padraig Timoney and the survey show of Ettore Spalletti) and served as guest curator for several international institutions. In his capacity of Curator at Large at the GAMeC in Bergamo he curated solo exhibitions of artists such as Robert Overby, Mircea Cantor, Latifa Echakhch, Victor Man, Pratchaya Phinthong, Pietro Roccasalva, Tim Rollins & K.O.S, Sterling Ruby, Tris Vonna-Michell and Jordan Wolfson.

Praising uncertainty
Salon light / cneai =, Chatou / presentation by Sylvie Boulanger

Founded in 2004 by Cneai, Salon Light became over a few years an unmissable rendez-vous for micro-publishers and artist’s publication in Paris. After exporting the concept at Vermelho gallery in Sao Paulo and the great success of Salon Light 9 at Palais de Tokyo in 2012, Salon Light keeps uniting a moving scene of artists, authors, independent publishers or composers. Books, magazines, objects, LP’s, catalogues or artist’s book, the publications are often limited editions, sometimes impossible to find in Paris, and are breaking new grounds while creating new networks in the art and publishing worlds. Performances and meetings with professionals and artists are also a key part of the event. Free for the publishers and the public, it’s accessible to all and offers visibility to a still somehow unknown field.

Sylvie Boulanger is founder and curator of Salon Light since its creation in 2004. She directs Cneai since 1997. She curated over a hundred exhibitions, published more than seventy books (artist’s books, journals, catalogues) and produced as few documentaries. She is a member of several research labs, she also contributes to academic reviews like Multitudes and lectures in art schools and universities. She was the founder of the production agency APC (Art Public Contemporain) that she directed for ten years (1990-1997) after occupying the position of associate director «exhibition and communication» within the Ministry of Culture visual arts delegation (1987-1990).

The round table discussion will be followed by a
Concert for Prepared Piano by Laurent Durupt, composer and fellow at the Villa Medici

More information at
www.pianoproject.org
info@pianoproject.org

Round table discussion organized in the frame of PIANO, Prepared Platform for Contemporary Art, France-Italie 2014-2015

PIANO, Prepared Platform for Contemporary Art, France–Italy 2014-2015, initiated by d.c.a / French association for the development of centres d’art, in partnership with the Institut français in Italy, the French Embassy in Italy and the Institut français, with the support of the French Ministry of Foreign Affairs and International Development, the French Ministry of Culture and Communication and Fondazione Nuovi Mecenati.

close
en - fr

ALESSANDRO DI PIETRO

Born 1987, Messina, Italy
Lives and works in Milan, Italy

Considering the limitations of his own action as the only way to act, Alessandro Di Pietro continuously produced variations within these limits, each time using a different process of  creation. He creates in this way a protocol which introduces rules limiting its expression and establishing a purely speculative mechanical of work. This repetition allows him to develop new concrete landscape and develop a kind of “empirical geography”, established by acts such as its presence or passage at a physical location.

Né à Messina, Italie, en 1987
Viet et travaille à Milan, Italie

Considérant les limites de sa propre action comme la seule façon d’agir, Alessandro Di Pietro produit en continu des variations à l’intérieur de ces limites, utilisant à chaque fois un processus différent de création. Il s’engage ainsi dans un protocole qui lui délivre des règles limitant son expression et instaurant une mécanique purement spéculative de travail. Cette répétition lui permet de mettre en place de nouveaux paysages concrets et de développer une sorte de «géographie empirique», établi par des actes tels que sa présence ou son passage en un lieu physique.

Project: Double Cross, From Both Sides of a Mountain

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

close
en - fr

JACOPO MILIANI IN CONVERSATION WITH ALESSANDRO DI PIETRO

JACOPO MILIANI IN CONVERSATION WITH ALESSANDRO DI PIETRO

Jacopo Miliani Let’s start with a reflection on our collaboration for the Double Cross project. We have been working independently on the spaces and on the exhibition project; later, during preparation, there was dialogue and listening between the two projects. I would define our collaboration as a mutual influence on narrative fiction. What is your opinion on this?
Alessandro di Pietro I would say that our cooperation has had, from the outset, a predisposition not to be explicit. The placement on two different floors of the CAB [Centre d’Art Bastille] made it impossible for a direct visual relationship between the various elements of our installations, but intensified the dialogue between two different methods of semantic re-elaboration in space.
Both projects are based on the appropriation of pre-existing narrative structures: yours on Howard Fast’s short story Not with a Bang, and mine on the end scene of Peter Greenaway’s film A Zed and Two Noughts.
The floor separating us seems to have worked as a filter that has allowed us to meet the expectations of our work. At the same time it must have produced some information that created a connection between us on a sign level: for example the use of the text and the circle shape.

2. Jacopo Miliani, Not with a bag

2. Jacopo Miliani, Not with a bang

3. Alessandro di Pietro, AZATN - Props

3. Alessandro di Pietro, AZATN – Props

A.D.P. As you told me, in Fast’s Not with a Bang a man sees a hand turning off the sun; he goes back home, and tells his wife and neighbors during an evening game of bridge. The rest of the group does not believe what the man saw, but that night was a particularly dark and cold one.
How do you expect people to orientate themselves between the textual information partially concealed inside what you call fictional carpets?
J.M. The story is divided into three phases, which are represented by (transparent and black) resin casts of hands. The hands are open in the act of picking up, and relate to round-shaped objects. These abstract signs, completely open, are placed on colored carpets that recall a domestic interior, and hide and reveal the three pages of the Fast’s story. The level of representation is thus opaque in the relationship between the clues on a narrative level and the shapes/actions that remain suspended. The viewer/reader/detective has a central role, although not being inside the scene.

4. Alessandro di Pietro, AZATN - Props

4. Alessandro di Pietro, AZATN – Props

5. Jacopo Miliani, Not with a bag

5. Jacopo Miliani, Not with a bang

J.M. The CAB is located in a defensive stronghold, on top of a mountain, mainly accessible through a strange spherical cableway. Do you think that the location of the CAB affected the narrative process? Could we define your ‘props’ as clues suspended in time?
A.D.P. When arranging the props in space I definitely tried to exploit the grotto-like space on the first floor of the CAB.
For this reason, all the props were exhibited on a modular display made with vertical concrete, steel and foam elements hanging from above like stalactites, exploiting the various heights of the vault of the ceiling. The arrangement does not follow a hierarchy of importance or a real narrative chronology, and the props are not the remains of an action which has already taken place, but are prospectively active. They are raw elements of a story that will take place soon and that will be a re-enactment of the last part of A Zed and Two Noughts.

6. Jacopo Miliani, Not with a bag

6. Jacopo Miliani, Not with a bang

7. Alessandro di Pietro, AZATN - Props

7. Alessandro di Pietro, AZATN – Props

A.D.P. Until recently, I had the feeling that working on cinema or literature could create a misunderstanding as regards the intention of creating a tribute or a monument to the director or to the wonderful story. Now I view that concern as very generic, and I recognize that the fiction reacts to its perception so naturally that it can be mistaken for a landscape. What do you think about this? How do you move among the signs that a story offers you? What is the distance you put between yourself, your practice and the story object?
J.M. I like the idea of landscape, and in the case of the CAB we could talk of a view. In the days I was working, I observed how individuals or the groups of tourists that stroll around the summit to observe Grenoble from above are comparable with the relationship we have with images, language and representation. I wonder how in front of this vastness of relationships one could define a common gaze. The signs of history are hence countless like the facets of a view. For this reason I chose this story by Howard Fast that highlights how the main character feels different in front of a vision which he perceives as a common experience. The killing of the Sun by a hand remains an image on hold from where I started and cyclically return to.

8. Alessandro di Pietro, AZATN - Props

8. Alessandro di Pietro, AZATN – Props

9. Jacopo Miliani, Not with a bag

9. Jacopo Miliani, Not with a bang

J.M./A.D.P. As regards the constant fruition within the imaginative process, we could say that this was also the central theme of two workshops, which we conducted in parallel, with a few young Grenoble artists. With their imagination, we worked starting from two strong images from the stories we had taken as a reference: the hand that turns the sun off in Fast’s story and the figures of the twins in Greenaway’s film.

10. Jacopo Miliani, Not with a bag

10. Jacopo Miliani, Not with a bang

11. Alessandro di Pietro, AZATN - Props

11. Alessandro di Pietro, AZATN – Props

Jacopo Miliani Iniziamo con una riflessione sulla nostra collaborazione all’interno del progetto Double Cross. Abbiamo lavorato indipendentemente sullo spazio e sul progetto espositivo; in seguito, in fase di allestimento, c’è stato dialogo e ascolto tra i due progetti. Definirei la nostra collaborazione come un’influenza reciproca sulla narrazione fittizia. Cosa ne pensi a proposito?
Alessandro di Pietro Direi che la nostra collaborazione ha avuto, sin dall’inizio, una predisposizione a non essere esplicita. La disposizione su due piani del CAB [Centre d’art Bastille] ha reso impossibile una diretta correlazione visiva tra i vari elementi delle nostre installazioni, ma ha accentuato il dialogo tra due diverse metodologie di rielaborazione semantica nello spazio.
Entrambi i progetti si fondano su appropriazioni di strutture narrative pre-esistenti: il tuo sul racconto breve Not with a Bang di Howard Fast, mentre il mio sulla scena finale di A Zed and Two Noughts di Peter Greenaway.
Il piano che ci ha diviso sembra aver funzionato come un filtro che ci ha permesso di rispettare le aspettative sul nostro lavoro. Allo stesso tempo deve aver rilasciato delle informazioni che ci hanno messo in connessione a livello segnico: per esempio l’uso del testo e la figura del cerchio. 

A.D.P. Come mi hai raccontato, in Not with a Bang di Howard Fast un uomo vede una mano che spegne il sole; torna a casa, ne parla con la moglie e i vicini durante una partita serale di bridge. Il resto del gruppo non crede alla visione dell’uomo, ma quella sera è particolarmente oscura e fredda.
Come ti aspetti che le persone si orientino tra le informazioni testuali parzialmente occultate all’interno di quelli che tu chiami ‘fictional carpets’?
J.M. La storia è divisa in tre momenti che sono raffigurati da calchi di mani in resina (trasparenti e neri). Le mani sono aperte nell’atto di prendere e si relazionano a oggetti dalla forma circolare. Questi segni astratti, del tutto aperti, sono posti su moquette colorate che richiamano l’interno domestico e nascondono e rivelano le tre pagine del racconto di Fast. Il piano della rappresentazione risulta opaco nella relazione tra gli elementi indiziari a livello narrativo e le forme/azioni che rimangono sospese. Lo spettatore/lettore/detective ha un ruolo centrale, pur non trovandosi all’interno della scena.

J.M. Il CAB si trova dentro una roccaforte difensiva, sulla cima di una montagna per lo più accessibile grazie a una strana teleferica dalla forma sferica. Pensi che il luogo del CAB abbia influito sul processo narrativo? Possiamo definire i tuoi ‘props’ come indizi sospesi nel tempo?
A.D.P. Sicuramente nella configurazione spaziale dei ‘props’ ho cercato di lavorare sullo “spazio grottoso” del primo piano del CAB.
Per questo motivo, tutti i ‘props’ sono stati esposti su un display modulare formato da elementi verticali di cemento acciaio e gommapiuma che scendono dall’alto come stalattiti sfruttando le varie altezze della volta del soffitto. L’allestimento non segue una gerarchia di importanza o una reale cronologia narrativa e i ‘props’ non sono residui di un’azione già accaduta, ma sono ancora in potenza. Sono elementi crudi di una narrazione che avverrà prossimamente e che consisterà in un re-enactment dell’ultimo capitolo di A Zed and Two Noughts.

A.D.P. Fino a poco tempo fa, avevo la sensazione che lavorare sul cinema o sulla letteratura potesse generare un misunderstanding riguardo l’intenzione di creare un tributo o un monumento al regista o alla grande storia. Di recente, questa mi sembra un’idea molto generalista e riconosco che la finzione reagisce alla propria percezione in maniera così naturale da poterla scambiare per un paesaggio. Cosa ne pensi? Come ti muovi tra i segni che una storia ti propone? Qual è la distanza che interponi tra te, la tua pratica e l’oggetto narrativo?
J.M. Mi piace l’idea di paesaggio, nel caso del CAB potremo parlare di panorama. Durante i giorni di lavoro, ho osservato come le singole persone o i gruppi di turisti che si muovono sulla vetta per osservare Grenoble dall’alto siano paragonabili al rapporto che abbiamo con le immagini, il linguaggio e la rappresentazione. Mi chiedo come davanti a tale vastità di relazioni sia possibile definire lo sguardo comune. I segni di una storia sono quindi infiniti come le sfaccettature di un panorama. Per questo motivo ho scelto questo racconto di Howard Fast che mette in luce come il protagonista si senta diverso davanti a una visione da lui percepita come esperienza comune. L’uccisione del sole da parte di una mano resta un’immagine sospesa da cui sono partito per poi ritornarci ciclicamente.

J.M./A.D.P. A proposito della fruizione costante nel processo immaginativo, potremmo dire che questo è stato anche il tema centrale di due workshops, da noi condotti in modo parallelo, con alcuni giovani artisti di Grenoble. Con la loro immaginazione abbiamo lavorato a partire da due immagini forti provenienti dalle narrazioni da noi prese come riferimento: la mano che spegne il sole del racconto di Fast e le figure dei due gemelli nel film di Greenaway.

Images:
1, 2, 5, 6, 9, 10. Jacopo Miliani, Not with a bang. Courtesy the artist, CAB Grenoble, Frutta, Rome and Studio Dabbeni, Lugano
3, 4, 7, 8, 11. Alessandro di Pietro, AZATN – Props, Courtesy the artist and CAB Grenoble

Protagonists: Jacopo Miliani, Alessandro di Pietro
Project: Double Cross. From Both Sides of a Mountain
Space: Centre d’art Bastille

close
en - it - fr

Adrienne Drake

Adrienne_Drake

Adrienne Drake is Director and Curator of the Fondazione Giuliani, Rome. Since 2011 she is also an Arts and Humanities Advisor at the American Academy in Rome.
She is a founding member of the non-profit curatorial platform 1:1projects, and also curates independently, favoring a working methodology of collaboration and participatory practice.
She is a contributing curator for Open Video Projects, a Rome based video archive that organizes screenings of video art, short films, experimental cinema, documentaries and video installations.

Project: Ephemera
Space: Fondazione Giuliani
Focus: Vincent Honoré in conversation with Adrienne Drake, artistic director at Fondazione Giuliani, Rome

 

Direttrice e curatrice della Fondazione Giuliani per l’Arte Contemporanea a Roma. Dal 2011 è Arts and Humanieties Advisor per l’Accademia Americana a Roma. È tra i soci fondatori della piattaforma curatoriale 1:1projects. Nei suoi progetti favorisce una metodologia di lavoro partecipativa e collaborativa. È inoltre contributing curator per Open Video Project, un archivio video a Roma che organizza proiezioni di video d’arte, cortometraggi, cinema sperimentale, documentari e video installazioni.

 

Adrienne Drake est directrice et commissaire d’expositions de la Fondazione Giuliani à Rome. Depuis 2011, elle est également conseillère en arts et humanités auprès de l’American Academy à Rome. Elle est membre fondateur de 1:1projects, et aussi commissaire indépendante, encourageant une méthodologie du travail collaboratif et une pratique participative. Elle est commissaire d’expositions auprès de l’Open Video Projects, un lieu d’archives vidéos à Rome, qui organise des projections de films expérimentaux, de courts métrages, de documentaires et d’installations.

close
en - it - fr

Vincent Honoré in conversation with Adrienne Drake, Fondazione Giuliani

Vincent Honoré You are the founding director of Fondazione Giuliani, initiated in Rome in 2010 by collectors Giovanni and Valeria Giuliani. What is the core mission of the Foundation and how would you describe its DNA? What makes it different from other spaces in Rome and abroad?

Adrienne Drake As a private, non-profit exhibition space, the Foundation can be flexible, mutable, and our intentions and directives can change over time. Its mission can also shift, as we think about and respond to current trends in contemporary art, but it never strays from the simple objective of creating an accessible space for artists to produce and present new work, developing an arena in which to experiment and collaborate, and engaging the public in artists’ work, focusing on a programme that underscores a perspicacious reflection by artists on contemporary society.
Since the Foundation’s creation in 2010, we have focused primarily on solo exhibitions, with an emphasis on the commissioning and production of new work by artists who have never previously exhibited in Rome, if not Italy. While that focus has not necessarily changed, we’ve recently broadened the programming to include other investigations: the most recent exhibition was a more historical show with works from the 1960s-70s, while the upcoming exhibition will be a group show.

Benoît Maire, Lies on the Beach

2. Benoît Maire, Lies on the Beach, 2013

Scott Burton by Oscar Tuazon

3. Scott Burton by Oscar Tuazon, 2012

V.H. I understand you are also responsible for the Giuliani collection. I am curious to know how much the founder is involved in the Foundation’s curatorial vision, as well as the Foundation’s relation to its collection. 

A.D. The Giulianis and I always discuss the Foundation’s exhibition programme and activities. I envision each exhibition in terms of groupings of loose thematic cycles, which are not necessarily overtly declared, but rather curatorial reflections also on the direction of the Foundation. The collection is a separate entity from the activities of the Foundation, but one can’t help but influence the other. We have exhibited artists whose work was already in the collection, and these exhibitions provide the opportunity to further research and study the working practice of these artists. Since we focus on production, there are also occasions in which we acquire for the collection works that we produced for an exhibition. This is both a testimony to the Foundation’s exhibition history, and also a means of collecting in real time.

V.H. How do you engage with public institutions in Rome?

A.D. As a small foundation, we can act independently from any long-standing traditional structures which public institutions are more obligated to abide by. We tend to be more orientated towards experimentation and niche production, and are freer to take risks, unrestricted by constraints imposed by the rules and parameters of a museum institution.
Public institutions in Rome must navigate between cultural responsibility and different political agendas and are, unfortunately, often entangled in the dynamics of local and national politics. But all institutions share a common agenda: to build an ever-growing community of enthusiasts and supporters of contemporary culture, and to create centres of experience, learning and points of connectedness.

V.H. You invite artists, but also guest curators to engage with the Foundation, its collection and its audience. You open the Foundation to different sensibilities and curatorial methodologies. How do you conceive the mission of a director/curator of a contemporary art space in 2014?

A.D. There are myriad of curatorial methodologies and each of these activate different approaches and sensibilities. My primary point of interest is the investigation of artistic practice, but I’m also interested in exploring curatorial sensibilities, which is why I open the Foundation to guest curators. Curators are cultural practitioners, facilitators, researchers, questioners, and together with artists can create forums for discussion on contemporary socio-political and cultural issues, and new modes of production.

Mutiny Seemed a Probability

4. Mutiny Seemed a Probability, 2010

Benoît Maire, Lies on the Beach

5. Benoît Maire, Lies on the Beach, 2013

V.H. PIANO intends to create a network of art spaces working together, exchanging and interacting. Why did you decide to join the project and how are you participating in it?

A.D. The premise of your question underlines three essential motivations for why the Foundation is participating in the project: the possibility of working collaboratively, exchanging, and interacting with a diverse group of art spaces to broaden aesthetic networks. This type of initiative stimulates dialogue, engagement and participation, while contextualising the Foundation’s local activities with artists, curators and institutions internationally.
Specifically, Fondazione Giuliani is hosting a four-person show, The Promise of Melancholy and Ecology, the first chapter in a series of exhibitions entitled The Registry of Promise. The overall project is guest curated by Chris Sharp, whose curatorial approach I respect and admire, in collaboration with Parc Saint Léger Centre d’art contemporain, Centre d’art contemporain d’Ivry – le Crédac, and SBKM/De Vleeshal, all institutions with whom the Foundation feels a certain kinship and common ground in their research and programming.

Gianni Piacentino 1965-2000

6. Gianni Piacentino 1965-2000, 2014

Giulia Piscitelli, Neopolitan Windows

7. Giulia Piscitelli, Neopolitan Windows, 2010

Carl Andre, 3rd Steel Triangle, 2008

8. Carl Andre, 3rd Steel Triangle, 2008

Seb Patane, Movement (featuring Rose Kallal), 2013

9. Seb Patane, Movement (featuring Rose Kallal), 2013

Space: Fondazione Giuliani
Protagonists: Adrienne Drake, Chris Sharp
Project: The Registry of Promise

 

Vincent Honoré Sei direttore e fondatore della Fondazione Giuliani, creata a Roma nel 2010 dai collezionisti Giovanni e Valeria Giuliani. Qual è la mission primaria della Fondazione e come descriveresti il suo DNA? Cosa rende questo spazio diverso da altri a Roma o all’estero?

Adrienne Drake In quanto spazio espositivo privato e non-profit, la Fondazione può essere flessibile, variabile e le nostre intenzioni e direttive possono mutare nel tempo. Anche la sua mission può subire delle trasformazioni, poiché la nostra riflessione e attività rispondono alle dinamiche attuali dell’arte contemporanea. Tuttavia non ci allontaniamo mai dal semplice obiettivo di creare uno spazio accessibile nel quale gli artisti possano produrre e presentare i propri nuovi lavori, di sviluppare un’arena in cui sperimentare e collaborare, di coinvolgere il pubblico nella produzione artistica, concentrandoci su un programma che stimola la riflessione approfondita degli artisti sulla società contemporanea. Sin dalla creazione della Fondazione, avvenuta nel 2010, ci siamo concentrati principalmente su mostre personali, con un’attenzione particolare alla committenza e alla produzione di opere inedite di artisti che non hanno mai esposto a Roma e spesso nemmeno in Italia. Se da una parte non abbiamo rinunciato a questo interesse, dall’altra abbiamo recentemente ampliato i confini della nostra programmazione per includere altri tipi di ricerca: il progetto più recente è stata una mostra storica con opere degli anni ’60 e ’70, mentre il prossimo evento sarà una collettiva.

V.H. So che sei anche responsabile della collezione Giuliani. Sono curioso di sapere quanto il fondatore sia coinvolto nella visione curatoriale della Fondazione e di conoscere quale sia la relazione tra la Fondazione e la sua collezione. 

A.D. Io e i Giuliani discutiamo sempre del programma espositivo e delle attività della Fondazione. Progetto ogni mostra all’interno di ampi cicli tematici, non necessariamente dichiarati in maniera esplicita, ma piuttosto riconducibili a riflessioni generali sulla direzione della Fondazione. La collezione rappresenta un’entità separata dalle attività della Fondazione, anche se l’una può influenzare l’altra. Abbiamo esposto artisti il cui lavoro è presente nella collezione e queste mostre hanno fornito l’opportunità di portare avanti una ricerca e uno studio più approfonditi sulla pratica di queste figure. Vista la forte concentrazione sulla produzione, ci sono state anche occasioni in cui abbiamo acquisito per la collezione opere prodotte per una mostra. Si tratta allo stesso tempo di una testimonianza della storia espositiva della Fondazione e di una pratica collezionistica in tempo reale.

V.H. Come vi rapportate con le istituzioni pubbliche di Roma?

A.D. Essendo una fondazione di dimensioni ridotte, possiamo agire indipendentemente da tutte le tradizionali regole cui le istituzioni pubbliche sono obbligate a rispondere. Siamo più orientati verso la sperimentazione e la produzione di nicchia, e siamo più liberi di assumere rischi, non essendo limitati dai vincoli imposti dalle norme e dai parametri di una realtà museale.
Le istituzioni pubbliche romane sono costrette a muoversi tra la responsabilità culturale e diversi programmi politici e sono spesso, purtroppo, imbrigliate dalle dinamiche della politica locale e nazionale. Ma tutte le realtà condividono un intento comune: costruire una comunità crescente di appassionati e sostenitori della cultura contemporanea e creare luoghi di esperienza, apprendimento e dialogo.

V.H. Inviti artisti, ma anche curatori a lavorare con la Fondazione, la sua collezione e il suo pubblico. In questo modo apri la Fondazione a sensibilità e metodologie curatoriali diverse. Come concepisci il ruolo del direttore/curatore di uno spazio espositivo d’arte contemporanea nel 2014?

A.D. Ci sono moltissime metodologie curatoriali e ognuna di esse attiva diversi approcci e sensibilità. Il mio interesse principale ruota intorno alla ricerca sulla pratica artistica, ma sono attratta anche dall’esplorazione delle sensibilità curatoriali, motivo per cui apro la Fondazione ai guest curators. Essi sono professionisti della cultura, facilitatori, ricercatori, studiosi e insieme agli artisti possono creare occasioni di discussione su temi socio-politici e culturali della contemporaneità e generare nuove modalità di produzione.

V.H. PIANO aspira a creare un network di spazi espositivi basato sulla collaborazione, lo scambio e l’interazione. Perché hai deciso di unirti al progetto e in cosa consiste la tua  partecipazione?

A.D. La prima parte della tua domanda contiene già in sé i tre motive principali per i quali la Fondazione partecipa al progetto: la possibilità di lavorare in collaborazione, di attivare uno scambio e di interagire con un esteso gruppo di spazi espositivi al fine di ampliare le reti estetiche. Questo genere di iniziative stimola il dialogo, l’impegno e la partecipazione, inserendo le attività locali della Fondazione con gli artisti, i curatori e le istituzioni in un contesto internazionale.
Nello specifico la Fondazione Giuliani ospiterà una mostra collettiva con quattro artisti, The Promise of Melancholy and Ecology, primo capitolo di una serie di mostre intitolata The Registry of Promise. L’intero progetto è curato dal guest curator Chris Sharp, di cui ammiro e rispetto la pratica curatoriale, in collaborazione con Parc Saint Léger Centre d’art contemporain, Centre d’art contemporain d’Ivry – le Crédac e SBKM/De Vleeshal, tutte istituzioni con cui la Fondazione ha un’affinità e con le quali condivide un comune terreno di ricerca e programmazione.

Images:
1. Simon Dybbroe Møller, Hello, 2011-2012. Photo: Francesco De Michelis
2. Benoît Maire, Lies on the Beach, 2013. Photo: Giorgio Benni
3. Scott Burton by Oscar Tuazon, 2012. Photo: Giorgio Benni
4. Mutiny Seemed a Probability, 2010. Photo: Claudio Abate
5. Benoît Maire, Lies on the Beach, 2013, mixed media, dimensions variable. Photo: Giorgio Benni
6. Gianni Piacentino 1965-2000, 2014. Photo: Giorgio Benni
7. Giulia Piscitelli, Neopolitan Windows, 2010, adhesive paper on satined plexiglass, ink, 45 x 33 cm each. Photo: Gilda Aloisi
8. Carl Andre, 3rd Steel Triangle, 2008, hot rolled steel, 1 x 150 x 150 cm. Ahmet Öğüt, Intervento n.1:, 2 tape measures. Photo: Gilda Aloisi
9. Seb Patane, Movement (featuring Rose Kallal), 2013, video, 11’14’’. Photo: Giorgio Benni
All images installation views at Fondazione Giuliani, Rome

close
en - it - fr

Tony Fiorentino

Tony Fiorentino, Do you remember, 2013

Tony Fiorentino, Do you remember, 2013

Born 1987, Barletta, Italy
Lives and works in Milan, Italy
Tony Fiorentino was born in Barletta in 1987. After his studies, he moved to Carrara where he attended the Academy of Fine Arts and founded a space for young rising artists’ solo and collective exhibits. The work of Tony Fiorentino is characterized by a continuous search for expression and experimentation through several materials and practices. Objects, thoughts and actions turn into compositions that display a narrative and poetic impact, by which he comments visually on our human condition with all our troubles as well as our social and existential issues. In 2007 he won a scholarship that allowed him to attend the Anotati Skoli Kalon Tecknon in Athens for a year. He then moved to Amsterdam and London. In 2013, he was invited to the CSAV Artist Research Laboratory at Antonio Ratti’s Foundation, with the visiting professor Matt Mullican. He won several awards as an emerging artist, among which the Talent Prize-Meta Energia at the MACRO Museum, Rome (2012). He was invited to take part in several exhibitions in Italy and abroad, among which are: Concrete Ghost – Cinque Mostre, American Academy in Rome (2014); Contemporary locus 5, Domus Lucina, Bergamo (2013), Dominium melancholiae, Spazio Salenbauch, Venice (2013); Ragazze, Viafarini, Milan (2013); Off site / Not in place #3, Museum of Contemporary Art, Lissone (2013); Underneath the Street, the Beach, Fondazione Sandretto Re Rebaudengo, Turin (2012); Open House, Reappropriation & Possession, Salon Flux, London (2012); Officine dell’Arte, Viafarini/Careof/DOCVA, Milan (2010). He currently lives and works in Milan.

Project: From & To

 

Tony Fiorentino nasce a Barletta nel 1987. Studia presso l’Accademia di Belle Arti di Carrara, dove fonda uno spazio espositivo per giovani artisti emergenti. Nel 2007 grazie a una borsa di studio frequenta per un anno l’Anotati Skoli Kalon Tecknon di Atene. Successivamente si trasferisce a Amsterdam e a Londra. Nel 2012 vince il Talent Prize – Meta Energia, Museo Macro Pelanda, Roma (2012). Tra le principali mostre in Italia e all’estero: Concrete Ghost – Cinque Mostre, American Academy in Rome (2014); Dominium melancholiae, Spazio Salenbauch, Venezia (2013); Off site / Not in place #3, Underneath the Street, the Beach, Fondazione Sandretto Re Rebaudengo, Torino (2012); Open House, reappropriation & possession, Salon Flux, Londra (2012); Officine dell’Arte, Viafarini/Careof/Docva, Milano (2010). Vive e lavora a Milano.

 

Né à Barletta en 1987. Vit et travaille à Milan. Il a étudié à l’Académie des Beaux-arts de Carrara ou il a fondé un espace d’exposition pour les jeunes artistes émergents. En 2017, grâce à une bourse d’études, il fréquente l’Anotati Skoli Kalon Tecknon d’Athènes. Il s’installe ensuite à Amsterdam puis à Londres. En 2012 il remporte le Prix Talent – Energie Voyage, Musée MACRO Pelanda, Rome (2012). Principales expositions en Italie et à l’étranger : Concrete Ghost ‘Cinque Mostre’, American Academy, Rome (2014), Dominium melancholiae, Spazio Salenbauch, Venise (2013), Off site / Not in place #3, Underneath the Street, the Beach, Fondazione Sandretto Re Rebaudengo, Turin (2012); Open House, reappropriation & possession, Salon Flux, Londres (2012), Officine dell’Arte, Viafarini/Careof/Docva, Milan (2010).

Image:
Tony Fiorentino, Do you remember, 2013

close
en

MICHAEL E. SMITH

2487-18

Born 1977, Detroit, MI, USA
Lives and works in Detroit, MI, USA

Image:
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.

Project: The Registry of Promise

close
en

NINA CANELL

2487-10

Born 1979, Växjö, Sweden
Lives and works in Berlin, Germany

Image:
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.

Project: The Registry of Promise

close
en

ERIC DE CHASSEY

Éric de Chassey is the Director of the French Academy in Rome – Villa Medici since 2009. He is also Professor of Contemporary Art History at the École Normale Supérieure in Lyon. Since the beginning, his scientific activities have focused on the American and abstract art. He has published books and essays on 20th and 21st century art. He has also curated numerous exhibitions, accompanied by publications such as Soulages XXI century (Rome, Villa Medici, 2013) or Simon Hantaï (Rome, Villa Medici, 2014).

Focus: Prepared Piano – Model for a New Institutionalism
Partner: Académie de France à Rome – Villa Médicis

close
en

Prepared Piano – Model for a new Institutionalism

Round table discussion moderated by Pierre Bal-Blanc
organized in the frame of PIANO, Prepared Platform for Contemporary Art – France-Italie 2014-2015

Villa Medici
Viale Trinità dei Monti, 1 – 00187 Roma
Friday May 9, 2014
10 – 12 am

The panel discussion Prepared Piano: Model for a New Institutionalism presents artists, curators, as well as the managers of places where various projects have been produced over the past few years in Europe. These projects have in common that they make novel use of cultural exchange instruments, while giving their activities both a local and international scope.

Various case studies will be presented during this panel discussion to bring back into play notions of crossdisciplinarity (Théâtre des expositions at Villa Medici), process (Per_formare una collezione at the MADRE in Naples), and plasticity of relations (Laboratoire Espace Cerveau at the IAC in Villeurbanne). The discussions as a whole will echo the desire to found “a new institutionalism”, which has developed over the past few years through initiatives coming from both artists and curators. The desire to reconfigure the institution based on the model of a community centre, laboratory, open school, and other places that are not mainly governed by market laws, is linked with the creative momentum that led to Prepared Piano. The proposed discussion aims to demonstrate that PIANO, as well as Salon Light, dedicated to independent publishing, and Vdrome, a distribution network for artist films, are today all tangible initiatives.

Pierre Bal-Blanc is the director of the CAC Brétigny. He is also an independent curator and the vice-president of the d.c.a / French association for the development of centres d’art. Since 2003, in resonance with the social thought of Charles Fourrier, he has been developing the “Phalanstère Project” within a centre d’art. This is a series of specific offerings that critically rework the principles of artwork accumulation.
His exhibition series “Living Currency” and “Draft Score for an Exhibition” negotiate the historical and contemporary analysis of the body and of strategies linked to performance in the visual arts. “The Death of the Audience “ and “Reversibility” are reflections on the consequences that the materiality of art objects has on the configuration of art-world protagonists, the role and form of cultural institutions today.

Interdisciplinary stage
Theater of Exhibitions / Villa Medici, Rome / presentation by Eric de Chassey

Conceived by the director Éric de Chassey and organised by the French Academy in Rome – Villa Medici every year since 2010, the Theatre of Exhibitions has been devised as a moment of encounter between the fellows in residence and the public, as well as one of dialogue and confrontation among the artists and scholars in residence. The different spaces of Villa Medici become ephemeral stages for installations, performances, projections, readings. The concept of openness, a predisposition to dialogue and confrontation among different disciplines is the characteristic that unites the projects, which are presented. The Theatre of Exhibitions has been designed as a “multiform laboratory” which displays the diversity of artistic practices and research, thus confirming the centrality of the French Academy in Rome in contemporary creation.

Éric de Chassey is the Director of the French Academy in Rome – Villa Medici since 2009. He is also Professor of Contemporary Art History at the École Normale Supérieure in Lyon. Since the beginning, his scientific activities have focused on the US and abstract art. He has published books and essays on XXth and XXIst century art. He has also curated numerous exhibitions, accompanied by publications such as Soulages XXIth century (Rome, Villa Medici, 2013) or Simon Hantaï (Rome, Villa Medici, 2014).

Thought’s spatialization
Space Brain Laboratory / IAC, Villeurbanne / presentation by Nathalie Ergino and Ann Veronica Janssens

Initiated in 2009 by the artist Ann Veronica Janssens and Nathalie Ergino, director of the Institut d’art contemporain, the project aims at starting from experiments in art to explore practical and theoretical research linking space and the brain. This interdisciplinary laboratory brings together the reflections and experiments of artists and scientists and also philosophers, anthropologists, art historians and theoreticians, thus providing as much coverage by neuroscience, physics and astrophysics as by hypnosis, telepathy and shamanism.

Since January, 2006, Nathalie Ergino is the director of the Institut d‘art contemporain. Former director of the School / FRAC Champagne-Ardenne (1994-2000), and of the museum of contemporary art [mac] of Marseille (2001-2005), she has curated big monographic exhibitions (Jimmie Durham, Rodney Graham, Raymond Hains, Ann Veronica Janssens, Carsten Höller) as well as collective exhibitions (Maisons-Cerveaux, Subréel).

Born in 1956 in Folkestone (UK), Ann Veronica Janssens lives and works in Brussels (BE). Her work has been the subject of numerous solo exhibitions. Since 1985, she has also participated in important group exhibitions, as well as various international biennials and in 1999 Venice where she represented Belgium with Michel François. She regularly collaborates with choreographers (Drouler Pierre and Anne Teresa De Keersmaeker). Her work has been presented recently within the exhibition Passion Fruit at the Centre Pompidou, Paris and within Dynamo, A century of light in art, 1913 – 2013 at the Galeries Nationales du Grand Palais.

Organizing the perceptible
Vdrome / Mousse, Milano / presentation by Enrico Boccioletti

Vdrome is an online platform that offers regular, high quality screenings of films and videos directed by visual artists and filmmakers, whose production lies in-between contemporary art and cinema. Each screening is presented during a limited period, as in a movie theatre. Vdrome makes available a program of exceptional artists’ films and videos that are selected due to their importance, quality and innovative strength, many of which are only shown in the context of film festivals, exhibitions or specific surveys, being therefore of very limited access. Vdrome is an initiative conceived and promoted by Mousse, curated by Edoardo Bonaspetti, Jens Hoffmann, Andrea Lissoni and Filipa Ramos, and maintained by Enrico Boccioletti.

Enrico Boccioletti is an artist and musician active under multiple names – Death in Plains, 4SICSX, spcnvdr and Enrico B – in the fields of postconceptual, new vernacular, performance and sound, interested into incompleteness and circularity, duplication and accumulation, waste, layering, forgery, faux-real. He also works for Mousse Magazine and Vdrome.

Incarnation of the collection
Per_formare una collezione / Madre, Naples / presentation by Andrea Viliani and Alessandro Rabottini

Per_forming a collection is an on-going project designed to develop the formation of the Museo MADRE’s permanent collection in Naples. It focuses on artists of different generations whose works have been conceived as physical and mental instruments that bring together thought and action in every possible media, linking visual arts to theatre and literature. The project aims to shape a collection that is articulated over time, combining archival research with commissions for new works taking into account the role of the museum as a place of memory and preservation as well as a continuing research and production laboratory. All the works presented have a relation with the city and its history: works conceived or exhibited here, from artist who happened to exhibit in Naples or works belonging to private or public local collections.

Since 2013 Andrea Viliani is the director of the Fondazione Donnaregina per le arti contemporanee – Madre, Napoli. He previously worked from 2009 to 2012 as Director of Fondazione Galleria Civica – Centro di Ricerca sulla Contemporaneità in Trento. In 2012 he was a member of the Core Agents Group of dOCUMENTA(13) and he co-curated the related position in Kabul and Bamiyan (Afghanistan). From 2005 to 2009, Viliani was curator at the MAMbo – Museo d’Arte Moderna di Bologna. Among the 60 “players” of the 2007 Biennale de Lyon, he is a frequent contributor to FROG, Mousse, Kaleidoscope and Flash Art.

Alessandro Rabottini is an art critic and curator based in London. He is Curator at Large at the Madre Museum in Naples (where he recently curated a mid-career retrospective of Padraig Timoney and the survey show of Ettore Spalletti) and served as guest curator for several international institutions. In his capacity of Curator at Large at the GAMeC in Bergamo he curated solo exhibitions of artists such as Robert Overby, Mircea Cantor, Latifa Echakhch, Victor Man, Pratchaya Phinthong, Pietro Roccasalva, Tim Rollins & K.O.S, Sterling Ruby, Tris Vonna-Michell and Jordan Wolfson.

Praising uncertainty
Salon light / cneai =, Chatou / presentation by Sylvie Boulanger

Founded in 2004 by Cneai, Salon Light became over a few years an unmissable rendez-vous for micro-publishers and artist’s publication in Paris. After exporting the concept at Vermelho gallery in Sao Paulo and the great success of Salon Light 9 at Palais de Tokyo in 2012, Salon Light keeps uniting a moving scene of artists, authors, independent publishers or composers. Books, magazines, objects, LP’s, catalogues or artist’s book, the publications are often limited editions, sometimes impossible to find in Paris, and are breaking new grounds while creating new networks in the art and publishing worlds. Performances and meetings with professionals and artists are also a key part of the event. Free for the publishers and the public, it’s accessible to all and offers visibility to a still somehow unknown field.

Sylvie Boulanger is founder and curator of Salon Light since its creation in 2004. She directs Cneai since 1997. She curated over a hundred exhibitions, published more than seventy books (artist’s books, journals, catalogues) and produced as few documentaries. She is a member of several research labs, she also contributes to academic reviews like Multitudes and lectures in art schools and universities. She was the founder of the production agency APC (Art Public Contemporain) that she directed for ten years (1990-1997) after occupying the position of associate director «exhibition and communication» within the Ministry of Culture visual arts delegation (1987-1990).

The round table discussion will be followed by a
Concert for Prepared Piano by Laurent Durupt, composer and fellow at the Villa Medici

More information at
www.pianoproject.org
info@pianoproject.org

Round table discussion organized in the frame of PIANO, Prepared Platform for Contemporary Art, France-Italie 2014-2015

PIANO, Prepared Platform for Contemporary Art, France–Italy 2014-2015, initiated by d.c.a / French association for the development of centres d’art, in partnership with the Institut français in Italy, the French Embassy in Italy and the Institut français, with the support of the French Ministry of Foreign Affairs and International Development, the French Ministry of Culture and Communication and Fondazione Nuovi Mecenati.

close
en

MATT MULLICAN

Born 1951, Santa Monica, CA, USA
Lives and works in New York, NY, USA

Project: The Registry of Promise

close
en - it - fr

Vivien Roubaud

Vivien Roubaud, Système frigorifique, eau, 220v, 2012

Vivien Roubaud, Système frigorifique, eau, 220v, 2012

Born 1986, Vouziers, France
Lives and works in Nice, France
Graduated of DNSEP with distinction at the École Nationale Supérieure d’Art of Villa Arson (Nice) in 2011. Among his recent group exhibitions: Saison 17, Lieu Commun, Toulouse (2013); Sunshine & Precipitation Part 2, Catalyst Arts, Belfast (2012); WATT, La Station, Nice (2012); Young & Restless, Vidéochroniques, Marseille (2012); Demain c’est loin, Galerie de la Marine, Nice (2011). Solo exhibition as part of the Modules Fondation Pierre Bergé – Yves Saint Laurent at the Palais de Tokyo (2013-2014).
I often say that I use “objects that make us live,” in a sense, I try to extract unused qualities or hidden properties from these objects. The active mixtures that I make, bring together and confront, take on a form in precarious, unstable balancing acts. In order to bypass the functions and disorganize the know-how, we have to adopt a distant view in terms of what we know, or think we know, without ever falling into fascination, but instead with the intention of raising questions and inciting curiosity. Freeing an object also means reprogramming it, or handling its side effects. Static objects are set in motion, while those that usually move tend towards petrified states. Some systems come undone, returning to a lost state. They unravel so much that they go back to the “crude”, or heterogeneous pre-production state of an un-elaborated product. By making bridges between disciplines, and by combining or defragmenting fields and categories, it is possible to make one or more frameworks tremble, but without being able to extract ourselves from them completely. The point is then to re-examine and reinterpret the connections and ties that can join together the fragments and abolish the frontier between methods and materials. The game consists in regulating this unruliness.

Project: From & To

 

Nato nel 1989, vive e lavora a Nizza. Ottiene il diploma DNSEP, con il massimo dei voti, alla Villa Arson nel 2011. Fra le sue mostre collettive recenti: Saison 17, Lieu Commun (Tolosa 2013), SUNSHINE & PRECIPITATION Part 2, Catalyst Arts (Belfast, 2012), WATT, La Station (Nizza, 2012), YOUNG &RESTLESS, Vidéochroniques (Marsiglia, 2012), Demain c’est loin, Galerie de la Marine (Nizza, 2011). Mostra personale nell’ ambito di Modules – Fondazione Pierre Bergé – Yves Saint Laurent, al Palais de Tokyo, 2013-2014.

 

Né en 1986, vit et travaille à Nice. Diplômé en 2011 du DNESP, avec félicitation du jury, à l’École nationale supérieure d’art de la Villa Arson. Parmi ses expositions collectives récentes : Saison 17, Lieu Commun (Toulouse, 2013), SUNSHINE & PRECIPITATION Part 2, Catalyst Arts (Belfast, 2012), WATT , La Station (Nice, 2012), YOUNG & RESTLESS, Vidéochroniques (Marseille, 2012), Demain c’est loin, Galerie de la Marine (Nice, 2011). Exposition personnelle dans le cadre des Modules – Fondation Pierre Bergé – Yves Saint Laurent, au Palais de Tokyo, 2013-2014.

Image:
Vivien Roubaud, Système frigorifique, eau, 220v, 2012

close
en - it - fr

GUILLAUME MANSART IN CONVERSATION WITH DIANE BLONDEAU, VIVIEN ROUBAUD AND THOMAS TEURLAI

GUILLAUME MANSART IN CONVERSATION WITH DIANE BLONDEAU, VIVIEN ROUBAUD AND THOMAS TEURLAI

A Dystopian Sculpture

Guillaume Mansart It’s the first time you’ve worked together. Here you’re offering a joint production. In what sense was this collective dynamic important?
Diane Blondeau, Vivien Roubaud and Thomas Teurlai The From & To project was based on the idea of a collaborative exchange between young French and Italian artists. The three of us already knew each other. We got along well and lived in more or less the same area. Each of us having been separately involved in several collaborations, we were aware that this presented an advantage in terms of energy, labour power and letting go.

G.M. Beyond the spirit of intellectual competition, one senses that this collective logic is also efficient when it comes to production.  At the work-creation stage, a distinctive organisational logic can already be discerned…
D.B, V.R., T.T. This is something that creeps into our practices and into those of quite a few artists of our generation. Primarily out of pure pragmatism: how can something be created with few resources? By inventing our tools, by making do with whatever we have at our disposal. When it’s finished, the work might appear to “take a stand against traditional principles”, but more than anything else this is because we have no choice! It’s a flaw that becomes a quality. 

G.M. What is the meaning of the title Jambe de botte?
D.B, V.R., T.T. It’s the literal translation of “bootleg”, an English term that designates pirate recordings of concerts or studio albums. The term also designates the art of “turntablism”, which consists in constructing a single piece of music out of several others. Jambe de botte served as a shapeless title, like melted plastic.

G.M. For the creation of this piece, you tested several types of material, ultimately choosing plastic from melted garden chairs. There’s a certain irony in the fact that plastic chairs are turned into a kind of “missile sculpture”. Why did this material stand out?
D.B, V.R., T.T. This brings us back to production circuits and pragmatism. How a combination of gestures can produce an image. We very empirically tested hundreds of combinations. Then we took a deckchair, burned it with a flamethrower, and the result was perfect. We work on the French Riviera, where the dumps are full of this kind of furniture. We were conscious of reflecting the dystopian faults of this strange place that, when you remove the glamour of the sun and palm trees, smells of cheap suntan lotion, melted poodles and social violence.

G.M. How were the forms of the different sculptures created?
D.B, V.R., T.T. We aligned casts found in an abandoned train parts foundry, in such a way that we were able to create cylinders that could be spun like record players. We poured the plastic and suddenly we had Scud missiles.

G.M. Could you explain the “archaeo-acoustic” notion behind your project?
D.B, V.R., T.T. It’s a fairly vague discipline situated between acoustics, archaeology and charlatanism, and its aim is to find pre-Edison sound recordings through sound imprints accidentally recorded on different types of object. Since sound is a vibration, in principle it can be inscribed on the media it comes into contact with.

G.M. The forms of the various sculptures evoke something of a warlike world. Added to these forms is a sound that gives the space a stressful atmosphere. How is this sound produced?
D.B, V.R., T.T. From the outset we planned to create forms that could be “played” in the space. Then everything developed very spontaneously. The day before the exhibition opened, we had to make up our minds to bring the sculptures into the exhibition venue. Once they were set up, we took a playback head and placed it on one of the rotating Scuds and it was Fallujah in the centre dart. The perfect tautology.

G.M. Although object and device diversion and DIY are found in your respective works, I get the impression that the question of sculpture is fairly new. In fact, in your piece one finds “historical” questions liked to sculpture: materiology, volume, casting techniques, a plinth…  Does Jambe de botte enable you to tackle new fields of investigation?
D.B, V.R., T.T. We considered simple questions that are not at all historical. A plinth is practical. It keeps the work at a distance and prevents a Scud from falling on someone. Plastic is more solid than margarine, etc.  Above all, this project confirmed that in the middle of personal practices and trajectories, it’s essential to regularly make time for collective periods and keep making use of resourcefulness.

March 2015

Protagonists: Diane Blondeau, Vivien Roubaud, Thomas Teurlai
Project: From & To

Une sculpture dystopique

Guillaume Mansart C’est la première fois que vous travailliez ensemble. Ici, vous faites une proposition de production partagée. En quoi cette dynamique collective a-t-elle été importante ?
Diane Blondeau, Vivien Roubaud et Thomas Teurlai L’idée à la base du projet From & To, c’était un échange collaboratif entre des jeunes artistes français et italiens. Tous les trois, nous nous connaissions déjà, nous nous entendions bien et nous vivions plus ou moins au même endroit. Après plusieurs collaborations chacun de notre coté, nous étions conscients de l’intérêt que cela représentait en matière d’énergies, de force de travail et de lâcher prise.

G.M. Au-delà de l’émulation intellectuelle, on sent que cette logique collective trouve aussi une efficience dans la question de la production. Dans l’étape de réalisation de l’œuvre on peut déjà lire une logique d’organisation propre…
D.B, V.R., T.T. C’est quelque chose qui traine dans nos pratiques comme dans celles de pas mal d’artistes de notre génération. D’abord par pur pragmatisme : comment réalise-t-on quelque chose avec peu de moyen ? En inventant nos outils, en faisant avec ce que l’on a sous la main. À l’arrivée, peut-être que le travail semble « s’affirmer contre les logiques traditionnelles », mais c’est plus par défaut qu’autre chose ! C’est un défaut qui devient une qualité. 

G.M. Que signifie le titre Jambe de botte ?
D.B, V.R., T.T. C’est la traduction littérale de « bootleg », un terme anglais qui désigne les enregistrements pirates de concerts ou de studio. Le terme désigne aussi l’art du « turntablisme » qui consiste à construire un seul morceau de musique à partir de plusieurs. Jambe de botte faisait un titre informe, comme du plastique fondu.

G.M. Pour la réalisation de cette pièce, vous avez testé plusieurs types de matériaux, pour au final vous arrêter sur du plastique provenant de chaises de jardin fondues. Il y a une forme d’ironie dans le fait de transformer des chaises en plastique en sorte « sculpture missile ». Pourquoi ce matériau s’est-il imposé ?
D.B, V.R., T.T. On en revient aux circuits de productions et au pragmatisme. Comment une combinaison de gestes simples peut « faire image ». Nous avons testé de manière très empirique des centaines de combinaisons. Puis nous avons pris un transat, nous l’avons brûlé au lance-flammes, et le résultat était parfait. Nous travaillions sur la Côte d’Azur, les décharges sont pleines de ce type de mobilier. Nous avions conscience de renvoyer les travers dystopiques de cet étrange endroit qui, dégagé du côté glamour du soleil et des palmiers, sent la crème solaire bon marché, le caniche fondu et la violence sociale.

G.M. Comment les formes des différentes sculptures ont-elles été créées ?
D.B, V.R., T.T. Nous avons aligné des moules trouvés dans une fonderie de pièces de trains abandonnées, de manière à pouvoir créer des cylindres que l’on pourrait faire tourner comme des phonographes. Nous avons coulé le plastique et d’un coup nous avions des missiles Scud.

G.M. Pourriez vous expliciter la notion d’ « archéo-acoustique » qui est à l’origine de votre projet ?
D.B, V.R., T.T. C’est une discipline assez obscure qui se situe entre l’acoustique, l’archéologie et le charlatanisme, et qui entend retrouver des enregistrements sonores pré-Edison à travers des empreintes sonores qui auraient été enregistrées accidentellement sur différents types d’objets. Puisque le son est une vibration, il peut censément s’inscrire sur les supports avec lesquels il entre en contact.

G.M. Les formes des différentes sculptures évoquent un univers plutôt guerrier, à ces formes s’ajoute un son qui installe dans l’espace d’exposition une atmosphère anxiogène. Comment se son est-il produit ?
D.B, V.R., T.T. Dès le début nous envisagions de créer des formes que l’on pourrait « jouer » dans l’espace. Ensuite, tout s’est enchainé de manière très spontanée. Nous avons dû nous résoudre, la veille du vernissage, à amener les sculptures dans le lieu d’exposition. Une fois qu’elles étaient installées, nous avons pris une tête de lecture que nous avons posé sur un des SCUD rotatifs et c’était Fallujah dans le centre d’art. Tautologique à souhait.

G.M. Si le détournement d’objets ou de dispositifs et le DIY sont présents dans vos travaux respectifs, j’ai l’impression que la question de la sculpture est assez nouvelle. En effet, on retrouve dans votre pièce des questions « historiques » liées à sculpture : matériologie, volume, techniques de moulage, socle, … Jambe de botte vous permet-elle d’engager de nouveaux champs d’investigation ?
D.B, V.R., T.T. On s’est posé des questions simples qui ne sont en rien historiques. Un socle c’est pratique, ça tient à distance et ça évite qu’un SCUD tombe sur quelqu’un. Le plastique c’est plus solide que la margarine, etc. Ce projet nous a surtout confirmé qu’il était indispensable au sein de pratiques et de trajectoires personnelles d’aménager régulièrement ces temps collectifs et de continuer à jouer de débrouille.

Mars 2015

Image:
1. Diane Blondeau / Vivien Roubaud / Thomas Teurlai, Jambes de bottes, 2014, mixed media. Photo: Villa Arson / Jean Brasille

close
en - fr

SIMONE FRANGI

Born 1982, Como, Italy
Lives and works between Milan, Italy and Grenoble, France

Simone Frangi is a cultural researcher, art writer and curator. He holds a French-Italian PhD in Aestethics and Theory of Art and he’s qualified researcher in Philosophy and Art Theory at Conseil National des Universités (FR). He’s currently artistic director of Viafarini (Milan) and co-curator of DOCVA – Documentation Center for Visual Arts (Milan). He’s co-curator of Live Works – Performance Act Award at Centrale Fies (Trento, IT) and co-director of the biennial research program A Natural Oasis run between Republic of San Marino, Republic of Malta and Gibraltar and organized by Little Constellation. He’s Lecturer of Theory of Contemporary Art at Fine Arts and Design Academy in Grenoble. Among residencies and curatorial programs he attended: Residence Unlimited (New York, 2015); Rupert (Vilnius, 2015); Les Laboratoires d’Aubervilliers (Paris, 2014); Seminars for Art Curators at ICA (Yerevan, 2013); ERC Starting Grant – Ownreality at Centre Allemand d’Histoire de l’Art (Paris, 2013); Suddenly. Résidence d’art et de recherche (Beauchery-Saint-Martin, Ile de France, 2012); EIKONES – National Centre of Competence in Research on Iconic Criticism in collaboration with Schaulager (Basel, 2011). His current research focuses on the interpolation of the notions of performativity and reality, on the social and political intelligibility of artistic research and on self-education and horizontal educational practices.

Né à Como, Italie, en 1982
Vit et travaille entre Milan, Italie et Grenoble, France

Simone Frangi est chercheur, théoricien en art et commissaire d’exposition. Titulaire d’un Doctorat franco-italien en Esthétique et Théorie de l’Art, il est chercheur qualifié en Philosophie et en Esthétique/Science de l’art auprès du Centre National des Universités (Paris). Il est également directeur artistique de Viafarini (Milan) et co-curateur de DOCVA (Fabbrica del Vapore, Milan. Depuis 2013 il est co-curateur de Live Works – Performance Act Award (Centrale Fies, Trento) et depuis 2014 co-directeur du programme de recherche biennale A Natural Oasis organisé dans le cadre de Little Constellation – Network of Contemporary Art focused on Geo-cultural Micro-areas and Small States of Europe. Il estProfesseur de Théorie et Actualité de l’Art Contemporain à l’ESAD Grenoble.

Space: Viafarini DOCVA
Project: Double Cross, from Both Sides of a Mountain

close
en

ANDY WARHOL

PLE-TPOMPT-032

Born 1928, Pittsburgh, PA, USA
† 1987, New York, NY, USA

Image:
Andy Warhol, Sleep, 1963© Aurélien Mole / Parc Saint Léger (Collection of The Andy Warhol Museum, Pittsburgh / Contribution The Andy Warhol Foundation for the Visual Arts, Inc.)

Project: The Registry of Promise

close
en - it

Roman Ondák

Born 1966, Žilina, Slovakia
Lives and works in Bratislava, Slovakia

Roman Ondák takes a particular interest in the less obvious details of everyday life, which he homes in on and transfers into an artistic context. Using sculpture, installation, video, and performance, the artist disorients the public, deploying subtle tricks (or devices) to attract attention to something or someone that would otherwise go unnoticed. He also utilizes the same mechanism to tackle the exhibition spaces themselves, exploring the venue and altering both its architectural logic and habitual dynamics.
In Tickets, Please, the artist uses repetition to subvert a common experience. The photos, taken during a performance, show the table at the entrance to the museum where visitors normally pay for admission. Yet sitting behind the table is a young boy who asks for only half the ticket price. On the upper floor, the artist reconstructs the situation but with the ticket desk manned by the boy’s grandfather, generating not only a spatial shift but also a generation gap. Given the time it takes to get from one part of the venue to the other, visitors also experience a time lapse between the two payments.
The same temporal disorientation characterizes the work Silence, Please, which dates to a few years previously. In this performance, a museum guard, when in the room, wears a uniform based on the models used in the year the wearer was born. This piece tackles the paradoxical coexistence of presence and absence: the physical presence or otherwise of the performer and the metaphorical quality of the time differences evoked.

Nato a Žilina, Slovacchia, nel 1966
Vive e lavora a Bratislava, Slovacchia

Roman Ondák s’interessa in particolare ai dettagli meno appariscenti agli aspetti più ordinari della vita quotidiana, che trasferisce poi in un contesto artistico. Con sculture, installazioni, video e performance, l’artista disorienta il pubblico, attuando dei sottili inganni (o artifici), che permettono di attirare l’attenzione su qualcosa o qualcuno che altrimenti non verrebbe notato. Questo meccanismo è utilizzato anche negli spazi espositivi, dove Ondák esplora, modificandole, sia le logiche architettoniche sia le dinamiche abituali dell’istituzione museale.
In Tickets, Please (Biglietti, prego) l’artista cambia la prospettiva tradizionale, grazie all’espediente della ripetizione. Le foto sono state scattate durante una performance. Dietro un tavolo, posizionato all’entrata del museo, dove normalmente si paga l’ingresso alla mostra, è seduto un ragazzino che chiede metà del costo del biglietto. Al piano superiore del museo, l’artista ricostruisce esattamente la stessa situazione, ma a chiedere l’importo mancante del biglietto è il nonno del ragazzino, ciò che crea uno scarto non solo spaziale, ma anche generazionale. Il visitatore percepisce inoltre un disorientamento temporale, poiché impiega del tempo per spostarsi nello spazio espositivo.
Il medesimo disorientamento temporale caratterizza anche Silence, Please (Silenzio, prego), un’opera di qualche anno prima. Questa performance prevede che un sorvegliante del museo, quando è presente in sala, indossi un’uniforme fatta come i modelli che si usavano nell’anno di nascita del sorvegliante che la indossa. La performance affronta inoltre la coesistenza paradossale di presenza e assenza: quella fisica del performer e quella metaforica, data dalla lontananza temporale.

Project: Soleil politique

close
en - it - fr

Matthieu Saladin

Born 1978, France
Lives and works in Paris and Mulhouse, France

Matthieu Saladin is an artist, musician, and researcher. His practice is founded on a conceptual art approach, reflecting, through an ongoing use of sound, on the production of spaces, the history of forms and processes of creation, as well as the economic and political relations of art and society. His works take the form of sound installations, performances, publications, videos, and computer programs—a multifarious body of work, as attested to by the recent exhibition There’s A Riot Goin’ On, shown at the CAC Brétigny in 2013-2014.
The work Economic Score transposes a cultural economy into a musical score. For the version Economic Score: Soleil politique, the exhibition budget, including production costs and private financial support, has been transcribed as a musical score. The score will be performed on October 29, 2014, during Bolzano’s Festival of Contemporary Music. The work refers to aspects of social and economic life that, given their immaterial nature and omnipresence, escape direct perception and yet nevertheless dictate and mold attitudes, discourses, social relations, and daily activities. The ideological imprint of material production is appropriated as a medium in order to investigate the tensions of social space, along with the relation between aesthetic perception and the economic activities that govern it. Another way of raising similar questions is Calendar of Revolts, which takes the form of a calendar for the year 2015 that replaces the celebrations of the patron saints on all 365 days of the year with the anniversaries of popular revolts taken from the pages of modern and ancient history.

Nato a Versailles, Francia, nel 1978
Vive e lavora a Parigi e Mulhouse, Francia

Matthieu Saladin è artista, musicista e ricercatore. La sua pratica artistica si iscrive in un approccio concettuale all’arte, che, attraverso un uso ricorrente del suono, riflette sulla produzione degli spazi, sulla storia delle forme e dei processi di creazione, come pure sui rapporti di natura economica e politica tra arte e società. La creatività di Saladin si esprime sia attraverso installazioni sonore e performance, sia attraverso pubblicazioni, video e creazioni di software: un insieme proteiforme, ben riassunto nella mostra There’s A Riot Goin’ On (È in corso una rivolta), CAC Brétigny, 2013-14.
L’opera Economic Score affronta la trasposizione di un’economia culturale in partitura. Per la versione Soleil politique, 2014 il budget della mostra, si tratti delle spese legate alla realizzazione dei progetti o dei contributi finanziari, è stato tradotto in forma di componimento musicale. Questa composizione sarà interpretata il 29 ottobre 2014 durante il Festival di Musica Contemporanea di Bolzano.
L’opera s’interessa ad aspetti della vita sociale ed economica che sfuggono alla preoccupazione diretta, a causa del loro carattere immateriale e/o della loro onnipresenza, e che tuttavia orientano e modellano i comportamenti, i discorsi, i rapporti sociali e le attività quotidiane. L’impronta ideologica delle produzioni culturali diventa un materiale disponibile per interrogare le tensioni che attraversano lo spazio sociale, così come i rapporti tra la percezione estetica e l’attività economica che la condiziona. Un altro modo per rappresentare questi temi è fornito da Calendrier des révoltes, un calendario del 2015, che sostituisce i santi patroni, assegnati a ciascun giorno dell’anno, con una rivolta popolare tratta dalle cronache della storia, antica e/o moderna.

Né à Versailles, France, en 1978
Vit et travaille à Paris et Mulhouse, France

Matthieu Saladin est artiste, musicien et chercheur. Sa pratique s’inscrit dans une approche conceptuelle de l’art, réfléchissant, à travers un usage récurrent du son, sur la production des espaces, l’histoire des formes et des processus de création, ainsi que sur les rapports économiques et politiques entre art et société. Elle prend aussi bien la forme d’installations sonores et performances que de publications, vidéos et création de logiciels ; ensemble protéiforme dont l’exposition There’s A Riot Goin’ On (CAC Brétigny, 2013-14) a rendu compte.
La pièce Economic Score entreprend la transposition d’une économie culturelle en partition. Pour la version Soleil politique, 2014, le budget de l’exposition, que ce soit les dépenses liées à la réalisation des projets ou les apports financiers, a été traduit sous la forme d’une composition musicale. Cette dernière est interprétée le 29 octobre 2014 dans le cadre du Festival de Musique Contemporaine de Bolzano.
L’œuvre touche à des aspects de la vie sociale et économique qui échappent à l’appréhension directe, par leur caractère immatériel et/ou leur omniprésence, et qui néanmoins orientent et modèlent les attitudes, les discours, les rapports de société et les activités quotidiennes. L’empreinte idéologique des productions culturelles devient un matériau disponible pour questionner les tensions qui traversent l’espace social, ainsi que les rapports entre la perception esthétique et l’activité économique qui la conditionne.

Calendrier des révoltes (sortie prévue à l’automne 2014)
Une autre manière d’évoquer ces questions se fera à travers un calendrier de l’année 2015 qui substitue les saints patrons affectés à chacun des 365 jours, avec une révolte populaire provenant des pages de l’histoire moderne ou ancienne.

Project: Soleil politique

close
en - it - fr

MATTHIEU SALADIN, ECONOMIC SCORE: SOLEIL POLITIQUE

MATTHIEU SALADIN, ECONOMIC SCORE: SOLEIL POLITIQUE

Concert
October 29th, 2014 – 8 pm
Museion 4th Floor
In the frame of Bolzano’s Festival of Contemporary Music

Audio file

The work Economic Score transposes a cultural economy into a musical score. For the version Economic Score: Soleil politique, the exhibition budget, including production costs and private financial support, has been transcribed as a musical score. The score will be performed on October 29, 2014, during Bolzano’s Festival of Contemporary Music. The work refers to aspects of social and economic life that, given their immaterial nature and omnipresence, escape direct perception and yet nevertheless dictate and mold attitudes, discourses, social relations, and daily activities. The ideological imprint of material production is appropriated as a medium in order to investigate the tensions of social space, along with the relation between aesthetic perception and the economic activities that govern it. Another way of raising similar questions is Calendar of Revolts, which takes the form of a calendar for the year 2015 that replaces the celebrations of the patron saints on all 365 days of the year with the anniversaries of popular revolts taken from the pages of modern and ancient history.

 

Image: Emilio Prini, Stampa di un consumo.Monaco ’71. Il caffè del Kunstverein, 1971 (detail)

Protagonist: Matthieu Saladin
Project: Soleil politique

close
en - it

ANNIE VIGIER & FRANCK APERTET (LES GENS D’UTERPAN)

Annie Vigier born 1965 and Franck Apertet born 1966
Live and work in Paris, France

Annie Vigier and Franck Apertet have been working together under the name “les gens d’Uterpan” since 1994. They have developed a creative process that progressively subverts the standard field of choreography. Their work questions the norms that govern the living arts and exhibiting, touching on several points and involving among other things an exploration of the body’s limits and the conventions of representation.
One of their most recent projects, Géographie-, is part of the process re|action they started in 2008, which numbers more than fifteen different works. Géographie- is a score for a group of performers conceived according to the spatial limits of the venue. The performers are recruited in the area where the show will be presented. The perimeter is defined by the movements of the dancers and determines the architecture inside which the choreography is performed (created using the tools and materials available on site). The presence of the dancers follows a schedule that is not communicated to the public and can only be perceived through the sound and vibrations emanating from the structure.
Géographie-Bolzano 2013, coproduced by the Transart Festival, Fondazione Museion, and CAC Brétigny, was presented at Museion from September 18 to 22, 2013, and was a sort of prelude to the exhibition Soleil politique proposed by Pierre Bal-Blanc.

Annie Vigier, nata nel 1965 e Franck Apertet nato nel 1966
Vivono e lavorano a Parigi, Francia

Nel 1994 Annie Vigier e Franck Apertet fondano il collettivo “les gens d’Uterpan” e avviano un processo creativo che progressivamente trasgredisce gli standard della coreografia.
Nel loro lavoro si interrogano sulle norme che governano le “arti viventi” e le esposizioni. Le loro ricerche toccano diversi punti e riguardano, oltre ad altri aspetti, un’esplorazione dei limiti del corpo e delle convenzioni della rappresentazione.
Uno dei loro lavori più recenti, Géographie- (Geografia-), fa parte del processo intitolato re|action iniziato nel 2008 che comprende più di una quindicina di lavori differenti. Géographie- è una partitura per un gruppo di interpreti concepita in funzione dei limiti spaziali del luogo che l’accoglie. Gli interpreti vengono reclutati nel luogo di presentazione della coreografia. Il perimetro è definito dai movimenti dei danzatori e determina l’architettura (realizzata con i mezzi e materiali reperibili e disponibili in loco) all’interno della quale si svolge la coreografia. La presenza o l’assenza dei ballerini segue un orario che non è comunicato al pubblico, ma è percepibile solamente dal suono e dalle vibrazioni meccaniche dei materiali emanate dall’architettura.
La performance Géographie-Bolzano 2013, coprodotta dal Festival di Transart, Fondazione Museion e CAC Brétigny, è stata presentata a Museion di Bolzano dal 18 al 22 settembre 2013 e ha costituito una sorta di preludio alla mostra Soleil politique.

Project: Soleil politique

close
en - it - fr

Leander Schwazer

4- Leander Schwazer, Globe, 2014 Foto Augustin Ochsenreiter

Leander Schwazer, Globe, 2014

Born 1982 Sterzing/Vipiteno, Italy
Lives and works in Los Angeles, CA, USA
He studied at the University of the Arts, Zurich, the Central Academy of Fine Art, Beijing and at the California Institute of the Arts, Los Angeles. His work comes from different kinds of influences, which at first sight recall art tendencies such that of minimal and pop art. At the same time it explores in its own way philosophical questions, social themes and universal concepts which are very different from each other, and always connected to a specific artistic formal development, expressed through the use of a wide range of materials. He has been the recipient of many awards, including that of Raiffeisen Foundation, Bolzano in 2014, of California Institute of the Arts in 2012 and 2014. He won the Travel Grant of the Autonomous Province of Alto Adige / Trentino in 2013 and the Austrian Graphic Award in 2011. His recent solo exhibitions include: Bikini, Museion for contemporary art, Bolzano (2014); Cross Spikes Club, California Institute of the Arts, Valencia (2013); The Rape of Europe, ar/ge Kunst, Bolzano (2012); The Alphabet I Got Dry with, Kunstraum B, Kiel, Germany (2012); A Symbol of Freedom, Placentia Arte, Piacenza (2012). His works have been shown at several group exhibitions: Bad Gallery, Zurich (2007); Book Museum, Lodz, Poland (2008); Galerie im Taxispalais, Innsbruck (2011); Public Gallery Klagenfurt, Austria (2012); Frankfurter Kunstverein, Frankfurt (Performance) and Brother McNally Gallery, Singapore (2013).

Project: From & To

 

Leander A. Schwazer nasce nel 1982 a Vipiteno. Studia all’Università delle Arti di Zurigo, alla Central Academy of Fine Arts di Pechino e al California Institute of the Arts, Los Angeles. Il suo lavoro richiama principalmente la minimal e la pop art, allo stesso tempo esplora in maniera singolare questioni filosofiche e temi sociali associandovi sviluppi formali del tutto specifici. Nel 2012 e 2014 vince il premio del California Institute of the Arts. Tra le recenti mostre personali: Bikini, Museion, Bolzano (2014); Cross Spikes Club, California Institute of the Arts, Valencia (2013); The Rape of Europe, ar/ge Kunst, Bolzano e The Alphabet I Got Dry with, Kunstraum B, Kiel, Germania (2012). Ha partecipato a varie mostre collettive, tra cui al Book Museum di Lodz, Polonia, al Kunstverein di Francoforte e alla Brother McNally Gallery di Singapore. Vive e lavora a Los Angeles.

 

Né en 1982 à Vipiteno, vit et travaille à Los Angeles. Il a étudié à l’Université des Arts de Zürich, à l’Académie des Beaux-arts de Pékin et au California Institute of the Arts à Los Angeles. Son travail s’inspire principalement du pop art et de l’art minimaliste. Parallèlement, il explore de manière singulière les questions philosophiques et sociales en impliquant des développements formels tout à fait spécifiques. En 2012 et 2014, il a remporté le prix du California Institute of the Arts. Expositions récentes : Bikini, Museion, Bolzano (2014), Cross Spikes Club, California Institute of the Arts, Valencia (2013), The Rape of Europe, ar/ge Kunst, Bolzano et The Alphabet I Got Dry with, Kunstraum B, Kiel, Germania (2012). Il a participé a plusieurs expositions collectives : au Book Museum à Lodz (Pologne), au Kunstverein de Francfort et à la Brother McNally Gallery de Singapour.

Image:
Leander Schwazer, Globe, 2014, lightbulb, acrylic, 16,5 x 12,5 cm. Photo: Augustin Ochsenreiter

close
en - it - fr

COSTANZA PAISSAN IN CONVERSATION WITH LEANDER SCHWAZER

COSTANZA PAISSAN IN CONVERSATION WITH LEANDER SCHWAZER

Costanza Paissan Your artistic research focuses on issues related to pop culture, geopolitics, capitalism, industrial economy and craft production in the global world. These ideas are transferred into pieces whose forms are essential, often tinged with irony and lightheartedness, poised between mass production and slow craftsmanship, mechanicity and organicity. I am thinking, for example, of the 2012 work The Rape of Europe, in which the threads of the Jacquard weaving recall the myth of Arachne but also the evolution of textile production in the history of the world economy. Or the punched cards of Kapital, which transfer the text of Marx’s Capital into a musical mechanism. Could you tell us about the process through which you transform your thoughts into form?
Leander Schwazer I have a special penchant for time in general. Exploring dormant stories in everyday objects is my obsession. I use techniques like détournement, alterations, the reversing or flipping of things: to make visible what is normally invisible to the everyday eye. I guess this is a reason for my interest in cracks and fractures: frailty is what seems to hold the world together. Art walks on a thin path between past and future.

C.P. In spring 2014, your work was exhibited at the Museion in Bolzano, in the exhibition Bikini. An operation of “archeology of the future” in which past, present and future intertwine to give shape to a complex trans-temporal universe consisting of photographic, pictorial and installation elements. Where does this work fit in your research?
L.S.Bikini was a meditation on certain connections between popular culture and war. Compared to the power of war machines, any artistic discipline looks weak. In a way, it becomes necessary to use as many as possible. When you start to dig deep into history, an “archeology of the future” is an attempt to break free from the spell of the past and start creating, without repressing but rather depicting history. However, it is impossible to predict the course of history. Only when seen from the future, the past becomes such.

C.P. Your participation in PIANO project was carried out during a residency at the Villa Arson in Nice, within the From & To exchange program, in which Italian artists worked in France and French artists in Italy. In addition to being an exhibition space, Villa Arson is also a place of education, in which dialogue with other artists is normal practice. Can you tell us about your experience?
L.S.I was happy to be in close contact with Sonia Leimer over the last year.  Although we were working independently, I consider the setting we worked with at Villa Arson as a collaboration. The space will be one of crisis, misunderstandings, big and small stories, subjectivity and objectivity. I am happy to present another montage piece from my longtime exploration of junk, how it is produced and circulates. The piece is inspired by a document which mentioned the word ‘junk’ in a western document for the very first time: the Mappa Mundi, made by the venetian monk Fra Mauro in the 15th century. Fra Mauro wrote a fascinating story of junks (Asian ships) rounding the Cape of Good Hope, arriving in Europe and then sailing back. Today my email inbox asked me what I wanted to do with my junk mail – electronic messages received from unknown senders. But of course history does not repeat itself.

Costanza Paissan La tua ricerca artistica si interessa ai temi legati alla cultura pop, alla geopolitica, al capitalismo, all’economia industriale e alla produzione artigianale nel mondo globale. Queste idee sono trasferite in lavori formalmente essenziali, spesso venati di sottile ironia e di leggerezza, sempre in bilico tra produzione seriale e lenta manualità, meccanismo e organicità. Penso per esempio al lavoro del 2012 The Rape of Europe in cui i fili della tessitura Jacquard richiamano il mito di Aracne così come le evoluzioni della produzione tessile nella storia dell’economia mondiale. O alle schede perforate di Kapital, che trasferiscono il testo del Capitale di Marx in un meccanismo musicale.Puoi spiegare attraverso quale processo metti in forma le tue riflessioni?
Leander Schwazer Quello che mi interessa in maniera particolare è il tempo in generale. Esplorare le storie dormienti negli oggetti quotidiani è la mia ossessione. Mi servo di tecniche come il détournement, le alterazioni, il ribaltamento o il rovesciamento delle cose: rendere visibile ciò che è invisibile allo sguardo di ogni giorno. Penso che sia questa la ragione del mio interesse nei confronti delle crepe e delle fratture: la fragilità tiene insieme il mondo. L’arte si muove sul sottile confine tra passato e futuro.

C.P. Nella primavera 2014 il tuo lavoro è stato esposto al Museion di Bolzano, nella mostra Bikini. Un’operazione di “archeologia del futuro” in cui passato, presente e avvenire si intrecciano per dare forma a un complesso universo trans-temporale composto di elementi installativi, fotografici e pittorici. Come si inserisce questo lavoro nella tua ricerca?
L.S. Bikini è una meditazione sui collegamenti tra la cultura popolare e la Guerra.. A confronto con la potenza delle macchine da guerra tutte le discipline artistiche appaiono deboli. Per così dire diventa necessario usarne il più possibile. Quando si inizia a scavare nella storia, l’“archeologia del futuro” è un tentativo per liberarsi dall’incantesimo del passato e iniziare a creare senza soffocare, anzi immaginando la storia. In ogni caso, è impossibile predire il corso della storia. Essa diventa passato solo se vista dal futuro.

C.P. La tua partecipazione al progetto PIANO si è realizzata nell’ambito di una residenza presso la Villa Arson di Nizza, all’interno del programma di scambio From & To in cui artisti di origine italiana hanno lavorato in Francia e artisti francesi in Italia. Villa Arson, oltre a essere uno spazio espositivo, è anche un luogo di formazione, in cui il dialogo con altri artisti rappresenta la quotidianità. Puoi raccontare la tua esperienza?
L.S. Sono stato felice di lavorare in stretto contatto con Sonia Leimer nel corso dell’anno passato. Anche se abbiamo portato avanti il nostro lavoro in maniera indipendente considero lo spazio che abbiamo immaginato aVilla Arson come il risultato di una collaborazione. Lo spazio sarà uno spazio di crisi, equivoci, grandi e piccole storie, soggettività e oggettività. Sono contento di poter presentare un altro lavoro a mosaico parte della mia lunga indagine sul Junk, la sua presenza e distribuzione. È ispirato dal documento in cui la parola Junk venne usata per la prima volta in un documento occidentale: la Mappa Mundi del frate veneziano Fra Mauro, risalente al XV secolo. Fra Mauro scrisse una favola affascinante: barche provenienti dall’Asia (Junks) che navigavano intorno al Capo di Buona Speranza, arrivavano in Europa e tornavano indietro. Oggi la mia posta in arrivo mi chiedeva cosa volevo fare del Junk, le e-mail ricevute da mittenti sconosciuti. Ma ovviamente la storia non si ripete.

Image:
Leander Schwazer, Globe, 2014. Photo: Augustin Ochsenreiter

close
en - it

ELAINE STURTEVANT

Born 1930, Lakewood, OH, USA
† 2014, Paris, France

In 2011 Sturtevant was awarded the Golden Lion for lifetime achievement at the Venice Biennale. The jury’s statement called her work “rich and powerful, an invitation to view art in connection with other intellectual arenas.” Long before the avant-garde movements of the 1980s popularized these practices, Sturtevant made repetition and appropriation her focus. Her sculptures, paintings, photography, and video works were an essential contribution to the debate on originality and authorship, anticipating the philosophical and literary investigations of this field and reworking pieces by many artists, including in particular Marcel Duchamp and Andy Warhol, who were her key points of reference. The video Duchamp Nu Descendant un Escalier, one of her first films, references Duchamp’s famous 1912 painting Nu descendant un escalier. Sturtevant feminizes the sexless nude in Duchamp’s Cubist/Futurist original and alternates the figure descending the stairs with hypnotic moving graphic forms. The editing of the frames recalls Eliot Elisofon’s famous series of photographic collages, dated 1952, which depict Duchamp himself going down stairs. Sturtevant uses Duchamp’s piece as the basis for a new work and in this way offers a response to the French artist’s notion of his work being in constant evolution.

Nata a Lakewood, OH, USA, nel 1930
† 2014, Parigi, Francia

Nella motivazione che accompagna l’assegnazione del Leone d’oro alla carriera a Sturtevant, nel 2011, si sottolinea che “la sua opera, ricca e piena di forza, invita a vedere la produzione artistica in connessione ad altri ambiti intellettuali”. L’artista ha fatto della ripetizione e dell’appropriazione il fulcro della sua ricerca, ben prima che le avanguardie degli anni ’80 rendessero popolari questi codici espressivi. Tramite lavori scultorei, pittorici, fotografici e video, Sturtevant ha contribuito al dibattito sull’originalità e la paternità dell’opera d’arte, anticipando l’intensa discussione filosofica e letteraria su questi temi che sarebbe arrivata anni più tardi, e rielaborando le opere di molti artisti, in particolare di Marcel Duchamp e Andy Warhol, che sono state le sue figure di riferimento e a cui ha dedicato diverse serie di lavori.
Il video Duchamp Nu Descendant un Escalier (Duchamp nudo che scende una scala) è uno dei primi filmati di Sturtevant, e riprende il celebre quadro di Duchamp del 1912 Nu descendant un escalier. Sturtevant femminizza il nudo cubo-futurista e asessuato dipinto da Duchamp, e intervalla la figura che scende le scale con forme grafiche dal movimento ipnotico. Il montaggio dei fotogrammi del film ricorda la celebre serie di collage fotografici di Eliot Elisofon, datata 1952, che ritraggono Duchamp mentre scende le scale. Sturtevant utilizza l’opera di Duchamp come base per un nuovo lavoro e, in questo modo, risponde idealmente all’asserzione dello stesso Duchamp, che considerava la propria opera in costante evoluzione.

Project: Soleil politique

close
en - it - fr

Mattin

Born 1977, Spain
Lives and works in Sweden and the Spanish Basque Country

Mattin is a Basque artist whose work responds to the social and economic conditions of experimental music production, through live performance, recordings, and writings. He investigates the parameters of improvisation, notably the notion of freedom and constant innovation dictated by its conventions and which distinguish it as a genre. For Mattin, improvisation does not merely entail an interaction between musicians and their instruments, but also all the other elements that make a concert. He reveals the stereotypical relations between the active player and the passive audience, which he aims to disrupt by provoking experiences of alienation. The Audience is Not the Mother of Self-Invention, presented here as a video recording, is a performance that took place in 2012 at Index (an independent art space in Stockholm) during a week-long performance series titled The Audience is the Mother of Self-Invention. The performance began with a video camera equipped with a light projector aimed at Mattin, who stood in the middle of a circle spontaneously formed by members of the audience. During one hour the camera slowly revolved 360 degrees, moving away from the performer and steadily filming the audience. During the traveling shot, Mattin uttered a series of almost inaudible phrases. The performance ended when the camera came full circle to once again frame him.

Nato in Spagna nel 1977
Vive e lavora in Svezia e nei Paesi Baschi spagnoli

Mattin è un artista basco il cui lavoro si inserisce nelle strutture sociali ed economiche della produzione musicale cosiddetta sperimentale, attraverso performance dal vivo, registrazioni e l’esercizio della scrittura. L’artista si interroga sui parametri dell’improvvisazione, in particolar modo sulla relazione tra l’idea di libertà e l’innovazione costante che essa richiede, all’interno di convenzioni stabilite che ne fanno un genere. Secondo Mattin, non si tratta soltanto di un’interazione tra musicisti e strumenti, ma di una situazione che ingloba l’insieme degli elementi facenti parte di un concerto. L’artista mostra la relazione stereotipata tra l’interprete (attivo) e il pubblico (passivo), producendo un senso di alienazione che ha lo scopo di disturbare questa relazione.
The Audience is Not the Mother of Self-Invention (Il pubblico non è la madre dell’auto-invenzione), qui presentata in forma di registrazione video, è una performance svoltasi nel 2012 alla Index Foundation (uno spazio d’arte contemporanea di Stoccolma), all’interno della programmazione The Audience is the Mother of Self-Invention. Una videocamera, munita di proiettore, è puntata su Mattin, che si trova al centro del cerchio formatosi spontaneamente tra gli spettatori. In seguito, e per un’ora, la videocamera compie un lento movimento di 360°, staccandosi dal campo visivo dell’artista e filmando progressivamente tutto il pubblico. Durante questa carrellata, Mattin pronuncia delle frasi quasi incomprensibili. La performance si chiude con la videocamera che torna a inquadrare Mattin.

Né en Espagne en 1977
Vit et travaille en Suède et au Pays basque espagnol

Mattin est un artiste basque dont le travail répond aux structures sociales et économiques de la production musicale dite expérimentale, grâce à la performance live, les enregistrements et l’écriture. Il interroge les paramètres de l’improvisation, en particulier la relation entre l’idée de liberté et l’innovation constante qu’elle implique dans les conventions établies qui en font un genre. Selon Mattin, elle n’est pas seulement une interaction entre les musiciens et les instruments, mais une situation impliquant l’ensemble des éléments qui constituent un concert. Il expose la relation stéréotypée entre l’interprète actif et l’audience passive, produisant un sentiment d’aliénation qui vise à perturber cette relation.
The Audience is Not the Mother of Self-Invention, ici présentée sous la forme d’enregistrement vidéo, est une performance qui a eu lieu en 2012 à Index (espace d’art à Stockholm), dans le cadre de la programmation The Audience is the Mother of Self-Invention. Une caméra vidéo, équipée d’un projecteur de lumière, est braquée sur Mattin, lui-même installé au milieu du cercle spontanément formé par les spectateurs. Ensuite, durant une heure, la caméra effectue une lente révolution sur 360°, quittant ainsi le champ du performeur pour progressivement filmer toute l’audience. Pendant ce travelling, l’artiste prononce des phrases à la limite de l’audible. La performance prend fin avec le retour du champ de la caméra sur Mattin.

Project: Soleil politique

close
en - it

RAIMUND ABRAHAM

Born 1933, Linz, Austria
† 2010, Los Angeles, CA, USA
Between the late 1950s and the early 1970s, architects like Raimund Abraham, Walter Pichler, and Hans Hollein revisited the conventions of modernism, giving rise to what is commonly known as Austrian avant- garde architecture. Abraham’s creations are grounded in the basic notion of horizon, the point where sky and earth meet: his buildings embody this encounter. His work draws on utopian visions, narratives, and poetry, and his youthful imaginary architecture – drawings and models of which are shown here – ­is accompanied by brief poetic compositions that explain his architectural ideas. After working on the design for a house in 1963 with Walter Pichler, a project called House for Two Friends, Raimund Abraham began to create a series of models for houses. He saw the home as an architectural paradigm springing from the encounter between abstract forms and the landscape. The Austrian architect presented a series of houses based on archetypal shapes and solids (the square, cube, circle, sphere, dot, line, and surface) and devoted to his closest friends, most of whom were artists or architects. The designs were not constructed but represent original interpretations of human dwellings in the post-modern era. In Haus mit permanentem Schatten (House with Permanent Shade), the shade forms a protective shelter. In Haus mit Blumenwänden (House with Flower Walls), the flowers that make up the walls of the house wilt and fall to the ground, creating a connection between the lifespan of the building and the processes of disintegration that characterize the world of nature. Drawing inspiration from the billowing drapery in Botticelli’s Birth of Venus, the project Haus mit Vorhängen (House with Curtains) is devoted to the artist’s partner: Abraham imagines a house in which volumes and spaces, light and shade are constantly changing, and the wind seems to blow from inside the building. In all of these projects the distinctive elements of each design merge with the building itself.

 

Nato a Linz, Austria, nel 1933
† 2010, Los Angeles, CA, USA
Tra la fine degli anni ’50 e la prima metà degli anni ’70, architetti quali Raimund Abraham, Walter Pichler e Hans Hollein rivedono le convenzioni del modernismo per dare vita a quella che è comunemente nota come la (neo)avan-guardia architettonica austriaca.
Le creazioni di Abraham si sviluppano a partire dall’idea fondamentale di orizzonte, il punto in cui terra e cielo si incontrano e dove gli edifici danno corpo a questo incontro. L’opera dell’architetto si nutre di utopie, narrazioni e poesia. L’architettura immaginaria, elaborata da Abraham negli anni giovanili, e qui illustrata da disegni e modelli, è accompagnata da brevi componimenti poetici che spiegano la visione architettonica del loro ideatore. Stimolato dal progetto per la realizzazione di una casa, pensato nel 1963 insieme a Walter Pichler e intitolato House for Two Friends (Casa per due amici), Raimund Abraham lavora a una serie di modelli abitativi. La casa diventa così per lui un paradigma architettonico, nato dalla collisione tra forme astratte e paesaggio. L’architetto austriaco propone una serie di case basate su figure e volumi archetipici (quadrato, cubo, cerchio, sfera, punto, linea e superficie), e dedicate ai suoi amici più stretti, per lo più artisti e architetti. I progetti non vengono realizzati, ma rimangono considerazioni originarie sull’abitare umano in un’epoca postmoderna. In Haus mit permanentem Schatten (Casa con ombra permanente), l’ombra proiettata dalla parete diviene una pelle trasparente, che forma un rifugio protettivo sul terreno. In Haus mit Blumenwänden (Casa con pareti di fiori) i fiori che costituiscono i muri dell’abitazione appassiscono e cadono al suolo, legando la vita della casa al processo di disintegrazione del mondo vegetale. Ispirata ai movimenti dei panneggi del dipinto botticelliano La Nascita di Venere, Haus mit Vorhängen (Casa con tende) è dedicata alla compagna dell’artista: Abraham immagina una casa in cui pieni e vuoti, luce e ombra si alternano costantemente, e dove il vento sembra provenire dall’interno dell’edificio. In tutti questi esempi, gli elementi che caratterizzano ogni proposta diventano l’edificio stesso.

Project: Soleil politique

close
en

Julia Frank

Born 1988, Silandro, Italy
Lives and works between Sudtirol and Tuscany, Italy

Project: From & To

close
en

LORENZO BENEDETTI

Lorenzo_Benedetti

Lorenzo Benedetti (1972, Rome, Italy) lives and works in the Netherlands and Paris.
He will become the new director of de Appel arts centre, succeeding Ann Demeester. He has been director of De Vleeshal in Middelburg since 2008, and acquired national prominence as curator of the Netherlands Pavilion at the 2013 Venice Biennale. He will assume his new role at de Appel as of 1 June, 2014.
He studied art history at La Sapienza in Rome and attended the Curatorial Program at de Appel arts centre in Amsterdam. In 2005 he founded the Sound Art Museum in Rome, a space dedicated to sound in visual art. He has been the director of the art center Volume! in Rome and a curator at the Museum Marta Herford, in Herford, Germany. He was guest curator at La Kunsthalle in Mulhouse, France. He is tutor at the Jan van Eyck Academy in Maastricht and writes regularly for exhibition catalogues and art magazines.
At De Vleeshal he realized exhibitions with Nedko Solakov, Jimmie Durham, Yona Friedman and Jean-Baptiste Decavèle, Falke Pisano, Rossella Biscotti, Olaf Nicolai, Katinka Bock, Bojan Sarcevic, Marinus Boezem, Mandla Reuter, Koenraad Dedobbeleer, Benoît Maire, Francesco Arena, Nina Beier and Marie Lund, Dove Allouche, Fernando Sanchez Castillo.
The exhibition series Autumn of Modernism, The Moon Has a Complicated Geography is a survey on the contemporary Dutch art scene. At La Kunsthalle in Mulhouse, France he curated the exhibitions La Notte, The Garden of the Forking Paths and Les sculptures meurent aussi. Cabinet of Imagination was a collaborative effort with Netwerk, Aalst, Belgium, as was The Third Tiger (with Rossella Biscotti, Mark Manders and Olaf Nicolai) with Camere, RAM, Rome.
Many publications he realized for De Vleeshal are published by Roma Publications, Amsterdam. For the magazine CURA. he writes the column Portraits in the Exhibition Space, including articles about Alexander Dorner, Lucy R. Lippard, Seth Siegelaub, Alfred H. Barr, Willem Sandberg, Arnold Bode and Pontus Hultén.

Project: The Registry of Promise
Space: De Vleeshal

close
en - it - fr

R&Sie(n) François Roche, Stéphanie Lavaux, Jean Navarro

Architectural collective founded in 1993 by François Roche,Stéphanie Lavaux, and Jean Navarro

François Roche is cofounder of the R&Sie(n) agency. Sensitive to the conflicts of the urban environment, he advocates a form of architecture built in successive stages as a means of recreating zones of exchange between the individual and the collective. Such an approach privileges physical and climatic factors and focuses on the “hyperlocal” in order to generate singularity in opposition to contemporary architecture’s abstract “signals” and “flagships.”
One of the award-winning projects for a building to house the Fond regional d’art contemporain de la région Centre in Orléans, France, Olzweg stems from a flexible method of urban research, employing processes of self-determination in the form of building algorithms that combine as stimuli fragments of individual and collective physiological data. The project entails a glass envelope progressively added to the building’s façade and positioned according to an algorithm generated by a robot that reprograms its shape during construction.
The resulting translucent accumulations add to the building’s circulation, providing multiple passageways. Visitors are equipped with pocket computers that enable them to interact with information on the art center’s collection and to locate their position in the building throughout their visit. Locally recycled glass is used in the construction, thus creating a link to an art space and architecture on the basis of exchange. The building program takes place over a time span of ten years or more, with emphasis on the public character of a “working process.”

Collettivo di architetti fondato nel 1993 da François Roche, Stephanie Lavaux e Jean Navarro

François Roche è il fondatore dell’agenzia R&Sie(n). In empatia con un contesto urbano conflittuale, difende un’architettura che si costruisce per aggregazioni successive, con il fine di ricreare delle zone di scambio tra individuo e collettività. Il suo approccio privilegia i fatti fisici e climatici, e si orienta verso l’“iperlocale”, per far emergere la singolarità dei progetti, in contrasto con l’architettura contemporanea e la sua produzione di “segnali” e di “navi ammiraglie” astratti.
Uno dei progetti che ha partecipato al concorso per il Fonds régional d’art contemporain Centre (Orléans, Francia), Olzweg persegue una ricerca di urbanistica adattiva, utilizzando dei processi di autodeterminazione attraverso degli algoritmi di costruzione che integrano, come degli stimoli, dei frammenti di dati psicologici individuali e collettivi. Il progetto mostra un rivestimento di vetro unito nelle facciate, disposto secondo un algoritmo generato da un robot che riprogramma le forme durante la costruzione. Gli accumuli traslucidi servono alla circolazione dell’edificio, così da permettere molteplici sviluppi.
Il visitatore è dotato di un computer portatile, che gli permette di interagire con i dati sulla collezione e di riposizionarsi nel circuito. Il vetro proviene dal riciclo locale, ciò che unisce l’arte e l’architettura attraverso delle nozioni di scambio. La durata del cantiere si protrae per più di dieci anni, insistendo sul carattere pubblico del “working process”.

François Roche, Stephanie Lavaux et Jean Navarro, collectif d’architectes fondé en 1993

François Roche est le cofondateur de l’agence R&Sie(n). En empathie avec un contexte urbain conflictuel, il défend une architecture qui se construit par agrégations successives afin de recréer des zones d’échange entre individu et collectif. L’approche privilégie les faits physiques et climatiques et s’oriente vers l’ « hyperlocal » pour faire émerger la singularité, en opposition avec l’architecture contemporaine et sa production de « signaux » et « vaisseaux amiraux » abstraits.
Un des projets lauréats du concours pour le bâtiment du Fonds régional d’art contemporain Centre (Orléans, France), Olzweg poursuit une recherche d’urbanisme adaptatif, utilisant des processus d’autodétermination à travers des algorithmes de construction qui intègrent, comme des stimuli, des fragments de données physiologiques individuelles et collectives. Le projet propose une enveloppe en verre agrégée sur les façades, déposée selon un algorithme généré par un robot qui reprogramme les formes en cours de construction. Les accumulations translucides servent aux circulations du bâtiment, permettant de multiples cheminements. Le visiteur est muni d’un ordinateur de poche qui lui permet d’interagir avec les données sur la collection et de se retrouver dans son circuit. Le verre utilisé provient du recyclage local, tissant ainsi un lieu d’art et architecture à travers des notions d’échange. La programmation du chantier s’étale sur plus de dix ans, insistant sur le caractère public du « working process ».

Project: Soleil politique

close
en - it - fr

Chris Sharp

Chris_Sharp

Born 1974, USA
Lives and works in Mexico City, Mexico
Chris Sharp is a writer and independent curator currently based in Mexico City. Exhibitions and projects include Stay in Love, a two part exhibition, Lisa Cooley gallery and Laurel Gitlen gallery, New York (2014); Notes on Neo-Camp, Office Baroque gallery, Antwerp (2013), which traveled to Studio Voltaire, London (2013); Seeing is Believing, a solo exhibition of Jochen Lempert, Norma Mangione gallery, Turin (2013); Mexico City Blues, Shanaynay, Paris (2012); Smeared with the Gold of the Opulent Sun, Nomas Foundation, Rome (2012); Bouvard and Pécuchet’s Compendious Quest for Beauty, co-curated with Simone Menegoi, David Roberts Art Foundation, London (2012); Antic Measures, Galerija Gregor Podnar, Berlin (2011); Under Destruction, co-curated with Gianni Jetzer, Museum Tinguely, Basel (2010), which traveled to The Swiss Institute, New York (2011).
He is currently preparing the 12th Swiss Sculpture Exhibition in Biel/Bienne (2014), which he will co-curate with Gianni Jetzer. Sharp also co-directs, with the artist Martin Soto Climent, the Mexico City project space, Lulu.
He is editor-at-large of Kaleidoscope magazine, a contributing editor of Art Review, and his writing has appeared in many magazines and online publications including Artforum, Fillip, Afterall, Mousse, Metropolis M, Spike, Camera Austria, artpress, and Art-Agenda. He has contributed critical texts to publications on the work of artists such as Jean-Luc Moulène, Simon Dybbroe Møller, Dane Mitchell, Roman Ondák, Michael Dean, Ian Kiaer, Nina Canell, Nina Beier and Owen Land among others for such institutions as Moderna Museet, Malmö, Hamburg Kunstverein, Kunsthalle Bern, The Sculpture Center, New York, Nouveau Musée National de Monaco, MACRO, Rome, and La Biennale de Rennes.

Project: The Registry of Promise

 

Chris Sharp (1974, USA) è uno scrittore e un curatore indipendente, attualmente di base a Città del Messico. Sta preparando come co-curatore la 12a edizione della Swiss Sculpture Exhibition a Bienne (2014) con Gianni Jetzer e dirige insieme all’artista Martin Soto Climent il project space Lulu a Città del Messico. Fa parte della redazione della rivista Kaleidoscope e collabora regolarmente con Art Review; i suoi articoli sono pubblicati inoltre su siti internet e numerose riviste come Artforum, Fillip, Afterall, Mousse, Metropolis M, Spike, Camera Austria, artpress e Art-Agenda. Ha realizzato saggi critici per pubblicazioni e cataloghi sul lavoro di molti artisti e nell’ambito di progetti promossi da istituzioni come il Moderna Museet Malmö, La Kunstverein di Amburgo, La Kunsthalle di Berna, The Sculpture Center a New York, il Nouveau Musée National a Monaco, il MACRO a Roma e La Biennale de Rennes, Francia.

 

Chris Sharp (1974, USA) est un critique et commissaire indépendant, actuellement basé à Mexico. Il prépare actuellement, en tant que co-commissaire, la 12ème édition de l’exposition suisse de sculpture de Bienne (2014) avec Gianni Jetzer, et dirige depuis avril 2013 l’espace d’exposition Lulu à Mexico, avec l’artiste Martin Soto Climent. Il fait partie de la rédaction de Kaleidoscope et collabore régulièrement avec Art Review. Ses articles sont également publiés sur de nombreux médias tels Artforum, Fillip, Afterall, Mousse, Metropolis M, Spike, Camera Austria, artpress et Art-Agenda. Il a contribué comme auteur à des publications consacrées entre autres à Simon Dybbroe Møller, Dane Mitchell, Roman Ondák, Michael Dean, Christian Andersson, Ian Kiaer, Nina Canell, Lara Favaretto, Nina Beier et Owen Land, et pour des institutions comme le Moderna Museet (Malmö), le Kunstverein de Hambourg, la Kunsthalle de Bern, le Sculpture Center (New York), le Nouveau Musée National de Monaco, le MACRO (Rome) et La Biennale de Rennes.

close
en - it - fr

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

close
en - fr

MARYAM JAFRI

1. Maryam Jafri, Independence Day 1934-1975, 2009-ongoing (deatil)

1. Maryam Jafri, Independence Day 1934-1975, 2009-ongoing (detail)

Born 1972, Karachi, Pakistan Lives and works in New York, NY, USA and Copenhagen, Denmark Maryam Jafri is an artist working in video, performance and photography, with a specific interest in questioning the cultural and visual representation of history, politics and economy. Over the last years, she notably investigated the connections between food production and the production of desire (Avalon, 2011); the elaboration of historical narratives through a post-colonial perspective (Siege of Khartoum, 1884, 2006); the effects of globalization on working conditions (Global Slum, 2012) or the political stakes of food networks (Mouthfeel, 2014). Solo exhibitions include Mouthfeel (Gasworks, London, 2014); Backdrop (Bielefelder Kunstverein, Bielefeld, 2013);  Headlines and Small Print (Galerie Nova/WHW, Zagreb, 2012), Global Slum (Beirut, Cairo, 2012). In 2015, she will be part of the Belgian Pavilion at the 56th Venice Biennial.

Née à Karachi, Pakistan, en 1972
Vit e travaille à New York, NY, USA et Copenhague, Danemark

Maryam Jafri développe son travail artistique autour des représentations visuelles et culturelles de l’histoire politique et économique, à travers la photographie, la vidéo, mais aussi la performance. Ces dernières années, elle s’est notamment intéressée aux liens entre la production des biens de consommation et celle du désir (Avalon, 2011) ; à la construction de récits historiques dans une perspective postcoloniale (Siege of Khartoum, 1884, 2006) ; aux effets de la mondialisation sur les conditions de travail (Global Slum, 2012) ou encore aux enjeux politiques des circuits alimentaires (Mouthfeel, 2014). Parmi ses expositions les plus récentes : Mouthfeel (Gasworks, London, 2014) ; Backdrop (Bielefelder Kunstverein, Bielefeld, 2013) ; Headlines and Small Print (Galerie Nova/WHW, Zagreb, 2012) ou encore Global Slum (Beirut, Cairo, 2012). En 2015, elle participera au Pavillon Belge de la 56ème Biennale de Venise.

Project: Exercizing Doubt: On Exhibition as Research

close
en - fr

ROBERT LECKIE IN CONVERSATION WITH MARYAM JAFRI

ROBERT LECKIE IN CONVERSATION WITH MARYAM JAFRI

Robert Leckie Your current exhibition The Day After at Bétonsalon focuses on the ongoing project Independence Day 1934-1975, initiated in 2009. Please could you describe the work and what is specific to this iteration in Paris?
Maryam Jafri The photo series Independence Day1934-1975 consists of archival photographs mainly from the first independence days of various Asian, Middle Eastern, and African countries. A key concept of the work is that the images come from archives, usually official archives, located in the countries themselves. In its current iteration at Bétonsalon, I have sixty images from twenty-nine archives. A great deal of artistic and academic research has been done on both the colonial and post-colonial eras but my project looks specifically at that moment of transformation – that twenty-four hour period during which a set of rituals, ceremonies and speeches herald the transformation of a territory into a nation state. When Mélanie Bouteloup (the director of Bétonsalon) approached me to show the work in Paris, she asked if I was interested in giving the research behind the work a visible form within the exhibition space. Hence along with the wall-based photo series, I have also conceived, in dialogue with Bétonsalon and designer Hadrien Gerenton, an architectural display system made up of various research modules that give different views into the process and ideas related to Independence Day 1934-1975. For example, some modules contain personal contributions by historians and others who helped me in my research such as Helihanta Rajaonarison, a historian from Madagascar, and Franck Ogou, archives manager at École du Patromoine Africain in Benin. Still others contain fictional materials that inspired me in different ways, such as my personal copy of Jean Genet’s play The Screens about the Algerian War and Sadat Hasan Manto’s famed short story about the 1947 partition of India and Pakistan, Toba Tek Singh. We also have some modules in the space which are the result of workshops by students who responded or in some way related to the themes of Independence Day 1934-1975,since Bétonsalon is located on the campus of University Paris Diderot and collaborations with the students and scholars from the university are an important aspect of its programme.

2. Maryam Jafri, Independence Day 1934-1975, 2009-ongoing

2. Exhibition view, Le jour d’après, Bétonsalon – Centre d’art et de recherche

R.L. I have the impression that the workis more about dependence than independence, as it highlights the similarities between the political aesthetics adopted by newly independent nations and those of former colonial powers that, more often than not, had a coercive hand in the independence process.

M.J. The images reveal a specific set of ceremonies and rituals whereby the nation state comes into being, an odd mix of theatricality and bureaucracy, a “civic religion” to borrow Ariella Azoulay’s term. These rituals and ceremonies are Western in origin as would be expected since they are bound up with the nation state, but what makes the images in Independence Day 1934-1975 so unsettling is that the displacement from centre to periphery results in a hybridization of those political aesthetics as it comes into contact with local traditions and histories. Thus the images look both familiar and estranged – a repetition with a difference.

3. Exhibition view, Le jour d'après, Bétonsalon - Centre d'art et de recherche

3. Exhibition view, Le jour d’après, Bétonsalon – Centre d’art et de recherche

R.L. To what extent does this inform how the work is presented? How do the display strategies you use, for example, relate to these ‘repetitions’, as you call them?
M.J. In this piece form and content cannot be easily separated. The content is the form and the form is the content. At first glance one sees a typology, a strategy long associated with photography from Aby Warburg to the photo-conceptualists. But what is it that the photos in Independence Day 1934-1975 actually reveal? They reveal the serialization of modernity’s ultimate political form –the nation state – throughout large parts of the world.

4. Exhibition view, Le jour d'après, Bétonsalon - Centre d'art et de recherche

4. Exhibition view, Le jour d’après, Bétonsalon – Centre d’art et de recherche

R.L. What about questions of access and copyright? How key are these issues to your thinking?
M.J. When I first started this work a lot of people were surprised by my decision to bypass Western archives and look for the images in the countries themselves. I was interested in seeing how each country was preserving images of itself coming into being. Furthermore, at a time when most people, including myself, get their visual information from Google, I felt it important to render visible these archives, official but often unknown even within the countries themselves. In terms of copyright, it’s usually quite straightforward: one pays what is usually a modest licensing fee from the archive in question, which is also credited in the work – and so it should be, since this work is partly about making visible these analogue, often fragile archives.

5. Exhibition view, Le jour d'après, Bétonsalon - Centre d'art et de recherche

5. Exhibition view, Le jour d’après, Bétonsalon – Centre d’art et de recherche

Project: Exercizing Doubt: Exhibition as Research
Space: Bétonsalon – Centre d’art et de recherche
Protagonist: Maryam Jafri

6. Exhibition view, Le jour d'après, Bétonsalon - Centre d'art et de recherche

6. Exhibition view, Le jour d’après, Bétonsalon – Centre d’art et de recherche

Images:
1. Maryam Jafri, Le jour d’après, Bétonsalon – Centre d’art et de recherche, 2015. Exhibition view with Getty vs Ghana, Maryam Jafri, 2012
2. Maryam Jafri, Le jour d’après, Bétonsalon – Centre d’art et de recherche, 2015. View of Independence Day 1934-1975, Maryam Jafri, 2009-ongoing
3. Maryam Jafri, Le jour d’après, Bétonsalon – Centre d’art et de recherche, 2015. Exhibition view
4. Maryam Jafri, Le jour d’après, Bétonsalon – Centre d’art et de recherche, 2015. Exhibition view with Independence Day 1934-1975, Maryam Jafri, 2009-ongoing, and Flowers for Africa, Kapwani Kiwanga, 2012
5. Maryam Jafri, Le jour d’après, Bétonsalon – Centre d’art et de recherche, 2015. Exhibition view
6. Maryam Jafri, Le jour d’après, Bétonsalon – Centre d’art et de recherche, 2015. Exhibition view
Photos: Aurélien Mole

close
en - it

Carlo Scarpa

Born 1906, Venice, Italy
† 1978, Sendai, Japan

Carlo Scarpa is universally known for his restoration work and the drawings that accompanied his architectural and design projects. For the Venetian architect, drawing was a meditative act, a productive exercise, and a practical way of coming to grips with things.
Scarpa’s drawings for the restoration of the Castelvecchio Museum in Verona are a fine example of his modus operandi, revealing his creative visions and process. The restoration project began in 1956 and was completed in 1964. The architect sought to isolate and bring to light the various historical strata of the museum complex, with the idea of making the building an artefact in its own right. The drawings show how Scarpa’s architecture is based on juxtapositions of different materials, stories that interact with one another. This visual perception is highlighted by his use of color, while he engages with the sense of touch using a series of different papers to create a collage. Scarpa identified the last span of the façade of the museum building, demolished to reveal the hidden strata beneath, as the essence of the castle’s various incarnations, and this was why he chose this position for the statue of Cangrande I della Scala, symbol of the city. Fixed to a concrete base, the statue occupies the part of the building that is most steeped in history. Carlo Scarpa’s approach to display is encapsulated in this gesture of offering the sculpture to the visitor, enabling the work to be discovered gradually from different viewpoints to build up a global vision of it. The statue thus becomes a symbol of how the museum, with its new contents, is restored to the community, representing the changes in perspective leading to the reconstruction of Italian museums after the war.

Nato a Venezia, Italia, nel 1906
† Sendai, Giappone, 1978

Carlo Scarpa è universalmente noto per i suoi restauri e per i disegni che accompagnano le sue architetture e i suoi progetti di design. Per l’architetto veneziano il disegno è pensiero, riflessione produttiva e luogo di ragionamenti e confronti.
I disegni di Scarpa per il restauro del Museo di Castelvecchio, a Verona, sono l’esempio del suo modus operandi, e illustrano come il disegno possa raccontare visioni e processi creativi. Iniziato nel 1956, il restauro si conclude nel 1964. L’architetto cerca di isolare e riportare alla luce i vari strati storici del complesso museale, al fine di rendere l’edificio stesso un unico, grande reperto. I disegni mostrano come l’architettura di Scarpa sia fatta di accostamenti di materiali diversi, e di storie che entrano in dialogo tra loro. Questa percezione visiva è resa evidente dall’uso dei colori, mentre il tatto è sollecitato da una serie di carte differenti, che formano dei collage. L’ultima campata del prospetto dell’edificio museale, demolita per scoprire le stratificazioni nascoste, è identificata da Scarpa come il luogo che sintetizza i cicli di vita del complesso del castello e, per questo motivo, l’architetto vi posiziona la statua di Cangrande I della Scala, emblema del museo e simbolo della città. La statua, fissata su una base di cemento, occupa il punto più carico di storia dell’edificio. L’arte espositiva di Carlo Scarpa si sintetizza nel gesto di porgere la scultura al visitatore, favorendo una scoperta graduale dell’opera, da punti di vista vari e inediti, per consentirne una visione a tutto tondo. La statua diventa così simbolo della restituzione alla memoria collettiva di un museo rinnovato anche nei contenuti, e rappresenta il cambiamento di vedute intercorso con la ricostruzione dei musei italiani nel dopoguerra.

Project: Soleil politique

close
en

Bernhard Rüdiger

Born 1964, Rome, Italy
Lives and works in Paris, France

Project: Soleil politique

close
en - it - fr

MARCEL BROODTHAERS

Marcel Broodthaers, Soleil Politique, 1972

Marcel Broodthaers, Soleil Politique, 1972

Born 1924, Brussels, Belgium
† 1976, Cologne, Germany

Gravitating from the field of literature to the field of art without relinquishing the former’s poetic dimension, Marcel Broodthaers established an important and unique body of work. Having studied chemistry, run a bookshop, written poetry, worked as a photo-journalist and an art critic, and made films, the artist named himself director of his own museum, the Musée d’Art Moderne, Département des Aigles (Museum of Modern Art, Department of Eagles), a fictional entity that transformed both the exhibition and the institution into an art form. An admirer of Magritte and Mallarmé, Broodthaers used language as a visual tool in the context of a critical and ironic analysis of art’s production and reception.
For the work Soleil politique (Political Sun), from which the exhibition borrows its title, Broodthaers took a black-and-white illustration from an encyclopedia depicting the comparative scale of the planets in the solar system. The artist altered the largest circle containing the word “sun” by adding the word “political.” He then completed the work: with a single black dab of his pen he banished the tiny circle representing Earth into the illustration’s dark background. Broodthaers recast the diagram’s “enlightened” universal encyclopedism in favor of a subjective insight, revealing the absolutism and hegemony of all forms of social organization. The work also reveals the ideological role of the museum, oscillating between enlightenment and obscurantism.

Nato a Bruxelles, Belgio, nel 1924
† 1976, Colonia, Germania

Passato dalla letteratura all’arte senza sacrificare una dimensione politica, Marcel Broodthaers ha lasciato un abbondante e originale insieme di opere. Dopo gli studi in chimica, l’attività imprenditoriale come libraio, la scrittura, la fotografia di reportage, la regia di film e la critica d’arte, l’artista ha diretto il proprio museo, il Musée d’Art Moderne Département des Aigles, una struttura affabulatrice che trasforma l’esposizione e l’istituzione in forme artistiche. Grande ammiratore di Magritte e di Mallarmé, Broodthaers utilizza il linguaggio come strumento visivo, nel quadro di un’analisi ironica e critica dei regimi di produzione e ricezione dell’arte.
In Soleil politique (Sole politico), l’opera che dà il titolo alla mostra, Broodthaers si serve di un’immagine del sole tratta da una tavola enciclopedica, che illustra le dimensioni dell’astro rispetto a quelle dei pianeti del sistema solare. L’artista interviene sul grande cerchio che contiene la dicitura “Sole”, aggiungendovi l’aggettivo “politico”. Infine, fa scomparire nel fondo oscuro della pagina il minuscolo cerchio che rappresenta la Terra, sostituendolo con una macchiolina d’inchiostro nero. L’enciclopedismo universalista di questo diagramma delle “luci” devia così verso una lucidità soggettiva, che anela all’assolutismo e all’egemonia in ogni società organizzata. Allo stesso tempo, oscillando tra illuminismo e oscurantismo, vi si trova esposto il ruolo ideologico del museo.

Né à Bruxelles, Belgique, en 1924
† 1976, Cologne, Allemagne

Passant du champ littéraire à celui de l’art sans rien sacrifier de la dimension poétique, Marcel Broodthaers a laissé un corpus d’œuvres à la fois important et singulier. Après des études de chimie, un commerce de librairie, l’écriture, la photographie de reportage, la réalisation de films, la critique d’art, l’artiste se constitue directeur de son propre musée, le Musée d’Art Moderne Département des Aigles, structure affabulatrice qui transforme l’exposition et l’institution en formes artistiques. Admirateur de Magritte et Mallarmé, il se sert du langage comme outil visuel, dans le cadre d’une analyse ironique et critique des régimes de production et réception de l’art.
Pour Soleil politique, œuvre qui donne son titre à l’exposition, Broodthaers utilise une image du soleil tirée d’une planche encyclopédique qui démontre sa taille en comparaison avec les planètes du système solaire. L’artiste intervient sur le grand cercle contentant la mention « Soleil » en y ajoutant le mot « politique ». Vient ensuite le point final : avec sa plume, il fait disparaitre dans le fond obscur de la page le cercle minuscule représentant la Terre, en y apposant une pointe d’encre noire. L’encyclopédisme universaliste de ce diagramme des « lumières » se trouve ainsi détourné au profit d’une lucidité subjective, pointant l’absolutisme et l’hégémonie dans toute organisation sociétale. Le rôle idéologique du musée, oscillant entre éclaircissement et obscurantisme, s’y trouve également exposé.

Image:
Marcel Broodthaers, Soleil Politique, 1972, print and collage on paper and ink, 25,5 x 35,5 cm. Copyright Estate Marcel Broodthaers

Project: Soleil politique

close
en - it - fr

MARIE VOIGNIER

Born 1974, Ris-Orangis, France
Lives and works in Paris, France

After studying science, Marie Voignier entered the École des Beaux-Arts de Lyon, where she produced her first video works. The various subjects of her videos are inspired by reality and play on different cinematographic levels that highlight the reversibility of genres and the multiple viewpoints possible of a given situation. Tourisme International bears witness to a spectacle on a national scale: North Korea. Moving constantly from one place to another, this tourist trip stops at monuments, museums, and institutions presented by North Korean tourist guides. North Korean cinema is shot in 16mm silent film and is entirely overdubbed. Practically no sound, other than speech and music, accompanies the images. All other intermediary, “ephemeral” sounds are missing: the sound of wind in the trees, the distant voices of other characters, the rustling of clothes and bodies, and off-screen noises.
The recreated soundtrack of Tourisme International, on the contrary, includes all the sounds excluded from North Korean cinema, which give matter and depth to space. This rearrangement of sound, however, excludes all voices. All commentary by the tourist guides or by Marie Voignier herself remains silent; all speech is eliminated and the voices shift off-screen, to the titles that punctuate the film and give the spectator a minimum of information in order to identify the places and context shown.

Nata a Ris-Orangis, Francia, nel 1974
Vive e lavora a Parigi, Francia

Dopo gli studi scientifici, Marie Voignier entra all’École des Beaux-arts di Lione, dove realizza i suoi primi video: soggetti diversi, che attingono alla realtà e giocano con differenti gradi di lettura filmica, sottolineando così la reversibilità del genere e dei molteplici punti di vista su una situazione.
Tourisme International (Turismo internazionale) è stato girato come la registrazione di uno spettacolo su scala nazionale, dove la nazione implicata è la Corea del Nord. Nell’urgenza dello spostamento continuo, questo viaggio turistico percorre monumenti, musei e istituzioni, presentati dalle guide nordcoreane. Il cinema nordcoreano, girato in 16 mm, è muto; i film stranieri sono interamente doppiati, ma, oltre alle voci degli attori e alla musica, nessun altro suono accompagna le immagini. Tutti i suoni intermedi, o “secondari”, sono assenti: il rumore del vento tra gli alberi, il brusio delle comparse in lontananza, il fruscio dei vestiti o dei corpi in movimento, e in generale tutti i fuori campo sono eliminati. La colonna sonora ricreata per Tourisme International, invece, è fatta di tutti questi suoni, che conferiscono una materia e uno spessore allo spazio. Dalla ricomposizione sonora sono state però escluse le voci. I commenti delle guide e di Marie Voignier sono muti. Tutti i discorsi tacciono e le voci si spostano fuori dalle immagini, dentro i sottotitoli che punteggiano il film, dando allo spettatore elementi indispensabili per situare i luoghi e un contesto dove orientarsi.

Née à Ris-Orangis, France, en 1974
Vit et travaille à Paris, France

Après des études scientifiques, Marie Voignier entre à l’École des Beaux-arts de Lyon où elle réalise ses premières vidéos. Leurs sujets variés sont puisés dans la réalité et jouent sur différents registres filmiques, soulignant ainsi la réversibilité des genres et des points de vue sur une situation.
Tourisme International a été tourné comme la captation d’un spectacle à l’échelle d’un pays, la Corée du Nord. Dans l’urgence du perpétuel déplacement, ce voyage touristique parcourt monuments, musées, institutions, présentés par des guides nord-coréens.
Le cinéma nord-coréen est tourné en 16 mm muet et les films sont entièrement doublés. En dehors des voix et de la musique, il n’y a pratiquement aucun son qui accompagne les images. Tous les sons intermédiaires, « secondaires » sont absents : le bruit du vent dans les arbres, les voix au loin des autres personnages, les frôlements des vêtements, le bruissement des corps et le hors champ restent muets.
La bande son reconstituée de Tourisme International a contrario est faite de tous ces sons-là, qui donnent une matière et une épaisseur à l’espace. De cette recomposition sonore ont cependant été exclues les voix. Les commentaires des guides et de Marie Voignier sont restés muets. Tous les discours se taisent et les paroles se déplacent hors des images, dans des intertitres qui ponctuent le film en donnant un minimum d’éléments pour situer les lieux ou le contexte dans lequel nous nous trouvons.

Project: Soleil politique

close
en

MICHAEL DEAN

Michael Dean

hnnnhhnnn-hnnnhnnnnh (Analogue Series), 2014

Born 1977, Newcastle upon Tyne, United Kingdom
Lives and works in London, United Kingdom

Image:
Michael Dean, hnnnhhnnn-hnnnhnnnnh (Analogue Series), 2014, book, ink, 16 x 23 x 9 cm. Courtesy the artist, Herald St. London, Supportico Lopez Berlin

Project: The Registry of Promise

close
en - it - fr

VIRGINIE BOBIN

Virginie Bobin is a curator and writer, with a specific interest for performance, experimental forms of artistic research, the role of art, artists and art institutions in the public sphere, and formats that go beyond exhibition-making. Prior to joining the team of Bétonsalon – Centre for Art and Research in Paris as Associate Curator and Head of education, she has worked at Witte de With Center for Contemporary Art in Rotterdam (2013-14); Les Laboratoires d’Aubervilliers (2010-13); and Performa, the New York Biennial of Performing Arts (2009). She has curated several long-term, collective projects across Europe and the United States including, most recently, Composing Differences, a program of workshops, talks and events at MoMA PS1, MoMA Recording Studios and e-flux space in New York. She has been Associate Editor of Manifesta Journal from 2011 to 2014.

Virginie Bobin è curatrice e critica, con un interesse specifico per la performance, le forme sperimentali di ricerca artistica, il ruolo dell’arte, degli artisti e delle istituzioni nella sfera pubblica e per i formati che vanno al di là dell’exhibition-making. Prima di unirsi al Bétonsalon – Centre for art and research di Parigi come curatrice associata e direttrice del dipartimento educativo, ha lavorato presso il Witte de With Center for Contemporary Art a Rotterdam (2013-14); Les Laboratoires d’Aubervilliers (2010-13); e Performa, the New York Biennial of Performing Arts (2009). Ha curato numerosi progetti collettivi e a lungo termine in Europa e negli Stati Uniti, che includono, tra i più recenti, Composing Differences, un programma di workshop, presentazioni ed eventi al MoMa PS1, MoMa Recording Studios e e-flux space a New York. È stata editor associata del Manifesta Journal tra il 2011 e il 2014.

Virginie Bobin est curatrice et critique, avec un intérêt particulier pour la performance, les formes expérimentales de recherche artistique, le rôle de l’art, des artistes et des institutions artistiques dans la sphère publique, et les formats qui excèdent celui de l’exposition. Avant de rejoindre Bétonsalon – Centre d’art et de recherche comme Commissaire associée, en charge du projet des publics, elle a travaillé au Witte de With Center for Contemporary Art à Rotterdam (2013-14); aux Laboratoires d’Aubervilliers (2010-13); et à Performa, la Biennale de Performances de New York (2009). Elle a réalisé plusieurs projets curatoriaux et de recherche collaboratifs en Europe et aux Etats-Unis, dont récemment Composing Differences, à MoMA PS1, au MoMA Recording Studio et à e-flux space à New York. Entre 2011 et 2014, elle a été Associate Editor de Manifesta Journal.

Project: Exercizing Doubt: Exhibition as Research
Space: Bétonsalon

close
en - it - fr

Marianne Maric

Born 1982, Mulhouse, France
Lives and works in Paris and Mulhouse, France

At the age of ten, after watching François Truffaut’s The Wild Child on television, Marianne Maric escaped from her room through a window in the middle of the night. She was discovered the following day, by a forester who returned her to her parents. In the wake of this event, Maric promised herself she would become an artist in order to act out her fantasies without anyone forcing her to reason. Since 2007, she has developed a transdisciplinary practice in which she deconstructs the boundaries of different media, using the body as a sculptural weapon. In her works, art, fashion, design, photography, music, and video merge through the use of the female body as “an extraordinary and fascinating form of architecture.” She deconstructs stereotypes to better re-employ them and plays with symbols to better subvert them. Marianne Maric is currently artist in residence at the Centre d’art contemporain de Brétigny, for which she has prepared several projects that will be shown in Brétigny in the fall of 2014. For Soleil politique, she is presenting a video trailer in several episodes that associate certain elements from the exhibition with her own work. These will be distributed on the Internet before and during the exhibition.

Nata a Mulhouse, Francia, nel 1982
Vive e lavora a Parigi e Mulhouse, Francia

All’età di dieci anni, Marianne Maric scappa in piena notte dalla finestra della sua camera da letto dopo aver visto Il ragazzo selvaggio di François Truffaut in televisione. Il giorno dopo, una  guardia forestale la trova e la riaccompagna a casa. Dopo questo episodio cruciale, Marianne  giura a se stessa che farà di tutto per diventare un’artista, per liberare la propria fantasia senza  che nessuno la riconduca alla ragione. Così, dopo il 2007, sviluppa un lavoro transdisciplinare,  nel quale decostruisce le frontiere tra i mezzi artistici utilizzando il corpo come un’arma  scultorea. Nelle sue creazioni l’arte, la moda, il design, la fotografia, la musica e il video si  fondono attraverso l’uso dei corpi di donne come “una straordinaria e affascinante architettura”. L’artista decostruisce gli stereotipi per poi riutilizzarli meglio, e si diverte a giocare  con i simboli, deformandoli. Marianne Maric è attualmente in residenza al CAC di Brétigny, dove sta preparando vari progetti che saranno presentati a settembre 2014.
Per Soleil politique l’artista propone un trailer in più episodi, realizzati e diffusi su Internet prima e durante la  mostra. Queste sequenze collegano alcuni elementi dell’esposizione con il suo lavoro.

Née à Mulhouse, France, en 1982
Vit et travaille à Paris et Mulhouse, France

À l’âge de dix ans, Marianne Maric s’enfuit en pleine nuit par la fenêtre de sa chambre après avoir vu L’Enfant sauvage de François Truffaut à la télévision. Le lendemain, elle est découverte par un garde forestier qui la raccompagne chez ses parents. Après cet épisode marquant, Marianne se jure de tout faire pour devenir artiste, afin de réaliser ses fantasmes sans que personne ne puisse la ramener à la raison. Ainsi, depuis 2007, elle développe un travail transdisciplinaire, dans lequel elle déconstruit les frontières entre les médiums en utilisant le corps comme une arme sculpturale. Dans ses créations, l’art, la mode, le design, la photographie, la musique et la vidéo fusionnent à travers l’utilisation des corps de femmes comme « une extraordinaire et fascinante architecture ». Elle déconstruit des stéréotypes pour mieux les réemployer, s’amuse à jouer avec les symboles pour mieux les détourner. Marianne Maric est actuellement en résidence au Centre d’art contemporain de Brétigny pour lequel elle prépare plusieurs projets qui seront montrés à la rentrée 2014.
Pour Soleil politique, elle propose une bande-annonce vidéo en plusieurs épisodes, réalisés et diffusés sur Internet avant et pendant l’exposition. Ces séquences associent certains des éléments de l’exposition à son propre travail.

Project: Soleil politique

close
en - it - fr

MARIANNE MARIC, TRAILERS "SOLEIL POLITIQUE", 2014

MARIANNE MARIC, TRAILER SOLEIL POLITIQUE, 2014

Marianne Maric
Trailer « Soleil politique », 2014
Episode I

Marianne Maric
Trailer « Soleil politique », 2014
Episode II

Marianne Maric
Trailer « Soleil politique », 2014
Episode III

For Soleil politique, Marianne Maric is presenting a video trailer in several episodes that associate certain elements from the exhibition with her own work. These will be distributed on the Internet before and during the exhibition.

 

Per Soleil politique Marianne Maric propone un trailer in più episodi, realizzati e diffusi su Internet prima  e durante la mostra. Queste sequenze collegano alcuni elementi dell’esposizione con il  suo lavoro.

Pour « Soleil politique », Marianne Maric propose une bande-annonce vidéo en plusieurs épisodes, réalisés et diffusés sur Internet avant et pendant l’exposition. Ces séquences associent certains des éléments de l’exposition à son propre travail.

 

 

Image:
Le char de Tito, Sarajevo, 2012. Photo © Marianne Maric

close
en

CHIARA AGNELLO

Chiara Agnello is artistic director of Careof, a non-profit organization for the promotion of contemporary artistic research active in Milan, that since 1987 encourages cultural experimentation in all its forms, in particular the work of young artists. Careof positions itself as a privileged mediator between artists, curators, critics and a non-specialist audience, through a rich program of exhibitions and educational documentation services around the visual arts held at DOCVA and the residency program for creative FDV Residency Program.

Project: Piano – alto!
Space: Careof DOCVA

close
en

VINCENT HONORÉ IN CONVERSATION WITH CHIARA AGNELLO, CAREOF DOCVA

VINCENT HONORÉ IN CONVERSATION WITH CHIARA AGNELLO, CAREOF DOCVA

Vincent Honoré Can you introduce Careof, its history, missions and programmes?
Chiara Agnello Since 1987 Careof fosters the development of contemporary art practice with passion, creativity and expertise. Since then, Careof is a place where young and established artists can be inspired, exchange views and be encouraged to experiment, debate and grow.
Since 2002 Careof is located at Fabbrica del Vapore in Milan, an industrial building from the early 20th century, which was originally meant for the construction, maintenance and sale of railway and tram material, and today is a youthful centre of cultural production.
In December 2013 with a new project nominated Taking Careof, we  created a new work team which pursues the organisation’s objectives updating its strategies,  transforming the cultural project into a sustainable one, increasing collaborative networks with professionals. Foster the development of artistic work, research and education is still one of our goals in conjunction with becoming a reference point for videoart in Italy and abroad.
Careof has various spaces and resources: an exhibition space of approximately 160 square metres; video and book archive held at DOCVA – Documentation centre for visual arts, born in collaboration with Viafarini; a residency programme for international artists and curators; a bookshop with new Italian and foreign publications.

V.H. “Experimentation” is a word that appears often in your mission statement: I am curious to know how you define “experimentation” in the field of contemporary art and in the framework of an institution.
C.A. Within a no profit organization as Careof the word experimentation is closely related to the continuous questioning of the organizational processes and the ability to be flexible in the face of opportunity, to changes in society and of the public we work with.
Obviously we have a well-defined mission, but the goals that we set are a response to the reading of our context. They can then change and evolve with time. An example is the focus on the video archive, which during our 26 years of history has acquired different roles and weights.

V.H. How do you foresee the future of an institution like yours in a context in which globalised museums and institutions become such powerful players, absorbing all energies, audiences and funding?
C.A. Careof is characterized by the ability to read the context and be an active part of the community we refer. We have the ability to observe the artistic practices in their multifaceted and multiform varieties, giving space also to the emerging ones.
We have the capacity to act with different strategies, giving space to the experimentation in a time which research and development are becoming less valued. For these reasons we believe that institutions like ours must continue to exist alongside the powerful players.

V.H. What is your mission with archive and archiving and how does it differ from collecting?
C.A. The video archive includes over 7,000 pieces and is the most important collection of videoart in Italy. The catalogue holds over 6,000 artworks, from the first experiments made in the 70s to work by the latest generations, and about 1,000 videos documenting exhibitions, conferences, performances and art events of international relevance.
One of Careof’s main activities is the filing, preservation and promotion of contemporary art material. In fact the archive also includes catalogues, specialised magazines, artists’ portfolio and photographs in all sorts of formats. The collection is an important resource to understand the development of contemporary art research over the past 40 years and specifically in Italy.
Careof has decided to make the archive perform, so we can spark a reflection that doesn’t only contemplate history, but it allows it to re-live, be modernized, enriched and expanded.
Through the video archive we develop exhibitions, residency and research projects.
We are archiving in order to support the artists and their work, share and pass on the knowledge and let everyone know the contemporary art scene. This is probably the main difference from collecting.

V.H. PIANO intends to create a network of art spaces working together, exchanging and interacting. Why did you decide to join the project and how are you participating in it?
C.A. Inside the mission of Careof there is the vocation to work with Italian and international institutions as we believe that through the exchange between cultures and people we can generate an enrichment.
We then responded to Stefania Meazza, curator of the project Piano – Alto! with enthusiasm. The project has provided for young Italian and French artists a period of residence at the centers involved: MAGP Cajarc / Maisons Daura, Saint-Cirq Lapopie, Chapelle Saint-Jacques, Saint-Gaudens and the BBB, centre d’art, Toulouse, in France; Dolomiti Contemporanee and Careof, in Italy. There have been several meetings between us to investigate the practices and activities of each organization. The choice of artists was facilitated by a pre-selection made by the institutions, offering a list of candidates to others. The selected artists are: Guillaume Robert, Lise Lacombe, Jérémy Laffon, Nina Fiocco and Daniele Pezzi.

Space: Careof DOCVA
Protagonist: Chiara Agnello
Project: Piano – alto!

Vincent Honoré Puoi presentare Careof, la sua storia, la sua mission e il suo programma?
Chiara Agnello Dal 1987 Careofpromuove lo sviluppo della pratica artistica contemporanea con passione, creatività e competenza. Sin dalla sua nascita, Careof è un luogo in cui artisti giovani e riconosciuti possono trarre ispirazione, scambiare le proprie visioni e trovare stimolo per sperimentare, discutere e crescere.
Dal 2002 Careof ha la propria sede presso la Fabbrica del Vapore a Milano, un edificio industriale risalente all’inizio del XX secolo, originariamente dedicato alla costruzione, alla manutenzione e alla vendita di materiale ferroviario e tramviario. Oggi è un centro per la produzione culturale.
Nel dicembre 2013, con un nuovo progetto intitolato Taking Careof, abbiamo creato una nuova squadra di lavoro che persegue gli obiettivi dell’organizzazione attraverso l’aggiornamento delle sue strategie, trasformando il progetto culturale secondo princípi di sostenibilità e incrementando le reti di collaborazione tra professionisti del settore. La promozione dello sviluppo della pratica artistica, della ricerca e dell’educazione è tuttora uno dei nostri principali obiettivi, insieme alla volontà di diventare un punto di riferimento per la videoarte in Italia e all’estero.
Careof ha diversi spazi e risorse: uno spazio espositivo di circa 160 metri quadrati; un archivio video e una biblioteca collocati presso il DOCVA – Centro di documentazione per le arti visive, nato in collaborazione con Viafarini; un programma di residenze per artisti e curatori internazionali; un bookshop con nuove pubblicazioni italiane e straniere.

V.H. “Sperimentazione” è un termine che ricorre spesso nei vostri statement: sono curioso di sapere quale senso date alla parola “sperimentazione” nell’ambito dell’arte contemporanea e nella cornice di un’istituzione.
C.A. Per un’istituzione no profit come Careof il termine “sperimentazione” è strettamente correlato alla continua ridefinizione dei processi organizzativi e alla capacità di essere flessibili di fronte alle opportunità, ai cambiamenti sociali e alle trasformazioni del pubblico con cui lavoriamo.
Ovviamente abbiamo una mission ben definita, ma gli obiettivi che ci poniamo sono una risposta all’analisi costante del contesto in cui operiamo. Essi possono quindi cambiare ed evolvere nel tempo. Un esempio di questo approccio è l’interesse dedicato all’archivio video, che nel corso di 26 anni di storia ha acquisito un ruolo e un peso sempre diversi.

V.H. Qual è il futuro di un’istituzione come Careof nel contesto attuale, in cui musei e istituzioni globalizzati assumono un crescente potere, assorbendo tutte le energie, le categorie di pubblico e le risorse economiche?
C.A. Careof è caratterizzato dalla capacità di leggere il contesto e di svolgere un ruolo attivo all’interno della comunità cui si rivolge. Siamo in grado di osservare le pratiche artistiche nelle loro sfaccettate e multiformi declinazioni, dando spazio ai fenomeni emergenti.
Sappiamo agire attraverso diverse strategie, mettendo in primo piano la sperimentazione in un momento in cui la ricerca e lo sviluppo sono sempre meno valorizzati. Per queste ragioni crediamo che le istituzioni come la nostra debbano continuare a esistere accanto alle realtà più influenti.

V.H. Qual è la vostra mission nell’ambito dell’archiviazione e come si differenzia dall’atto del collezionare?
C.A. L’archivio video include più di 7.000 lavori e costituisce la più importante collezione di videoarte in Italia. Il catalogo comprende più di 6.000 opere, dai primi esperimenti realizzati negli anni Settanta fino al lavoro delle generazioni più giovani, e circa 1.000 video che documentano mostre, conferenze, performance ed eventi artistici di rilevanza internazionale.
Una delle principali attività di Careof è la schedatura, la conservazione e la promozione del materiale artistico contemporaneo. L’archivio comprende infatti anche cataloghi, magazine specializzati, portfolio e fotografie di artisti in ogni formato. La collezione è un’importante risorsa per comprendere lo sviluppo della ricerca artistica contemporanea negli ultimi 40 anni, in particolare in Italia.
Careof ha deciso di dare all’archivio una natura performativa, in modo da poter sviluppare riflessioni non solo di carattere storico, ma anche in grado di rivivere, essere riattualizzate, arricchite e sviluppate.
Attraverso l’archivio video sviluppiamo progetti espositivi, di residenza e di ricerca. L’archivio è per noi uno strumento per sostenere gli artisti e il loro lavoro, per condividere e trasmettere la conoscenza e per permettere a ognuno di conoscere la scena dell’arte contemporanea. È questa probabilmente la differenza maggiore con una comune collezione.

V.H. PIANO mira a creare una rete di spazi artistici che lavorino insieme, attraverso processi di scambio e interazione. Perché avete deciso di aderire al progetto e come si realizza la vostra partecipazione?
C.A. Alla base della mission di Careof vi è la vocazione di lavorare con istituzioni italiane e internazionali, perché crediamo che attraverso lo scambio tra le culture e le persone sia possibile generare ricchezza.
Abbiamo quindi risposto con entusiasmo all’invito di Stefania Meazza, curatore del progetto Piano – Alto!. Il progetto ha permesso a giovani artisti italiani e francesi di compiere un periodo di residenza nei centri coinvolti: MAGP Cajarc / Maisons Daura, Saint-Cirq Lapopie, Chapelle Saint-Jacques, Saint-Gaudens e il BBB, centre d’art di Tolosa, in Francia; Dolomiti Contemporanee e Careof, in Italia. Abbiamo organizzato diversi incontri tra noi per analizzare le pratiche e le attività di ogni organizzazione. La scelta degli artisti è stata agevolata da una pre-selezione fatta dalle istituzioni, ciascuna delle quali ha presentato una lista alle altre. Gli artisti selezionati sono: Guillaume Robert, Lise Lacombe, Jérémy Laffon, Nina Fiocco e Daniele Pezzi.

Image:
1. Careof, new venue at Fabbrica del Vapore. Photo: Andrea Astesiano for Maxdesign

close
en - it - fr

JOSEF DABERNIG

Born 1956, Kötschach-Mauthen, Austria
Lives and works in Vienna, Austria

Having studied sculpture in Vienna, Josef Dabernig subsequently developed an artistic practice in a wide variety of media. Using conceptual tools, Dabernig investigates the ways in which knowledge and rationality are categorized through conventional forms and behavioral norms. He has copied entire books by hand in response to the discipline present during his years at boarding school, made lists, and built sculptures from found materials or according to mathematical rules. His films favor a structured storyline and an open end, introducing systems of order where confusing and implausible parameters create discrepancies. The absent subject of his photographs, which represent empty spaces on the outskirts of large cities, nevertheless offers a sense of narrative and traces of economic and social change.
His “not further developed” proposal for a new art center takes a documentary form, made up of images and texts. More a discursive construct than a project for construction, ironic in the way it portrays the potential “innovative” qualities of the future art center, the work focuses on different architectural details through a series of found photographs: an eclectic choice of building façades, a dilapidated restaurant, an underground forum, a guest room, shelves of archives (including those of the artist), suburban homes’ emergency exits, and spectacular annexes.

Nato a Kötschach-Mauthen, Austria, nel 1956
Vive e lavora a Vienna, Austria

Dopo gli studi in scultura a Vienna, la pratica di Josef Dabernig si diffonde in diversi campi. Utilizzando strumenti concettuali, l’artista s’interessa alla categorizzazione del sapere e alla razionalità, alle forme organizzate e ai comportamenti normati. Ricopia interi libri a mano come reazione all’eccessiva disciplina dei suoi anni di collegio, compila delle liste, realizza delle sculture a partire da materiali di recupero e secondo regole matematiche. I suoi film privilegiano una sceneggiatura strutturata e un finale aperto, introducendo dei sistemi d’ordine i cui parametri confusi e insensati finiscono per provocare degli iati. Il soggetto assente delle sue fotografie, che rappresentano luoghi deserti nei dintorni delle grandi città, lascia spazio a una narrazione in filigrana e alle tracce dei cambiamenti economici e sociali.
La sua proposta “non perseguita” per un nuovo centro d’arte è presentata sotto forma di un insieme documentario, composto di immagini e di testi. Più una costruzione discorsiva che un vero e proprio progetto edilizio, con un punto di vista ironico sul possibile carattere “nuovo” di questa ipotetica istituzione, l’opera mostra nello specifico differenti elementi architettonici in una serie di fotografie ritrovate: una scelta eclettica di facciate, un ristorante decadente, un luogo d’incontro in un sotterraneo, una camera in affitto, dei ripiani di archivio (tra cui quelli dell’artista), delle porte sul retro di villette e degli allegati particolarmente scenografici.

Né à Kötschach-Mauthen, Autriche, en 1956
Vit et travaille à Vienne, Autriche

À la suite d’études de sculpture à Vienne, la pratique de Josef Dabernig se dissémine en divers médiums. À travers des outils conceptuels, il s’intéresse à la catégorisation du savoir et à la rationalité, aux formes planifiées et aux comportements normés. Il copie des livres entiers à la main en réaction à ses années de pensionnat à la discipline prononcée, dresse des listes, réalise des sculptures à partir de matériaux trouvés et selon des règles mathématiques. Ses films privilégient un scénario structuré et une fin ouverte, introduisant des systèmes d’ordre dont les paramètres confus et déraisonnables finissent par provoquer des hiatus. Le sujet absent de ses photographies, représentant des espaces vides aux alentours des grandes villes, laisse place à une narration en filigrane et aux traces des changements économiques et sociaux.
Sa proposition « non poursuivie » pour un nouveau centre d’art est présentée sous la forme d’un ensemble documentaire comportant des images et des textes. Davantage construction discursive plutôt que projet de construction, ironique sur le possible caractère « nouveau » de cette hypothétique institution, l’œuvre détaille différents éléments architecturaux au fil d’une série de photographies trouvées : un choix éclectique de façades, un restaurant défraichi, un espace de discussion en souterrain, une chambre d’hôtes, des rangements d’archives (dont celles de l’artiste), des sorties de secours pavillonnaires et des annexes spectaculaires.

Project: Soleil politique

close
en - it

ACHILLE CASTIGLIONI

Born 1918, Milan, Italy
† 2002, Milan, Italy

The renowned Italian designer Achille Castiglioni spent his life conceiving and testing industrial products, working with his brothers Pier Giacomo and Livio. Famous for the irony that characterised his creations, his designs are always tinged with a subtle parody of the avant-garde, expressing the disillusionment of the generation that grew up after the provocations of futurism and the utopia of rationalism.
In June 1940, Castiglioni, while still a student at the Milan Polytechnic, presented Professor Piero Portaluppi with a project entitled Gruppo Rionale Fascista (Fascist District Complex), for his architectural composition exam. The project consisted of two square, parallel blocks connected by a horizontal slab, and the accompanying model was made out of two slices of cheese cut perfectly to scale. The texture of the cheese is amusingly reminiscent of travertine marble, the Fascist regime’s favourite architectural material. The entire project was presented in minute detail, with plans showing floor layouts, cross-sections and pediments. And even the purposes of the various areas were defined, with an armoury, a gym and a communal building, as well as offices and rooms for the “Balilla” Italian Fascist Youth Movement.
Critics view this project as containing the seeds of the themes that would go on to underpin his entire oeuvre, including the use of ready-mades, and more importantly, references to Italian futurism: Boccioni, for example, also employed a variety of materials, including foodstuffs, in his artistic compositions.

Nato a Milano, Italia, nel 1918
† 2002, Milano, Italia

Achille Castiglioni, noto designer italiano, si dedica insieme ai fratelli Pier Giacomo e Livio alla progettazione e sperimentazione di prodotti industriali. Noto per l’ironia che caratterizza le sue creazioni, progetta ammiccando a una sorta di parodia dell’Avanguardia. Esprime in questo modo la disillusione di una generazione cresciuta dopo le provocazioni del futurismo e le utopie del razionalismo.
Nel giugno del 1940 Castiglioni, studente al Politecnico di Milano, si presenta all’esame di composizione architettonica presso la cattedra di Piero Portaluppi con il progetto per un gruppo rionale fascista: due volumi squadrati e paralleli, collegati da una piastra orizzontale. Il modello dell’edificio è realizzato con due fette di formaggio tagliate perfettamente in scala. La trama del formaggio ricorda quella del travertino, materiale caro alle architetture realizzate sotto il Regime. Il progetto proposto dal futuro designer è sviluppato in maniera accurata, rappresentando in planimetria piante, sezioni e frontoni. Sono anche previste le destinazioni d’uso degli spazi, tra cui: l’armeria, la palestra, l’arengario, gli uffici e i locali per i balilla, il fascio femminile.
La critica ha visto in questo progetto un primo riferimento a elementi caratteristici della successiva ricerca di Achille Castiglioni: non solo il ready-made, ma anche e soprattutto citazione del futurismo italiano. Boccioni, infatti, aveva già utilizzato materiali diversi e commestibili nella composizione estetica.

Project: Soleil politique

close
en - it - fr

LORRAINE CHATEAUX

Lorraine Châteaux, Cowri, 2013

Lorraine Châteaux, Cowri, 2013

Born 1986
Lives and works in Ivry sur Seine, France
Graduate from the DNSEP / Master’s Degree of the Villa Arson in 2012. Recent collective exhibitions: Des corps compétents (la modification) in 2013 and Heart of Darkness in 2012 in Centre d’Art de la Villa Arson, STATION – Encounters At The End Of The World in 2013 in Sèvres, and Les Contenances de la Table at Galerie Territoires partagés in Marseille. A solo exhibition (Fat Lava) is in preparation for 2015 at Galerie 5UN7 in Bordeaux.
I lived for almost twenty years in social housing built in the 1970s by Jean Renaudie, whose utopian architecture, star-shaped, did not allow the furniture to fit properly. This maladjustment wrought in me, as if I were an architect or a designer, the desire and the necessity to rethink objects and forms surrounding us. I consider that my practice would be one of a forward-looking engineer, or of an anthropologist, who seeks to understand shapes and to anticipate them. This restatement of objects, tinged with foolishness, attempts, in the age of digital revolution and 3D printers, to put into perspective our relationship with objects, and to determine its essence, its immutable nature.

Project: From & To

 

Nata nel 1986, vive e lavora a Ivry-sur-Seine. Ottiene il diploma DNSEP della Villa Arson nel 2012. Mostre collettive recenti: Des corps incompétents (la modification) nel 2013 e nel 2012 alla Villa Arson, STATION – Encounters At The End Of The World nel 2013 a Sèvres e Les Contenances de la Table alla Galerie Territoires partagés di Marsiglia. Una personale, Fat Lava, è in preparazione per il 2015 presso la Galerie 5UN7 di Bordeaux.

 

Née en 1986. Vit et travaille à Ivry-sur-Seine. Diplômée du DNSEP de la Villa Arson en 2012. Expositions collectives récentes : Des corps compétents (la modification) en 2013 et Heart of Darkness en 2012 à la Villa Arson, STATION – Encounters At The End Of The World en 2013 à Sèvres, et Les Contenances de la Table a la Galerie Territoires partagés à Marseille. Une exposition personnelle, Fat Lava, est en préparation pour 2015 à la Galerie 5UN7 de Bordeaux.

Image:
Lorraine Châteaux, Cowri, 2013

close
en - fr

SIMON FRAVEGA

Born 1981, Pertuis, France
Lives and works in Marseille, France

Simon Fravega works as artist and performer. He takes seriously the virtues of disguisement and anecdote. In action, he copies the ‘other’ (athletes, rockers, western characters and hula hoop dancers), and studies the gestures that define and replay them by decontextualizing them. The nature of these gestures staggers them: they are no longer reflexes but human constructions, even at the hands of the artist’s choreography. Combining this deferred dubbing activity to a flow of micro-narratives, Simon Fravega weaves a reflection on the gap between facts and representations. And under the guise of humour and the absurd, it identifies something essential in the great game of the world.

Né à Pertuis, France, en 1981
Vit et travaille à Marseille, France

Simon Fravega déploie un travail de plasticien et de performer. Il prend très au sérieux les vertus du déguise- ment et de l’anecdote. En action, il se cale sur les autres (sportifs, rockeurs, personnages de western ou danseurs de hula hoop), étudie les gestes qui les définissent et les rejoue en les décontextualisant. La nature de ces gestes chancelle alors : ils ne sont plus réflexes mais constructions humaines, voire, aux mains de l’artiste, chorégraphies. Mêlant cette activité de doublage différé à un flux de micro-récits, Simon Fravega tisse une réflexion sur l’écart entre les faits et leurs représentations. Et sous couvert d’humour et d’absurde, il identifie quelque chose d’essentiel dans le grand jeu du monde.

Project: Double Cross, From Both Sides of a Mountain

close
en - it

Gianni Pettena & PIERRE BAL-BLANC

Born 1940, Bolzano, Italy
Lives and works in Fiesole, Italy
Born 1965, Ugine, France
Lives and works in Paris, France

The collaborative project Architettura “corretta” (“Correct” Architecture) proposed by the architect Gianni Pettena and the exhibition’s curator, Pierre Bal-Blanc, takes the form of a written and visual conversation. The exchange focuses on the archeology of the museum, its environment and history, by referring to a number of references as they manifest themselves concretely throughout the exhibition.
The title of the conversation is taken from a project undertaken by Pettena in 1981 (the catalog of which is presented in the exhibition) that sought to question a given space through the perspective and participation of other architects. As if the words of this “conversation in action” had become a reality, the historical or aesthetic references that are cited leave the immaterial realm to take on physical form in the exhibition space itself. The conversation gave rise not only to the exhibition of the works, but also an intervention on Museion’s ground floor glass partition walls.
The intervention comprises an enlarged projection of Marcello Piacentini’s plans for the arcades on the Piazza della Vittoria in Bolzano, a neoclassical architecture dating from the Mussolini period. The museum’s glass walls act as the kind of architectural filter elaborated in the Renaissance treatise written by Sebastiano Serlio (an edition of which is shown in the exhibition). The plans are tautologically superimposed onto the doors that filter the flow of traffic in and out of the building, which is characterized by an attempt to distance itself from the ideology of conquest in favor of transparency. In this way, the proposition raises questions concerning the legacy of the Fascist era: the reconstruction, restoration, or deconstruction of Fascist monuments and the role of the museum in such a debate.

Nato a Bolzano, Italia, nel 1940
Vive e lavora a Fiesole, Italia
Nato a Ugine, Francia, nel 1965
Vive e lavora a Parigi, Francia

L’intervento, proposto in tandem dall’artista e architetto Gianni Pettena e dal curatore della mostra Pierre Bal-Blanc, assume la forma di una conversazione epistolare e visiva. Questo scambio coinvolge l’archeologia del museo nel suo ambiente e nella sua storia, attraverso diversi riferimenti richiamati nella mostra in modo concreto.
Il titolo della conversazione è preso in prestito da un progetto realizzato da Pettena nel 1981 (il cui catalogo è presente in mostra), che esaminava uno spazio attraverso i punti di vista e gli interventi di altri architetti. Come se le parole di questa “conversazione in atti” diventassero realtà, i riferimenti estetici o storici citati abbandonano il registro immateriale per prendere corpo nello spazio. La conversazione genera l’esposizione delle opere evocate, ma anche un intervento sulle porte divisorie in vetro al piano terra di Museion: una proiezione ingrandita dei progetti di Marcello Piacentini per i portici di Piazza della Vittoria a Bolzano, architettura neoclassica radicata in epoca mussoliniana.
Le superfici in vetro del museo agiscono come il filtro architettonico, messo a punto nel Rinascimento in un trattato di Sebastiano Serlio (una copia del quale è presente in mostra). I progetti si sovrappongono alle vetrate in modo tautologico, e filtrano i flussi di circolazione dentro e fuori dall’edificio, che cerca di distaccarsi dall’ideologia conquistatrice a vantaggio della trasparenza. In questo modo la proposta affronta le questioni relative al patrimonio dell’epoca fascista: la ricostruzione, il restauro o la distruzione dei suoi monumenti, così come il ruolo del museo all’interno di questa riflessione.

Project: Soleil politique

close
en - it - fr

RON TRAN

Born 1972, Saigon, Vietnam
Lives and works in Vancouver, Canada

Ron Tran works in various media, including performance, sculpture, photography, video, and installation. His artistic practice involves interpersonal actions and gestures, at once benevolent and ironic, that challenge the way we view everyday relations, notably those that involve strangers.
In Walking Strangers Home, for example, Tran approaches passersby late at night, offering to accompany them to their homes. Establishing a relationship between art and the public sphere, the artist thus explores cultural rituals and anxieties as well as relations of power in society. Documentation plays an important role in conveying his work as a performer.
For Apartment #201, Tran removed the front door of his apartment and exhibited it for five weeks at Western Front, an artist-run art space in Vancouver, while he continued to live in the apartment.
Through this objectaction, which combines aesthetics and the intimate realm, his private life was exposed and made vulnerable. The apartment functioned as an extension of the object exhibited in the art space. At the end of the exhibition, the door, once returned to its original location and use, lost its artistic status.
The work offered itself neither as a metaphorical representation, nor a ready-made, but rather as a living and tangible intervention inscribed in the present and inseparable from real life. For the exhibition Soleil politique, the artist explores the means to reenact this experience.

Nato a Saigon, Vietnam, nel 1972
Vive e lavora Vancouver, Canada

Ron Tran lavora con diversi media: performance, scultura, fotografia, video e installazione. La sua pratica comprende azioni e gesti interpersonali, allo stesso tempo ridondanti e ironici, che introducono un senso di malessere nel nostro sguardo sui rapporti quotidiani, in particolare quelli con le persone sconosciute. In Walking Strangers Home, per esempio, Tran avvicina dei passanti a tarda ora, e si offre di accompagnarli fino a casa. Costruendo dei legami tra l’arte e la sfera pubblica, l’artista esplora l’ansia e i rituali culturali, così come i rapporti di potere nella società. Il problema della documentazione occupa un posto importante nell’accesso alle sue performance. In Apartment #201, Ron Tran ha smontato la porta d’ingresso del suo appartamento e l’ha esposta per cinque settimane nello spazio artistico Western Front a Vancouver, continuando a vivere a casa propria. Attraverso questo gesto-oggetto, che collega l’estetico all’intimo, la vita privata dell’artista si è ritrovata a essere esibita e vulnerabile. L’appartamento di Tran vive un’attivazione, in quanto estensione dell’oggetto presentato nello spazio artistico. Alla fine della mostra, e una volta rimontata la porta sui cardini, essa ritrova la propria funzione di utilità e perde ogni valore artistico.
L’opera che ne risulta non è né una rappresentazione metaforica, né un ready-made, ma un intervento vivo e tangibile, iscritto in un presente indissociabile dalla vita reale.
Per Soleil politique, l’artista propone una riproduzione di questa esperienza.

Né à Saïgon, Vietnam, en 1972
Vit et travaille à Vancouver, Canada

Ron Tran travaille avec divers média : performance, sculpture, photographie, vidéo et installation. Sa pratique convoque des actions et gestes interpersonnels, à la fois généreux et ironiques, qui introduisent un malaise dans notre regard sur les rapports quotidiens, en particulier ceux impliquant des personnes inconnues. Avec Walking Strangers Home, par exemple, Ron Tran abordait des passants tard dans la soirée, leur offrant de les accompagner jusqu’à leur domicile. Établissant ainsi des liens entre l’art et la sphère publique, l’artiste explore les rituels et l’anxiété culturels, ainsi que les rapports de pouvoir dans la société. La question de la documentation occupe une place importante dans l’accès à son travail performatif.
Pour Apartment #201, Ron Tran a démonté la porte d’entrée de son appartement afin de l’exposer pendant cinq semaines dans un lieu d’art (Western Front, Vancouver), tout en continuant de vivre dans le logement. Par ce geste-objet qui lie l’esthétique avec l’intime, sa vie privée s’est trouvée exposée et vulnérable. L’appartement est activé en tant qu’extension de l’objet présenté dans l’espace artistique. À la fin de l’exposition, une fois remise à son emplacement d’origine, la porte retrouve sa fonction utilitaire et perd toute valeur artistique. L’œuvre qui en résulte n’est ni une représentation métaphorique, ni un ready-made, mais une intervention vivante et tangible, inscrite dans un présent indissociable de la vie réelle. Pour Soleil politique, l’artiste expérimente une restitution de cette expérience.

Project: Soleil politique

close
en - it - fr

Lise Lacombe and Jean-Baptiste Alazard

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

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

Lise Lacombe grew up in Aveyron (south-west France). During her teenage years, she armed herself with an Olympus 0M30 that would ground her in stock photography. She left for the city Toulouse, where she graduated form art school and got a diploma in Photography-Photo manipulation from the Gobelins School in Paris. During these formative two years, she personified her photographic practice. Using first a Yashika Mat, then a Hasselblad, she stuck to the square format that characterizes her work and turned to photo-reporting. In her professional work, she lived among journalists; the disgust she felt towards the confrontation between the so called “media” and photography moved her towards a more independent and creative work, as an independent reporter.
Alone, she left for various countries: Kosovo, Israel, Palestinian territories, Ethiopia… and Naves, in Aveyron. There, she sharpen her tools, creating series that testify to social events while searching for a deeper, more subjective expression.

Jean-Baptiste Alazard was born in Aveyron to a family of farmers. He grew up in Aubrac and left for Toulouse in 2003 to do a technical diploma in broadcast at Arènes, then Paris to enter the Fémis in 2006 and then became an editor. At the same time, he personalized his practice as a cinematographer through the creation of the documentary Le Cinquième Quartier, and the feature length fiction Moussem Le Morts, selected in the international competition at the Festival de Belfort, 2010. The same year, he began working on trans-media works with Mittlewerk Express. In 2011, he returned to the south of France to direct La Tierce des Paumés, a collaboration with photographer Lise Lacombe. His movie, that comes as a result of this project, La Buissonière was awarded the Prix Georges de Beauregard.

Project: Piano – alto!

 

Lise Lacombe (1985) è nata ed è cresciuta nell’Aveyron (sud ovest della Francia). Dopo la laurea in Arti Visive a Tolosa, ottiene il diploma di Fotografia e Editing dell’Immagine all’École des Gobelins di Parigi. Nel corso di questi due anni, personalizza la sua pratica fotografica. Con una Yashika Mat e poi una Hasselblad, si dedica al formato quadrato, caratteristico del suo lavoro, e si orienta al reportage. La frequentazione dell’ambiente giornalistico la porta verso un lavoro più indipendente e creativo, secondo il registro del reportage d’autore. Affina il suo sguardo grazie ai viaggi, realizzando delle serie che si propongono come testimonianza dei fatti della società ma con uno sguardo personale. La fotografia è uno strumento personale assoluto che dà vita alle sue esperienze.

Jean-Baptiste Alazard, dopo aver ottenuto un diploma di audiovisivo a Tolosa, entra alla Fémis nel 2006 e diventa montatore. In parallelo, sviluppa la sua attività di cineasta attraverso il documentario con Le Cinquième Quartier o il lungometraggio di fiction con Moussem Les Morts, selezionato al Festival di Belfort 2010 nella competizione internazionale. Lo stesso anno, allarga il suo lavoro alle opere trans-media con Mittelwerk Express. Nel 2011, fa ritorno nel sud della Francia per realizzare La Tierce des Paumés, in collaborazione con la fotografa Lise Lacombe. Il film La Buissonière, frutto di questa collaborazione, ottiene il premio Georges de Beauregard.

 

Née en 1985, Lise Lacombe a grandi en Aveyron. Après une licence d’Arts-Plastiques à Toulouse, elle s’oriente vers le reportage. La fréquentation du milieu journalistique la déporte vers un travail plus indépendant et créatif dans le registre de la photographie d’auteur. Elle aiguise son regard en voyageant, créant des séries qui témoignent de faits de société tout en recherchant l’expression profonde du regard subjectif. La photographie est un outil personnel absolu qui donne vie à ses propres expériences.

Né en 1985, Jean-Baptiste Alazard vit en Aveyron. Après l’obtention de son BTS Audiovisuel à Toulouse, il entre à La Fémis en 2006 et devient monteur. Parallèlement, il développe sa pratique de cinéaste à travers le documentaire avec Le Cinquième Quartier ou le long-métrage de fiction avec Moussem Les Morts, sélectionné au Festival de Belfort 2010 en compétition internationale. La même année, il étend son travail aux œuvres transmédias avec Mittelwerk Express. En 2011, il rentre dans le sud de la France pour réaliser La Tierce des Paumés, en collaboration avec la photographe Lise Lacombe. Son film issu de ce projet La Buissonière remporte le prix Georges de Beauregard.

Image:
Lise Lacombe, from the series La Tierce des Paumés, 2012. Courtesy of the artist

close
en

Jean-Luc Moulène

Born 1955, Reims, France
Lives and works in Paris, France

Project: The Registry of Promise

close
en - it

GIORGIO DE CHIRICO

Born 1888, Volos, Greece
† 1978, Rome, Italy

One of the most complex and enigmatic artists of the twentieth century, Giorgio de Chirico invented a new mode of artistic expression based on his explorations of the potential meanings of objects. For de Chirico, all forms draw meaning from the associations and memories they arouse in our consciousness. A scholar of classical culture and traditions, during his career he lived in various places before settling in Rome, where he lived until his death. His home now hosts a museum devoted to his life.
1910 saw the work that marked the debut of metaphysical art, the current that brought de Chirico international renown. Metaphysical paintings stand out for their clarity of composition, depicting recognizable objects and forms set in architecturally defined, deserted spaces. In the series entitled Piazze d’Italia, which he began around 1914 and returned to in the 1930s, time seems to be standing still. The surfaces and volumes, and the empty spaces and shadows on the buildings, are carefully outlined. Although the scenes initially appear realistic and rational, they never fail to create a sense of unease in the observer. After making an in-depth study of the rules of perspective, de Chirico reinterprets and subverts them, combining incompatible spatial systems to give rise to his signature settings. For the artist, the architecture of these squares originated in classical Greek culture and offered concrete inspiration for the Italian architecture of the early twentieth century.

Nato a Volos, Grecia, nel 1888
† 1978, Roma, Italia

Tra gli artisti più complessi ed enigmatici del Novecento, Giorgio de Chirico ha gettato le basi di un nuovo modello di espressione artistica, fondato sulle possibilità di significato dell’oggetto. Per de Chirico non esiste forma, il cui valore non scaturisca dalle associazioni e dai ricordi generati dalla nostra coscienza. Attento studioso della tradizione e della cultura classica, nel corso della sua carriera ha vissuto in varie città, per tornare infine a Roma, dove è rimasto fino alla sua morte. La sua casa ospita oggi un museo a lui dedicato. È datato 1910 il primo lavoro con cui de Chirico inaugura la pittura metafisica, corrente che darà fama internazionale all’artista. I dipinti metafisici si distinguono per la loro chiarezza compositiva: raffigurano oggetti e forme riconoscibili, inseriti in spazi architettonicamente definiti e deserti.
La serie intitolata Piazze d’Italia, iniziata intorno al 1914 e poi ripresa negli anni ‘30, è costituita da dipinti in cui il tempo sembra essersi fermato. Masse e superfici, così come l’articolazione dei vuoti e delle ombre degli edifici, sono delimitate con cura. Le ambientazioni, a un primo sguardo realistiche e coerenti, suscitano però nello spettatore un senso di disagio. Le regole prospettiche, attentamente studiate da de Chirico, vengono reinterpretate, e sistemi spaziali incompatibili tra loro sono messi in relazione, dando così vita a luoghi che sono diventati caratteristici della pittura dell’artista. Per de Chirico l’architettura di queste piazze ha origine nel pensiero greco, e si inserisce concretamente nella ricerca architettonica italiana del primo Novecento.

Project: Soleil politique

close
en

Hou Hanru

Hou Hanru (born in 1963 in Guangzhou former Canton, China) is an art curator and critic who lives in Paris and San Francisco.
He received degrees from the Central Academy of Fine Arts in Beijing and moved from China to France in 1990. He lived 16 years in Paris before moving to San Francisco in 2006. He worked at the San Francisco Art Institute as Director of Exhibitions and Public Program and Chair of Exhibition and Museum Studies from 2006 to 2012. He is co-director of the first World Biennale Forum (Gwangju, 2012). He is director of MAXXI.
He has curated numerous exhibitions including China/Avant-Garde (1989), Parisien(ne)s (1997), Cities On The Move (1997-2000), Shanghai Biennale (2000),Gwangju Biennale (2002), Venice Biennale (French Pavilion, 1999, Z.O.U. – Zone Of Urgency, 2003, Chinese Pavilion, 2007), Nuit Blanche (2004, Paris), the 2nd Guangzhou Triennial (2005), the 2nd Tirana Biennial (2005), the 10th Istanbul Biennial (2007), Global Multitude (Luxembourg 2007), Trans(cient)City (Luxembourg 2007), EV+A 2008 (Limerick), The Spectacle of the Everyday, The 10th Lyon Biennale (Lyon, 2009), the 5th Auckland Triennial (Auckland, New Zealand, May-August 2013).
He has been consultant and advisor in many international institutions including Walker Art Center (Minneapolis), Solomon R. Guggenheim Museum (New York), Kumamoto Museum of Contemporary Art (Kumamoto, Japan), De Appel Foundation (Amsterdam), Rockbund Art Museum (Shanghai), Times Museum of Contemporary Art (Guangzhou), Today Art Museum (Beijing), Deutsche Bank Collection (Frankfurt), Kadist Art Foundation (San Francisco/Paris), Asian Art Archive (Hong Kong), etc. and served on the juries of many international awards including the Hugo Boss Prize (Guggenheim Museum), Chinese Contemporary Art Award (Beijing), Ars Fennica (Helsinki), Prix International d’Art Contemporain de la Fondation Prince Pierre de Monaco (Monaco), etc.
He contributes regularly to international art magazines including Flash Art International, Art in America, Art Asia Pacific, Yishu, Art-It, etc. and served as guest/advisory editor for some of them.
A selection of his writings was published as On The Mid-Ground by Timezone 8, 2002.
His recent books include Paradigm Shifts, Walter & McBean Galleries exhibitions and public programs, San Francisco Art Institute, 2006-2011, San Francisco Art Institute, 2011 (with Mary Ellyn Johnson).
He has also taught and lectured in various artistic and educational institutions including Rijksakademie van Beeldende Kunsten (Amsterdam), HISK (Antwerp /Ghent), and numerous universities, museums, etc. across the world.

Partner: MAXXI

close
en

Alexander Gutke

2487-20

Born 1971, Gothenburg, Sweden
Lives and works in Malmö, Sweden

Image:
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.

Project: The Registry of Promise

close
en - it - fr

QUENTIN DEROUET

Quentin Derouet, Encore un geste d’amour, 2013

Quentin Derouet, Encore un geste d’amour, 2013

Born 1988, Grenoble, France
Lives and works in Nice, France
A romantic image clings to the surface of Quentin Derouet’s works, the way it would cling to the skin: natural flowers become brushes for wall paintings covering a whole room with graffiti –J’aime bien jouer avec les fleurs, et vous? –, poems are written on other walls – Le feu qui me brûle et celui qui m’éclaire –, a gentle and engaging melody fills a whole room – Une valse pour rien (hommage à Allain Leprest). Language is totally poetry, as if life were just a song, but there is no naivety in his work. This language seeks to join up with the affective dimension of the objects which punctuate his installations with burnt photographs. Without focusing on any specific practice, he precisely defines his own based on installation and exhibition. Involved is a spectacular presentation of an atmosphere which steps out as much through the tongue, the furniture, the colors, and the sets of photographs and drawings. Nothing spontaneous, however. The works are conceived, thought out, sometimes written and even planned in a more or less near future, such as 7 plans de vol / 7 Flight plans. Encounters are still essential to such an œuvre in the making, but they could not happen by chance.

Jean-Marc Avrilla

Project: From & To

 

Questo artista, nato nel 1988 a Grenoble, non è legato a una pratica particolare e definisce precisamente la sua partendo dall’istallazione e dalla mostra. È una messa in spettacolo di un’atmosfera che trasuda attraverso la lingua, l’arredo, i colori, i gruppi di fotografie o i disegni. Eppure, non vi è nulla di spontaneo. Le opere sono pensate, ponderate, talvolta scritte, se non pianificate in un futuro più o meno prossimo, come 7 plans de vol, prima di essere realizzate. Gli incontri sono ancora essenziali per quest’opera in divenire, ma di sicuro non potranno capitare per caso.

 

Né en 1988 à Grenoble. Sans s’attacher à une pratique singulière, il définit précisément la sienne à partir de l’installation et de l’exposition. C’est une mise en spectacle d’une atmosphère qui transpire autant par la langue, le mobilier, les couleurs, les ensembles de photographies ou les dessins. Cependant, rien de spontané. Les œuvres sont pensées, réfléchies, écrites parfois – voire planifiées dans un futur plus ou moins proche, comme 7 plans de vol, avant d’être exécutées. Les rencontres sont encore essentielles à une telle œuvre en devenir, mais elles ne sauraient arriver au hasard.

Image:
Quentin Derouet, Encore un geste d’amour, 2013

close
en

Gianluca d’Incà Levis

Gianluca_D_Inca_Levis

Gianluca d’Incà Levis is the creator and curator of Dolomiti Contemporanee, and the director of the New Venue of Casso/Nuovo Spazio Espositivo di Casso.
Since 2010, he has been launching a series of curatorial projects that link contemporary art, recovery of industrial or civil disused sites, and mountains. The idea of producing innovative images is central, working on the natural environment in a critical and projective manner, and rejecting the stereotypical readings. Starting from 2014, he has been carrying out a study at the Cà Foscari University of Venice’s Department of Management, on the following subject: Cultural entrepreneurship and creative industries as factors of local development. Branding of the territories and creative regeneration. Rethinking nature and the industrial landscape through contemporary art.

Project: Piano – alto!
Space: Dolomiti Contemporanee

close
en

VINCENT HONORÉ IN CONVERSATION WITH GIANLUCA D’INCÀ LEVIS, DOLOMITI CONTEMPORANEE

VINCENT HONORÉ IN CONVERSATION WITH GIANLUCA D’INCÀ LEVIS, DOLOMITI CONTEMPORANEE

Vincent Honoré Can you introduce Dolomiti Contemporanee, its history, missions and programmes?
Gianluca d’Incà Levis Dolomiti Contemporanee is a cultural platform which works for the redefining of the meaning and fruition of the physical and mental contexts with which it comes in contact. Art, every kind of art – art in general – is the most performative instrument in the battle for the constant re-definition of the meaning of things and of their raison d’être. This battle is one of the few raison d’être, indeed, that the human possesses should it not content itself with static definitions and approaches based on other people’s experiences. The project was born in 2011, and operates in the context of the UNESCO Dolomites, re-activating great abandoned sites (industrial archaeology compounds, locations symbol of closure and death, which are transformed, through innovative art and culture, in open “constructions sites”).

V.H. How do you think a residency can benefit an artist?
G.D.L. Artists are a sensitive selectors. They seize stimuli, and re-broadcast them. The more the external contest is stimulating, the stronger and profound the resonances created in them may be. The residency project gives the artist a chance to come in contact with new contexts. The dolomitic contexts, made of rock, verticality, environment and nature, thin air, great exhumed architectures, which we reactivate, are exceptionally incentivized in that sense.

2. New Venue of Casso

V.H. How do you foresee the future of an institution like yours in a context in which globalised museums and institutions become such powerful players, absorbing all energies, audiences and funding?
G.D.L. Dolomiti Contemporanee isn’t an institution. It is an experimental project, which questions once again the manner of approach to the territory, the sites, the spaces, the thoughts, the meaning of the artistic endeavour and the curatorial practices, and the relationship between all these things. It  isn’t at all possible for the cultural contexts to be completely cannibalized by the institution, the museums, the “powerful players”. There’s always room for those who want to innovate. Thus, the more the system will become organized, the more space there will be for subversive, or simply critical, projects.

V.H. Is it an advantage to have a nomadic structure, that has to find new space all the time for its projects?
G.D.L. It is not a question of advantages. Changing constantly is hard. But, this way, we’re declaring not to be in search of a “house for the arts”. Art doesn’t need a house. It is pervasive, universal, mobile, liquid. We’re not interested in managing, arranging a structure, and setting up “art exhibits” inside it. We’re interested in taking care of the places, reflecting on the landscape, putting it in motion. Every time we face a new site, we do it because it makes sense, it is necessary, to bring a system of re-activation in that site, which is always a great dead location, that we believe must be exhumed, transformed, regenerated. However, we settle in some sites for at least 3-4 years (Casso, Borca). Thus, we’re not perfectly nomadic either. The format isn’t defined: it changes in relation to the locations, which are always different. But the project is extremely clear, and stable. It opens closed contexts. It assaults inertias, and ideational laziness. It proves that every good idea, when pursued rigorously, can be successful.

3. New Venue of Casso

V.H. PIANO intends to create a network of art spaces working together, exchanging and interacting. Why did you decide to join the project and how are you participating in it?
G.D.L. Dolomiti Contemporanee, as a project, has its founding in the idea of network. In four years (DC was created in 2011), we’ve worked with over 400 public, private, productive, cultural, artistic partners. The basis of our “diet” is relational. Every good network interests us. The project isn’t at all limited to the Dolomites. That is where it started, where we continuously welcome artists and people (Residency), and from where it steps out all the time, through partnerships, relationships, exchanges, in Italy and abroad. PIANO’s plan, the idea of the project, seemed good, stimulating. We’ve gladly decided to take part in it all. The only regret was the complete lack of participation of the public Italian institutions. But in Italy the art system doesn’t work, that is a well known fact. Thus, we’ve taken part in the Piano-Alto! project. A few French artists have been DC’s guests in the residency projects of Casso and Borca. A few Italian artists have worked, instead, in the French art centres that are partners of the project. In the next weeks and months, the results of their research will be presented. Moreover, we’ve included in the PIANO platform one of our projects: “Two calls for Vajont”, a complex and important international artistic contest (www.twocalls.net). We hope that the French artists will decide to take part in it. This would be another marker of the fact that the cultural network really has worked, through the sharing of the platforms.

www.dolomiticontemporanee.netwww.twocalls.netwww.progettoborca.net

Space: Dolomiti Contemporanee
Protagonist: Gianluca D’Incà Levis
Project: Piano – alto!

Vincent Honoré Puoi presentare Dolomiti Contemporanee, la sua storia, la sua mission e il suo programma?
Gianluca d’Incà Levis Dolomiti Contemporanee è una piattaforma culturale che mira alla ridefinizione del significato e della fruizione dei contesti fisici e mentali con cui entra in contatto. L’arte, di ogni genere, l’arte in generale è lo strumento più performativo nella lotta per la costante ridefinizione del significato delle cose e della loro ragion d’essere. Questa lotta è in effetti una delle poche ragioni d’essere che l’uomo possiede per non accontentarsi di definizioni e approcci statici basati sull’esperienza altrui. Il progetto è nato nel 2011 e si colloca nel contesto delle Dolomiti, sito protetto dall’UNESCO, riattivando importanti luoghi abbandonati (siti di archeologia industriale, luoghi simbolo di chiusura e morte, che vengono trasformati attraverso l’innovazione dell’arte e della cultura in “cantieri” aperti).

V.H. In che modo, secondo te, un artista può sfruttare l’esperienza di una residenza?
G.D.L. Gli artisti fanno le loro scelte con sensibilità, colgono gli stimoli e li riproducono. Più è stimolante il contesto esterno, più forti e profonde possono essere le risonanze create in loro. Il progetto di residenza dà all’artista l’occasione di entrare in contatto con spazi nuovi. Il contesto delle Dolomiti, fatto di roccia, verticalità, ambiente e natura, aria fine, grandi architetture riesumate e riattivate, è incredibilmente stimolante in questo senso.

V.H. Come immagini il futuro di un’istituzione come Dolomiti Contemporanee in un contesto in cui musei e istituzioni globalizzati assumono un crescente potere, assorbendo tutte le energie, le categorie di pubblico e le risorse economiche?
G.D.L. Dolomiti Contemporanee non è un’istituzione. È un progetto sperimentale, che mette in discussione ancora una volta l’approccio al territorio, i luoghi, gli spazi, i pensieri, il significato dell’attività artistica e delle pratiche curatoriali, e le relazioni tra tutti questi elementi. Non è possibile che i contesti culturali siano completamente cannibalizzati dalle istituzioni, dai musei, dai player più potenti. C’è sempre spazio per coloro che vogliono innovare. Più il sistema diventerà organizzato, più spazio ci sarà per i progetti sovversivi o semplicemente critici.

V.H. Avere una struttura nomade, che ha bisogno di trovare ogni volta una nuova sede per accogliere i suoi progetti, rappresenta un vantaggio?
G.D.L. Non si tratta di una questione di vantaggi. Cambiare continuamente è difficile. Ma in questo modo affermiamo di non essere in cerca di una “casa per le arti”. L’arte non ha bisogno di una casa. È pervasiva, universale, mobile, liquida. Non ci interessa gestire, organizzare una struttura e allestire “mostre” al suo interno. Ci interessa “prenderci cura dei luoghi”, riflettendo sul paesaggio, mettendolo in moto. Ogni volta che affrontiamo un sito nuovo, lo facciamo perché ha senso, è necessario portare in questo specifico luogo abbandonato, che noi crediamo debba essere riesumato, trasformato, rigenerato, un sistema di riattivazione. Ci stabiliamo in determinati luoghi per periodi di 3-4 anni (Casso, Borca), per cui non siamo esattamente nomadi. Il format non è definito, ma cambia in relazione ai luoghi, sempre diversi. Ma il progetto è estremamente chiaro e stabile e consiste nell’aprire contesti chiusi, aggredire l’inerzia e la pigrizia mentale. Esso testimonia che ogni buona idea, se perseguita con rigore, può avere successo.

V.H. PIANO mira a creare una rete di spazi artistici che lavorino insieme, attraverso processi di scambio e interazione. Perché avete deciso di aderire al progetto e come si realizza la vostra partecipazione?
G.D.L. Il progettoDolomiti Contemporanee si basa sull’idea della rete. In quattro anni (DC è stato creato nel 2011), abbiamo lavorato con oltre 400 partner pubblici, privati, produttivi, culturali e artistici. La base della nostra “dieta” è relazionale. Tutte le buone reti ci interessano. Il progetto non è affatto limitato alle Dolomiti. Parte da qui, dove accoglie con continuità artisti e persone (attraverso il programma di residenza), e da qui si muove costantemente, attraverso partnership, relazioni, scambi sia in Italia sia all’estero. Il programma di PIANO, l’idea del progetto, sembrava buona, stimolante. Abbiamo deciso con piacere di prendervi parte. L’unico dispiacere riguarda la totale mancanza di partecipazione delle istituzioni pubbliche italiane. Ma in Italia il sistema dell’arte non funziona, è un fatto noto. Abbiamo quindi preso parte al progetto Piano – Alto!. Alcuni artisti francesi sono stati ospiti di DC nei progetti di residenza di Casso e di Borca, mentre altri artisti italiani hanno lavorato nei centri d’arte francesi partner del progetto. Nelle settimane e nei mesi che verranno, saranno presentati i risultati delle loro ricerche. Inoltre abbiamo inserito nel progetto PIANO uno dei nostri progetti, Two Calls for Vajont, un importante e complesso concorso artistico internazionale (www.twocalls.net). Speriamo che gli artisti francesi decidano di parteciparvi, perché ciò rappresenterebbe un altro segno del fatto che, attraverso la fusione delle piattaforme, la rete culturale ha funzionato.

www.dolomiticontemporanee.netwww.twocalls.netwww.progettoborca.net

Images:
1-3. New Venue of Casso

close
en - it - fr

ETIENNE BERNARD

SONY DSC

Etienne Bernard is art director at Passerelle Centre d’art contemporain in Brest, France. Since April 2013, he has been a member of the acquisition committee for French National Funds for Contemporary Art. He was granted an MA in Aesthetics from the University of Paris 1 Pantheon-Sorbonne in 2004. His academic research was focused on American landscape documentary photography. From 2007 to 2009, he was director of the International Poster and Graphic Design Festival of Chaumont as well as guest curator at the CAPC Museum of Contemporary Art in Bordeaux. As an art critic, he has been a regular contributor to French magazine 02 among others. As an independent curator, he has led various projects in institutions in France and abroad, including at the Krabbesholm Højskole in Skive, Denmark (2009-2010); at Parc Saint Léger in Pougues-les-Eaux (2010); at the Musée de l’Objet, contemporary art collection in Blois (2011); and at JAUS Art Space in Los Angeles (2011). Etienne Bernard has also taught art theory at the University of Paris 1 Pantheon-Sorbonne and at Ecole Supérieure des Beaux-arts in Nantes. From 2010 to 2012, he coordinated Fieldwork Marfa, an international research-in-residency program in Marfa, Texas.

Project: La démocratie est illusion
Space: Passerelle Centre d’art contemporain
Focus: Vincent Honoré in conversation with Etienne Bernard, Passerelle Centre d’art contemporain

 

Etienne Bernard è direttore artistico del Centro d’Arte Contemporanea Passerelle, Brest. Dal 2013 è membro del comitato d’acquisizioni del Fondo Nazionale di Arte Contemporanea. Dal 2007 al 2009 ha diretto il Festival International de l’Affiche et du Graphisme de Chaumont e un programma di mostre al CAPC Musée d’Art Contemporain di Bordeaux. Ha curato numerose mostre in vari spazi, tra cui la Krabbesholm Hojskole in Danimarca nel 2009-2010, il Parc Saint Léger a Pougues-les-Eaux nel 2010, il Musée de l’Objet a Blois nel 2011 e il JAUS Art Space di Los Angeles nel 2011. Etienne Bernard ha insegnato all’Université Paris 1 Panthéon-Sorbonne e all’Ecole Supérieure des Beaux-arts di Nantes, dove ha coordinato dal 2010 al 2012 il programma di ricerca e di residenza Fieldwork: Marfa negli Stati Uniti

 

Etienne Bernard est directeur artistique de Passerelle Centre d’art contemporain, Brest. Depuis avril 2013, il est membre du comité d’acquisition du Fonds National d’Art Contemporain. De 2007 à 2009, il a dirigé le Festival International de l’Affiche et du Graphisme de Chaumont ainsi qu’un programme d’expositions au CAPC Musée d’Art Contemporain de Bordeaux. Il a organisé de nombreuses expositions notamment à la Krabbesholm Hojskole au Danemark en 2009-2010, au Parc Saint Léger à Pougues-les-Eaux en 2010, au Musée de l’Objet à Blois en 2011 ou au JAUS Art Space à Los Angeles en 2011. Etienne Bernard a également enseigné à l’Université Paris 1 Panthéon-Sorbonne et à l’Ecole Supérieure des Beaux-arts de Nantes pour laquelle il a coordonné de 2010 à 2012 le programme de recherche et de résidence Fieldwork : Marfa aux États-Unis.

close
en - it - fr

Vincent Honoré in conversation with Etienne Bernard, Passerelle Centre d’art contemporain

Vincent Honoré Since 2013 you have directed the public art centrePasserelle Centre d’art contemporain that opened in 1988. Its main objective is to be “a forum for dialogue between artistic production and the public.” Can you describe in more detail the intellectual and artistic project upon which the structure is based, and what essentially differentiates it from other art centres?

Etienne Bernard As a centre for contemporary art, the core function of Passerelle is to support artists (notably in the realm of production, exhibition and publication) and the public in their discovery of what the artists have to offer. The project called Situations, which I have now been working on for a year, suggests that these two missions should not be separated or prioritized. On the contrary, I think that a centre for contemporary art is a place for shared elaboration of meaning in which artists and the public meet and discuss. In order to reflect reality it must occur naturally in my view. It is based on a mutual desire between local audiences and artists, the majority of which have come a long way, to take the time to discuss ideas.
We must not forget that we are in Brest, at the far reaches of Brittany, at the heart of an area that is very rich in cultural proposals but also peripheral to the main thrust of the art circuit. I am convinced that its social as well as geographical position presents an opportunity rather than a pitfall. Indeed, Brest is not on the beaten track, so it is up to us to make it a destination. We therefore have the necessary resources in place to welcome and provide hospitality for operational artists and we systematically offer them an opportunity to enjoy a work temporality that they will not necessarily find anywhere else. Notably we have ‘neutralised’ 400 m2 situated at the heart of the art centre, previously allotted to exhibition space, to accommodate production facilities. Artists can thus work in peace, with the help of technicians, and the public is invited in to exchange views on art in the making. Art centres are thus used as a living, lived-in and open space.
And so far, I am delighted to observe that the system works. Artists like Wilfrid Almendra, Florian Fouché, Goldschmied & Chiari and Ernesto Sartori have already used this new facility to the full. Other artists like Fredrik Vaerslev, Koki Tanaka and Stéphane Calais are also planning to use it over the forthcoming months. In addition, we have noticed that the public reacts well to the freedom to converse directly with the artist. Habits form. As the development of an artistic project progresses, people observe, come back and talk. In my view this positive perspective reflects our institutional action supporting creation that the public is sometimes oblivious to. 

Wilfrid Almendra. L’intranquillité, 2013

2. Wilfrid Almendra. L’intranquillité, 2013

V.H. The institution is intended as “an interdisciplinary venue that explores other fields of contemporary creation, from graphic design to dance, from music to design.” Did you inherit this mission or did you on becoming director of the art centre want to redefine its prerogatives?

E.B. It is more than just a mission. I would say that opening up the space to forms of creation that fall outside the strict field of contemporary art is rather an assertive approach to the programme in line with the history of the place. Originally, in the 1980s, the name ‘Passerelle’ conjured up the notion of interdisciplinary. The collective that opened the venue welcomed music, dance and theatre as well as art. Subsequently, the field of research was progressively oriented more clearly towards contemporary art as the structure became more institutionalized. When I became director of the art centre, I wanted to reconnect with this historic initiative for two main reasons. The first is that I think an ambitious project can be constructed on this wealth of history with the professional facilities provided by Passerelle. Thanks to the tremendous task of structuring and the professional development undertaken by the previous director Ulrike Kremeier, the art centre evidently no longer resembles its initial association gathering amateurs, but has now become an operable infrastructure able to accommodate artistic proposals from all walks of life. The second is that Brest is a fantastic pool of top quality partners who in their respective disciplinary fields share our high standards. Indeed, we are working hand in hand with local but internationally renowned initiatives of course, like the electronic music festival Astropolis, the contemporary dance festival DansFabrik run by Scène nationale Le Quartz, and the contemporary music ensemble Sillages, with whom we launched a festival in 2014. Thus, it is not a question of hosting a theatrical play or a dance show to bring the venue to life or ‘to cause a stir’ but to work long-term on the exchange programme to highlight our complementary qualities and our ambitions. We presented a fine example with the choreographic performance by Goldschmied & Chiari and Lotta Melin, which initiated the current exhibition and integrated the official programme of the DansFabrik Festival 2014.

V.H. “A museum director’s first task is to create a public, not just to do great shows, but to create an audience that trusts the institution.” (Pontus Hultén) The public, in the Centre’s declaration of intent, has an important position. However, the ‘public’ remains an abstract, almost conceptual entity. What is your view of the public and what type of relationship do you wish to enjoy with this public? 

E.B. In an area like Brittany and Brest, the public is not an abstract entity. The centre for contemporary art constitutes both a tool at the service of the local public (the facilities provided by Passerelle are at the heart of a clearly identified district) and aimed at a national and international public (professionals of course, but also seasonal holidaymakers.) Thus, our actions and operations must appeal to all without ranking or pandering. We know our different audiences well, their specificities, their desires as well as their reticence, but I think that everyone can identify, in their own way, to an artistic proposal that when sound can be approached from different perspectives.

Tania Mouraud. J.I.T. just in time, 2008

3. Tania Mouraud. J.I.T. just in time, 2008

V.H. What are the tools and programmes that structure the art centre and strike a chord with its public? For example, what are the Augmentation Zones and how do they integrate with your vision of the public? 

E.B. We offer a large number of programmes aimed at the public from hands-on workshops with the youngest, to series of lectures or guided visits. A year ago we also implemented a specific section that I called Augmentation Zones. The notion of augmentation is defined here in the digital meaning of the term. On the Internet, augmented reality is the sum of data, links and references that complement a subject. At Passerelle, the Augmentation Zones constitute a physical and digital cultural programme developed by the public service department whose content is determined through discussion with the guest artists. In the large central Patio at the Passerelle leading to the different areas, there is a zone devoted to displaying artistic and/or documentary material to pursue and put into perspective the questions addressed by the artistic proposals exhibited. They are also accessible on the Internet with a digital space for content accompanying the exhibitions.

V.H. Passerelle proposes monographic exhibitions as well as group exhibitions and attempts to articulate different disciplines. More specifically, how do you view the mission and the responsibilities of an art centre director in 2014?

E.B.  I chose to take over as director of a contemporary art centre as I am passionate about linking a critical and curatorial approach with a regional context. Indeed, the global logic that governs the world of art that we work in finds, in my opinion, its meaning and opportunities for development in specific situations from which concrete proposals emerge. I find my role as producer stimulating, that is as an art critic who gathers the intellectual, material and human resources to generate artistic proposals in an identified geographical, social and political situation, to work in the permanent and constructive coming and going between local and global.

Stephen Willats. Talking city, 2011

4. Stephen Willats. Talking city, 2011

V.H. PIANO wishes to create a space for exchange and dialogue between French and Italian art venues. Why did you want to participate and what programme did you propose? 

E.B. I think that PIANO is an excellent example of structuring collaboration and sharing means of production and communication. In the context of the concerning budget and institutional crisis at large in France, Italy and elsewhere, it is essential to completely rethink methods for funding and bringing projects to fruition. And beyond the simple financial consideration, it is now no longer pertinent to plan a project with an artist in a single venue. PIANO, like other production networks such as Cluster or How to work together, design new art maps and offer alternative solutions to the challenges that drive today’s system of art.

Space: Passerelle Centre d’art contemporain
Protagonists: Etienne Bernard, Goldschmied & Chiari
Project: La démocratie est illusion

 

Vincent Honoré Passerelle Centre d’art contemporain a été inauguré en 1988. Il s’agit d’un centre d’art public que vous dirigez depuis 2013. Sa mission première est d’être « une plateforme de dialogue entre productions artistiques et publics ». Pouvez-vous décrire plus précisément le projet intellectuel et artistique qui fonde lastructure, et ce qui fondamentalement la démarque des autres centres d’art ?

Etienne Bernard En qualité de centre d’art contemporain, Passerelle a comme missions fondamentales d’accompagner les artistes (dans la production, l’exposition et l’édition notamment) et les publics dans leur découverte des propositions de ces premiers. Le projet intitulé des Situations que je développe depuis une année maintenant postule l’idée que ces deux missions ne doivent pas être séparées ni hiérarchisées. Au contraire, je pense que le centre d’art contemporain est le lieu de l’élaboration partagée de sens au sein duquel artistes et publics se rencontrent et échangent. Afin de prendre réalité, cette rencontre doit, à mon sens, se construire assez naturellement. Elle se fonde sur une volonté partagée entre les audiences locales et les artistes, pour la plupart venus de loin, de prendre le temps d’échanger.
Il ne faut pas oublier que nous sommes à Brest, au bout de la Bretagne, au cœur d’un territoire très riche en propositions culturelles mais aussi en marge des principaux axes de circulation de l’art. Je suis convaincu que sa situation géographique comme sociale constitue une opportunité bien avant d’être un écueil. En effet, si Brest n’est pas un point de passage, charge à nous d’en faire une destination. Ainsi, nous avons mis en place les outils nécessaires à l’accueil et au séjour des artistes en production et nous leur proposons systématiquement de profiter d’une temporalité de travail qu’ils ne trouvent pas nécessairement ailleurs. Nous avons notamment « neutralisé » un espace de 400 m2, précédemment dévolu à l’exposition, situé au cœur du centre d’art pour y installer un atelier de production. Les artistes peuvent ainsi travailler tranquillement, avec l’aide des régisseurs, et les publics sont invités à y entrer pour échanger sur l’art en train de se faire. Le centre d’art est ainsi revendiqué comme lieu vivant, habité et ouvert.
Et jusqu’ici, je suis très heureux d’observer que le système fonctionne. Des artistes comme Wilfrid Almendra, Florian Fouché, Goldschmied & Chiari ou Ernesto Sartori ont déjà pleinement utilisé ce nouvel outil. D’autres artistes comme Fredrik Vaerslev, Koki Tanaka ou Stéphane Calais ont également prévus de l’activer dans les mois à venir. Nous observons, par ailleurs, que les publics réagissent bien au fait de pouvoir entrer en dialogue directement avec l’artiste. Il se construit des habitudes. Au fur et à mesure de la construction d’un projet artistique, les gens observent, reviennent, dialoguent. Ceci constitue à mes yeux une perspective positive qui assoie notre action institutionnelle de soutien à la création dont les publics ne sont pas toujours conscients. 

V.H. L’institution se veut « le lieu du décloisonnement disciplinaire qui explore les autres champs de la création contemporaine, du graphisme à la danse, de la musique au design ». Cette mission est-elle un héritage direct, ou avez-vous désiré, en prenant la direction du centre d’art, d’en redéfinir les prérogatives ?

E.B. Plus qu’une mission, je dirais que l’ouverture du lieu à des formes de création qui débordent du champ strict de l’art contemporain constitue plutôt un axe affirmé de programmation qui s’inscrit dans une histoire du lieu. A l’origine, dans les années 1980, le nom « Passerelle » se voulait évocateur de transdiciplinarité. Le collectif qui a ouvert le lieu accueillait alors aussi bien de l’art que de la musique, de la danse ou du théâtre. Par la suite, le champ de recherche a progressivement été orienté plus clairement vers l’art contemporain à mesure que la structure s’institutionnalisait. En arrivant à la direction du centre d’art, j’ai souhaité renouer avec cette initiative historique et ce pour deux raisons principales. La première est que je pense que cette histoire est une richesse sur laquelle il est possible de construire un projet ambitieux avec l’outil désormais professionnalisé qu’est Passerelle. Grâce à l’immense travail de structuration et d’inscription professionnelle mené par la précédente directrice Ulrike Kremeier, le centre d’art ne ressemble à l’évidence plus à l’association d’amateurs qu’il était à l’origine mais constitue aujourd’hui un équipement opérant pouvant accueillir des propositions artistiques de tous horizons. La seconde est que Brest est un vivier fantastique de partenaires de très grande qualité qui dans leurs champs disciplinaires respectifs nous ressemblent dans l’exigence. En effet, nous travaillons main dans la main avec des initiatives locales certes mais de renommée internationale, comme le festival de musique électronique Astropolis, le festival de dance contemporaine DansFabrik porté par la Scène nationale Le Quartz ou encore l’ensemble de musique contemporaine Sillages, avec qui nous venons de lancer un festival en 2014. Ainsi, il ne s’agit pas d’accueillir une pièce de théâtre ou un spectacle de danse pour animer le lieu ou « faire évènement », mais bien de travailler sur le long terme dans l’échange programmatique pour souligner nos complémentarités et nos ambitions. Nous en avons d’ailleurs présenté un très bel exemple avec la performance chorégraphique de Goldschmied & Chiari et Lotta Melin, qui a activée l’exposition en cours et intégrée le programme officiel du festival DansFabrik 2014.

V.H. « A museum director’s first task is to create a public, not just to do great shows, but to create an audience that trusts the institution. » (Pontus Hultén) [La première tâche d’un directeur de musée c’est de créer un public, pas seulement de faire des belles expositions, mais de créer un public qui ait confiance en l’institution]. Le public, dans la déclaration d’intention du Centre, tient une place importante. Cependant, le « public » reste une entité abstraite, quasi conceptuelle. Quelle est votre conception du public et quels rapport souhaitez vous entretenir avec ce public ? 

E.B. Dans un territoire comme celui de la Bretagne et de Brest, le public n’est en rien une entité abstraite. Le centre d’art contemporain constitue à la fois un outil au service de publics de proximité (Passerelle est un équipement inscrit dans un quartier avec une sociologie bien identifiée) et s’adresse à un public national et international (des professionnels évidemment, mais également un public saisonnier de vacanciers). Ainsi, nos actions et opérations doivent s’adresser à tous sans pour autant faire de hiérarchie ou de clientélisme. Nous connaissons bien nos différents publics, leurs spécificités, leurs envies et leurs réticences aussi, mais je pense que chacun peut se retrouver, à sa manière, dans une proposition artistique qui si elle est solide peut être appréhendée sous différentes perspectives.

V.H. Quels sont les outils et les programmes qui structurent le centre d’art et établissent un dialogue avec son public ? Par exemple, que sont les Zones d’augmentation et comment s’articulent-elles avec votre vision du public ? 

E.B. Nous proposons un grand nombre de programmes en direction des publics. Ceux-ci vont de l’atelier de pratique avec les plus jeunes aux cycles de conférence ou autres visites accompagnées. Nous avons également mis en place depuis une année un dispositif spécifique que j’ai appelé les Zones d’augmentation. La notion d’augmentation s’entend ici au sens numérique du terme. Sur internet, la réalité augmentée correspond à la somme de données, de liens, de références qui viennent enrichir un sujet. A Passerelle, les Zones d’augmentation constituent un programme culturel physique et numérique développé par le service des publics dont les contenus sont déterminés en discussion avec les artistes invités. Dans le grand Patio central de Passerelle qui dessert les différents espaces est installée une zone dédié à la présentation de matériel artistique et/ou documentaire pour poursuivre et mettre en perspective les questionnements abordés par les propositions artistiques exposées. Elles se déploient également sur internet avec un espace numérique de contenus pour accompagner les expositions.

V.H. Passerelle propose des expositions monographiques ainsi que des expositions de groupe et tente d’articuler différentes disciplines. Plus précisément, comment concevez-vous la mission et les responsabilités d’un directeur de centre d’art en 2014 ?

E.B. J’ai choisi de prendre la direction d’un centre d’art contemporain car je pense passionnant le fait d’articuler une approche critique et curatoriale à un contexte territorial. En effet, les logiques globalisées qui régissent le monde de l’art que nous travaillons tous trouvent, à mon avis, leur sens et leurs opportunités de développement dans des situations précises à partir desquelles émergent des propositions concrètes. Je trouve stimulant mon rôle de producteur c’est-à-dire de critique d’art qui réunit les moyens intellectuels, matériels et humains de faire émerger des propositions artistiques dans une situation géographique, sociale et politique identifiée. De travailler dans l’aller et retour permanent et constructif entre local et global.

V.H. PIANO veut créer un espace d’échange et de dialogues entre des lieux d’art italiens et français. Pourquoi avez vous souhaité participer et quel programme proposez-vous ? 

E.B. Je pense que PIANO est un excellent exemple de structuration dans la collaboration et la mutualisation des moyens de production et de communication. Dans le contexte de crise budgétaire et institutionnelle préoccupant que nous connaissons en France, en Italie et partout ailleurs, il est primordial de repenser en profondeur les modes de financement et d’apparition des projets. Et au delà de la simple considération financière, il n’est plus pertinent aujourd’hui de penser un projet avec un artiste dans un seul lieu. PIANO comme les autres réseaux de production comme Cluster ou How to work together dessinent de nouvelles cartographies de l’art et proposent des solutions alternatives aux enjeux qui animent le système de l’art aujourd’hui.

Images:

1. Katinka Bock. Volumes en extensions, 2007 , exhibition view at Passerelle Centre d’art contemporain, Brest. Photo: Sébastien Durand
2. Wilfrid Almendra. L’intranquillité, 2013, exhibition view at Passerelle Centre d’art contemporain, Brest. Photo: Nicolas Ollier
3. Tania Mouraud, La curée, 2003 – Borderland, 2007. Exhibition Tania Mouraud. J.I.T. just in time, 2008. Photo: Nicolas Ollier
4. Stephen Willats, Free Expression, série Multiple Clothing,  1992. Exhibition Stephen Willats. Talking city, 2011. Courtesy FRAC Languedoc-Roussillon, FRAC Nord-Pas-de-Calais. Photo: Nicolas Ollier

 

close
en

BECKY BEASLEY

Born 1975, Portsmouth, United Kingdom
Lives and works in St. Leonards on Sea, United Kingdom

Project: The Registry of Promise

close
en - it - fr

TERRE THAEMLITZ

Born 1968, Minnesota, USA
Lives and works in Kawasaki, Japan

Terre Thaemlitz is an award-winning multimedia producer, writer, public speaker, educator, audio remixer, DJ, and owner of the Comatonse Recordings record label. The artist’s work combines a critical reflection on identity politics—including gender, sexuality, class, linguistics, ethnicity, and race—with an ongoing analysis of the socioeconomics of commercial media production. In 2012, she presented the album Soulnessless in the form of an exhibition at the CAC Brétigny in France.
The five cantos of Soulnessless seek to deconstruct the “authenticity” of soul music, as exploited by the music industry. Thaemlitz reveals the relation between the music industry and religious administration by combining liturgical ceremony and musical performance. The practice of music is realigned with the material constraints it has never truly relinquished: in exceeding the standard length of the traditional album, Soulnessless disrupts the conventions of online commercial music.
In preparation for the album, Thaemlitz spent several years researching numerous forms of dogma and belief. Canto I, for example, deals with the ways in which changes in sex reassignment surgery encourage “essentialist cults” of gender that end up reaffirming patriarchal constructions. Canto III explores the use of sound systems in Catholic convents in the Philippines, revealing strategies of religious proselytism in response to divergent cultures.

Nato nel Minnesota, USA, nel 1968
Vive e lavora a Kawasaki, Giappone

Terre Thaemlitz è produttore multimediale, scrittore, conferenziere, professore, DJ e proprietario dell’etichetta musicale Comatonse Recordings. Il suo lavoro unisce uno sguardo critico sulle politiche di identità (in particolare, sui concetti di genere, sessualità, classe sociale, etnia e razza, e su problematiche linguistiche) alla costante analisi degli aspetti socio-economici della produzione dei media commerciali. Nel 2012 il suo album Soulnessless è stato incluso in una mostra al CAC Brétigny.
I cinque canti dell’album vogliono decostruire l’“autenticità” della musica soul, molto sfruttata dall’industria culturale. Mostrando i legami tra la cerimonia liturgica e la performance musicale, Thaemlitz svela i rapporti dell’industria musicale con l’amministrazione religiosa. L’esercizio della musica è ricollocato al centro dei vincoli materiali, da cui non si è mai distaccato: andando oltre le durate standard, l’album disturba il protocollo commerciale per la diffusione della musica online. Per realizzare questo album, Thaemlitz ha trascorso diversi anni a esaminare un’eterogenea raccolta di espressioni relative al dogmatismo e alle superstizioni. Il Canto I, per esempio, indaga le modalità con cui la procedura medica per il cambio di sesso nutre dei “culti essenzialisti”, che finiscono essi stessi per riaffermare delle costruzioni patriarcali. Il Canto III, invece, si interroga sui dispositivi di sonorizzazione impiegati in un convento nelle Filippine, svelando le strategie del proselitismo religioso quando si confronta con culture diverse.

Né au Minnesota, USA, en 1968
Vit et travaille à Kawasaki, Japon

Terre Thaemlitz est producteur multimédia, écrivain, conférencier, professeur, DJ et propriétaire du label Comatonse Recordings. Son travail combine un regard critique sur les politiques d’identité – genre, sexualité, classe sociale, linguistique, ethnicité et race – avec une analyse continue des aspects socio-économiques de la production des médias commerciaux. En 2012, son album Soulnessless avait été montré en situation d’exposition au CAC Brétigny.
Les cinq chants de cet album tentent une déconstruction de l’ « authenticité » de la musique soul exploitée par l’industrie culturelle. Thaemlitz dévoile les rapports qui unissent l’industrie musicale et l’administration religieuse par l’exposition des liens entre cérémonie liturgique et performance musicale. L’exercice de la musique est repositionné au cœur des contraintes matérielles qu’elle n’a jamais quittées : en excédant les durées standardisées, l’album dérègle le protocole commercial de diffusion de musique en ligne.
Pour cet album, Thaemlitz a passé plusieurs années à enquêter sur un ensemble hétéroclite de manifestations du dogmatisme et des superstitions. Par exemple, le Chant I traite des manières dont le changement médical de genre nourrit des « cultes essentialistes » qui finissent eux-mêmes par réaffirmer des constructions patriarcales. Le Chant III enquête sur les dispositifs de sonorisation employés dans un couvent aux Philippines, dévoilant les stratégies du prosélytisme religieux face à des cultures divergentes.

Project: Soleil politique

close
en

Hans Schabus

2502-02-tagliata

Born 1970, Watschig, Austria
Lives and works in Vienna, Austria

Image:
Hans Schabus, Konstruktion des Himmels, 1994. 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 et ZERO…

Project: The Registry of Promise

close
en - it - fr

Stefania Meazza

Stefania Meazza is a critic and an independent curator. She is correspondent for the Italian contemporary art magazine Juliet since 2006 and she also collaborates with the French magazine Zérodeux. She lives and works in Toulouse, where she is professor of Research Methodology at the Institut supérieur des arts.

Project: Piano – alto!

 

Stefania Meazza è critica e curatrice indipendente. Collabora come corrispondente dalla Francia con la rivista d’arte contemporanea “Juliet” dal 2006 e con “Zérodeux”, magazine francese on-line. Vive e lavora a Tolosa, dove insegna Metodologia della ricerca all’Institut supérieur des arts.

 

Stefania Meazza est critique et commissaire indépendante. Elle est correspondante depuis la France pour le magazine d’art contemporain italien “Juliet” depuis 2006 et écrit également pour la revue “Zérodeux”. Elle vit et travaille à Toulouse, ou elle enseigne la Méthodologie de la recherche à l’Institut supérieur des arts.

close
en - it

Félix González-Torres

Born 1957, Guáimaro, Cuba
† 1996, Miami, FL, USA

In his brief career, the American artist Félix González-Torres, born in Cuba, found a new and engaging way to forge a rapport between art and life, public and private, creator and spectator. Using anonymous objects and actions that reference minimalist art, the artist shows how these can become charged with emotions and experiences. Gonzalez-Torres’s work revolves around commemorating events, exploring the enduring nature of memory, and materializing the intangible, and he tackles these themes using a distinctive form of expression: inscriptions.
His Portraits are one example, commissioned works that draw on the collaboration between artist and client. The sitter describes formative events in his or her life that the artist notes down, using them as the basis for a frieze recording personal memories and historic events. The portraits’ function is similar to that of a commemorative monument: they unite an individual and his or her era.
The artist also created portraits of institutions, such as the Museum of Contemporary Art in Los Angeles and the Cincinnati Art Museum. The latter, presented in the exhibition, consists of a list of dates and events pertaining to the history of the American museum, alternating with historic events. These inscriptions are positioned around the edge of the exhibition space where the walls meet the ceiling, without a clear indication of where the list starts or ends. Each visitor is therefore free to decide where to start reading. The font and color are chosen by the artist, while the client and the exhibitor are free to add or remove dates at will, effectively revising the history or “portrait.”

Nato a Guáimaro, Cuba, nel 1957
† 1996, Miami, FL, USA

Nella sua breve carriera, l’artista americano Félix González-Torres, nato a Cuba, ha trovato un modo nuovo e affascinante di impostare il rapporto fra arte e vita, pubblico e privato, creatore e spettatore. Attraverso oggetti o azioni anonime, che rimandano alla tradizione minimalista, l’artista mostra quanto quegli stessi possano caricarsi di emozioni e di esperienze individuali. Gonzalez-Torres pone al centro del suo lavoro la commemorazione degli eventi, la perennità del ricordo, la materializzazione dell’impalpabile, e affronta questi temi servendosi di una particolare forma espressiva: l’iscrizione.
I Portraits (“ritratti”) ne sono un esempio. Si tratta di opere su commissione, basate sulla collaborazione tra l’artista e il committente. Quest’ultimo racconta una serie di avvenimenti formativi della sua vita, che l’artista trascrive. Dalle informazioni così raccolte, Gonzalez-Torres crea dei fregi, in cui si succedono ricordi personali ed eventi storici. I fregi svolgono la funzione essenziale del monumento commemorativo: congiungono in un’unica forma l’individuo e la sua epoca.
L’artista realizza anche ritratti di istituzioni, come quello del Museum of Contemporary art di Los Angeles, o del Cincinnati Art Museum. Quest’ultimo, presente in mostra, consiste in una lista di date ed eventi relativi alla storia del museo americano, intervallati da fatti storici. Tali iscrizioni sono collocate lungo il perimetro della sala espositiva, a poca distanza dal soffitto, senza che siano indicati chiaramente l’inizio o la fine della lista. Ogni visitatore, quindi, può decidere dove cominciare la lettura. Carattere e colore utilizzati sono stabiliti dall’artista. Il committente dell’opera e l’istituzione che la ospita, invece, sono liberi di togliere o aggiungere alcune date a sua discrezione, in modo da poter sempre rivedere la propria storia, ovvero il proprio “ritratto”.

Project: Soleil politique

close
en - it - fr

Rainer Oldendorf

Born 1961, Lüchow, Germany
Lives and works in Lörrach, Germany and Paris, France

From 1977 to 1983, Rainer Oldendorf participated in the “Free Cinema” in Lörrach, an alternative cinema that screens and produces experimental film. His interest in appropriation and use of cinema dates from this period. His practice includes film, video, photography, architecture, and light, and reflects on personal, historical, and political aspects of his own past, developed in the specific contexts in which he produces his work and in collaboration with the individuals involved in each project.
Marco is a picaresque film, made up of twelve episodes filmed and projected progressively in different countries since 1995 following a principle of continuity/discontinuity that takes into account the specificities and constraints of each invitation. The guiding thread throughout the film is the main character, Paul, who appears in each episode; the narrative framework follows a storyline and, at the same time, embraces the fragmentary nature of its production. Conceived as an open, fragmentary, and sitespecific work, the film has been shot in Düsseldorf, Lyon, Tel Aviv, New York, Paris, Bilbao, Kyoto, Lörrach, and Rio de Janeiro, in the language of each city. Soleil politique offers an opportunity for the artist to produce a new episode, Marco 13, Bozen/Bolzano, featuring the artist’s father in the main role. An extract of the episode is shown as part of an installation that also includes references to other works by the artist.

Nato a Lüchow, Germania, nel 1961
Vive e lavora a Lörrach, Germania, e Parigi, Francia

Tra il 1977 e il 1983, Rainer Oldendorf ha collaborato con il “Free Cinema” di Lörrach, uno spazio riservato alla produzione e diffusione di film sperimentali. In questo periodo l’artista si è dedicato allo studio dei processi di appropriazione del cinema e degli altri media. Nel suo lavoro si serve di film, video, dell’architettura e della luce, per proporre una riflessione sugli aspetti personali, storici e politici del proprio percorso, riflessione che viene sviluppata nel contesto specifico dei luoghi in cui le opere sono prodotte, e in relazione alle persone implicate nei progetti. Marco è un film picaresco suddiviso in dodici episodi, realizzati e proiettati a partire dal 1995, tappa dopo tappa, in diversi Paesi, secondo un principio di continuità/discontinuità che subisce le specificità e i vincoli degli inviti successivi. Il filo conduttore è il personaggio principale, di nome Paul, che compare in ogni capitolo. La trama segue una storia che ingloba il carattere frammentario della sua produzione. Costruito come un’opera aperta, smembrata, in situ, è stato girato tra Düsseldorf, Lione, Tel Aviv, New York, Parigi, Bilbao, Kyoto, Barcellona, Lörrach e Rio de Janeiro, nella varie lingue parlate in ogni città. La mostra Soleil politique è l’occasione per filmare a Bolzano una nuova parte del film, intitolata Marco 13, Bozen/ Bolzano, con il padre dell’artista nel ruolo principale. Un estratto della sequenza integrerà un’installazione, che raccoglie dei riferimenti a diversi altri lavori dell’artista.

Né à Lüchow, Allemagne, en 1961
Vit et travaille à Lörrach, Allemagne, et Paris, France

Rainer Oldendorf était impliqué entre 1977 et 1983 dans le « Free Cinema » de Lörrach, un lieu de diffusion et de production de cinéma expérimental. De cette période date son engagement dans des processus d’appropriation de films et de médias. Il utilise dans son travail l’image en mouvement, l’architecture et la lumière, afin de proposer une réflexion sur les aspects personnels, historiques et politiques de son propre parcours, développée dans le contexte spécifique des lieux où les œuvres sont produites et en lien avec les personnes impliquées dans ses projets.
Marco est un film picaresque, segmenté en douze épisodes réalisés et projetés étape par étape dans différents pays depuis 1995, selon un principe de continuité/discontinuité qui subit les spécificités et les contraintes des invitations successives. Le fil conducteur est le personnage principal, Paul, qui apparaît dans chacune des parties ; la trame narrative suit une histoire tout en englobant le caractère fragmentaire de sa production. Construit comme une œuvre ouverte, disloquée, in-situ, il a été tourné à Düsseldorf, Lyon, Tel Aviv, New York, Paris, Bilbao, Kyoto, Barcelone, Lörrach et Rio de Janeiro, dans la langue propre à chaque ville. L’exposition Soleil politique est l’occasion du tournage à Bolzano d’un nouveau volet du film, Marco 13, Bozen/Bolzano, avec le père de l’artiste dans le rôle principal. Un extrait de la séquence intègre une installation qui réunit des références à divers travaux.

Project: Soleil politique

close
en - it - fr

Sonia Leimer

Sonia Leimer, Platzhalter, 2013

Sonia Leimer, Platzhalter, 2013

Born 1977, Merano, Italy
Lives and works in Vienna, Austria
She studied at the Academy of Fine Arts in Vienna. Her installations and videos express a certain contrast between space and time, and through them she wonders about the meaning of using materials in relation to their conceptual manipulation. Her interest in materials and contents – usually fragile, in a state of continuous transition – is one ­­­­of the most important aspects of her art. She explores the nature of our perception, the basis of our medial, historic and individual experience as well as changes between fiction and reality. She has won several international awards: the Paul Flora Prize in 2011, the Audi Award for New Positions Cologne in 2010, the Margarete Schütte-Lihotzky Grant in 2005. In 2009 she was shortlisted for the Premio Cairo. Her major solo exhibitions are: Series of successive instants, Galerie Nächst St. Stephan, Login, Vienna (2009); No Site to Fall in, Salzburger Kunstverein, Salzburg (2010); Träger, Artothek Köln (2012); Space Holder, Gallery Nächst St. Stephan, Vienna (2012); Undefiniertes Bauvorhaben, BIG, Salzburg (2013); Bend a Bow, MAK Center Garage Space, Los Angeles (2012); Along those lines, Museion, Bolzano (2013). She has taken part in important group shows at: Parachute Pavilion, New York (2005); MAK Center for Art and Architecture, Los Angeles (2006); Kunsthalle Exnergasse, Vienna (2008); Galerie ar/ge Kunst, Bolzano (2008); Museum for Art, Pori, Finland (2010); and Freies Museum Berlin (2012).

Project: From & To

 

Sonia Leimer nasce a Merano nel 1977. Studia all’Accademia di Belle Arti di Vienna. I suoi lavori, basati su materie e contenuti fondamentalmente fragili, esprimono il contrasto tra spazio e tempo, interrogandosi sull’entità della percezione, le fondamenta che costituiscono l’esperienza mediale, storica, individuale. Ha vinto vari riconoscimenti internazionali, tra cui il Paul Flora Prize nel 2011, l’Audi Award for New Positions a Colonia nel 2010. Tra le recenti mostre personali: Träger, Artotek Köln, Colonia (2012); Undefiniertes Bauvorhaben, BIG, Salisburgo (2013); Bend a bow, MAK Center Garage Space, Los Angeles (2012); Lungo quelle linee, Museion, Bolzano (2013). Ha partecipato a varie mostre collettive: al Parachute Pavilion di New York (2005), alla Galerie ar/ge Kunst di Bolzano, al Museum for Art di Pori, Finlandia (2010) e al Freies Museum di Berlino (2012). Vive e lavora a Vienna.

 

Née à Merano en 1977, vit et travaille à Vienne. Elle a étudié à l’Académie des Beaux-Arts de Vienne. Son travail, basé sur les matériaux et leur teneur fondamentalement fragile, exprime le contraste entre l’espace et le temps et questionne la mesure de la perception, base qui compose l’expérience médiatique, historique et individuelle. Elle a remporté plusieurs prix internationaux, dont le Prix Paul Flora en 2011, l’Audi Award for New Positions a Cologne en 2010. Expositions récentes : Träger, Artotek Köln, Cologne (2012) ; Undefiniertes Bauvorhaben, BIG, Salzbourg (2013) ; Bend a bow, MAK Center Garage Space, Los Angeles (2012) ; Lungo quelle linee, Museion, Bolzano (2013). Expositions collectives au Parachute Pavilion, New York (2005), à la Galerie ar/ge Kunst, Bolzano, au Museum for Art, Pori, Finlande (2010) et au Freies Museum, Berlin (2012).

Image:
Sonia Leimer, Platzhalter, 2013

close
en - it

Marta Minujín

Marta Minujín, El obelisco acostado, 1978

Marta Minujín, El obelisco acostado, 1978

Born 1943, Buenos Aires, Argentina
Lives and works in Buenos Aires, Argentina

A pioneer of happenings and performance art, “soft sculptures” and video art, the Argentine artist Marta Minujín often uses ephemeral materials like cardboard, cloth, and foodstuffs to create works that are both monumental yet fragile. Inspired by Andy Warhol’s Pop Art, Minujín’s works take a satirical approach to consumerism and express a strong critique of the events that shaped Argentina’s history. One example of the latter is El obelisco acostado, presented in the exhibition in the form of documentation. Created for the first São Paulo Biennale, the project consisted of a life-size copy of the obelisk in Plaza de la Republica in Buenos Aires, built at the end of the 1930s and now something of a national symbol. The artist’s version was horizontal rather than vertical, enabling viewers to enter and walk the length of the 64-meter sculpture. Inside, two screens showed video footage of the original obelisk filmed over a 24-hour period, including the celebrations for Argentina’s World Cup victory in 1978. El obelisco acostado was the first in a series of works Minujín conceived as a subversive take on the major monuments of Western tradition.

Nata a Buenos Aires, Argentina, nel 1943
Vive e lavora a Buenos Aires, Argentina

L’artista argentina Marta Minujín è stata una pioniera nei campi dell’happening e della performance art, delle “sculture morbide” e della videoarte. Utilizza spesso materiali effimeri come cartone, tessuto e cibo per creare opere monumentali, ma al contempo fragili. Ispirati alla Pop Art di Andy Warhol, i lavori di Marta Minujín esprimono un approccio satirico verso il consumismo e una forte presa di posizione rispetto alle vicende storiche dell’Argentina: ne è un esempio la sua opera El obelisco acostado (L’obelisco adagiato), presente in mostra sotto forma di documentazione. Creato per la prima Biennale di San Paolo, il progetto consiste nella realizzazione di una copia di uguali dimensioni dell’obelisco che si trova in Plaza de la Republica a Buenos Aires, costruito alla fine degli anni ’30 del Novecento e diventato simbolo nazionale argentino. L’artista cambia l’orientamento del monumento, ponendolo in posizione orizzontale invece che verticale.
In tal modo lo spettatore vi può entrare e percorrerne tutti i sessantaquattro metri di lunghezza. All’interno, due monitor proiettano delle videoregistrazioni realizzate nell’arco di ventiquattr’ore dall’obelisco originale, tra cui spiccano le immagini dei festeggiamenti per la vittoria dell’Argentina ai Mondiali di calcio del ’78. El obelisco acostado è la prima di una serie di opere, nelle quali Marta Minujín si propone di demistificare i grandi monumenti della tradizione occidentale.

Image:
Marta Minujín, El obelisco acostado, 1978. 1st Latin American Biennial of São Paulo. Courtesy of the artist

Project: Soleil politique

close
en - it - fr

EMANUELE GUIDI

Emanuele Guidi (1978) is an independent curator and, since July 2013, the artistic director at the kunstverein ar/ge kunst (Bolzano, Italy). Previous projects include a.o.: How to Tell a Story (DEPO, Istanbul 2013, with C. Larqué); Between Form and Movements (Galleria E. Astuni, Bologna, 2012); Rehearsing Collectivity – Choreography Beyond Dance (Tanzfabrik, Berlin, 2011, with E. Basteri, E. Ricci and A. Giannotti); Collective Body (Liquid Loft, Vienna, 2010, curated with A. Giannotti). Among his edited publications: Negus, Invernomuto, Humboldt Books, Milan, 2014; Rehearsing Collectivity,Argobooks, Berlin, 2012(with E. Basteri, E. Ricci); Between Form and Movements, Bologna, 2012; Urban Makers, Parallel Narratives of Grassroots Practices and Tensions, bbooks, Berlin, 2008.

Emanuele Guidi (1978) è curatore indipendente e dal 2013 direttore artistico del kunstverein ar/ge kunst di Bolzano. Progetti precedenti includono, tra gli altri: How to Tell a Story (DEPO, Istanbul 2013, con C. Larqué); Between Form and Movements (Galleria E. Astuni, Bologna, 2012); Rehearsing Collectivity – Choreography Beyond Dance (Tanzfabrik, Berlino, 2011, con E. Basteri, E. Ricci e A. Giannotti); Collective Body (Liquid Loft, Vienna, 2010, curata con A. Giannotti). Ha editato le seguenti pubblicazioni: Negus, Invernomuto, Humboldt Books, Milano, 2014; Rehearsing Collectivity, Argobooks, Berlino, 2012 (con E. Basteri, E. Ricci); Between Form and Movements, Bologna, 2012; Urban Makers, Parallel Narratives of Grassroots Practices and Tensions, bbooks, Berlino, 2008.

Emanuele Guidi (1978) est commissaire indépendant et, depuis juillet 2013, directeur artistique du centre d’art ar/ge kunst (Bolzano, Italie, www.argekunst.it). Parmi ses projets récents : How to Tell a Story (DEPO, Istanbul 2013, avec C. Larqué) ; Between Form and Movements (Galleria E. Astuni, Bologne, 2012) ; Rehearsing Collectivity – Choreography Beyond Dance (Tanzfabrik, Berlin, 2011, avec E. Basteri, E. Ricci and A. Giannotti) ; Collective Body (Liquid Loft, Vienna, 2010, en co-commissariat avec A. Giannotti). Il a coordonné plusieurs publications, parmi lesquelles : Negus, Invernomuto, Humboldt Books, Milano, 2014 ; Rehearsing Collectivity, Argobooks, Berlin, 2012 (with E. Basteri, E. Ricci) ; Between Form and Movements, Bologne, 2012 ; Urban Makers, Parallel Narratives of Grassroots Practices and Tensions, bbooks, Berlin, 2008.

Space: ar/ge kunst Galerie Museum
Project: Exercizing Doubt: Exhibition as Research

close
en - it - fr

VINCENT HONORÉ IN CONVERSATION WITH EMANUELE GUIDI, AR/GE KUNST, BOLZANO

VINCENT HONORÉ IN CONVERSATION WITH EMANUELE GUIDI, AR/GE KUNST, BOLZANO

Vincent Honoré I read in the mission statement of the institution that “in recent years ar/ge kunst has turned its attention toward the idea of the exhibition as a medium.” Can you define further what do you mean by an exhibition as a medium and how this is implemented in the gallery programme?

Emanuele Guidi Exhibitions have always been the main feature of ar/ge kunst since its foundation. That’s why I think it’s important to work with artists, and not just artists, who deal with exhibitions in their complexity. Exhibitions are multifaceted ‘machines’ where artworks play a central, but not exclusive, role. They are the product of relationships between many agents – artist(s), curator(s), artwork(s), audience(s), display, etc. – that have to find an arrangement in space and time. Making an exhibition is about going public, about communicating and about mediating a message, and therefore all elements that constitute the exhibition have to be taken into consideration as agents of mediation and communication; all aspects that make the exhibition a specific medium for ‘going public’. An exhibition is a designed situation, still open to a lot of various uncontrollable factors, time being the first of those; so I am interested in practices that are aware of how this time can be administered and shared among all those who are part of the exhibition, primarily the audience.

2_Falke Pisano con Archive Books_Constellations of One and Many_installation view_photo by_Ivo corra¦Ç

2. Exhibition view, Falke Pisano/Archive Books, Constellation of One and Many

V.H. Nikolaus Hirsch asked this question: “Who are the authors in the construction of institutional space?”. Who are the authors of ar/ge kunst, which the name is being an abbreviation of the German word ‘Arbeitsgemeinschaft’ (working group)?

E.G. The authors of ar/ge kunst have been and are still ‘many’, although we are a small-scale institution with a small staff. When it was founded in 1985 the name ar/ge kunst was chosen to indicate a collective dimension behind the institution, and a collective working methodology. Various people, mainly from the field of art and architecture, curated and organized exhibitions and activities of different kinds with a quite intense rhythm (up to twelve exhibitions a year). Since I was appointed I’ve found it interesting how the meaning of ‘Arbeitsgemeinschaft’ disappeared behind its own abbreviation (ar/ge) and remains unknown to most people. The 30th anniversary in 2015 seems to be the best occasion to explore the notion of ‘collective work’ that originally inspired the choice of the name. And I am doing this by inviting artists, designers, choreographers, theorists, etc., who put into practice this idea of a working community in their research, especially by using the exhibition as a medium to activate forms of relationships.

Cl+®mence Seilles - argekunst web 05

3. Exhibition view, Clémence Seilles, Bassin ouvert

V.H. The mission of your institution is to produce and present regional, national and international artistic practices and to conduct critical research on the role of art and its relationship with the social and political sphere within which it operates. I would like to ask you what you think is the core responsibility of the institution nowadays, with regard to the artists and the audience.

E.G. I feel it’s extremely important – and a mark of respect towards both artists and audience – to find ways to mediate the artists’ practices for the benefit of the regional context in which we operate. It’s clearly important to avoid the risk of being ‘parochial-minded’, and we try to do so by facilitating practices and approaches that are critical and capable of producing links and connections between local and more widespread issues. And I guess this is possible just by administering resources (first of all, time, as the most precious one) in a savvy way. Working in the South Tyrol, a region at the border between Italy and Austria with an extremely dense historical, political, linguistic profile, and therefore not being in any of the ‘official centers’ of the art world, we are able to understand and use time differently, giving artists the opportunity to undertake longer periods of research that can create interesting fractures in the way the local is perceived by the audience. In these terms it’s very important to mobilize forms of community around the artists’ practice and allow them to influence the research as well as adding layers of meaning to the work.

Cl+®mence Seilles - argekunst web 01

4. Exhibition view, Clémence Seilles, Bassin ouvert

V.H. PIANO intends to create a network of art spaces working together, exchanging and interacting. Why did you decide to join the project and how are you participating in it?

E.G. Since arriving in Bolzano I’ve been trying to activate a number of collaborations and co-productions locally, nationally and internationally. It is a process that takes time, but some good steps have been made in this direction. Pierre Bal-Blanc invited me to look into PIANO and introduced me to Bétonsalon. And with Mélanie Bouteloup and Virginie Bobin, we agreed it was important to go beyond the simple exchange of artists and to look at how both institutions relate to the idea of ‘Exhibition as a Medium for Research’. This relates to our current exhibitions in a number of different ways (ar/ge kunst is showing the work by the French artist and designer Clémence Seilles at the moment). We also discussed this topic at a conference at Bétonsalon on 30 May with the Italian collective Invernomuto and the French curator Rémi Parcollet.

Cl+®mence Seilles - argekunst web 18

5. Exhibition view, Clémence Seilles, Bassin ouvert

Vincent Honoré Ho letto nello statement riguardante la mission dell’istituzione che dirigi, che “negli ultimi anni ar/ge kunst ha concentrato la propria attenzione sull’idea dell’exhibition as a medium”. Puoi precisare cosa intendi per ‘exhibition as a medium’ e come si sviluppa questa nozione all’interno del programma dello spazio?

Emanuele Guidi Le mostre sono sempre state l’attività principale di ar/ge kunst, sin dalla fondazione. È per questo che credo sia importante lavorare con artisti, e non solo, che si interessano all’idea di mostra nella sua complessità. Le esposizioni sono “macchine” complesse, nelle quali le opere svolgono un ruolo centrale ma non esclusivo. Esse sono il risultato di relazioni tra diversi attori – artisti, curatori, opere, pubblico, display ecc. – che devono trovare una sistemazione nello spazio e nel tempo. Fare una mostra significa creare un qualcosa di pubblico, comunicare e mediare un messaggio, perciò tutti gli elementi che concorrono a definirla devono essere considerati quali fattori di mediazione e comunicazione. Sono tutti aspetti che fanno della mostra un medium specifico finalizzato a creare qualcosa di pubblico. Una mostra è una situazione progettata, che rimane tuttavia aperta a diversi fattori incontrollabili, il primo dei quali è il tempo. Per questo motivo mi interessano le pratiche che implicano la consapevolezza che il tempo può essere gestito e condiviso tra tutti coloro che sono parte della mostra, primo tra tutti il pubblico. 

V.H. Nikolaus Hirsch si poneva la seguente domanda: “Chi sono gli autori della costruzione di uno spazio istituzionale?”. Chi sono gli autori di ar/ge kunst, il cui nome è l’abbreviazione del termine tedesco ‘Arbeitsgemeinschaft’ (gruppo di lavoro)?

E.G. Gli autori diar/ge kunst sono stati e sono tuttora ‘molti’, nonostante siamo un’istituzione di piccole dimensioni con uno staff ridotto. Quando lo spazio fu fondato, nel 1985, il nome ar/ge kunst fu scelto per indicare la dimensione collettiva su cui esso si fondava, così come la sua metodologia di lavoro collettiva. Diverse persone, provenienti soprattutto dai campi dell’arte e dell’architettura, hanno curato e organizzato mostre e attività di vario tipo con un ritmo piuttosto intenso (fino al 12 mostre l’anno). Sin da quando sono stato nominato direttore ho trovato interessante come il significato di ‘Arbeitsgemeinschaft’ fosse scomparso dietro la sua abbreviazione (ar/ge) e come fosse sconosciuto ai più. Il 30° anniversario dello spazio, che cade nel 2015, mi è sembrato la migliore occasione per riflettere sulla nozione di “lavoro collettivo” che ha ispirato originariamente la scelta del nome. Sto quindi portando avanti tale riflessione attraverso il coinvolgimento di artisti, designer, coreografi, teorici ecc., che mettono in atto questa idea di comunità di lavoro all’interno della loro ricerca, in particolare usando la mostra come medium al fine di attivare nuove forme di relazione.

V.H. La mission della tua istituzione consiste nel presentare pratiche artistiche provenienti dal contesto regionale, nazione e internazionale e nel condurre una ricerca critica sul ruolo dell’arte e sulla relazione che essa intrattiene con la sfera sociale e politica in cui si realizza. Vorrei chiederti quale credi sia la principale responsabilità di un’istituzione oggi, sia rispetto agli artisti sia in relazione al pubblico.

E.G. Credo sia molto importante – quale segno di rispetto verso gli artisti e il pubblico – trovare il modo di mediare le pratiche degli artisti a beneficio del contesto locale in cui operiamo. Ovviamente è molto importante evitare il rischio di una mentalità troppo ristretta, cosa che tentiamo di fare presentando pratiche e approcci che siano critici e capaci di produrre legami e connessioni tra temi locali e idee più ampie. Credo che ciò sia possibile solo gestendo le risorse (prima tra tutti il tempo, la più preziosa) in modo consapevole.
Lavorando in Sud Tirolo, una regione al confine tra Italia e Austria con un’identità storica, politica e linguistica estremamente densa, e non trovandoci perciò in nessuno dei “centri ufficiali” del mondo dell’arte, siamo in grado di comprendere e usare il tempo diversamente, dando agli artisti l’opportunità di concentrarsi su periodi di ricerca di più lunga durata che possono creare interessanti fratture nel modo in cui il contesto locale viene percepito dal pubblico. In questi termini, è molto importante far sì che si creino forme di comunità intorno alle pratiche degli artisti e permettere che esse ne influenzino la ricerca, aggiungendo stratificazioni nuove al significato del lavoro.

V.H. PIANO intende creare una rete di spazi artistici che lavorano insieme, attraverso le pratiche dello scambio e dell’interazione. Per quale motivo hai deciso di prendere parte al progetto e come si realizza la tua partecipazione?

E.G. Sin da quando sonoarrivato a Bolzano ho cercato di attivare una serie di collaborazioni e coproduzioni a livello locale, nazionale e internazionale. È un processo che richiede tempo, ma abbiamo compiuto importanti passi in questa direzione. Pierre Bal-Blanc mi ha invitato a esaminare il progetto PIANO e mi ha presentato a Bétonsalon. Così, insieme a Mélanie Bouteloup e Virginie Bobin, abbiamo convenuto che era importante andare oltre il semplice scambio di artisti e concentrarsi su come le due istituzioni affrontavano il tema dell’“Exhibition as a Medium for Research”. Esso viene sviluppato all’interno delle nostre mostre attuali in molti modi diversi (ar/ge kunst presenta in questo momento il lavoro dell’artista e designer francese Clémence Seilles). Abbiamo inoltre discusso questo tema in occasione della conferenza tenutasi presso Bétonsalon lo scorso 30 maggio, cui hanno partecipato il collettivo italiano Invernomuto e il curatore francese Rémi Parcollet.

Images:
1. ar/ge Kunst space. Photo: Ivo Corrà
2. Exhibition view, Falke Pisano/Archive Books. Constellation of One and Many, 2014. Photo: Ivo Corrà
3-5. Exhibition views, Clémence Seilles, Bassin ouvert, 2015. Photo: aneres. Courtesy the artist and ar/ge kunst

close
en - it - fr

THOMAS TEURLAI

Thomas Teurlai, Camping sauvage, 2012

Thomas Teurlai, Camping sauvage, 2012

Born 1988, Meaux, France
Lives and works in Vladivostok and Geneva, Switzerland
Graduated from DNAP at Beaux-arts de Nantes and DNSEP (Diplôme National Supérieur d’Expression Plastique) at the Villa Arson in Nice in 2009. Young création of villa de Nice Award with a one year residency. He has entered into many collaborations with Quentin Euverte and Ugo Schiavi. His solo exhibitions include: Chopper Desk, The Fish Factory, Stodvarfjordur (2012); Klaus Nomi auf L.S.D., Picto, Geneva (2011).
Among his group exhibitions: Le trou, Villa Bernasconi, Geneva (2012); Mauvais Coups Pour Trois Fois Rien, Hangar Alstom, Nantes (2011); Le Laboratorium, Arles (2011); 345 Elder, The Broadway Space, New York (2007).
Solo exhibition as part of the Modules – Fondation Pierre Bergé – Yves Saint Laurent at Palais de Tokyo, Paris (2013-2014).

Project: From & To

 

Nato nel 1988, vive e lavora a Vladivostok e a Ginevra. Ottiene il diploma DNSEP alla Villa Arson nel 2009. Tra le sue mostre personali: Chopper Desk, The Fish Factory, Stodvarfjordur (2012); Klaus Nomi auf L.S.D., Picto, Ginevra (2011); Modules – Fondation Pierre Bergé – Yves Saint Laurent, al Palais de Tokyo, Parigi (2013-2014). Fra le mostre collettive, segnaliamo: Le trou, Villa Bernasconi, Ginevra (2012); Mauvais Coups Pour Trois Fois Rien, Hangar Alstom, Nantes (2011); Le Laboratorium, Arles (2011); 345 Elder, The Broadway Space, New York (2007).

 

Né en 1988, vit et travaille à Vladivostok et Genève. Diplômé du DNSEP à la Villa Arson en 2009. Parmi ses expositions personnelles : Chopper Desk, The Fish Factory, Stodvarfjordur (2012); Klaus Nomi auf L.S.D., Picto, Geneve (2011); Modules – Fondation Pierre Bergé – Yves Saint Laurent, au Palais de Tokyo, Paris (2013-2014). Parmi ses expositions collectives : Le trou, Villa Bernasconi, Genève (2012); Mauvais Coups Pour Trois Fois Rien, Hangar Alstom, Nantes (2011); Le Laboratorium, Arles (2011); 345 Elder, The Broadway Space, New York (2007).

Image:
Thomas Teurlai, Camping sauvage, 2012

close
en - it - fr

GUILLAUME MANSART IN CONVERSATION WITH DIANE BLONDEAU, VIVIEN ROUBAUD AND THOMAS TEURLAI

GUILLAUME MANSART IN CONVERSATION WITH DIANE BLONDEAU, VIVIEN ROUBAUD AND THOMAS TEURLAI

A Dystopian Sculpture

Guillaume Mansart It’s the first time you’ve worked together. Here you’re offering a joint production. In what sense was this collective dynamic important?
Diane Blondeau, Vivien Roubaud and Thomas Teurlai The From & To project was based on the idea of a collaborative exchange between young French and Italian artists. The three of us already knew each other. We got along well and lived in more or less the same area. Each of us having been separately involved in several collaborations, we were aware that this presented an advantage in terms of energy, labour power and letting go.

G.M. Beyond the spirit of intellectual competition, one senses that this collective logic is also efficient when it comes to production.  At the work-creation stage, a distinctive organisational logic can already be discerned…
D.B, V.R., T.T. This is something that creeps into our practices and into those of quite a few artists of our generation. Primarily out of pure pragmatism: how can something be created with few resources? By inventing our tools, by making do with whatever we have at our disposal. When it’s finished, the work might appear to “take a stand against traditional principles”, but more than anything else this is because we have no choice! It’s a flaw that becomes a quality. 

G.M. What is the meaning of the title Jambe de botte?
D.B, V.R., T.T. It’s the literal translation of “bootleg”, an English term that designates pirate recordings of concerts or studio albums. The term also designates the art of “turntablism”, which consists in constructing a single piece of music out of several others. Jambe de botte served as a shapeless title, like melted plastic.

G.M. For the creation of this piece, you tested several types of material, ultimately choosing plastic from melted garden chairs. There’s a certain irony in the fact that plastic chairs are turned into a kind of “missile sculpture”. Why did this material stand out?
D.B, V.R., T.T. This brings us back to production circuits and pragmatism. How a combination of gestures can produce an image. We very empirically tested hundreds of combinations. Then we took a deckchair, burned it with a flamethrower, and the result was perfect. We work on the French Riviera, where the dumps are full of this kind of furniture. We were conscious of reflecting the dystopian faults of this strange place that, when you remove the glamour of the sun and palm trees, smells of cheap suntan lotion, melted poodles and social violence.

G.M. How were the forms of the different sculptures created?
D.B, V.R., T.T. We aligned casts found in an abandoned train parts foundry, in such a way that we were able to create cylinders that could be spun like record players. We poured the plastic and suddenly we had Scud missiles.

G.M. Could you explain the “archaeo-acoustic” notion behind your project?
D.B, V.R., T.T. It’s a fairly vague discipline situated between acoustics, archaeology and charlatanism, and its aim is to find pre-Edison sound recordings through sound imprints accidentally recorded on different types of object. Since sound is a vibration, in principle it can be inscribed on the media it comes into contact with.

G.M. The forms of the various sculptures evoke something of a warlike world. Added to these forms is a sound that gives the space a stressful atmosphere. How is this sound produced?
D.B, V.R., T.T. From the outset we planned to create forms that could be “played” in the space. Then everything developed very spontaneously. The day before the exhibition opened, we had to make up our minds to bring the sculptures into the exhibition venue. Once they were set up, we took a playback head and placed it on one of the rotating Scuds and it was Fallujah in the centre dart. The perfect tautology.

G.M. Although object and device diversion and DIY are found in your respective works, I get the impression that the question of sculpture is fairly new. In fact, in your piece one finds “historical” questions liked to sculpture: materiology, volume, casting techniques, a plinth…  Does Jambe de botte enable you to tackle new fields of investigation?
D.B, V.R., T.T. We considered simple questions that are not at all historical. A plinth is practical. It keeps the work at a distance and prevents a Scud from falling on someone. Plastic is more solid than margarine, etc.  Above all, this project confirmed that in the middle of personal practices and trajectories, it’s essential to regularly make time for collective periods and keep making use of resourcefulness.

March 2015

Protagonists: Diane Blondeau, Vivien Roubaud, Thomas Teurlai
Project: From & To

Une sculpture dystopique

Guillaume Mansart C’est la première fois que vous travailliez ensemble. Ici, vous faites une proposition de production partagée. En quoi cette dynamique collective a-t-elle été importante ?
Diane Blondeau, Vivien Roubaud et Thomas Teurlai L’idée à la base du projet From & To, c’était un échange collaboratif entre des jeunes artistes français et italiens. Tous les trois, nous nous connaissions déjà, nous nous entendions bien et nous vivions plus ou moins au même endroit. Après plusieurs collaborations chacun de notre coté, nous étions conscients de l’intérêt que cela représentait en matière d’énergies, de force de travail et de lâcher prise.

G.M. Au-delà de l’émulation intellectuelle, on sent que cette logique collective trouve aussi une efficience dans la question de la production. Dans l’étape de réalisation de l’œuvre on peut déjà lire une logique d’organisation propre…
D.B, V.R., T.T. C’est quelque chose qui traine dans nos pratiques comme dans celles de pas mal d’artistes de notre génération. D’abord par pur pragmatisme : comment réalise-t-on quelque chose avec peu de moyen ? En inventant nos outils, en faisant avec ce que l’on a sous la main. À l’arrivée, peut-être que le travail semble « s’affirmer contre les logiques traditionnelles », mais c’est plus par défaut qu’autre chose ! C’est un défaut qui devient une qualité. 

G.M. Que signifie le titre Jambe de botte ?
D.B, V.R., T.T. C’est la traduction littérale de « bootleg », un terme anglais qui désigne les enregistrements pirates de concerts ou de studio. Le terme désigne aussi l’art du « turntablisme » qui consiste à construire un seul morceau de musique à partir de plusieurs. Jambe de botte faisait un titre informe, comme du plastique fondu.

G.M. Pour la réalisation de cette pièce, vous avez testé plusieurs types de matériaux, pour au final vous arrêter sur du plastique provenant de chaises de jardin fondues. Il y a une forme d’ironie dans le fait de transformer des chaises en plastique en sorte « sculpture missile ». Pourquoi ce matériau s’est-il imposé ?
D.B, V.R., T.T. On en revient aux circuits de productions et au pragmatisme. Comment une combinaison de gestes simples peut « faire image ». Nous avons testé de manière très empirique des centaines de combinaisons. Puis nous avons pris un transat, nous l’avons brûlé au lance-flammes, et le résultat était parfait. Nous travaillions sur la Côte d’Azur, les décharges sont pleines de ce type de mobilier. Nous avions conscience de renvoyer les travers dystopiques de cet étrange endroit qui, dégagé du côté glamour du soleil et des palmiers, sent la crème solaire bon marché, le caniche fondu et la violence sociale.

G.M. Comment les formes des différentes sculptures ont-elles été créées ?
D.B, V.R., T.T. Nous avons aligné des moules trouvés dans une fonderie de pièces de trains abandonnées, de manière à pouvoir créer des cylindres que l’on pourrait faire tourner comme des phonographes. Nous avons coulé le plastique et d’un coup nous avions des missiles Scud.

G.M. Pourriez vous expliciter la notion d’ « archéo-acoustique » qui est à l’origine de votre projet ?
D.B, V.R., T.T. C’est une discipline assez obscure qui se situe entre l’acoustique, l’archéologie et le charlatanisme, et qui entend retrouver des enregistrements sonores pré-Edison à travers des empreintes sonores qui auraient été enregistrées accidentellement sur différents types d’objets. Puisque le son est une vibration, il peut censément s’inscrire sur les supports avec lesquels il entre en contact.

G.M. Les formes des différentes sculptures évoquent un univers plutôt guerrier, à ces formes s’ajoute un son qui installe dans l’espace d’exposition une atmosphère anxiogène. Comment se son est-il produit ?
D.B, V.R., T.T. Dès le début nous envisagions de créer des formes que l’on pourrait « jouer » dans l’espace. Ensuite, tout s’est enchainé de manière très spontanée. Nous avons dû nous résoudre, la veille du vernissage, à amener les sculptures dans le lieu d’exposition. Une fois qu’elles étaient installées, nous avons pris une tête de lecture que nous avons posé sur un des SCUD rotatifs et c’était Fallujah dans le centre d’art. Tautologique à souhait.

G.M. Si le détournement d’objets ou de dispositifs et le DIY sont présents dans vos travaux respectifs, j’ai l’impression que la question de la sculpture est assez nouvelle. En effet, on retrouve dans votre pièce des questions « historiques » liées à sculpture : matériologie, volume, techniques de moulage, socle, … Jambe de botte vous permet-elle d’engager de nouveaux champs d’investigation ?
D.B, V.R., T.T. On s’est posé des questions simples qui ne sont en rien historiques. Un socle c’est pratique, ça tient à distance et ça évite qu’un SCUD tombe sur quelqu’un. Le plastique c’est plus solide que la margarine, etc. Ce projet nous a surtout confirmé qu’il était indispensable au sein de pratiques et de trajectoires personnelles d’aménager régulièrement ces temps collectifs et de continuer à jouer de débrouille.

Mars 2015

Image:
1. Diane Blondeau / Vivien Roubaud / Thomas Teurlai, Jambes de bottes, 2014, mixed media. Photo: Villa Arson / Jean Brasille

close
en

ANDREA VILIANI

Since 2013 Andrea Viliani is the director of the Fondazione Donnaregina per le arti contemporanee – Madre, Naples, where he has been responsible for shows of Thomas Bayrle, Mario Garcia Torres/Alighiero Boetti, Giulia Piscitelli, Vettor Pisani, and Ettore Spalletti. He previously worked from 2009 to 2012 as Director of Fondazione Galleria Civica – Centro di Ricerca sulla Contemporaneità in Trento, where he curated and edited projects by Nedko Solakov, Rosa Barba, Clemens von Wedemeyer, Gustav Metzger, Melvin Moti, Robert Kuśmirowski, The Otolith Group, Dora García, Tris Vonna-Michell, and Alberto Garutti. In 2012 Andrea Viliani was a member of the Core Agents Group of dOCUMENTA(13) and he co-curated the related project in Kabul and Bamiyan (Afghanistan). From 2005 to 2009, Viliani was curator at the MAMbo – Museo d’Arte Moderna di Bologna, where he presented an exhibition program focused on the contemporary legacy of 1960s/1970s institutional critique (including exhibitions by Giovanni Anselmo, Christopher Williams, Jeroen de Rijke-Willem de Rooij, Ryan Gander, Markus Schinwald, Adam Chodzko, Bojan Sarcevic, Natascha Sadr Haghighian, Trisha Donnelly, Guyton\Walker and Seth Price). Among the 60 “players” of the 2007 Biennale de Lyon, he is a frequent contributor to FROG, Mousse, Kaleidoscope and Flash Art.

Partner: MADRE
Focus: Prepared Piano – Model for a New Institutionalism

close
en

Prepared Piano – Model for a new Institutionalism

Round table discussion moderated by Pierre Bal-Blanc
organized in the frame of PIANO, Prepared Platform for Contemporary Art – France-Italie 2014-2015

Villa Medici
Viale Trinità dei Monti, 1 – 00187 Roma
Friday May 9, 2014
10 – 12 am

The panel discussion Prepared Piano: Model for a New Institutionalism presents artists, curators, as well as the managers of places where various projects have been produced over the past few years in Europe. These projects have in common that they make novel use of cultural exchange instruments, while giving their activities both a local and international scope.

Various case studies will be presented during this panel discussion to bring back into play notions of crossdisciplinarity (Théâtre des expositions at Villa Medici), process (Per_formare una collezione at the MADRE in Naples), and plasticity of relations (Laboratoire Espace Cerveau at the IAC in Villeurbanne). The discussions as a whole will echo the desire to found “a new institutionalism”, which has developed over the past few years through initiatives coming from both artists and curators. The desire to reconfigure the institution based on the model of a community centre, laboratory, open school, and other places that are not mainly governed by market laws, is linked with the creative momentum that led to Prepared Piano. The proposed discussion aims to demonstrate that PIANO, as well as Salon Light, dedicated to independent publishing, and Vdrome, a distribution network for artist films, are today all tangible initiatives.

Pierre Bal-Blanc is the director of the CAC Brétigny. He is also an independent curator and the vice-president of the d.c.a / French association for the development of centres d’art. Since 2003, in resonance with the social thought of Charles Fourrier, he has been developing the “Phalanstère Project” within a centre d’art. This is a series of specific offerings that critically rework the principles of artwork accumulation.
His exhibition series “Living Currency” and “Draft Score for an Exhibition” negotiate the historical and contemporary analysis of the body and of strategies linked to performance in the visual arts. “The Death of the Audience “ and “Reversibility” are reflections on the consequences that the materiality of art objects has on the configuration of art-world protagonists, the role and form of cultural institutions today.

Interdisciplinary stage
Theater of Exhibitions / Villa Medici, Rome / presentation by Eric de Chassey

Conceived by the director Éric de Chassey and organised by the French Academy in Rome – Villa Medici every year since 2010, the Theatre of Exhibitions has been devised as a moment of encounter between the fellows in residence and the public, as well as one of dialogue and confrontation among the artists and scholars in residence. The different spaces of Villa Medici become ephemeral stages for installations, performances, projections, readings. The concept of openness, a predisposition to dialogue and confrontation among different disciplines is the characteristic that unites the projects, which are presented. The Theatre of Exhibitions has been designed as a “multiform laboratory” which displays the diversity of artistic practices and research, thus confirming the centrality of the French Academy in Rome in contemporary creation.

Éric de Chassey is the Director of the French Academy in Rome – Villa Medici since 2009. He is also Professor of Contemporary Art History at the École Normale Supérieure in Lyon. Since the beginning, his scientific activities have focused on the US and abstract art. He has published books and essays on XXth and XXIst century art. He has also curated numerous exhibitions, accompanied by publications such as Soulages XXIth century (Rome, Villa Medici, 2013) or Simon Hantaï (Rome, Villa Medici, 2014).

Thought’s spatialization
Space Brain Laboratory / IAC, Villeurbanne / presentation by Nathalie Ergino and Ann Veronica Janssens

Initiated in 2009 by the artist Ann Veronica Janssens and Nathalie Ergino, director of the Institut d’art contemporain, the project aims at starting from experiments in art to explore practical and theoretical research linking space and the brain. This interdisciplinary laboratory brings together the reflections and experiments of artists and scientists and also philosophers, anthropologists, art historians and theoreticians, thus providing as much coverage by neuroscience, physics and astrophysics as by hypnosis, telepathy and shamanism.

Since January, 2006, Nathalie Ergino is the director of the Institut d‘art contemporain. Former director of the School / FRAC Champagne-Ardenne (1994-2000), and of the museum of contemporary art [mac] of Marseille (2001-2005), she has curated big monographic exhibitions (Jimmie Durham, Rodney Graham, Raymond Hains, Ann Veronica Janssens, Carsten Höller) as well as collective exhibitions (Maisons-Cerveaux, Subréel).

Born in 1956 in Folkestone (UK), Ann Veronica Janssens lives and works in Brussels (BE). Her work has been the subject of numerous solo exhibitions. Since 1985, she has also participated in important group exhibitions, as well as various international biennials and in 1999 Venice where she represented Belgium with Michel François. She regularly collaborates with choreographers (Drouler Pierre and Anne Teresa De Keersmaeker). Her work has been presented recently within the exhibition Passion Fruit at the Centre Pompidou, Paris and within Dynamo, A century of light in art, 1913 – 2013 at the Galeries Nationales du Grand Palais.

Organizing the perceptible
Vdrome / Mousse, Milano / presentation by Enrico Boccioletti

Vdrome is an online platform that offers regular, high quality screenings of films and videos directed by visual artists and filmmakers, whose production lies in-between contemporary art and cinema. Each screening is presented during a limited period, as in a movie theatre. Vdrome makes available a program of exceptional artists’ films and videos that are selected due to their importance, quality and innovative strength, many of which are only shown in the context of film festivals, exhibitions or specific surveys, being therefore of very limited access. Vdrome is an initiative conceived and promoted by Mousse, curated by Edoardo Bonaspetti, Jens Hoffmann, Andrea Lissoni and Filipa Ramos, and maintained by Enrico Boccioletti.

Enrico Boccioletti is an artist and musician active under multiple names – Death in Plains, 4SICSX, spcnvdr and Enrico B – in the fields of postconceptual, new vernacular, performance and sound, interested into incompleteness and circularity, duplication and accumulation, waste, layering, forgery, faux-real. He also works for Mousse Magazine and Vdrome.

Incarnation of the collection
Per_formare una collezione / Madre, Naples / presentation by Andrea Viliani and Alessandro Rabottini

Per_forming a collection is an on-going project designed to develop the formation of the Museo MADRE’s permanent collection in Naples. It focuses on artists of different generations whose works have been conceived as physical and mental instruments that bring together thought and action in every possible media, linking visual arts to theatre and literature. The project aims to shape a collection that is articulated over time, combining archival research with commissions for new works taking into account the role of the museum as a place of memory and preservation as well as a continuing research and production laboratory. All the works presented have a relation with the city and its history: works conceived or exhibited here, from artist who happened to exhibit in Naples or works belonging to private or public local collections.

Since 2013 Andrea Viliani is the director of the Fondazione Donnaregina per le arti contemporanee – Madre, Napoli. He previously worked from 2009 to 2012 as Director of Fondazione Galleria Civica – Centro di Ricerca sulla Contemporaneità in Trento. In 2012 he was a member of the Core Agents Group of dOCUMENTA(13) and he co-curated the related position in Kabul and Bamiyan (Afghanistan). From 2005 to 2009, Viliani was curator at the MAMbo – Museo d’Arte Moderna di Bologna. Among the 60 “players” of the 2007 Biennale de Lyon, he is a frequent contributor to FROG, Mousse, Kaleidoscope and Flash Art.

Alessandro Rabottini is an art critic and curator based in London. He is Curator at Large at the Madre Museum in Naples (where he recently curated a mid-career retrospective of Padraig Timoney and the survey show of Ettore Spalletti) and served as guest curator for several international institutions. In his capacity of Curator at Large at the GAMeC in Bergamo he curated solo exhibitions of artists such as Robert Overby, Mircea Cantor, Latifa Echakhch, Victor Man, Pratchaya Phinthong, Pietro Roccasalva, Tim Rollins & K.O.S, Sterling Ruby, Tris Vonna-Michell and Jordan Wolfson.

Praising uncertainty
Salon light / cneai =, Chatou / presentation by Sylvie Boulanger

Founded in 2004 by Cneai, Salon Light became over a few years an unmissable rendez-vous for micro-publishers and artist’s publication in Paris. After exporting the concept at Vermelho gallery in Sao Paulo and the great success of Salon Light 9 at Palais de Tokyo in 2012, Salon Light keeps uniting a moving scene of artists, authors, independent publishers or composers. Books, magazines, objects, LP’s, catalogues or artist’s book, the publications are often limited editions, sometimes impossible to find in Paris, and are breaking new grounds while creating new networks in the art and publishing worlds. Performances and meetings with professionals and artists are also a key part of the event. Free for the publishers and the public, it’s accessible to all and offers visibility to a still somehow unknown field.

Sylvie Boulanger is founder and curator of Salon Light since its creation in 2004. She directs Cneai since 1997. She curated over a hundred exhibitions, published more than seventy books (artist’s books, journals, catalogues) and produced as few documentaries. She is a member of several research labs, she also contributes to academic reviews like Multitudes and lectures in art schools and universities. She was the founder of the production agency APC (Art Public Contemporain) that she directed for ten years (1990-1997) after occupying the position of associate director «exhibition and communication» within the Ministry of Culture visual arts delegation (1987-1990).

The round table discussion will be followed by a
Concert for Prepared Piano by Laurent Durupt, composer and fellow at the Villa Medici

More information at
www.pianoproject.org
info@pianoproject.org

Round table discussion organized in the frame of PIANO, Prepared Platform for Contemporary Art, France-Italie 2014-2015

PIANO, Prepared Platform for Contemporary Art, France–Italy 2014-2015, initiated by d.c.a / French association for the development of centres d’art, in partnership with the Institut français in Italy, the French Embassy in Italy and the Institut français, with the support of the French Ministry of Foreign Affairs and International Development, the French Ministry of Culture and Communication and Fondazione Nuovi Mecenati.

close
en - it

CAPC – PHILIPPE THOMAS

Born 1951, Nice, France
† 1994, Paris, France

In December 1987, the French artist Philippe Thomas founded the agency readymades belong to everyone® in New York. One year later, he opened another in France, Les Ready Made appartiennent à tout le monde®. The idea sprang from a reflection on the limits of modern art history and the functioning of the market. Thomas’s work examines and redefines the functions and characteristics of the museum institution, the art object, the public, and the creator of the work. The agency enabled anyone to become an artist: just buy a work and you can be credited as its creator. In this way, when the Bordeaux museum of contemporary art, the CAPC, purchased Thomas’s work La Collection de Mr Georges Venzano, it automatically became the creator of the work, as the caption reads. The piece was bought in 1990 on the occasion of the exhibition Feux Pâles. The CAPC commissioned Thomas’s agency to produce and curate the piece and write the texts for the catalogue. La Collection de Mr Georges Venzano consists of an enormous wall-mounted photograph of images of museum façades that Mr. Venzano, an imaginary character invented by Philippe Thomas, has photographed and reviewed, building up a collection. Over 40 years, the collector systematically classified French museums, yet without applying any kind of aesthetic criteria or revealing anything about the collections inside them.

Nato a Nizza, Francia, nel 1951
† 1994, Parigi, Francia

Nel dicembre del 1987 l’artista francese Philippe Thomas fonda a New York l’agenzia readymades belong to everyone® (I ready-made appartengono a tutti). Un anno dopo, ne apre una omonima anche in Francia (Les Ready Made appartiennent à tout le monde®). Questa decisione è il frutto di una riflessione approfondita sui limiti della storia dell’arte moderna e dei meccanismi del mercato. Il lavoro di Thomas analizza e ridefinisce le funzioni e le caratteristiche dell’istituzione museale, dell’oggetto artistico, del pubblico e dello stesso autore dell’opera. L’agenzia, infatti, propone a chiunque di diventare artista: è sufficiente acquistare un’opera, per potersene attribuire la paternità. In tal modo, il museo d’arte contemporanea di Bordeaux, il CAPC, comprando l’opera di Philippe Thomas La Collection de Mr Georges Venzano (La collezione di Mr Georges Venzano), ne è divenuto automaticamente l’autore, come si legge nella didascalia del lavoro. L’opera è stata acquistata nel 1990 in occasione della mostra Feux Pâles. L’agenzia di Thomas, su invito del CAPC, fungeva da realizzatore, curatore e autore dei testi del catalogo. La Collection de Mr Georges Venzano consiste in una enorme fotografia a parete di immagini di facciate di musei, che Mr Venzano, personaggio di fantasia inventato da Philippe Thomas, ha fotografato e recensito, creando così una collezione. In quarant’anni di lavoro, il collezionista ha classificato i musei francesi in maniera sistematica, senza utilizzare alcun criterio estetico e senza far trasparire nulla delle collezioni conservate in ciascuna istituzione.

Project: Soleil politique

close
en

Nathalie Ergino

Since January, 2006, Nathalie Ergino is the director of the Institut d‘art contemporain. Former director of the School / FRAC Champagne-Ardenne (1994-2000), and of the Museum of contemporary art [mac] of Marseille (2001-2005), she has curated large monographic exhibitions (Jimmie Durham, Rodney Graham, Raymond Hains, Ann Veronica Janssens, Carsten Höller) as well as collective exhibitions (Maisons-Cerveaux, Subréel).

Focus: Prepared Piano – Model for a New Institutionalism
Partner: IAC

close
en

Prepared Piano – Model for a new Institutionalism

Round table discussion moderated by Pierre Bal-Blanc
organized in the frame of PIANO, Prepared Platform for Contemporary Art – France-Italie 2014-2015

Villa Medici
Viale Trinità dei Monti, 1 – 00187 Roma
Friday May 9, 2014
10 – 12 am

The panel discussion Prepared Piano: Model for a New Institutionalism presents artists, curators, as well as the managers of places where various projects have been produced over the past few years in Europe. These projects have in common that they make novel use of cultural exchange instruments, while giving their activities both a local and international scope.

Various case studies will be presented during this panel discussion to bring back into play notions of crossdisciplinarity (Théâtre des expositions at Villa Medici), process (Per_formare una collezione at the MADRE in Naples), and plasticity of relations (Laboratoire Espace Cerveau at the IAC in Villeurbanne). The discussions as a whole will echo the desire to found “a new institutionalism”, which has developed over the past few years through initiatives coming from both artists and curators. The desire to reconfigure the institution based on the model of a community centre, laboratory, open school, and other places that are not mainly governed by market laws, is linked with the creative momentum that led to Prepared Piano. The proposed discussion aims to demonstrate that PIANO, as well as Salon Light, dedicated to independent publishing, and Vdrome, a distribution network for artist films, are today all tangible initiatives.

Pierre Bal-Blanc is the director of the CAC Brétigny. He is also an independent curator and the vice-president of the d.c.a / French association for the development of centres d’art. Since 2003, in resonance with the social thought of Charles Fourrier, he has been developing the “Phalanstère Project” within a centre d’art. This is a series of specific offerings that critically rework the principles of artwork accumulation.
His exhibition series “Living Currency” and “Draft Score for an Exhibition” negotiate the historical and contemporary analysis of the body and of strategies linked to performance in the visual arts. “The Death of the Audience “ and “Reversibility” are reflections on the consequences that the materiality of art objects has on the configuration of art-world protagonists, the role and form of cultural institutions today.

Interdisciplinary stage
Theater of Exhibitions / Villa Medici, Rome / presentation by Eric de Chassey

Conceived by the director Éric de Chassey and organised by the French Academy in Rome – Villa Medici every year since 2010, the Theatre of Exhibitions has been devised as a moment of encounter between the fellows in residence and the public, as well as one of dialogue and confrontation among the artists and scholars in residence. The different spaces of Villa Medici become ephemeral stages for installations, performances, projections, readings. The concept of openness, a predisposition to dialogue and confrontation among different disciplines is the characteristic that unites the projects, which are presented. The Theatre of Exhibitions has been designed as a “multiform laboratory” which displays the diversity of artistic practices and research, thus confirming the centrality of the French Academy in Rome in contemporary creation.

Éric de Chassey is the Director of the French Academy in Rome – Villa Medici since 2009. He is also Professor of Contemporary Art History at the École Normale Supérieure in Lyon. Since the beginning, his scientific activities have focused on the US and abstract art. He has published books and essays on XXth and XXIst century art. He has also curated numerous exhibitions, accompanied by publications such as Soulages XXIth century (Rome, Villa Medici, 2013) or Simon Hantaï (Rome, Villa Medici, 2014).

Thought’s spatialization
Space Brain Laboratory / IAC, Villeurbanne / presentation by Nathalie Ergino and Ann Veronica Janssens

Initiated in 2009 by the artist Ann Veronica Janssens and Nathalie Ergino, director of the Institut d’art contemporain, the project aims at starting from experiments in art to explore practical and theoretical research linking space and the brain. This interdisciplinary laboratory brings together the reflections and experiments of artists and scientists and also philosophers, anthropologists, art historians and theoreticians, thus providing as much coverage by neuroscience, physics and astrophysics as by hypnosis, telepathy and shamanism.

Since January, 2006, Nathalie Ergino is the director of the Institut d‘art contemporain. Former director of the School / FRAC Champagne-Ardenne (1994-2000), and of the museum of contemporary art [mac] of Marseille (2001-2005), she has curated big monographic exhibitions (Jimmie Durham, Rodney Graham, Raymond Hains, Ann Veronica Janssens, Carsten Höller) as well as collective exhibitions (Maisons-Cerveaux, Subréel).

Born in 1956 in Folkestone (UK), Ann Veronica Janssens lives and works in Brussels (BE). Her work has been the subject of numerous solo exhibitions. Since 1985, she has also participated in important group exhibitions, as well as various international biennials and in 1999 Venice where she represented Belgium with Michel François. She regularly collaborates with choreographers (Drouler Pierre and Anne Teresa De Keersmaeker). Her work has been presented recently within the exhibition Passion Fruit at the Centre Pompidou, Paris and within Dynamo, A century of light in art, 1913 – 2013 at the Galeries Nationales du Grand Palais.

Organizing the perceptible
Vdrome / Mousse, Milano / presentation by Enrico Boccioletti

Vdrome is an online platform that offers regular, high quality screenings of films and videos directed by visual artists and filmmakers, whose production lies in-between contemporary art and cinema. Each screening is presented during a limited period, as in a movie theatre. Vdrome makes available a program of exceptional artists’ films and videos that are selected due to their importance, quality and innovative strength, many of which are only shown in the context of film festivals, exhibitions or specific surveys, being therefore of very limited access. Vdrome is an initiative conceived and promoted by Mousse, curated by Edoardo Bonaspetti, Jens Hoffmann, Andrea Lissoni and Filipa Ramos, and maintained by Enrico Boccioletti.

Enrico Boccioletti is an artist and musician active under multiple names – Death in Plains, 4SICSX, spcnvdr and Enrico B – in the fields of postconceptual, new vernacular, performance and sound, interested into incompleteness and circularity, duplication and accumulation, waste, layering, forgery, faux-real. He also works for Mousse Magazine and Vdrome.

Incarnation of the collection
Per_formare una collezione / Madre, Naples / presentation by Andrea Viliani and Alessandro Rabottini

Per_forming a collection is an on-going project designed to develop the formation of the Museo MADRE’s permanent collection in Naples. It focuses on artists of different generations whose works have been conceived as physical and mental instruments that bring together thought and action in every possible media, linking visual arts to theatre and literature. The project aims to shape a collection that is articulated over time, combining archival research with commissions for new works taking into account the role of the museum as a place of memory and preservation as well as a continuing research and production laboratory. All the works presented have a relation with the city and its history: works conceived or exhibited here, from artist who happened to exhibit in Naples or works belonging to private or public local collections.

Since 2013 Andrea Viliani is the director of the Fondazione Donnaregina per le arti contemporanee – Madre, Napoli. He previously worked from 2009 to 2012 as Director of Fondazione Galleria Civica – Centro di Ricerca sulla Contemporaneità in Trento. In 2012 he was a member of the Core Agents Group of dOCUMENTA(13) and he co-curated the related position in Kabul and Bamiyan (Afghanistan). From 2005 to 2009, Viliani was curator at the MAMbo – Museo d’Arte Moderna di Bologna. Among the 60 “players” of the 2007 Biennale de Lyon, he is a frequent contributor to FROG, Mousse, Kaleidoscope and Flash Art.

Alessandro Rabottini is an art critic and curator based in London. He is Curator at Large at the Madre Museum in Naples (where he recently curated a mid-career retrospective of Padraig Timoney and the survey show of Ettore Spalletti) and served as guest curator for several international institutions. In his capacity of Curator at Large at the GAMeC in Bergamo he curated solo exhibitions of artists such as Robert Overby, Mircea Cantor, Latifa Echakhch, Victor Man, Pratchaya Phinthong, Pietro Roccasalva, Tim Rollins & K.O.S, Sterling Ruby, Tris Vonna-Michell and Jordan Wolfson.

Praising uncertainty
Salon light / cneai =, Chatou / presentation by Sylvie Boulanger

Founded in 2004 by Cneai, Salon Light became over a few years an unmissable rendez-vous for micro-publishers and artist’s publication in Paris. After exporting the concept at Vermelho gallery in Sao Paulo and the great success of Salon Light 9 at Palais de Tokyo in 2012, Salon Light keeps uniting a moving scene of artists, authors, independent publishers or composers. Books, magazines, objects, LP’s, catalogues or artist’s book, the publications are often limited editions, sometimes impossible to find in Paris, and are breaking new grounds while creating new networks in the art and publishing worlds. Performances and meetings with professionals and artists are also a key part of the event. Free for the publishers and the public, it’s accessible to all and offers visibility to a still somehow unknown field.

Sylvie Boulanger is founder and curator of Salon Light since its creation in 2004. She directs Cneai since 1997. She curated over a hundred exhibitions, published more than seventy books (artist’s books, journals, catalogues) and produced as few documentaries. She is a member of several research labs, she also contributes to academic reviews like Multitudes and lectures in art schools and universities. She was the founder of the production agency APC (Art Public Contemporain) that she directed for ten years (1990-1997) after occupying the position of associate director «exhibition and communication» within the Ministry of Culture visual arts delegation (1987-1990).

The round table discussion will be followed by a
Concert for Prepared Piano by Laurent Durupt, composer and fellow at the Villa Medici

More information at
www.pianoproject.org
info@pianoproject.org

Round table discussion organized in the frame of PIANO, Prepared Platform for Contemporary Art, France-Italie 2014-2015

PIANO, Prepared Platform for Contemporary Art, France–Italy 2014-2015, initiated by d.c.a / French association for the development of centres d’art, in partnership with the Institut français in Italy, the French Embassy in Italy and the Institut français, with the support of the French Ministry of Foreign Affairs and International Development, the French Ministry of Culture and Communication and Fondazione Nuovi Mecenati.

close
en - it - fr

Christodoulos Panayiotou

Born 1978, Limassol, Cyprus
Lives and works in Paris, France, and Limassol, Cyprus

The Greek Cypriot Christodoulos Panayiotou’s artistic practice, both poetic in its origins and endowed with political and performative dimensions, often juxtaposes the approach of a choreographer with that of a sociologist or anthropologist. His proposals draw from symbols of popular culture (rituals, festivals, folk traditions, etc.), along with the romantic and foundational myths that underpin them, the relations of economic or cultural power at work in modern societies, and the history and complex construction of identity in Cyprus. The works—photographs, videos, and installations—often involve notions of absence or withdrawal, paradoxically treating the realm of the spectacle with anti-spectacular means. The representation of absence is explored in Le Fauteuil de Sarah Bernhardt (Sarah Bernhardt’s Armchair), an analog black-and-white photographic diptych. Sarah Bernhardt (1844–1923), one of the most influential French actresses of the nineteenth and early twentieth centuries, acquired an abandoned military fortress in Belle-Île, off the coast of Brittany. She would stay there from time to time and had an armchair carved into the side of a cliff in order to admire the ocean while reciting the lines of her plays. The image of the actress seated in her armchair surprised sailors entering the island’s port. The first of the two photographs depicts the view of the carved rock and the second, the view of the cliff itself. The work Untitled combines several pairs of male shoes placed on cardboard boxes. Panayiotou obtained the leather used to make the shoes from handbags belonging to women close to him. Autobiography served as a starting point for the work in the form of a leather jacket given to the artist by his mother and subsequently transformed into a series of shoes. Although the shoes were tailor-made to fit the artist, he will never wear them. The work, not unlike the process described in Brecht’s Messingkauf (Buying Brass) Dialogues, makes use of the material solely as a means of highlighting processes of self-representation, the construction of identity, and transformations and transitions of gender. In itself, the resulting object is a freeze frame, a vehicle, and a leftover of an intimate, performative act that remains imperceptible to the spectator.

 

Nato a Limassol, Cipro, nel 1978
Vive e lavora a Limassol, Cipro, e Parigi, Francia

La pratica dell’artista greco-cipriota Christodoulos Panayiotou, poetica e dotata di una dimensione politica e performativa, mette in evidenza un approccio da coreografo e da sociologo, o antropologo. I suoi riferimenti spaziano dai simboli della cultura popolare (riti, festival, tradizioni folcloriche), ai miti romantici e fondatori soggiacenti, al funzionamento dei rapporti di potere economico o culturale all’opera nelle società moderne, alla storia e alla complessa costruzione identitaria di Cipro. Le opere (fotografie, video, installazioni) mettono spesso in gioco le nozioni di assenza o di ripiegamento, trattando paradossalmente l’ambito spettacolare con mezzi antispettacolari.
La rappresentazione dell’assenza è affrontata in Le Fauteuil de Sarah Bernhardt (La poltrona di Sarah Bernhardt), un dittico di fotografie in bianco e nero su pellicola. Sarah Bernhardt (1844–1923), una delle più importanti attrici francesi tra la fine del XIX e l’inizio del XX secolo, acquistò una fortezza militare abbandonata a Belle-Île, in Bretagna, soggiornandovi per un periodo. Su sua richiesta, fu intagliata una poltrona nella falesia, affinché la diva potesse ammirare l’oceano mentre recitava. L’immagine dell’attrice seduta sulla poltrona coglieva di sorpresa i marinai che rientravano al porto. La prima foto esposta mostra il sedile scavato nella roccia; la seconda, la vista che si poteva godere da quella posizione.
L’opera Untitled consiste in diverse paia di scarpe da uomo, posate su delle scatole da scarpe in cartone. Il cuoio servito per fabbricarle proviene da delle borse di donne appartenenti alla cerchia familiare di Panayiotou. Uno degli spunti di quest’opera è autobiografico e riguarda una giacca di cuoio, regalata all’artista da sua madre e trasformata in seguito in scarpa. La misura delle scarpe, tutte fabbricate artigianalmente, corrisponde a quella che calza l’artista, ciononostante lui non le indosserà mai. L’opera, in un processo paragonabile a quello al centro degli Scritti teatrali di Brecht, conserva solo il materiale per isolare meglio l’avanzamento dei processi di autorappresentazione, di costruzione identitaria, di metamorfosi e di transizione di genere. L’oggetto risultante è un fermo immagine, un veicolo e un residuo intimo di azione performativa, che rimane invisibile allo spettatore.

Né à Limassol, Chypre, en 1978
Vit et travaille à Limassol, Chypre, et Paris, France

La pratique de l’artiste grec chypriote Christodoulos Panayiotou, empreinte de poésie et dotée d’une dimension politique et performative, met souvent en regard la démarche du chorégraphe et du chercheur sociologue ou encore anthropologue. Ses propositions trouvent leurs sources dans les symboles de la culture populaire (rituels, festivals, traditions folkloriques), les mythes romantiques et fondateurs sous-jacents, le fonctionnement des rapports de pouvoir économique ou culturel à l’œuvre dans les sociétés modernes, ainsi que dans l’histoire et la construction identitaire complexe de Chypre. Les œuvres – photographies, vidéos, installations – mettent parfois en jeu des notions d’absence ou de repli, traitant paradoxalement le domaine spectaculaire avec des moyens anti-spectaculaires.

Le Fauteuil de Sarah Bernhardt (2008)
La représentation de l’absence est abordée dans Le Fauteuil de Sarah Bernhardt, un diptyque de photographies noir et blanc argentiques. Sarah Bernhard (1844–1923), actrice française parmi les plus importantes du XIXe siècle et du début du XXe siècle, a fait l’acquisition d’un fortin militaire désaffecté, situé à Belle-Île, en Bretagne. Elle y séjourna quelque temps, et à sa demande, un fauteuil fut taillé à même d’une falaise, afin d’admirer l’océan tout en récitant ses textes ; l’image de l’actrice installée dans le fauteuil surprenait les marins rentrant au port. Les photographies reprennent, pour la première, le point de vue creusé dans la roche et pour la seconde, la vue qu’on pouvait avoir à partir de ce dernier.

Sans titre (2013/2014)
L’œuvre Sans titre est composée de plusieurs paires de chaussures d’homme, posées sur des boîtes de chaussures en carton. Le cuir qui a servi à leur fabrication provient de sacs à main ayant appartenu à des femmes de l’entourage proche de Panayiotou. Un des points de départ de cette pièce est autobiographique et commence avec une veste en cuir, donnée à l’artiste par sa mère et transformée par la suite en chaussures. La pointure des chaussures, confectionnées de manière artisanale et sur mesure, correspond à celle de l’artiste ; cependant, elles ne seront jamais portées par lui. L’œuvre, dans un processus comparable à celui de L’achat du cuivre de Brecht, ne conserve que le matériau pour mieux isoler l’engendrement des processus d’autoreprésentation, de construction identitaire, de métamorphose et de transition du genre. En lui-même, l’objet-résultat est un arrêt sur image, un véhicule et résidu d’action performative intime qui reste invisible du spectateur.

Project: Soleil politique

close
en

Sandra Patron

SONY DSC

Sandra Patron dirige depuis 2007 le Parc Saint Léger, Centre d’art contemporain où elle a curaté entre autre les expositions personnelles de Lili Reynaud-Dewar, Oscar Tuazon, Simon Starling, Alain Bublex ou encore Gabriel Kuri. Depuis son arrivée, elle a structuré le pôle résidences du centre d’art avec la mise en place de La Grande Ourse et des Résidences Secondaires, placé la production des artistes au cœur du projet hors-les-murs, et développé l’ancrage international du lieu notamment par l’invitation faite chaque année à des commissaires étrangers.
De 1998 à 2007 Sandra Patron a dirigé triangle france à Marseille, artist run space intégrée au Triangle Art Trust, où elle développa notamment un festival bisannuel de performances (action-man-œuvres), des résidences croisées à Hambourg et Barcelone et des expositions de la jeune scène française à l’étranger, à Los Angeles, New York et Vilnius.
Elle est actuellement Présidente de d.c.a / association de développement des centres d’art, vice-présidente de triangle France et membre du comité d’acquisition du cnap (Centre national des arts plastiques).

Project: The Registry of Promise
Space: Parc Saint Léger

close
en

Vincent Honoré in conversation with Sandra Patron, Parc Saint Léger, Pougues-les-Eaux

VINCENT HONORE IN CONVERSATION WITH SANDRA PATRON, PARC SAINT LEGER, POUGUES-LES-EAUX

Vincent Honoré What was behind the creation of the art centre in 1998?

Sandra Patron There are two factors behind the creation of the art centre: first of all one man’s passion for contemporary creation, Bernard Bardin, then chairman of the General Council of Nièvre. He wanted this rural area to be rooted, in no ordinary dated nostalgia, but in the times and the questioning that it generates. Then as this region has been hit hard by de-industrialisation and an exodus towards cities, leaving entire sections of its heritage empty. This was notably the case with Pougues-les-Eaux, a spa resort that has been abandoned since the end of the ’70s. Local councillors were hoping to breathe new life into these sites without knowing exactly how to tackle the problem. In any case, chances are that a contemporary art centre had not been envisaged by most of them. Many had their reservations, and the discussions were heated, only Bernard Bardin’s pugnacity enabled the project to come to fruition. 

7_Wilfrid Almendra

2. Wilfrid Almendra, Le Splendid, 2013

V.H. How would you describe the art centre’s unique DNA in relation to other similar structures?

S.P. I think it is the characterful site that prompted me from the outset to consider the artistic project a time to offer artists rather than as a space to be invested. Residencies enable that, in addition to the off-site programme, insofar as we can at certain moments encourage long production processes, at other times react very quickly to requests that require technical expertise made possible by the scope of our local partners.
Paradoxically, the isolation of the site – or in any case its isolation from the art scene – is in my view a constituent part of the project, its strength and originality, this isolation enables a quite unique quality of concentration, for the team as well as for the artists. It also often enables often strong and sometimes friendly links to be formed between us. There is a lovely text by Giorgio Agamben on this matter of friendship and complicity acting as a powerful driving force to create a space for sharing and production, I have great faith in this idea, and there again, our setting is conducive to this type of approach.
Regarding projects that could characterise the way in which we envisage production processes, two examples come to mind: Lili Reynaud-Dewar came here to develop a project around the Black Maria, this first movie production studio conceived by Edison. For several months, the PSL was transformed into a film factory, a loyal troop rallied around his project, costume designers, actors, make-up artists and musicians, the films were shot on site, they were put together on site, the exhibition made this production process perceptible. Likewise Alain Bublex spent over a year on and off at the art centre in 2011 to produce a motorbike prototype in partnership with a local engineering school specialising in the car industry. In the global context in which we work, forging ahead, I realise that this way of working is a real luxury, for myself as well as my team of course, but also and above all for the artists. 

Parc Saint Léger

3. Parc Saint Léger

V.H. You started managing the art centre in 2007. Have you modified the programme or changed the focus of the centre, or quite the opposite do you want to anchor a heritage?

S.P. When I started, I kept the constituent parts of the project: the residency, the scheduling in situ as well as off-site but yes, there have been many changes. I wholeheartedly wanted the place to be anchored on a European level not only through the programme choices but also by inviting foreign curators every year. The residencies were reviewed: one, Les Résidences Secondaires, devoted to emerging artists, the other, La Grande Ourse, is a research residency at the crossroads of disciplines (theory, practical, graphic design) that I organise every year with art schools in Bourges, Cergy, Dijon and the graphic design centre in Chaumont. The off-site programme was reviewed, probably because, at the start, I was quite unsettled by this project and the sociocultural deviations that could result. Not really knowing how to address the question, I simply decided that we were going to do what we knew how to do: to produce artworks with artists. The person in charge of off-site programme was previously a cultural mediator, I decided to recruit an exhibition curator, and this simple decision completely changed the direction.

V.H. Parc Saint Léger is a complex structure that regroups a set of cultural facilities: exhibition space, residencies, publications, off-site actions. How do you combine all these activities into one coherent programme? 

Gabriel Kuri, bottled water branded water. Installation view

4. Gabriel Kuri, bottled water branded water. Installation view

S.P. I do not aspire to combine our different activities at all costs, but I actually worked to make synergy possible, and at the same time – and this is essential for me, for it to be possible for there to be no synergy. For our Résidences Secondaires for example, three month residences devoted to the emerging European scene), we select the artists one year in advance, we initiate discussions with them well ahead, we discuss the off-site programme with them, and very often there is a specific context that stimulates them, so we make this link between the residency and the off-site programme. But sometimes, the artists just need time for a break, for research, to bathe in the Loire and to smoke a cigarette by the fire, and that is fine with us too.

V.H. The location is rural. What bearing does its location have on your programme?

S.P. In concrete terms its rural location means that there is no power struggle with anyone: not in the art world as geographically you are not treading on anyone’s toes, nor locally as up against performing arts centres that are more easily identifiable, art centres are still as strange as UFOs. This lack of any threat to anyone brings great freedom on a daily basis. I am not sure for example that a project like Breathing House by Jean-Pascal Flavien would have been so simple to organise in an urban setting, with the numerous rules involved and the representatives to meet and to convince.

V.H. PIANO wants to create a space for exchange and dialogue between Italian and French art venues. Why did you want to participate and what programme are you proposing?  

S.P. Four years ago, I wished to become involved in the d.c.a office (that initiated PIANO) alongside Claire Le Restif, director of the Crédac, to encourage art centre networking on a European level. The reasons are pragmatic, strategic and artistic at the same time: pragmatic as there is less and less funding, and networking enables us to raise funds to produce our projects; strategic as in the cultural arena in France, we have been isolated for too long from the international scene and its players and there is a need for us, in terms of visibility, impact and symbolic power, to bridge this gap; artistic of course as directing an art centre sometimes means a certain amount of solitude and discussions with colleagues, a fortiori those with other thought processes, are vital. I am for example delighted about the discussions that I have at the moment with Chris Sharp, the curator of our exhibition for PIANO, The Registry of Promise, an exhibition with a literary construction in four chapters. His relationship with art, his approach, the way in which he works with artists, the way in which he perceives this very strange profession known as exhibition curator, is all very refreshing and a source of inspiration for me.

Simon Starling, THEREHERETHENTHERE (la Source). Installation view

5. Simon Starling, THEREHERETHENTHERE (la Source). Installation view

Space: Parc Saint Léger
Protagonists: Sandra Patron
Project: The Registry of Promise

 

Vincent Honoré Quelles sont les raisons qui ont présidé à la creation du centre d’art en 1998 ?

Sandra Patron La création du centre d’art résulte de deux facteurs : tout d’abord la passion d’un homme, Bernard Bardin, alors président du Conseil Général de la Nièvre, pour la création contemporaine. Il souhaitait ancrer ce territoire rural, non dans une quelconque nostalgie passéiste, mais bien dans son époque et les questionnements qu’elle suscite. Ensuite, parce que cette région a subi de plein fouet la désindustrialisation et l’exode vers les grandes villes, laissant des pans entiers de son patrimoine vacant. C’était notamment le cas de la station thermale de Pougues-les-Eaux, en déshérence depuis la fin des années ’70. Les élus locaux étaient à la recherche d’une nouvelle vie pour ces lieux sans savoir exactement comment envisager le problème, en tout cas, il est fort à parier que créer un centre d’art contemporain n’était pas, pour la majorité d’entre eux, une solution envisagée. Les réticences furent nombreuses, et les débats passionnés, seule la pugnacité de Bernard Bardin a permis au projet de voir le jour. 

V.H. Comment définir l’A.D.N. du centre d’art, ce qui le singularise par rapport à d’autres structures similaires ?

S.P. Je crois que c’est le lieu, avec ses caractéristiques, qui m’a amené dès le départ à envisager le projet artistique comme un temps à offrir aux artistes plus que comme un espace à investir. Les résidences permettent cela, ainsi que la programmation hors les murs, dans la mesure où nous pouvons à certains moments impulser des processus de production longs, à d’autres moments réagir très vite à des demandes qui supposent de mobiliser des compétences techniques qui sont rendues possibles par l’étendue de nos partenaires à l’échelle locale.
Paradoxalement, l’isolement du lieu – ou en tout cas son isolement de la scène artistique – me semble constitutif du projet, il en fait sa force et sa singularité, cet isolement crée une qualité de concentration dans le travail assez unique, tant pour l’équipe que pour les artistes. Il permet également de créer entre nous des liens souvent forts, parfois amicaux. Il y a un très joli texte de Giorgio Agamben sur cette question de l’amitié et de la complicité comme un puissant moteur pour créer un espace de partage et de production, je crois beaucoup à cette idée, et là encore, notre contexte favorise ce type d’approche.
Concernant des projets qui pourraient caractériser la façon dont nous envisageons les processus de production, deux exemples me viennent à l’esprit : Lili Reynaud-Dewar est venue développer un projet autour de la Black Maria, ce premier studio de cinéma imaginé par Edison. Pendant plusieurs mois, le PSL s’est alors transformé en usine à film, une troupe fidèle s’est retrouvée autour de son projet, costumiers, acteurs, maquilleurs, musiciens, on a tourné les films sur place, on les a monté sur place, l’exposition matérialisait ce processus de production. Idem avec Alain Bublex qui, en 2011, a passé plus d’un an par intermittence au centre d’art pour produire un prototype de moto en partenariat avec une école d’ingénieur locale spécialisée dans l’industrie automobile. Dans le contexte global qui est le nôtre, celui d’une fuite en avant généralisée, je mesure à quel point cette façon de travailler est un luxe, pour moi et mon équipe bien sûr, mais aussi et surtout pour les artistes. 

V.H. Vous avez pris la direction du centre d’art en 2007. Avez vous infléchi la programmation ou changé les missions du centre, ou au contraire avez-vous souhaité ancrer un héritage ?

S.P. À mon arrivée, j’ai conservé les éléments constitutifs du projet : la résidence, la programmation in situ et la programmation hors les murs mais oui, les évolutions ont été nombreuses. J’ai voulu résolument ancrer le lieu à l’échelle européenne non seulement par les choix de programmation mais également par l’invitation faite tous les ans à des commissaires étrangers. Les résidences ont été remaniées : l’une, Les Résidences Secondaires, dédiée aux artistes émergents, l’autre, La Grande Ourse, est une résidence de recherche à la croisée des disciplines (théorie, pratique, design graphique) que je produis tous les ans avec les Écoles d’art de Bourges, Cergy, Dijon et le pôle graphisme de Chaumont. La programmation hors les murs a été repensée, sans doute parce que, au départ, j’étais assez déstabilisée par ce projet et les dérives socio-culturelles qu’elle pouvait entraîner. Ne sachant pas vraiment comment aborder la question, j’ai simplement décidé que nous allions faire ce que nous savions faire : produire des œuvres avec des artistes. La chargée de programmation hors les murs était auparavant une médiatrice culturelle, j’ai décidé de recruter une commissaire d’exposition, et cette simple décision a complètement changé le curseur.

V.H. Le Parc Saint Léger est une structure complexe qui regroupe un certain nombre d’équipements culturels : espace d’expositions, résidences, publications, actions hors les murs. Comment unifier toutes ces activités dans un programme cohérent ? 

S.P. Mon souhait n’est pas d’unifier les différents pôles de notre activité à tout prix mais j’ai effectivement travaillé à rendre possibles les synergies, et en même temps – et c’est un point essentiel pour moi, à rendre possible le fait qu’il puisse ne pas y avoir de synergie. Pour nos Résidences Secondaires par exemple (résidences de trois mois dédiées à la scène émergente européenne), nous choisissons les artistes un an avant leur venue, nous entamons le dialogue avec eux bien en amont, nous leur parlons de la programmation hors les murs, et bien souvent il y a un contexte de travail qui les stimule, nous faisons alors ce lien entre la résidence et la programmation hors les murs. Mais parfois, les artistes ont juste besoin d’un temps de pause, de recherche, de baignade dans la Loire et de cigarette fumées au coin du feu, et cela nous va très bien aussi.

V.H. Le lieu est situé en territoire rural. En quoi sa situation informe votre programmation ?

S.P. Etre installé dans un territoire rural, concrètement, cela signifie que vous n’êtes un enjeu de pouvoir pour personne : ni pour le milieu de l’art car géographiquement vous ne marchez sur les plates-bandes de personne, ni localement car face aux structures de spectacle vivant, plus facilement repérables dans les formes qu’elles manipulent, les centres d’art font encore figure d’ovni. N’être un enjeu de pouvoir pour personne confère au quotidien une grande liberté d’action. Je ne suis pas sûre par exemple qu’un projet comme la Breathing House de Jean-Pascal Flavien aurait été si simple à monter dans un terrain urbain, avec sa multiplicité de réglementation et d’interlocuteurs à rencontrer et à convaincre.

V.H. PIANO veut créer un espace d’échange et de dialogues entre des lieux d’art italiens et français. Pourquoi avez vous souhaité participer et quel programme proposez-vous ?  

S.P. Il y a quatre ans, j’ai souhaité m’investir dans le bureau de d.c.a (qui est à l’initiative de PIANO) au côté de Claire Le Restif, directrice du Crédac, précisément pour cette question de mise en réseau des centres d’art à l’échelle européenne. Les raisons sont tout à la fois pragmatiques, stratégiques et artistiques : pragmatiques car les financements se raréfient, et le travail en réseau nous permet de bailler des fonds pour produire nos projets ; stratégiques car en France, culturellement, nous nous sommes trop longtemps isolés de la scène internationale et de ses acteurs et qu’il y a nécessité pour nous, en terme de visibilité, d’impact et de pouvoir symbolique, à combler ce retard ; artistiques bien sûr car diriger un centre d’art engendre parfois de grands moments de solitude et que les échanges avec des collègues, à fortiori ceux qui ont d’autres logiciels de pensés, sont vitaux. Je suis par exemple ravie des échanges que j’ai en ce moment avec Chris Sharp, le commissaire de notre exposition pour PIANO, The Registry of Promise, une exposition de facture littéraire en quatre chapitres. Son rapport à l’art, sa démarche, la façon dont il travaille avec les artistes, la façon dont il conçoit ce métier très étrange qu’on appelle commissaire d’exposition, tout cela est source d’oxygénation et d’inspiration pour moi.

Images:
1. Oscar Tuazon & Eli Hansen, IT WAS ONE OF MY BEST COMES, exhibition view, 2010. © Aurélien Mole / Parc Saint Léger
2. Wilfrid Almendra, Le Splendid, 2013. © Aurélien Mole / Parc Saint Léger
3. Parc Saint Léger. © Aurélien Mole / Parc Saint Léger
4. Gabriel Kuri, bottled water branded water, exhibition view, 2013. © Aurélien Mole / Parc Saint Léger
5. Simon Starling, THEREHERETHENTHERE (la Source), exhibition view, 2009. © Aurélien Mole / Parc Saint Léger

 

close