MARIE VOIGNIER

MATT MULLICAN

ROBERT BREER

EMILIE PARENDEAU

ENRICO BOCCIOLETTI

JULIETTE BLIGHTMAN

FRANCISCO TROPA

SLAVEN TOLJ

Hou Hanru

Jean-Luc Moulène

Sandra Patron

Émilie Parendeau/BERNHARD RÜDIGER

LORENZO BENEDETTI

CHIARA AGNELLO

KP BREHMER

ILARIA BONACOSSA

Jochen Lempert

EMANUELE GUIDI

MATHIEU KLEYEBE ABONNENC

Dan Graham

Julia Frank

ACHILLE CASTIGLIONI

Bernhard Rüdiger

Claire Le Restif

Allan Sekula

TERRE THAEMLITZ

Carlo Scarpa

Leander Schwazer

PATRICK BERNATCHEZ

Alexander Gutke

ALESSANDRO DI PIETRO

Cécile Poblon

ANDY WARHOL

JULIE PELLEGRIN

Marcello Maloberti

Goldschmied & Chiari

Pier Paolo Pasolini

Antoine Nessi

Tony Fiorentino

Walter Pichler

Marie Cool Fabio Balducci

Rometti Costales

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

Daniele Pezzi

1:1PROJECTS

CLEMENS VON WEDEMEYER

Marcus Geiger

Benoît Maire

Hans Schabus

DIANE BLONDEAU

JOHN CAGE

GUSTAV ANDREAS WOLFGANG

Roman Ondák

MARIA ALICATA

QUENTIN DEROUET

VALERIO DEHÒ

MICHAEL DEAN

Valérie Mazouin

ERIC DE CHASSEY

SANTIAGO SIERRA

Gianni Pettena & PIERRE BAL-BLANC

SIMONE FRANGI

SYLVIE BOULANGER

Mandla Reuter

Emilio Prini

Lise Lacombe and Jean-Baptiste Alazard

Stefania Meazza

Deimantas NARKEVIČIUS

MÉLANIE BOUTELOUP

Alberto Garutti

ANDREA VILIANI

Letizia Ragaglia

CLÉMENCE SEILLES

Isa Genzken

GIORGIO DE CHIRICO

LAWRENCE WEINER

RON TRAN

Gianluca d’Incà Levis

ELAINE STURTEVANT

VINCENT VERLÉ

Rosalind Nashashibi

Roberto Pugliese

Pratchaya Phinthong

MICHAEL E. SMITH

CARLO GABRIELE TRIBBIOLI

Nathalie Ergino

Prinz Gholam

Marlie Mul

RAIMUND ABRAHAM

Jean-Marie Perdrix

Mattin

Martine Michard

LORRAINE CHATEAUX

Éric Mangion

ANICKA YI

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

Isidoro Valcárcel Medina

BECKY BEASLEY

RETO PULFER

Sonia Leimer

Christodoulos Panayiotou

JACOPO MILIANI

Guillaume Robert

Adrienne Drake

Mauricio Guillén

THOMAS TEURLAI

LUCY SKAER

MARCEL BROODTHAERS

Marianne Maric

GIANNI PETTENA

PETER BUGGENHOUT

ETIENNE BERNARD

Alessandro Rabottini

Rä di Martino

MARYAM JAFRI

Vivien Roubaud

SIMON FRAVEGA

PIERRE BAL-BLANC

Silvano Agosti

LEONARDO BIGAZZI

NINA CANELL

LOIS WEINBERGER

Félix González-Torres

Sanja Iveković

Rainer Oldendorf

Chris Sharp

JOSEF DABERNIG

Matthieu Saladin

Jérémy Laffon

DANIELE BALIT

KEREN DETTON

Nina Fiocco

MARIE COZETTE

VIRGINIE BOBIN

Ann Veronica Janssens

Lili Reynaud-Dewar

CAPC – PHILIPPE THOMAS

Marta Minujín

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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

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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

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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

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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.

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Jean-Marie Perdrix

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

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

Born 1966, Bourg-en-Bresse, France
Lives and works in Paris, France
He studied at the Institut des Hautes Etudes en Arts Plastique in Paris and at the Ecole des Arts Décoratifs in Strasbourg. His work has been exhibited at the Ecole des Beaux-Arts du Mans (2012), at the Desiré Saint Phalle gallery in Mexico City (2010) and at the Contemporary Art Space in Marseille (2003 and 2004), among other venues. He has participated in several group exhibitions, including at the National Gallery of Tbilisi (1994), at Le Magasin in Grenoble (1991), as well as other institutions.

Image:
Jean-Marie Perdrix, Cheval, bronze à la chair perdue 3, 2013, cast of copper alloy, carbon and ash, 25 x 77 x 33 cm

Project: The Registry of Promise

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CÉLINE FLÉCHEUX IN CONVERSATION WITH JEAN-MARIE PERDRIX

CÉLINE FLÉCHEUX IN CONVERSATION WITH JEAN-MARIE PERDRIX

Céline Flécheux Thepiece presented in the exhibition at the Fondazione Giuliani in Rome curated by Chris Sharp is called Bronze of Lost Flesh. You produced it in Burkina Faso. Why are the means of production so important in your work?
Jean-Marie Perdrix I have been working with bronze smiths in Burkina for 20 years. I have developed a process with them to recycle plastic waste substituting wood and enabling waste to be collected. They won the innovation award in Bamako, where a permanent workshop has been built. It was a veritable North-South collaboration implemented in stages. I developed and produced projects on my scale to initiate this workshop to recycle and mould household objects. The objects that I produce are from an economy where every moment is appreciated.

C.F. How did you come up with the idea of a bronze animal?
J.-M.P. First of all, my partners are bronze smiths (Burkina has a tradition for bronze) and I had the opportunity to experiment with small bronze pieces. This is what happened: during casting the crucible leaked by accidentand the molten bronze mixed with the coal and ash at the bottom of the oven; I salvaged this what I found beautiful scoria and I thought that I would like a cast with this entity. Hence the idea of bronze ‘of lost flesh,’ that I then wanted to use it to form a horse or a dog.
These animals are totems for my partners, but I did not know that. Of course, I am not involved in the animal’s death. Horse is found in the butcher’s shop in Ouagadougou; as for dogs, there is a whole unofficial network for dead dogs.

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

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

C.F. What does ‘bronze of lost flesh’ mean exactly?
J.-M.P. The title is very important, as a misappropriation of the traditional lost-wax bronze casting process. Usually, to smelt bronze, a crucible is surrounded by coal and the forced air increases the temperature. When I have modelled the animal’s head (horse or dog) or a part of its body in clay, I burn it until bones turned to ash are all that remain. I thus made a ceramic that I fill with coal and air again, reproducing the initial crucible. I mix my molten bronze in the coal, in the bones and everything else, as if I had brought together all the production stages of a traditional bronze. The resulting bones, ash, coal and bronze mixture makes it lighter. What is important here is that the bronze finds its own way through the blend of ash and bits of grit. Therefore, I cannot predict what image I will obtain after the leak, once the piece is removed from the mould. Salif Dermé, my bronze smith partner, often says that I am looking for magic, as the image that will be obtained is not known in advance. He fully understood that I was exploring the opportunities available in this country.

3. Cheval, bronze à la chair perdue 1, 2012

3. Jean-Marie Perdrix, Cheval, bronze à la chair perdue 1, 2012

C.F. Did you invent this process?
J.-M.P. I will outline two things. First of all, Salif encounters many western artists who come to Burkina specifically to make bronzes, but generally what they want, is a bronze that is produced more cheaply than in Europe. They are not interested in the local economy, or in the means of production. They are seeking the same image as their model, but in bronze. For my work, in contrast, I am not looking for an impression of the skin, nor the image of the body, as the casting is less important than capturing the journey the bronze has made in the mould between the coal and the bones reduced to dust. I end up with an object that bears the marks of the smelting and burning with a sort of bronze lacework that contrasts with the intensity of the method.
Then, regarding the method itself, I had seen small objects produced directly from a cast before. I even have a necklace of peanuts made like that. But I changed the scale and starting point. I chose an animal and a much larger size, so that the way the bronze penetrates the mould is much more random.

Jean-Marie Perdrix, Chien et chienne à la chair perdue, 2012

4. Jean-Marie Perdrix, Chien et chienne à la chair perdue, 2012

C.F. Is the horse that you are exhibiting at the Fondazione Giuliani unique?
J.-M.P. Each piece is unique. To date, I have produced three horses and five dogs. This kind of piece takes a while to make as the coal burns very slowly. The coal that was burnt in the head was in equal measure with the coal used to make the bronze. In the piece presented in Rome, the mouth of the horse disappeared, because the concentration of ash was too high and the liquid bronze did not reach the end of the mould, it disappeared in the blend formed by the coal, ash and bones. That is why the object obtained is a distortion of the image expected. The horse is dead, the neck is therefore already very narrow, as it is no longer attached to the withers the volume disappears. As for the ear, it is straight as if the animal were still alive and listening. In another piece, another horse, I achieved an open mouth with the outline of worn down teeth, but without the ears. When I work with dogs, the body is often incomplete; sometimes it is difficult to recognise the animal in the final form.

5. Jean-Marie Perdrix, Cheval, bronze à la chair perdue 2, 2012

5. Jean-Marie Perdrix, Cheval, bronze à la chair perdue 2, 2012

C.F. Do you consider bronze as precious?
J.-M.P. In these horses and dogs, the quality of the bronze is very poor, because they are the reverse of what is traditionally sought in bronze. Bronze is not there to add any additional market value to the piece: my partners are experienced bronze smiths and my work is linked to their economy. A very rich texture is achieved through a direct and intense process. The interior density is visible. To some extent, with the horse the history of the process used to achieve the object and the object itself are contemplated in equal measure.

6. Jean-Marie Perdrix, Chien à la Chair Perdue 2, 2013

6. Jean-Marie Perdrix, Chien à la Chair Perdue 2, 2013

C.F. Should your work be considered from an anthropological point of view?
J.-M.P. The geographical origin of these ‘bronzes of lost flesh’ is important: these pieces bear a mental subjectivity linked to the imagination of a developing African country. I am delighted that the outer appearance has a Baroque style. Indeed, I strive to make objects that have a certain timelessness (it is not important whether they were made now or ten years ago) and universality (I am not meticulous regarding specific cultural elements). At the same time, my work follows in the tradition of great sculptors and, in certain respects, witchcraft with skin, hair, fetishes, horns and teeth: anything from an animals that conjures up its symbolic aspect. The recipe for making these pieces is very exciting, like in the devil’s workshop. I didn’t choose sheep, goats or cows, as these animals are meat. I chose dogs and horse. These are meat, but above all they are also animals closely related to man. There is something disturbing about working with a dead animal as the starting point; predation and sacrificing animals comes to mind. But I do not reduce animals to a metaphor. A dead dog is more moving than the mass unemployment of young Africans. What I do with these animals is only possible because my partners are very cooperative, armed with a good knowledge of the land and a long-standing friendship. But I practice sculpture, not art brut. These objects are exhibited in galleries, contemporary art fairs, exhibitions and collections, for my artistic practice takes into account the objects per se as well as the whole process that results in a horse’s head produced with the ‘bronze of lost flesh.’

 

Céline Flécheux Lapièce que tu présentes à la Fondazione Giuliani à Rome dans l’exposition de Chris Sharp s’intitule Bronze à la chair perdue. Elle a été réalisée au Burkina Faso. Pourquoi les modes de production importent tant dans ton travail ?
Jean-Marie Perdrix Je travaille au Burkina avec des artisans bronziers qui sont mes partenaires depuis 20 ans. J’ai développé avec eux un procédé de recyclage des déchets plastiques qui est un substitut du bois permettant une collecte des déchets. Ils ont gagné un premier prix d’innovation à Bamako, où ils ont construit un véritable atelier qui est pérennisé. Il s’agit d’une véritable coopération Nord-Sud qui s’est mise en place par étapes. Pour monter cet atelier de recyclage et de moulage d’objets utilitaires, j’ai fait toute la recherche du développement en auto-production avec des projets qui étaient à mon échelle. Les objets que je produis sont issus d’une économie dont tous les moments sont pensés.

C.F. Comment es-tu arrivé à l’idée d’un animal en bronze ?
J.-M.P. D’abord, mes partenaires sont des bronziers (le Burkina a une tradition du bronze ancestrale) et il m’est arrivé de faire des expériences avec de petites pièces en bronze. Voilà comment ça s’est passé : par accident, lors d’une coulée, le creuset a fuité et la quantité de bronze en fusion s’est mélangée au charbon et à la cendre au fond du four ; j’ai récupéré cette scorie que j’ai trouvée très belle et j’ai pensé que je voulais avoir un moulage avec cette matérialité-là, de là l’idée de bronze « à la chair perdue », que j’ai souhaité réaliser ensuite avec un cheval ou un chien.
Ces animaux sont des totems de mes partenaires, mais je ne le savais pas. Bien entendu, je n’interviens pas dans la mort de l’animal. On trouve le cheval en boucherie à Ouagadougou ; quant au chien, il y existe tout un circuit informel où les chiens morts circulent.

C.F. Que signifie exactement « bronze à la chair perdue » ?
J.-M.P. Le titre est très important, car c’est un détournement du procédé traditionnel du bronze à la cire perdue. Normalement, pour fondre du bronze, on met un creuset dans une enceinte de charbon et avec de l’air pulsé, on monte la température. Quand j’ai surmodelé en argile la tête de l’animal (le cheval ou le chien) ou une partie de son corps, je le brûle jusqu’à ce qu’il ne reste que les os en cendres. J’ai fabriqué ainsi une céramique que je remplis à nouveau de charbon et d’air, reproduisant le creuset initial. Je mélange mon bronze en fusion dans le charbon, dans les os et tout cela, comme si j’avais rassemblé en une fois les étapes de fabrication d’un bronze traditionnel. L’amalgame os-cendres-charbon-bronze, qui est le résultat, me permet d’alléger l’ensemble. Ce qui est important, ici, c’est que le bronze doit trouver son propre chemin dans le mélange entre la cendre et les escarbilles. Donc, je ne peux pas prévoir quelle image j’obtiendrai après la coulée une fois la pièce démoulée. Salif Dermé, mon partenaire bronzier, me dit souvent que je cherche la magie, car on ne connaît pas à l’avance l’image que l’on va obtenir. Il a parfaitement compris que je menais une expérience avec les possibilités que je pouvais trouver dans ce pays.

C.F. Est-ce toi qui a inventé ce procédé ?
J.-M.P. Je distinguerai deux choses. D’abord, Salif voit beaucoup d’artistes occidentaux qui viennent au Burkina spécialement pour faire des bronzes, mais ce qu’ils veulent, en général, c’est un bronze moins cher que ce qu’ils auraient eu à payer en Europe. Ils ne s’intéressent ni à l’économie locale, ni aux moyens de production. Ils recherchent la même image que leur modèle, mais en bronze. Dans mon travail, au contraire, je ne recherche ni l’empreinte de la peau, ni l’image du corps, car c’est moins le moulage qui compte que la saisie du trajet du bronze dans le moule entre le charbon et les os réduits en poussière. J’obtiens un objet qui porte les marques de la fusion et des brûlures avec une espèce de dentelle de bronze qui contraste avec la violence du procédé.
Ensuite, quant au procédé à proprement parler, j’avais déjà vu des petits objets réalisés à partir d’un moulage direct, j’ai même un collier de cacahuètes fait comme cela. Mais j’ai changé d’échelle et de point de départ. J’ai choisi un animal et une taille beaucoup plus grande, donc la manière qu’a le bronze de pénétrer le moule est beaucoup plus aléatoire.

C.F. Le cheval que tu exposes à la Fondazione Giuliani est-il une pièce unique ?
J.-M.P. Chaque pièce est unique. À ce jour, j’ai réalisé trois chevaux et cinq chiens. Ce genre de pièce est long à faire car le charbon a brûlé très lentement. On a utilisé autant de charbon qui a brûlé dans la tête que de charbon qui a servi à faire le bronze. Dans la pièce montrée à Rome, la gueule du cheval est perdue, parce qu’il y avait une concentration de cendres trop importante et le bronze liquide n’est pas arrivé pas jusqu’au bout du moule, il s’est perdu dans le mélange formé par le charbon, la cendre, les os. C’est pour cela que l’objet obtenu est une distorsion de l’image attendue. Le cheval est mort, donc le cou est déjà très étroit, car il n’est plus rattaché au garrot, il a perdu tout son volume. Quant à l’oreille, elle est dressée comme si l’animal écoutait encore, vivant. Dans une autre pièce, un autre cheval, j’ai obtenu une gueule ouverte avec l’empreinte de l’usure des dents, mais sans les oreilles. Quand je travaille avec des chiens, le corps n’est souvent pas entier, on a même un peu de peine à reconnaître l’animal dans la forme obtenue.

C.F. Accordes-tu une valeur précieuse au bronze ?
J.-M.P. Dans ces pièces, les chevaux et les chiens, la qualité du bronze est à peu près au niveau zéro, parce qu’elles sont l’envers de ce qu’on cherche à faire traditionnellement en bronze. Le bronze n’est pas là pour donner un surplus de valeur marchande à la pièce : mes partenaires sont bronziers, ils savent le faire, mon travail est lié à leur économie. Ce qu’on obtient, c’est une grande richesse de texture par un procédé direct et assez brutal. La densité intérieure est visible. En quelque sorte, c’est autant l’objet que l’histoire du procédé pour obtenir l’objet que l’on contemple avec le cheval.

C.F. Ton travail est-il à comprendre du point de vue anthropologique ?
J.-M.P. L’origine géographique de ces « bronzes à la chair perdue » est importante : ce sont des pièces qui portent avec elles toute une subjectivité mentale liée à l’imaginaire d’un pays africain en développement. Que l’aspect extérieur soit baroque me plaît beaucoup. En effet, je cherche à faire des objets qui ont une certaine intemporalité (il n’y a pas grand intérêt de savoir qu’ils sont faits maintenant ou il y a dix ans) et une universalité (je ne convoque pas des éléments pointus de la culture). En même temps, mon travail s’inscrit à la fois dans la tradition des grands sculpteurs et, à certains égards, dans le registre de la sorcellerie avec des peaux, des poils, des fétiches, des cornes, des dents : tout ce qui dans l’animal convoque son aspect symbolique. L’espèce de cuisine pour faire ces pièces est très excitante, comme dans l’atelier du diable. Je n’ai pas choisi le mouton ou la chèvre, ni la vache, car ces animaux-là sont de la viande. J’ai choisi le chien et le cheval, qui peuvent être de la viande, mais qui sont surtout des animaux proches de l’homme. Il y a quelque chose de dérangeant à travailler à partir d’un animal mort ; on est dans des idées de prédation et de sacrifice animal. Mais je ne réduis pas l’animal à une métaphore. On s’émeut plus sur le cadavre d’un chien que sur le chômage de masse des jeunesses africaines. Ce que je fais avec ces animaux n’est possible que parce qu’il y a une grande coopération entre moi et mes partenaires, une bonne connaissance du terrain et une amitié de longue date. Mais je fais de la sculpture, pas de l’art brut. Ces objets sont montrés dans des galeries, des foires d’art contemporain, des expositions et dans des collections, car ma pratique artistique compte aussi bien les objets à proprement parler que tout le processus qui mène à une tête de cheval réalisée avec du « bronze à la chair perdue ».

Images:
1-2. Jean-Marie Perdrix, Cheval, bronze à la chair perdue 3, 2013, cast of copper alloy, carbon and ash, 25 x 77 x 33 cm
3. ean-Marie Perdrix, Cheval, bronze à la chair perdue 1, 2012, cast of copper alloy, carbon and ash, 29 x 59 x 21 cm. Courtesy Jean-Marie Perdrix & Desiré Saint Phalle, Mexico City. Photo: Enrique Macias
4. Jean-Marie Perdrix, Chien et chienne à la chair perdue, 2012, cast of copper alloy, coal and ashes, 32 x 33 x 16 cm & 37 x 29,5 x 15cm, 24 & 25 kg. Courtesy Jean-Marie Perdrix & Desiré Saint Phalle, Mexico City. Photo: Enrique Macias
5. Jean-Marie Perdrix, Cheval, bronze à la chair perdue 2, 2012, cast of copper alloy, carbon and ash, 29 x 59 x 21 cm (Private collection). Photo: Philippe Munda
6. Jean-Marie Perdrix, Chien à la Chair Perdue 2, 2013, cast of copper alloy, coal and ashes,14 x 39 x 32.5 cm. Coutesy Jean-Marie Perdrix & Desiré Saint Phalle, Mexico City. Photo Jean-Marie Perdrix

Protagonist: Jean-Marie Perdrix
Project: The Registry of Promise

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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

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KEREN DETTON

Keren Detton is curator and director of Le Quartier, contemporary art centre in Quimper (Brittany, France) since 2009. She works with artists from different generations and develops exhibition projects and publications on a national and international scale. Her programme includes monographic exhibitions (Guy de Cointet, Ann Veronica Janssens, Claude Closky, Carey Young, Adva Zakai, Fayçal Baghriche…) and collective exhibitions, which focus on forms and languages, perception of images and the construction of identities. From 2004 to 2009, she worked in Air de Paris gallery and conducted a prospective programme titled La Planck. She held the position of president of the association C-E-A (French association of curators) from 2007 to 2009, and is still involved as a board member.

Keren Detton è curatore e direttore dal 2009 del centro d’arte contemporanea Le Quartier a Quimper (Francia). Ha lavorato con artisti di varie generazioni e sviluppato progetti espositivi su scala nazionale e internazionale. Il suo programma include mostre monografiche (Guy de Cointet, Ann Veronica Janssens, Claude Closky, Carey Young, Adva Zakai, Fayçal Baghriche…) e collettive che indagano i diversi linguaggi formali, la percezione delle immagini e la costruzione dell’identità. Dal 2004 al 2009 ha lavorato alla galleria Air de Paris dove ha portato avanti un programma chiamato La Planck. Dal 2007 al 2009 è stata presidente dell’Associazione dei Curatori Francesi (C-E-A) di cui è tutt’oggi membro del consiglio.

Keren Detton est commissaire d’exposition et dirige Le Quartier, centre d’art contemporain de Quimper depuis 2009. Elle s’attache à porter un regard sur plusieurs générations d’artistes et à développer des projets d’exposition et d’édition dans une dynamique nationale et internationale. Sa programmation comprend des expositions monographiques (Guy de Cointet, Ann Veronica Janssens, Claude Closky, Carey Young, Adva Zakai, Fayçal Baghriche…) et des expositions collectives qui révèlent un intérêt pour le langage et ses formes, la perception des images et la construction des identités. De 2004 à 2009, elle a travaillé à la galerie Air de Paris et mené un programme prospectif intitulé La Planck. Elle est membre de l’association C-E-A (commissaires d’exposition associés) qu’elle a présidé de 2007 à 2009.

Space: Le Quartier CAC
Project: Alfred Jarry Archipelago

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VINCENT HONORÉ IN CONVERSATION WITH KEREN DETTON, LE QUARTIER CAC, QUIMPER

VINCENT HONORÉ IN CONVERSATION WITH KEREN DETTON, LE QUARTIER CAC, QUIMPER

Vincent Honoré When was Le Quartier Contemporary Art Center created, and what were the factors that brought it into being?
Keren Detton Le Quartier was founded in 1990 on the initiative of the former director of the Quimper art school, Michel Pagnoux. Its underpinnings were the intense competition in art, literature and film in Quimper and the implementation of the decentralisation policies initiated by Jack Lange in the mid-1980s. A series of preview exhibitions with international artists convinced municipal decision-makers to support the creation of a centre d’art. Le Quartier was set up in the same building as the art school but operated autonomously, enabling it to be part of a professional network to which students had special access. Subsequently, the implementation of a contract with the state, region and department guaranteed that it would be possible to work with the public in a sustained way, particularly through the assistance they provided for the production of works and for mediation activities.

Project room

2. Project room, Le Quartier CAC

V.H. Charles Esche described his ideal museum as fundamentally uncertain: simultaneously and fully a community centre, laboratory, institute and gallery. A place where production is not necessarily “productive”, a place that is always being reconfigured, an open form with an incomplete architecture. How did you structure the centre’s curatorial approach when you took up the director’s post?
K.D. A centre d’art is by definition a place of reconfigurations and reconsiderations. In 2010, I suggested reviewing the allocation of the spaces in Le Quartier so that we could create a Project Room, an artistic experimentation zone serving as a counterpoint to the exhibitions, reactive to artists’ ideas and able to accommodate works in progress or works stemming from collective creative processes. The idea was to shake up the annual programme, introduce different rhythms, play on synchronic or diachronic effects, while preserving an artistic research space over the long term and continuing to do creative work with publications (catalogues, anthologies of texts, artist books). I also wanted to work on the porosity between the inside and outside in order to shatter the military aspect of this former barracks and highlight the seeing conditions. The fact of opening the exhibition rooms to the light of day had an effect on the centre d’art’s regulars. It was as if visitors were both surprised and relieved to see the works integrated into their day-to-day life. This pleased me, because I think a centre d’art should be able to bring itself into play just as much as it presents things, favouring encounters and questioning disparities. Recently, artist and architect Catherine Rannou offered a visit to the worksite of an exhibition setup tackling architecture through language and imagination, radically transforming the institution. I find it very stimulating when works speak to visitors on the level of their relationship to the body and to language.

05 Pierre Labat

3. Pierre Labat, Mr. Anderson, 2012

V.H. What is the role of the director of a contemporary centre d’art in 2015 ?
K.D. Le Quartier will be celebrating its 25th anniversary in a shaken political, economic and media context. The state is withdrawing, the map of regions is changing and the status of centres d’art is very weakened. As we speak, Le Quartier is being threatened by drastic budget cuts, and yet its balance sheet has been unanimously praised by all of its public partners. It runs an untimely programme alongside artists, investigates our visual cultures through images and language, and merrily crosses the boundaries between disciplines. Yet it is being told to justify its legitimacy. If mobility is greater today, what can a centre d’art offer in the provinces? Le Quartier is in a prime position between the art school, to which it offers genuine professional springboards, and the fine art museum, with which it collaborates regularly. But above all it is a place of emerging forms and ideas, passions and questions. It is rooted in its territory and resonates with places elsewhere, and keeps up a dialogue with artists and visitors. The director’s role is to keep this relationship with art and artists alive.

Ante Timmermans, Der Souffleur des ICHTS, 2014-2015

4. Ante Timmermans, Der Souffleur des ICHTS, 2014-2015

V.H. PIANO wants to create a forum for exchange and dialogue between Italian and French art centres. Why did you wish to participate and what programme are you proposing?
K.D. It’s a chance, through an association like d.c.a, to be able to connect with an art scene in another country, develop a better knowledge of its network of institutions and independents, exchange ideas and build things in with several others. It’s even essential, because a centre d’art feeds on alterity. Alfred Jarry Archipelago was born of the desire to understand artistic creation today through Alfred Jarry, the father of pataphysics. The project has turned into an open curatorial platform, which apprehends the legacy of the author of Ubu Roi not historically but speculatively. Since he was a well-informed observer of the artists of his time, we decided to make way for Alfred Jarry the curator! With Julie Pellegrin, director of the centre d’art La Ferme du Buisson in Noisiel, we are presenting a two-part exhibition, La valse des pantins – Act I and II. Leonardo Bigazzi, curator at the Museo Marino Marini in Florence, is presenting a programme of performances. Eva Wittocx, curator at M – Museum and for the Playground Festival in Leuven (Belgium) is joining us by linking monographic exhibitions and performances. The project framework is open enough to incorporate different points of view on this subversive figure full of contrasts, and to more closely examine his relationship to theatre, his projection of bodies and desire, his use of codes and absurdity, and the mixing of genres and identities. A publication in the form of an almanac will be the receptacle of this multiplicity of perspectives, with supplements provided by new contributors, authors and artists.

Nadashi

5. Shelly Nadashi, Poupée épouvantail avec pots et sac à dos, 2011-2014

Pauline Curnier Jardin   Blutbad Parade, 2014-2015

6. Pauline Curnier Jardin, Blutbad Parade, 2014-2015

Project: Alfred Jarry Archipelago
Space: Le Quartier CAC
Protagonist: Keren Detton

Vincent Honoré Quand a été créé Le Quartier, centre d’art contemporain et qu’est-ce qui a présidé à sa création ?
Keren Detton Le Quartier a été fondé en 1990 à l’initiative de l’ancien directeur de l’école d’art de Quimper, Michel Pagnoux. Les prémisses étaient ceux d’une forte émulation artistique, littéraire et cinématographique à Quimper et la mise en place des politiques de décentralisation initiées par Jack Lang au début des années 80. Une série d’expositions de préfiguration avec des artistes internationaux a convaincu les décideurs municipaux de soutenir la création d’un centre d’art. Le Quartier a pris place dans le même bâtiment que l’école d’art mais avec un fonctionnement autonome qui lui permet de s’inscrire dans un réseau professionnel auquel les étudiants ont un accès privilégié. Par la suite, la mise en place d’un conventionnement avec l’Etat, la région et le département a pu garantir la possibilité de travailler de manière soutenue avec les publics, notamment par leur aide à la production d’œuvres et aux actions de médiation.

V.H. Charles Esche a décrit son musée idéal comme étant fondamentalement incertain : a 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 quand vous en avez pris la direction ?
K.D. Le centre d’art est par définition un espace de reconfigurations et de remises en question. En 2010, j’ai proposé de revoir l’affectation des espaces du Quartier de manière à créer un Project Room, une zone d’expérimentations artistiques en contrepoint des expositions, réactif aux idées des artistes et pouvant accueillir des œuvres en train de se faire ou bien issues de processus de création collectifs. L’idée était de bousculer le programme annuel, d’introduire des rythmes différents, de jouer sur des effets synchroniques ou diachroniques, tout en préservant un espace de recherche artistique dans la durée et un travail critique avec les éditions (catalogues, anthologies de textes, livres d’artistes). Je voulais aussi travailler sur la porosité entre le dedans et le dehors pour casser le côté militaire de cette ancienne caserne et mettre en exergue les conditions du regard. Le fait d’ouvrir les salles d’exposition à la lumière du jour a marqué les habitués du centre d’art, c’est comme si les visiteurs avaient été, à la fois, surpris et soulagés de voir les œuvres inscrites dans leur quotidien. Cela m’a plu, car je pense qu’un centre d’art doit pouvoir se mettre en jeu autant qu’il met en scène, favoriser les rencontres et questionner les écarts. Récemment, Catherine Rannou, artiste et architecte, a proposé une visite sur le chantier d’un montage d’exposition attaquant l’architecture par le verbe et par l’imaginaire, transformant l’institution de manière radicale. Je trouve très stimulant quand les œuvres interpellent le visiteur dans son rapport au corps et au langage.

V.H. Quel est le rôle d’un directeur de centre d’art contemporain en 2015 ?
K.D. Le Quartier fêtera ses 25 ans cette année dans un contexte politique, économique et médiatique bouleversé. L’Etat se retire, la carte des régions se modifie et le statut des centres d’art est très fragilisé. A l’heure où je vous réponds, Le Quartier est menacé de coupes drastiques dans son budget, pourtant son bilan est unanimement salué par tous ses partenaires publics. Il porte une programmation intempestive avec des artistes, investigue nos cultures visuelles à travers l’image et le langage, et franchit allègrement les frontières entre les disciplines. Pourtant, on le somme de justifier sa légitimité. Si la mobilité est plus grande aujourd’hui, que peut apporter un centre d’art en région ? Le Quartier occupe une place de choix entre l’école d’art, pour laquelle il offre de véritables tremplins professionnels, et le musée des beaux-arts avec lequel il collabore régulièrement. Mais c’est avant tout un lieu d’émergence de formes et d’idées, de passions et de questions. Il est ancré dans son territoire et résonne avec l’ailleurs, entretient un dialogue avec les artistes et les visiteurs. Le rôle du directeur est de garder vivante cette relation à l’art et aux artistes.

V.H. PIANO veut créer un espace d’échanges et de dialogues entre des lieux d’art italiens et français. Pourquoi avez-vous souhaité participer et quel programme proposez-vous ?
K.D. C’est une chance, à travers une association comme d.c.a, de pouvoir se relier à une scène artistique étrangère, développer une meilleure connaissance de son réseau institutionnel et indépendant, échanger des idées et construire à plusieurs. C’est même essentiel car un centre d’art se nourrit de l’altérité. Alfred Jarry Archipelago est né de la volonté de comprendre la création artistique d’aujourd’hui à travers Alfred Jarry, père de la pataphysique. Le projet s’est transformé en une plateforme curatoriale ouverte, qui appréhende l’héritage de l’auteur d’UbuRoi non pas de manière historique mais spéculative. Puisqu’il était un observateur averti des artistes de son temps, il s’agissait pour nous de céder la place à Alfred Jarry commissaire ! Avec Julie Pellegrin, directrice du centre d’art de la Ferme du Buisson à Noisiel, nous présentons une exposition en deux volets, La valse des pantins – Acte I et II. Leonardo Bigazzi, curateur au Museo Marino Marini à Florence, propose un programme de performances. Par ailleurs, Eva Wittocx, curatrice au Museum M et pour le Playground Festival à Louvain (Belgique) nous a rejoints en associant des expositions monographiques et des performances. Le cadre du projet est suffisamment ouvert pour croiser les points de vue sur cette figure contrastée et subversive, examiner de plus près son rapport au théâtre, sa projection des corps et du désir, son usage des codes et de l’absurde, le mélange des genres et des identités. Une publication sous la forme d’un Almanach sera le réceptacle de cette pluralité de regards avec des prolongements apportés par de nouveaux contributeurs, auteurs et artistes.

Images:
1. Façade, Le Quartier CAC. © Le Quartier
2. Project room, Le Quartier CAC. Exhibition view, Variations autour de Bruno Munari – Posters d’artistes, Le Quartier CAC, 2013. Photo:  © Dieter Kik
3. Pierre Labat, Mr. Anderson, 2012. Exhibition view, Armer les toboggans, Le Quartier CAC, 2012. Photo: © Dieter Kik
4. Ante Timmermans, Der Souffleur des ICHTS, 2014-2015. Exhibition view, Alfred Jarry Archipelago – The Waltz of the Puppets – Act I, Le Quartier CAC, 2015. Photo: Emile Ouroumov
5. Shelly Nadashi, Poupée épouvantail avec  pots et sac à dos, 2011-2014. Exhibition view, Alfred Jarry Archipelago – The Waltz of the Puppets – Act ILe Quartier CAC, 2015. Photo: Emile Ouroumov
6. Pauline Curnier Jardin, Blutbad Parade, 2014-2015. Exhibition view, Alfred Jarry Archipelago – The Waltz of the Puppets – Act ILe Quartier CAC, 2015. Photo: Emile Ouroumov

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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

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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

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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

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Rometti Costales

Rometti Costales have been working together since 2007. The duo consists of Julia Rometti, born in Nice in 1975, and Victor Costales, of Ecuadorian and Belarusian extraction, born in Minsk in 1974.
They are represented by Jousse Entreprise gallery in Paris and by joségarcía ,mx gallery in Mexico City. They currently live and work in Mexico City.
Their work has been the subject of several solo exhibitions including: Kunsthalle Basel, Switzerland; La Casa del Lago in Mexico City, Mexico (2014); L’Appartement 22 in Rabat, Morocco; La Central in Bogota, Colombia; Jousse Entreprise gallery in Paris; Midway Contemporary Art in Minneapolis, United States (2013); Project Room Arte Actual in Quito, Ecuador (2011). They have also presented their work at Proyecto Siqueiros – La Tallera, Cuernavaca, Mexico (2015); in the context of the Cuenca Biennial in Ecuador (2014); at the FRAC Nord Pas-de-Calais, at Pilar Corrias Gallery in London, at the SALTS art centre in Basel, at the CRAC Alsace in Altkirch, at Fondation Gulbenkian in Paris (2013), at the Kunsthalle Zürich, at the Qalandiya International Biennial, Jerusalem and Ramallah (2012), at the David Roberts Art Foundation in London, at the Royal Institute of Art in Stockholm (2011); at the 29th Sao Paulo Biennial and at CAPACETE (2010)…
They are currently preparing a public commission for the Bordeaux Urban Community at the invitation of Catherine David. Their work will be presented soon at Tenderpixel in London, at the 12th Bienal Monterrey FEMSA in Mexico. Josegarcia ,mx gallery in Mexico will be dedicating a solo exhibition to them in 2016.

Image:
Rometti Costales, Succulent Strategies – Estrategias Suculentas, 2014 (detail), cacti, concrete posts and reinforcement rods, exhibition view Vamoose, all cacti jut torrid nites at Kunsthalle Basel, 2014. Courtesy Galerie Jousse entreprise and the artists. Photo: Serge Hasenböhler

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RODRIGO ORTIZ MONASTERIO IN CONVERSATION WITH ROMETTI COSTALES

RODRIGO ORTIZ MONASTERIO IN CONVERSATION WITH ROMETTI COSTALES

Rodrigo Ortiz Monasterio I would like to start talking about Azul Jacinto Marino. Is it a character, a theological idea… What is it?
Rometti Costales It’s a departing point since a few years ago, three years or so. Azul Jacinto Marino was conceived as an idea of a platform or a territory, an entity with fluctuant borders. We wanted to make a project that was quite extensive and required a vast operational surface. Somehow it comes out of a precedent project, Ediciones del Exotismo Ordinario Internacional Neotropical,which is an ongoing series of self-published booklets, built around a specific type of house plants found all around the world, but whose origin is the Neotropical Region (south of Chile to south of Mexico). It’s a collage of texts and images coming from second hand books on botanics, guerrilla, anarchy, gardening, organizational skills and literature. These booklets encompassed a large array of interests, binding them together. This project opened a Pandora’s box, with a lot of possible extrapolations, and Azul Jacinto Marino is one of them.
Since then it started its own existence, as a polysemic entity, a surface, a character. AJM traces points of visions, topographic pretexts, territories where misunderstandings can be formulated, erased, rewritten, retraced; where magic can interlace with anarchism, as a geo-botano-animo-logo-palimpsestic incident.

Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

2. Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

3. Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

R.O.M. So, Azul Jacinto Marino can become something different for each project? Kind of a shapeshifter?
R.C. Yes, you can see it as a shapeshifter or a trickster. Something that can go somewhere and come back in a totally different form or to tell a different story. A loop with a lot of loopholes. But if there is one thing that really defines it, it is the ambiguity of being several different things at the same time. It’s very arbitrary because we allow ourselves to use it and misuse it in all the ways possible, with overlapping interests. Already the three words that compose the name say a lot: given names found in Latin America, gradations of blue, a mineral, a plant, depth, sea waters, someone, something, some region, some organization, we don’t know.

Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

4. Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

5. Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

6. Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

7. Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

R.O.M. For someone who doesn’t know about Azul Jacinto Marino and the different forms, shapes, and ideologies it can embrace, does the question if Azul Jacinto Marino references a historical character that existed deep in the jungle, creating an utopian community ever come up?
R.C. You are talking about Antonio García Barón, the anarchist we often refer to, who lived in the Bolivian Amazon, and created his micro anarchist state. The life of a hands-on anarchist living in such a particular context is pretty appealing, because of the encounter between two political philosophies: magic and anarchism. He could be Azul Jacinto Marino or could enter into Azul Jacinto Marino’s perspective, through fiction.

Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

8. Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

9. Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

10. Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

11. Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

R.O.M. But it’s not all fiction, since it departs from a narrative or real historical events right?
R.C. Yes, Antonio García Barón really existed, as well as the jungle around him and his micro anarchic state with that forest as a background. And the tribe who joined this anarchist as well, they did exist, and the way they relate to their surroundings also was “really” there, like magic and shamanism. And then Magical Anarchism started, and it is where fiction shakes hands with reality and reality knocks on fiction’s door. What we mean is that when you think of something like Anarquismo Mágico (Magical Anarchism), it is easier to set a fictional frame to this story, in order to develop more freely these ideas, even though we are not yet entirely sure of what that means, and what set of rules governs them. But it gives us a territory on which to operate, and Azul Jacinto Marino claims this territory, it is this territory. We made a flag, an anarcho-syndicalist pattern of a red and black diagonal recreated with Huayruro seeds. These seeds are used a lot in the Amazon, as protection, as an amulet, and in some cases as part of the mix used to prepare Ayahuasca, in order to potentiate it. This is the flag of Magical Anarchism.

Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

12. Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

Exhibition view, Rometti Costales. Azul Jacinto Marino, CAC La Synagogue de Delme, 2015

13. Outside view of la synagogue de Delme, 2015

R.O.M. Let’s talk about the personal assumptions you can make out of these readings, specifically this historical elements, and the way oral tradition is told. For example, the Berber rug at the Kunsthalle Basel exhibition in 2014, it’s based on oral tradition: the actual labor of crafting the rug, which doesn’t follow any specific set of rules, the final result is open-ended, right? What is the relationship between oral tradition and your work?

R.C. That rug was bought as it is, we didn’t ask to make it. We were very much interested on what defines the crafting process. The creation of a Beni Ourain rug is a very fascinating way to leave the final result to chance. The women who weave allow themselves to see less than the last half meter of the work done, the rest is rolled up, and will not be seen until they finish it. And since they can leave the work without finishing for weeks, sometimes months, once they come back to work on the rug, they are obliged to make an effort of memory to be able to follow the precedent path. And it always takes them somewhere else. It is as if the chance and fragility of memory were constantly inscribed in the final result of this rug crafting. Is a thought mapping of sorts. And we like to believe it is a quite conscious modus operandi. It is like if they were inscribing chance and contingency of everyday life into a surface, a protection device which is this rug, that can be used as a cover or a collective bed for a family. It is a very beautiful way of claiming the necessity of chance and the aleatory. So yes, from this perspective it is familiar to the development of a discourse present in oral tradition, to its vulnerability, always in present tense, since one is always obliged to reactualize it because there is no archive, no registry to which to rely to. There is always the presence of polysemic “things” we were talking about and the “may be”; fiction allows to substantiate this “may be”, the doubt of whether it “will”, “did” or “is”, or all of these at the same time. For example: You arrive somewhere, while sort of overflying the idea of Antonio García Barón, of Anarchy in the middle of the Amazonian forest, and the place where you are has nothing to do with this reality you are thinking of, nothing pushes you to project any of the events occurred in the life of this character over the context you are in, maybe you don’t even really think about him. And suddenly there is something that makes the glare of fascination around him shine with a certain intensity. And this something, which can be anything, a cup, a knife, a brunch of a tree or a coral fossil, whatever, makes you think: “of course this belongs to Antonio García Barón,” and it starts to be concrete and plausible, as when you see the stars and discover an asterism. A cactus fossil becomes Barón’s finger he lost while hunting a jaguar. Millions of years, the substance of a succulent plant, its becoming a mineral, the relation between animal and man, plant and mineral, all this collapses into this one single arbitrary event, into this fiction. And you will never be able to not see this asterism again. This is the great transformational power of cooperation between fiction and reality. To make a palpable “may be”.

R.O.M. I’m interested in knowing if Azul Jacinto Marino can infiltrate in different ways throughout the exhibition space.
R.C. In Vamoose all cacti jut torrid nites publication, Azul Jacinto Marino is assigned with the number 8 in the floor plan of the exhibition, right in the center of it, even if it is not corresponding to any work present inside the space. AJM is the publication, and it signs it. And the publication works as the rug present in the exhibition space. It weaves through its pages the name of the exhibition and the name of AJM through a series of anagrams, 46 precisely, a number that corresponds to the 17 plus 29 letters that constitute AJM and Vamoose all cacti jut torrid nites, the exhibition’s title. One disappears while the other is revealed at the last page of the publication.

I jet multi jaca revolutas to zona torrida cosmical inn
Jinn animism juts aleatoric lizard calc-tattoo over u
iztac and tiltic jalousie jets a narco moonlit rumor

Rodrigo Ortiz Monasterio Pour commencer, j’aimerais parler d’Azul Jacinto Marino. C’est un personnage, une idée théologique… Au fond qu’est-ce que c’est ?
Rometti Costales Depuis à peu près trois ans, c’est un point de départ. Azul Jacinto Marino a été conçu comme une plateforme, ou un territoire, une entité aux frontières mouvantes. Nous voulions concevoir un projet relativement vaste qui demandait une surface opérationnelle tout aussi vaste. D’une façon ou d’une autre, il émane d’un précédent projet, intitulé Ediciones del Exotismo Ordinario Internacional Neotropical, une série en cours de livrets auto-publiés, construite à partir d’un certain type de plantes domestiques, qui se trouvent dans le monde entier, mais qui proviennent de la région néotropicale (entre le Sud du Chili et le Sud du Mexique). Il s’agit d’un collage de textes et d’images issus de livres d’occasion sur la botanique, la guérilla, l’anarchie, le jardinage, les méthodes d’organisation, la littérature. Ce projet a ouvert une boîte de Pandore, avec des possibilités d’extrapolation multiples ; Azul Jacinto Marino est l’une d’entre elles.
Depuis, Azul Jacinto Marino vit sa vie, comme entité polysémique, comme une surface, un personnage. AJM dessine des points de vue, des prétextes topographiques, des territoires où les malentendus peuvent être formulés, effacés, réécrits, retracés ; où la magie peut se confondre avec l’anarchisme, comme un incident géo-botanico-animalo-logo-palimpsestique.

R.O.M. En ce cas est-ce que AJM peut se transformer à chaque projet ? Une sorte de shapeshifter ?
R.C. Oui on peut le voir comme un shapeshifter ou un trickster. Quelque chose qui peut aller quelque part, revenir totalement transformé, et raconter une histoire différente. Une boucle avec de possibles brèches et zones de non-droit. Mais ce qui le définit vraiment, c’est l’ambigüité d’être plusieurs choses en même temps. C’est très arbitraire, parce que nous nous permettons d’en user et d’en mésuser de toutes les manières possibles, où divers intérêts se chevauchent. D’entrée de jeu, les trois mots qui composent le nom en disent beaucoup : des noms et prénoms que l’on donne en Amérique latine, des nuances de bleu, un minéral, une plante, la profondeur, la mer, quelqu’un, quelque chose, une région, une organisation, que sais-je encore…

R.O.M. Pour quelqu’un qui ne connaît pas Azul Jacinto Marino et les différentes formes, contours, et idéologies qu’il recouvre, la question de savoir s’il se réfère à un personnage historique ayant existé au plus profond de la jungle, ayant créé une communauté utopique, est-elle jamais soulevée ?
R.C. Vous faites référence à Antonio García Barón, l’anarchiste auquel nous renvoyons souvent, qui a vécu dans l’Amazonie bolivienne et a créé un micro-Etat anarchiste. La vie d’un anarchiste de terrain vivant dans un contexte si particulier est plutôt attirante, du fait de la rencontre entre deux philosophies politiques : la magie et l’anarchie. Il peut ainsi être Azul Jacinto Marino ou entrer dans la perspective de AzulJacinto Marino, à travers la fiction.

R.O.M. Mais il ne s’agit pas totalement d’une fiction n’est-ce pas, puisque le point de départ est constitué d’événements historiques réels ?
R.C. Oui, Antonio García Barón a vraiment existé, de même que la jungle autour de lui et son micro-Etat anarchiste, avec la forêt pour arrière-plan. Et la tribu indienne qui a rejoint cet anarchiste a vraiment existé aussi, de même que le rapport qu’ils entretiennent à leur environnement, la magie et le chamanisme, tout cela était « réel ». C’est comme ça que l’Anarchisme Magique a pris forme et c’est là que la fiction rencontre le réel et que le réel frappe à la porte de la fiction. Ce que nous voulons dire, c’est que lorsqu’on pense à quelque chose comme l’Anarchisme Magique (Anarquismo Mágico), il est plus simple de poser un cadre fictionnel à cette histoire, de façon à développer plus librement ces idées, même si nous ne sommes pas entièrement sûrs de leur signification et des règles qui les gouvernent. Mais cela nous offre un territoire sur lequel opérer et Azul Jacinto Marino revendique ce territoire, il est ce territoire. Nous avons fait un drapeau, et recréé avec des graines de Huayruro le motif diagonal rouge et noir de l’anarcho-syndicalisme. Ces graines sont très utilisées en Amazonie, comme protection, amulette, et dans certains cas comme élément du mélange utilisé pour la préparation de l’Ayahuasca, pour le rendre plus efficace. C’est le drapeau de l’Anarchisme Magique.

R.O.M. Parlons des hypothèses personnelles que vous pouvez faire à partir de ces lectures, plus particulièrement des éléments historiques et de la manière dont la tradition orale est transmise. Par exemple le tapis berbère présenté en 2014 dans l’exposition de la Kunsthalle de Bâle s’appuie sur une tradition orale : le travail artisanal du tapis, qui ne suit aucune règle spécifique, produit un résultat indéterminé ? Quelle sens la tradition orale prend-elle dans votre travail ?
R.C. Ce tapis a été acheté, nous n’avons pas commandité sa réalisation. Nous étions très intéressés par ce qui définit le processus manuel. La création d’un tapis Beni Ouarain est une manière fascinante d’abandonner au hasard le résultat final. Les femmes qui tissent ne voient pas plus de 50 cm du travail accompli, le reste étant enroulé et soustrait au regard jusqu’à la fin. Et puisqu’elle suspendent parfois le travail pendant des semaines, voire des mois, une fois qu’elle se remettent au travail, elles doivent faire un effort de mémoire pour retrouver le chemin parcouru jusque là. Et cela les emmène toujours ailleurs. C’est comme si le hasard et la fragilité de la mémoire étaient inscrits au cœur du résultat final de ce travail artisanal. Une sorte de cartographie de la pensée. Et nous aimons à penser que c’est un mode opératoire relativement conscient. C’est comme si ces femmes inscrivaient le hasard et la contingence de la vie quotidienne dans une surface, un outil de protection qui est ce tapis, qui peut être utilisé comme une couverture ou comme un lit collectif pour une famille. C’est une belle manière d’affirmer la nécessité du hasard et de l’aléatoire. Donc oui, de ce point de vue, il y a une proximité avec le développement du discours dans la tradition orale, sa vulnérabilité, toujours au présent, puisque chacun est obligé de le réactualiser, dans la mesure où il n’y a pas d’archive, pas d’enregistrement sur lequel s’appuyer. Il y a toujours la présence de « choses » polysémiques et indéterminées ; la fiction est ce qui permet d’étayer cette indétermination, de jeter le doute sur le fait qu’une chose a été, est ou sera, ou tout cela à la fois. Par exemple : tu arrives quelque part, tout en survolant en pensée l’idée d’Antonio García Barón, de l’anarchie au beau milieu de la forêt amazonienne, et l’endroit où tu te trouves n’a rien à voir avec la réalité à laquelle tu penses, rien ne te pousse à projeter sur ton contexte immédiat aucun des événements qui ont eu lieu dans la vie de ce personnage, peut-être ne penses-tu même pas réellement à lui. Et soudain quelque chose qui pourrait être n’importe quoi, une tasse, un couteau, une branche d’arbre ou un corail fossile, ce quelque chose te fait penser : « bien sûr, c’est à Antonio García Barón », et cette pensée commence à devenir concrète et plausible, comme lorsqu’on voit une étoile et qu’on finit par découvrir une constellation. Un cactus fossile devient le doigt que Barón a perdu pendant qu’il chassait un jaguar. Des millions d’années, la substance d’une plante grasse, sa transformation minérale, la relation entre l’homme et l’animal, entre la plante et le minéral, tout cela s’évanouit dans cet unique événement arbitraire, dans cette fiction. Et vous ne pourrez jamais ne plus voir cette constellation. C’est le pouvoir immense de transformation qui provient de l’association entre fiction et réalité. Rendre tangible la notion du « peut-être ».

R.O.M. J’aimerais savoir si Azul Jacinto Marino peut infiltrer de différentes manières l’espace d’exposition.
R.C. Dans la publication intitulée Vamoose all cacti jut torrid nites, Azul Jacinto Marino porte le numéro 8 sur le plan d’exposition, au milieu de l’espace, alors qu’il ne correspond à aucun des travaux présentés dans cet espace. Azul Jacinto Marino incarne la publication et en même temps il la signe. Cette publication fonctionne comme le tapis présenté dans l’exposition. Elle entremêle dans ses pages le nom de l’exposition et le nom AJM, à travers une série d’anagrammes, 46 exactement, comme les 17 lettres d’AJM et les 29 lettres de Vamoose all cacti jut torrid nites, titre de l’exposition. L’un disparaît quand l’autre est révélé sur la dernière page de la publication.

I jet multi jaca revolutas to zona torrida cosmical inn
Jinn animism juts aleatoric lizard calc-tattoo over u
iztac and tiltic jalousie jets a narco moonlit rumor

Images:
1. Rometti Costales, Azul Jacinto Marino
2. Exhibition view of Azul Jacinto Marino by Rometti Costales, centre d’art contemporain – la synagogue de Delme, 2015
3. Rometti Costales, Escalas psiconáuticas de un espacio de igualdad en flor (Psychonautic Scales of a Space of Equality in Bloom), acacia branches, 2015; exhibition view of Azul Jacinto Marino at la synagogue de Delme, 2015
4, 6, 7. Rometti Costales, Artefacts Travelling in the Depths of Marble Surface, ten framed C-prints and one C-print glued to aluminium and laminated, 2015; exhibition view of Azul Jacinto Marino at la synagogue de Delme, 2015
5. Rometti Costales, Dedos de Antonio García Barón (Fingers of Antonio García Barón), cactus, concrete cast of a coral fossil, concrete cast of a succulent plant, 2015; exhibition view of Azul Jacinto Marino at la synagogue de Delme, 2015
8. Rometti Costales, Rain Cloak, Courtesy Azul Jacinto Marino, woven palm leaves, 2015; exhibition view of Azul Jacinto Marino at la synagogue de Delme, 2015
9. Rometti Costales, Artefacts Travelling in the Depths of Marble Surface, ten framed C-prints and one C-print glued to aluminium and laminated, 2015; exhibition view of Azul Jacinto Marino at la synagogue de Delme, 2015
10, 11, 12. Exhibition view of Azul Jacinto Marino by Rometti Costales, centre d’art contemporain – la synagogue de Delme, 2015
13. Outside view of la synagogue de Delme, 2015
Photos: O.H. Dancy

Protagonists: Rometti Costales
Project: The Book Society #02
Space: CAC La Synagogue de Delme

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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

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Pier Paolo Pasolini

Born 1922, Bologna, Italy
† 1975, Lido di Ostia, Italy

The short film Pasolini e… la forma della città, produced by RAI in the autumn of 1973 and broadcast the following year, was directed by Paolo Brunatto and not, as could have been expected, by its subject— the Italian poet, writer, director, screenwriter, playwright, and journalist Pier Paolo Pasolini. Yet it is so redolent of Pasolini’s personality and aesthetic that it looks like his own work. The documentary features a series of interviews with personalities from the Italian cultural scene, who are asked to talk about a specific work of art.
Pasolini has chosen Orte and Sabaudia, two towns that played an important role in his life. Filmed mostly by Pasolini himself, this short piece comes across as a harmonious interweave of words and pictures. He films the area around Orte, approaches the town center, and then moves to Sabaudia, where on a windswept beach he himself appears, lamenting the environmental, urban, and cultural degeneration of Italy. The conclusion sums up some of his impassioned arguments against standardization, which were published in the newspaper “Corriere della Sera.” Throughout the film, Pasolini does not address a generic audience of viewers but engages with a specific “you,” his actor friend Ninetto Davoli. Pasolini himself went on to use part of the footage in the short film Le mura di Sana’a, devoted to the capital of North Yemen, an ancient city whose history and culture were threatened by the advance of modern progress.

Nato a Bologna, Italia, nel 1922
† 1975, Lido di Ostia, Italia

La regia del cortometraggio Pasolini e… la forma della città, prodotto dalla RAI nell’autunno del 1973 e trasmesso l’anno seguente, non è del poeta, scrittore, regista, sceneggiatore, drammaturgo e giornalista italiano Pier Paolo Pasolini, bensì di Paolo Brunatto. Tuttavia, la personalità di Pasolini e gli aspetti salienti della sua poetica permeano a tal punto l’opera che egli sembra esserne l’autore. Il documentario si compone di una serie di interviste, intitolata Io e …, a personalità della cultura italiana, a cui viene chiesto di parlare di una determinata opera d’arte.
Pasolini sceglie di parlare di Orte e Sabaudia, due città che avevano un ruolo importante nella sua vita. Pasolini, che per buona parte del film tiene in mano la telecamera ed è dunque autore delle riprese, imposta La forma della città come un intreccio armonico di immagini e parole. Riprende i dintorni di Orte, si avvicina al centro della città, e, infine, arriva a Sabaudia, dove, su una spiaggia ventosa, è ritratto mentre denuncia la degenerazione ambientale, urbanistica e, quindi, culturale dell’Italia. La conclusione del cortometraggio sintetizza alcuni degli argomenti della polemica pasoliniana contro l’omologazione, come si esprimeva in quel periodo sulle pagine del “Corriere della sera”. Per tutto il film, Pasolini non si rivolge mai al generico telespettatore, ma colloquia con un “tu” specifico, ossia l’attore e amico Ninetto Davoli. Pasolini utilizzerà in seguito parte delle riprese per Le mura di Sana’a, un cortometraggio sulla capitale dello Yemen del nord, città antichissima che la modernità minaccia di distruggere.

Project: Soleil politique

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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

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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

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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.

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Alberto Garutti

02_Museion_SoleilPolitique_Garutti

Alberto Garutti, Madonna, 2007

Born 1948, Galbiate, Italy
Lives and works in Milan, Italy

For Alberto Garutti, works of art only exist in the eyes of the beholder. The first person to behold any work is of course the artist himself, who observes reality and imparts different attributes to objects. It is then up to the viewer to complete the work by supplying meaning. Many of Garutti’s works are designed for public space, where the confrontation between artwork and viewer is direct, not mediated by a museum or artistic venue that houses and presents it.
In his work Alberto Garutti investigates various aspects of the human experience, including spirituality. Madonna, a ceramic statue of the Virgin Mary, originated as a commission for the Nuova Chiesa (New Church) in the parish of Trezzano sul Naviglio (Milan). Deliberately embracing the artistic tradition of religious representation, Garutti reproduces the Virgin Mary in a way that adds an element of personal experience to the relationship between the statue and the believer. Garutti achieves this by creating a white ceramic copy of a nineteenth century statue of the Madonna, but deliberately changing the way it is perceived. He takes his inspiration from time-honoured rituals that see believers flocking to touch sacred statues, but in this case, the material is not cold to the touch, but warm: an electrical system inside the sculpture heats the ceramic structure to the same temperature as the human body. This warmth adds an unexpected dimension to the believer’s physical experience, creating an element of affinity with the sculpture.

Nato a Galbiate, Italia, nel 1948
Vive e lavora a Milano, Italia

Per Alberto Garutti l’opera d’arte esiste solo nello sguardo di chi la osserva. Il primo a effettuare questa operazione è l’artista stesso, che, guardando la realtà, conferisce alle cose un aspetto diverso. Successivamente, è lo spettatore a portare l’opera a compimento, attribuendole un senso. Molti degli interventi di Garutti sono pensati per lo spazio pubblico, dove il confronto tra opera e spettatore è diretto, perché non mediato da un contesto museale o artistico che accoglie e presenta l’opera. L’artista indaga vari aspetti dell’esperienza umana, tra cui la spiritualità. Madonna è una statua in ceramica raffigurante la Vergine Maria. L’opera nasce come progetto commissionato nell’ambito del programma iconografico della Nuova Chiesa sussidiaria della parrocchia di Trezzano sul Naviglio (MI). Inserendosi nella tradizione artistica delle rappresentazioni religiose, Alberto Garutti raffigura la Vergine introducendo un elemento esperienziale tra la statua e il fedele. Realizza una copia in ceramica bianca di una statua ottocentesca della Madonna, modificandone però la percezione. Poiché nel rito spontaneo i fedeli toccano le statue sacre, l’artista ha voluto che il materiale della sua scultura al tatto non fosse freddo, bensì tiepido. Il tepore fa sembrare la statua viva e, quindi, vicina al fedele anche nell’esperienza corporea. In una sezione cava all’interno della scultura vi è infatti un sistema di riscaldamento elettrico, che permette alla ceramica di raggiungere la temperatura del corpo umano.

Image:
Alberto Garutti, Madonna, 2007, courtesy of the artist, Soleil Politique, Museion 2014. Photo: Luca Meneghel

Project: Soleil politique

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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.

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LEONARDO BIGAZZI

Leonardo Bigazzi is a curator based in Florence, Italy. He recently started working at the Museo Marino Marini where he co-curated the exhibition 30/60 Opere dalla collezione del FRAC Champagne-Ardenne with a selection of over 40 works from the collection of the French institution.
Since its first edition in 2008 he collaborates with Lo Schermo dell’Arte Film Festival in Florence, Italy. For the Festival he curates VISIO – European Workshop on Artists’ Cinema, the VISIO Residency Program, and Notti di Mezza Estate, a summer program of artists’ films and documentaries from the archives of the Festival. Beside collaborating to the selection of films for the main program, in the past edition of the Festival he has been responsible for special projects with the artists Omer Fast, Melik Ohanian and Hiroshi Sugimoto. He is also the co-director of Feature Expanded, a training program developed together with HOME (Cornerhouse) in Manchester.
He recently started an on-going collaboration with the artist Petrit Halilaj and he has worked for the research and production of his exhibitions at the Galerie Kamel Mennour (Paris), Bundeskunsthalle (Bonn), Kölnischer Kunstverein (Koln) and Palazzo Grassi/Punta della Dogana (Venice).
Since 2012 he works at the Gucci Museum in Florence as a consultant for the contemporary art exhibitions organized in collaboration with the François Pinault Collection.

Leonardo Bigazzi lavora come curatore al Museo Marino Marini di Firenze dove ha co-curato nel 2014 la mostra 30/60 Opere dalla collezione del FRAC Champagne-Ardenne.
Sin dalla sua prima edizione nel 2008 collabora con Lo schermo dell’arte Film Festival, progetto internazionale dedicato alle relazioni tra cinema e arte contemporanea. Nel contesto del Festival è il curatore di VISIO European Workshop on Artists’ Moving Images, del VISIO Residency Program e del programme estivo Notti di Mezza Estate. Oltre a collaborare alla selezione dei film e degli incontri del programma, ha seguito nelle passate edizioni la produzione di progetti speciali con gli artisti Omer Fast, Melik Ohanian e Hiroshi Sugimoto. È inoltre il co-direttore del progetto internazionale Feature Expanded, un programma di training sviluppato insieme a HOME (Cornerhouse) a Manchester.
Recentemente ha iniziato uno stretto rapporto di collaborazione e di ricerca con l’artista kosovaro Petrit Halilaj per le sue mostre alla Galleria Kamel Mennour (Parigi), Bundeskunsthalle (Bonn), Kölnischer Kunstverein (Colonia) e Palazzo Grassi/Punta della Dogana (Venezia).
In qualità di consulente collabora dal 2012 con il Gucci Museo a Firenze per le mostre di arte contemporanea organizzate in collaborazione con la François Pinault Collection.

Leonardo Bigazzi est commissaire d’exposition basé à Florence.
Il travaille depuis peu au Museo Marino Marini où il a été co-commissaire de l’exposition 30/60 Œuvres de la collection du FRAC Champagne-Ardenne.
Il collabore avec le festival de cinéma Lo Schermo dell’Arte à Florence depuis sa première édition en 2008 : il y est commissaire des programmes VISIO (ateliers, résidences) et de Notti di Mezza Estate, un programme estival de films d’artistes et de documentaires. Il collabore régulièrement à la sélection des films et a été responsable lors de la précédente édition des projets spéciaux avec les artistes Omer Fast, Melik Ohanian et Hiroshi Sugimoto. Il est également co-directeur de Feature Expanded, un programme de formation développé avec HOME (Cornerhouse) à Manchester.
Il travaille avec l’artiste Petrit Halilaj pour la recherche et la production de ses expositions (Galerie Kamel Mennour, Paris ; Bundeskunsthalle, Bonn ; Kölnischer Kunstverein, Cologne ; Palazzo Grassi / Punta della Dogana, Venise).
Depuis 2012, il est conseiller au musée Gucci à Florence pour les expositions d’art contemporain organisées en collaboration avec la collection François Pinault.

Space: Museo Marino Marini
Project: Alfred Jarry Archipelago

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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

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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

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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

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LUCY SKAER

Born 1975, Cambridge, United Kingdom
Lives between London and Glasgow, United Kingdom

Project: The Registry of Promise

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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

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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

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JULIE PELLEGRIN

Since 2007, Julie Pellegrin has been working as the director of the Art Centre of La Ferme du Buisson. She aims to create a dialogue between contemporary art and other art forms (with a particular emphasis on theatre and dance), as well as social science (economics, philosophy, anthropology), focusing on the significance of processes and experimentation in the performative dimension of art. She mixes solo (Isabelle Cornaro, Seulgi Lee, Gianni Motti, Denis Savary, Mathieu Kleyebe Abonnenc, Diogo Pimentao, Julien Bismuth, Phill Niblock) and group exhibitions (A Choreographed Exhibitions, Treasures for Theatre, The Yvonne Rainer Project) mixed with publications, talks and performances. Author of over a dozen of artist monographs and artists’ books, Julie Pellegrin recently published, together with fellow curator Mathieu Copeland, a collective anthology entitled Choreographing Exhibitions. In 2013, she co-curated Nuit Blanche Paris with Chiara Parisi. They invited 40 international artists to produce large-scale artworks showcased across the city in public space, to offer spectators a chance to experience time-based works by Fujiko Nakaya, Rosa Barba, Michael Portnoy, Peter Watkins, Chantal Akerman, Hassan Khan, Liam Gillick or Martin Creed ‒ as well as reenactments of historical works like Palle Nielsen’s The Model or Karlheinz Stockhausen’s Helicopter String Quartet.

Julie Pellegrin è direttore del Centre d’art La Ferme du Buisson dal 2007. La sua ricerca è incentrata sul dialogo tra arte contemporanea e altre arti (in particolare il teatro e la danza), e con le scienze sociali (economia, filosofia, antropologia), e si concentra sul significato dei processi e la sperimentazione nella dimensione performativa dell’arte. Il suo programma consiste in una combinazione di mostre personali (Isabelle Cornaro, Seulgi Lee, Gianni Motti, Denis Savary, Mathieu Kleyebe Abonnenc, Diogo Pimentao, Julien Bismuth, Phill Niblock), collettive (A Choreographed Exhibitions, Treasures for Theatre, The Yvonne Rainer Project), pubblicazioni, incontri e performance. Ha pubblicato oltre una dozzina di monografie e libri d’artista e di recente, con Mathieu Copeland, l’antologia Choreographing Exhibitions. Nel 2013 ha curato con Chiara Parisi la Nuit Blanche di Parigi invitando oltre 40 artisti a produrre istallazioni e opere su larga scala sparse per il territorio della città.

Julie Pellegrin dirige le Centre d’art de la Ferme du Buisson depuis 2007 où elle développe un programme centré sur la performativité à travers des expositions monographiques (Julien Bismuth, Mathieu Kleyebe Abonnenc, Isabelle Cornaro, Phill Niblock) et collectives (Une exposition chorégraphiée, Treasures for Theatre, The Yvonne Rainer Project), des événements et des livres. Elle a été co-directrice artistique de la 11e édition de Nuit Blanche Paris avec Chiara Parisi. Les artistes y proposaient une expérience de la durée et de la dérive en imaginant des œuvres à l’échelle de la ville (Fujiko Nakaya, Rosa Barba, Michael Portnoy, Peter Watkins, Chantal Akerman, Liam Gillick, Avi Mograbi…) parallèlement à la réactivation de pièces historiques (The Model de Palle Nielsen ou le quartet pour hélicoptères de Karlheinz Stockhausen). Outre une quinzaine de monographies et livres d’artistes, Julie Pellegrin vient de publier avec Mathieu Copeland un ouvrage collectif intitulé Chorégraphier l’exposition.

Space: CAC de la Ferme du Buisson
Project: Alfred Jarry Archipelago

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VINCENT HONORÉ IN CONVERSATION WITH JULIE PELLEGRIN, CAC DE LA FERME DU BUISSON, NOISIEL

VINCENT HONORÉ IN CONVERSATION WITH JULIE PELLEGRIN, CAC DE LA FERME DU BUISSON, NOISIEL

Vincent Honoré Can you tell us about the missions of La Ferme du Buisson, and explain what makes this place unique in France?
Julie Pellegrin Located on an exceptional site in the outer suburbs of Paris, La Ferme du Buisson is a multidisciplinary cultural centre of national and international standing. It comprises a contemporary art centre, a national theatre containing 7 concert and performance spaces, and a cinema. This configuration, which is unique in France, makes the place a perfect example of the de-compartmentalisation of disciplines. In addition to missions common to all centres d’art (research and prospecting, supporting creativity and distribution), our centre d’art is a resonance chamber for all of La Ferme’s activities. So the programme revolves around three axes: performance, multidisciplinarity and experimentation with exhibition formats.
By basing my work on an approach that sees performance as an active principle of category-transgression, I’ve endeavoured—since my arrival eight years ago—to bring contemporary art into dialogue with other artistic disciplines (theatre, dance, music, cinema) or with disciplines outside of art (economics, philosophy, anthropology…). In our ways of working, in the subjects explored or in our activities directed at the public, we try never to disconnect the art scene from the social, political and cultural spheres. The contemporary centre d’art is a place that is open and in motion, establishing local roots and international collaborations, through a programme of exhibitions and publications, performances, meetings and screenings.

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2. Marvin Gaye Chetwynd, Jesus and Barabbas puppet show performance / installation, 2011

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3. Rainer Ganahl, I Wanna be Alfred Jarry, 1897/2012

V.H. When and why was this centre d’art created?
J.P. The centre d’art was an integral part of the initial plan for La Ferme du Buisson. The institution was created in 1990 at the end of a major renovation of the old “model farm” of the Menier chocolate factories. It was saved from destruction thanks to a mobilisation by residents and local politicians who understood the importance of preserving industrial heritage and creating a high-calibre cultural centre for the new city of Marne-la-Vallée, which was then under construction.

V.H. Beyond its art production and distribution mission, how do you define the political and civic role played by La Ferme du Buisson?
J.P. Our interview is taking place in a very worrying context in France, marked by the recent attacks, the rise of right-wing extremism, and unprecedented budget cuts leading to the closure of more and more centres d’art, theatres and other cultural places. Although our role within the city can sometimes seem trifling, the current context is making it absolutely indispensable. Art is a formidable tool against all fundamentalisms, because it makes it possible to form a critical mind, to develop complex sensory experiments, and because it’s a forum for sharing, open to alterity. As history has demonstrated, art doesn’t have to be politically engaged to constitute a subversive force, but I still make my programming choices with a view to considering the idea of actuality—in the Deleuzian sense of the term: as an evolving embodiment of a concept—by giving forms and spaces to questions that pervade our time, whether they be economic, ecological, postcolonial, feminist or otherwise. In support of this, La Ferme du Buisson is doing great mediation and awareness-raising work directed at visitors from the every walk of life. It seems to me that this art education role is vital, particularly in our location on the periphery of Paris’s cultural offering, and with regard to sectors of the public said to be “alienated” or “restricted”.

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4. Julien Bismuth, Untitled, 2015

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5. Naotaka Hiro, Untitled drawings, 2015

V.H. PIANO wishes to create a forum for exchange and dialogue between Italian and French art centres. Why did you want to participate and what programme are you proposing?
J.P. In this period when people are turning inward, international collaborations that make it possible to exchange points of view, practices and sometimes funding, are vitally important. In this sense, the cooperative projects developed by d.c.a are highly stimulating. In the context of PIANO, we’ve initiated a large project with Museo Marino Marini in Florence, entitled Alfred Jarry Archipelago, which we are sharing with a Belgian partner, M – Museum Leuven. A few years ago with Keren Detton (director of centre d’art Le Quartier in Quimper), we started taking an interest in the figure of Ubu Roi and in Jarry’s work more generally. Since Jarry had very close links with the futurists, and Italy is home to many pataphysics societies, and Ubu regularly serves as a metaphor for illustrious Italian politicians, we asked Alberto Salvadori and Leonardo Bigazzi to join in our research.
It’s not a project on Jarry, but from Jarry. Since a whole swathe of today’s art and performance seems to be infused with a typically Jarryesque transgressive power, we summoned the author to serve as the posthumous curator of the whole project. This project takes the form of an archipelago in which each island-chapter unfolds in a different place and in a different form. Three group exhibitions were held at Le Quartier, at La Ferme du Buisson and at Museo Marino Marini, and a set of performances took place in the context of the Playground Festival in Leuven. We’ll be meeting with the three other curators (Leonardo Bigazzi, Keren Detton and Eva Wittocx) in 2016 to organise the first edition of the Performance Day festival at La Ferme du Buisson, and again in 2017 for an important publication assembling all of the chapters.

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6. Nathaniel Mellors, Giantbum – Stage 2 (Theatre), 2008, The Object (Ourhouse), 2010 and Giantbum – Stage 1 (Rehearsal), 2008

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7. Nathaniel Mellors, The Object (Ourhouse), 2010

Project: Alfred Jarry Archipelago
Space: CAC de la Ferme du Buisson
Protagonist: Julie Pellegrin

Vincent Honoré Pouvez-vous nous présenter les missions de la Ferme du Buisson, et ce qui en fait un lieu unique en France ?
Julie Pellegrin Implantée sur un site exceptionnel en « grande banlieue » de Paris, la Ferme du Buisson est un centre culturel pluridisciplinaire d’envergure nationale et internationale. Il concentre un centre d’art contemporain, une scène nationale composée de 7 salles de spectacles et de concerts et un cinéma. Il s’agit d’une configuration unique en France qui en fait un lieu exemplaire en matière de décloisonnement des disciplines. En plus des missions communes à tous les centres d’art (recherche et prospection, soutien à la création et diffusion), ce centre d’art est une caisse de résonance de l’ensemble des activités de la Ferme. La programmation s’est donc concentrée autour de trois axes : performance, pluridisciplinarité et expérimentation autour des formats d’exposition.
En m’appuyant sur une approche de la performance comme principe actif de transgression des catégories, je me suis attachée depuis mon arrivée il y a 8 ans à faire dialoguer l’art contemporain avec d’autres disciplines artistiques (théâtre, danse, musique, cinéma) ou extra-artistiques (économie, philosophie, anthropologie…). Dans nos manières de travailler, les sujets abordés ou nos actions en direction des publics, nous tentons de ne jamais dissocier la scène artistique des sphères sociale, politique et culturelle. Le centre d’art contemporain est un lieu ouvert et en mouvement, développant autant un ancrage local que des collaborations internationales, à travers un programme d’expositions et d’éditions, de performances, de rencontres et de projections.

V.H. Quand et pourquoi ce centre d’art a-t-il été créé ?
J.P. Le centre d’art fait partie intégrante du projet initial de la Ferme du Buisson. L’institution a été créée en 1990 au terme d’un grand chantier de rénovation de l’ancienne « ferme-modèle » des usines de chocolat Menier. Elle été sauvée de la destruction grâce à la mobilisation d’habitants et d’élus, conscients de l’intérêt de préserver le patrimoine industriel et de proposer un lieu culturel d’envergure pour la ville nouvelle de Marne-la-Vallée alors en construction.

V.H. Comment définir – au-delà de sa mission de production et de diffusion artistique – le rôle politique et citoyen joué par la Ferme du Buisson ?
J.P. Je réponds à cette interview dans un contexte français très préoccupant, marqué par les récents attentats, la montée de l’extrême-droite, les coupes budgétaires sans précédents entraînant des fermetures de plus en plus nombreuses de centres d’art, de théâtres et autres lieux culturels. Si notre rôle au sein de la cité peut parfois nous paraître dérisoire, le contexte actuel le rend absolument indispensable. Parce qu’il permet de se forger un esprit critique, de développer des expériences sensibles complexes, et parce qu’il est un espace de partage ouvert à l’altérité, l’art est un formidable outil contre tous les fondamentalismes. Comme l’histoire l’a démontré, l’art n’a pas besoin d’être « engagé » pour constituer une force subversive, mais mes choix de programmation s’attachent tout de même à considérer l’idée d’actualité – au sens deleuzien du terme : comme un concept incarné, en devenir – en donnant des formes et des espaces à des questions qui traversent notre époque, qu’elles soient économiques, écologiques, postcoloniales, féministes, ou autres. Pour accompagner cela, la Ferme du Buisson développe une formidable action de médiation et de sensibilisation en direction des publics les plus divers. Ce rôle d’éducation artistique qui nous incombe me semble vital, particulièrement dans la situation périphérique que nous occupons en regard de l’offre culturelle parisienne, et à l’égard des publics dits « éloignés » ou « empêchés ».

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 ?
J.P. Dans cette période de repli sur soi, les collaborations internationales qui permettent d’échanger points de vue et pratiques et parfois financements, sont d’une importance capitale. En ce sens, les projets de coopération développés par d.c.a sont extrêmement stimulants.
Dans le contexte de PIANO, nous avons initié avec le Museo Marino Marini à Florence un vaste projet intitulé Alfred Jarry Archipelago, auquel nous avons associé un partenaire belge : le M Museum à Louvain. Il y a quelques années, nous avons commencé avec Keren Detton (directrice du centre d’art Le Quartier à Quimper) à nous intéresser à la figure d’Ubu Roi et plus largement à l’œuvre de Jarry. Parce que Jarry avait entretenu des liens très étroits avec les futuristes, que l’Italie abrite de nombreuses sociétés de pataphysiques, et qu’Ubu sert régulièrement de métaphore pour d’illustres politiciens italiens, nous avons proposé à Alberto Salvadori et Leonardo Bigazzi de s’associer à notre recherche.
Il ne s’agit pas d’un projet sur mais à partir de Jarry. Parce que tout un pan de l’art et de la performance actuel nous semblait traversé par une puissance de transgression typiquement jarryesque, nous avons convoqué l’auteur comme commissaire posthume de l’ensemble du projet. Ce dernier prend la forme d’un archipel où chaque chapitre-île prend place dans un lieu différent, sous une forme différente. Trois expositions collectives se sont ainsi tenues au Quartier, à La Ferme du Buisson et au Museo Marino Marini, et un ensemble de performances dans le cadre du festival Playground à Louvain. Nous nous retrouverons avec les trois autres commissaires (Leonardo Bigazzi, Keren Detton et Eva Wittocx) en 2016 pour organiser la première édition du festival Performance Day à la Ferme du Buisson, puis en 2017 pour une importante publication réunissant l’ensemble des chapitres.

Images:
1. Mike Kelley, Spread-Eagle, 2000 and The Poetry of Form: Part of an Ongoing Attempt to Develop an Auteur Theory of Naming,1985-1996, La Ferme du Buisson, Courtesy du Centre national des arts plastiques, FNAC 01-006 et FNAC 03-267
2. Marvin Gaye Chetwynd, Jesus and Barabbas puppet show performance / installation, 2011, La Ferme du Buisson, Courtesy Sadie Coles HQ – London
3. Rainer Ganahl, I Wanna be Alfred Jarry, 1897/2012, La Ferme du Buisson, Courtesy the artist and Kai Matsumiya – New York
4. Julien Bismuth, Untitled, 2015, La Ferme du Buisson, Courtesy the artist and galerie Georges-Philippe & Nathalie Vallois – Paris
5. Naotaka Hiro, Untitled drawings, 2015, La Ferme du Buisson, Courtesy the artist and The BOX Gallery – Los Angeles
6. Nathaniel Mellors, Giantbum – Stage 2 (Theatre), 2008, The Object (Ourhouse), 2010 and Giantbum – Stage 1 (Rehearsal), 2008, Courtesy the artist and Matt’s Gallery – London, La Ferme du Buisson
7. Nathaniel Mellors, The Object (Ourhouse), 2010, La Ferme du Buisson, Courtesy the artist and Matt’s Gallery – London
All images: Installation views, Alfred Jarry Archipelago : La Valse des pantins – Acte II, La Ferme du Buisson, Noisiel, 2015. © Émile Ouroumov

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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

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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.

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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

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Marlie Mul

Marlie Mul, Puddle (Black Disposable), 2013

Marlie Mul, Puddle (Black Disposable), 2013

Born 1980, Utrecht, The Netherlands
Lives and works in Berlin, Germany and London, United Kingdom
Mul studied Textiles at the Academy for Visual Arts St. Joost in Breda and Sculpture at the ABKM in Maastricht, Netherlands. In 2009 she obtained an MFA from the Architectural Association in London. Her work has been exhibited at Croy Nielsen Gallery in Berlin (2013), Fluxia Gallery (2013) as well as the project spaces Oslo10 in Basel (2012) and Space in London (2012). She is currently in residency at KunstZeitRaum in Munich.

Image:
Marlie Mul, Puddle (Black Disposable), 2013, sand, stones, resin, object, 78 x 76 cm. Courtesy Fluxia, Milan. Photo: Andrea Rossetti

Project: The Registry of Promise

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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

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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

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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

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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

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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

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Nina Fiocco

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

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

Born 1985, Italy
Lives and works in Puebla, Mexico and Feltre, Italy
At the centre of Nina Fiocco’s work there is the idea of distance, meant as a deforming lens, which oppositely to experience, is a tool of dominion and control in the communication society. Looking for strategies to evade this knowledge mirage, Nina Fiocco works with different media, focusing on the intersection between narration, common work, experience and image, in its broader meaning from photography and internet to architecture and geography.

2015
- Public Privacy, a cura di Alice Pedroletti, Studio 6, festival “Studi”, Milano
- The Wall, a cura di Stanislaw Ruksza, Careof DOCVA, Milano
- Ciudad Expandida, a cura di Laalvaca, installazione site specific(Tlaxco Puebla, Messico)

2014
- The Salgari Method-Milan, workshop e installazione collettiva, a cura di O’, Milano
- Civico/Hurbano, a cura di NoAutomatico, Tong Proyectos, Puebla (Messico)
- On/Off entre el recuerdo y el oblio, Alianza Francesa, Puebla (Messico)

Project: Piano – alto!

 

(1985, vive e lavora tra Puebla, Messico, e Feltre)
Al centro del lavoro di Nina Fiocco si trova l’idea di distanza, intesa come una lente deformante che, all’opposto dell’esperienza, si converte in uno strumento di dominio e controllo nella società della comunicazione. Cercando strategie per evadere questo miraggio della conoscenza, Nina Fiocco lavora con media diversi, interessandosi all’intersezione tra narrazione, lavoro comune, esperienza e immagine, intesa nel suo spettro più ampio dalla fotografia e l’architettura a Internet e la geografia.

 

Née en 1985, vit et travaille entre Puebla, Mexique, et Feltre, Italie. Au cœur du travail de Nina Fiocco se trouve l’idée de distance, entendue comme un verre déformant qui, contrairement à l’expérience, se transforme en un instrument de domination et de contrôle dans la société de la communication. A la recherche d’une stratégie pour s’évader de ce mirage de la connaissance, Nina Fiocco travaille avec différents médias. Elle s’intéresse à l’intersection entre narration, travail collectif, expérience et image. Elle appréhende l’image au sens large : de la photographie à l’architecture, d’Internet à la géographie.

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

Martine Michard
décembre 2014

Image:
Nina Fiocco, The Salgari Method – Santa Inés Ahuetempan, 2013, action and installation documentation image. Courtesy of the artist and Metodo Salgari

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STEFANIA MEAZZA IN CONVERSATION WITH NINA FIOCCO

STEFANIA MEAZZA IN CONVERSATION WITH NINA FIOCCO

NINA FIOCCO, THE DEEP ESSENCE OF LAND

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

Interview by Stefania Meazza

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

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

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

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

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

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

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

November 2014
Translation: thanks to Marta Sanders

NINA FIOCCO, L’INTIMA ESSENZA DEL TERRITORIO

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

A cura di Stefania Meazza

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

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

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

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

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

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

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

novembre 2014

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

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

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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

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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

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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

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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.

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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.

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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

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Walter Pichler

Prozession mit Tragbarem Schrein, 1970

Prozession mit Tragbarem Schrein, 1970

Born 1936, Nova Ponente, Italy
† 2012, Vienna, Austria

Together with Hans Hollein and Raimund Abraham, Walter Pichler was one of the leading exponents of radical architecture in the 1960s. His projects combat the formal coldness and monotonous surfaces of modern architecture, using unusual materials to create buildings that tell a story. Pichler often associates his interest in places of worship with the creation of his sculptures and the places that host them, forging a consummate union between landscape, sculpture, and architecture.
In 1995 he was invited by the Turin City Council to present a public art project for the underground railway link. Walter Pichler’s project consists of a door that connects the city with the railway area. The structure is composed of a series of prefabricated elements in cement and is entitled Passage, given that its only function is to connect two different areas. Inside Passage, light plays a key role, and the work is indeed subtitled Lichtkäfig (Light Cage). This public project was not actually constructed but it reveals a distinctive trait of the artist’s aesthetic, namely the creation of a modular system for sculpture and architecture. Indeed for the Gutmann private collection Pichler designed a room to present this project and a version of it for the space outside. Tragbarer Schrein (Portable Shrine) is another example of how Pichler enjoys using different materials, and it also reveals the mystic element that accompanies his sculptures and installations. The piece is a portable sculpture comprising a central component in zinc, a base in dried grass, and a wooden structure to transport it, as the photos of the artist’s family show. The main section is a reliquary containing a mirror from St. Mark’s Basilica in Venice. This objet trouvé can be seen through a small hole: when viewers move closer to take a look inside, they come face to face with their own reflection. The exhibition also presents a selection of drawings devoted to the Passage project that express the artist’s more intimate, spiritual side.

Nato a Nova Ponente, Italia, nel 1936
† 2012, Vienna, Austria

Walter Pichler, insieme a Hans Hollein e Raimund Abraham, è uno degli esponenti di spicco dell’architettura radicale degli anni ‘60. I suoi progetti avversano la freddezza formale e la monotonia materica dell’architettura moderna, prediligendo materiali insoliti e lasciando gli edifici liberi di raccontare delle storie. Pichler associa spesso il suo interesse per i luoghi di culto alla realizzazione delle sue sculture, e delle dimore dove esse sono ospitate, dando così vita a una perfetta comunione tra paesaggio, scultura e architettura.
Nel 1995 l’architetto è stato invitato dalla città di Torino a presentare un progetto di arte pubblica per il Passante Ferroviario. La proposta di Walter Pichler consiste in una porta, che mette idealmente in collegamento la città e l’area del Passante. La struttura è composta da una successione di elementi prefabbricati in cemento ed è intitolata Passage, dato che si tratta di uno spazio senza destinazione d’uso, se non quella di collegare due luoghi diversi. All’interno di Passage la luce ha un ruolo importante, e infatti l’opera è sottotitolata Lichtkäfig (Gabbia di luce). Il progetto per lo spazio pubblico non è stato realizzato, ma testimonia un tratto distintivo del pensiero dell’artista, ovvero lo sviluppo di un sistema modulare per scultura e architettura. Infatti lo stesso Pichler ha progettato una stanza dedicata alla presentazione di questo progetto e una sua realizzazione per lo spazio esterno per la collezione privata Gutmann. Tragbarer Schrein (Scrigno portatile) è un secondo esempio di come Pichler ami utilizzare diversi materiali, ma rivela anche l’aspetto più mistico che accompagna la realizzazione delle sue sculture e installazioni. Si tratta di una scultura portatile, costituita da una parte centrale in zinco, una base di erba essiccata e una struttura in legno per il trasporto, come documentano le foto della famiglia dell’artista. Lo scrigno centrale è concepito come un reliquiario. Al suo interno è contenuto uno specchio proveniente dalla basilica di San Marco, a Venezia. L’objet trouvé è visibile da un piccola fessura: avvicinandosi e sbirciando all’interno, l’osservatore si trova faccia a faccia con il proprio volto.
In mostra è presente anche una selezione di disegni dedicati al progetto Passage, in cui si esprime anche il lato più intimo e spirituale dell’artista.

Image:
Prozession mit Tragbarem Schrein, 1970 (Walter Pichler and Werner Stupka). Photo: Marina Faust

Project: Soleil politique

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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

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Jérémy Laffon

4. Jérémy Laffon, Construction protocolaire non aléatoire, 2013

Jérémy Laffon, Construction protocolaire non aléatoire, 2013

Born 1978, Limoges, France
Lives and works in Marseille, France
Metamorphosis’ artist, Jérémy Laffon observes the act of becoming. This ethics based on freedom allows him to let the experience happen in a sort of planned accidental evolution. Jérémy Laffon experiments both with the form and the temporality of the materials he employs; after watching the life of things, he submits this raw material to careful mutations to produce a “changeover in another dimension, elsewhere…”

Project: Piano – alto!

 

(1978, vive e lavora a Marsiglia)
Artista della metamorfosi, Jérémy Laffon osserva tutto ciò che è in divenire. Questa sorta di etica della liberta permette all’artista di lasciare che le esperienze si svolgano secondo un protocollo accidentale ma allo stesso tempo programmato. Jérémy Laffon sperimenta a sua volta la forma e la temporalità dei materiali che utilizza: dopo l’osservazione della vita delle cose, sottomette questa materia prima a mutamenti minuziosi, allo scopo di produrre un “ribaltamento in una dimensione altra, in un altrove…”.

 

Né en 1978, vit et travaille à Marseille. Artiste de la métamorphose, Jérémy Laffon observe ce qui est en devenir. Cette sorte d’éthique de la liberté permet à l’artiste de laisser les expériences se faire tout en générant un accidentel programmé. Jérémy Laffon expérimente à la fois la forme et la temporalité des matériaux qu’il utilise. Après observation de la vie des choses, il soumet cette matière première à des mutations minutieuses, afin de produire un “basculement dans une dimension autre, dans un ailleurs…”.

Image:
Jérémy Laffon, Construction protocolaire non aléatoire, 2013, chewing gum sticks

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CÉLINE KOPP IN CONVERSATION WITH JÉRÉMY LAFFON

CÉLINE KOPP IN CONVERSATION WITH JÉRÉMY LAFFON

Céline Kopp You recently had the opportunity to do a residency in Casso in the Dolomites. As an artist for whom questions of balance, weightlessness, movement and falling are recurrent themes, I imagine that being in a village right on the side of a mountain was a fairly powerful context for your work?
Jérémy Laffon Actually, the constraint of the steep incline on which that village is built became the driving force behind the work I developed and it brings back the falling motif. I approached this village, with its tragic past, as scenery; I wanted to make it into a ghostly environment, without being dramatic, and I chose to shoot a video there, entitled Invasione pacifica. This village was deserted in 1963 after the disaster at the Vajont Dam, where a huge wave was caused by a landslide. In this video, the village is devoid of any trace of human life, a bit like an old episode of The Twilight Zone… This context gave me the chance to pursue motifs that have been returning irregularly in my work for several years, placing them in situations: the ball, the bounce, etc.

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2. Jérémy Laffon in residence in Casso

C.K. During one conversation you took pains to stress the fact that your work was not a response to the history of the village. The flood motif is something that has long been present in your work. And your video is rather light-hearted and humorous. Can you tell us more about it? It has a much more “manufactured” feel than your previous videos… Is this a way of opening new paths, while evoking earlier works?
J.L. Yes precisely, Invasione pacifica is the pictorial story of a flood of oranges, coming out of nowhere, bouncing in and invading the narrow streets of the village. Tragicomically, these foreign bodies gradually merge together and evolve into a shapeless mass. It is partly a revival of the video-happening Symphony #1 (2005) pushed towards a more cinematic form. (In that video you already found oranges, with a sequence-shot from above. They were filmed on the top step of an escalator whose operation caused their movements). I wanted to think of this new video as being part of a whole, while changing the image register, and ultimately a lot of elements and parameters contributed to a balance between construction and simplicity. And after ten years, I found it particularly fun to once again present these old citrus-protagonists (actors?), who still do their work just as well.

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

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

C.K. Tell me, why don’t the oranges break?
J.L. The impact isn’t very forceful, and they have understudies when they get soft (smiles).

C.K. The oranges have understudies! That’s a very revealing detail… This video seems to start with a procedure that is as simple as in previous works, but this time the form of the image goes from being a simple capture of reality to something more manufactured. Did this force you to tackle the possibility of creating fiction? Is this what you’re talking about when you say that lots of parameters contributed to the process?
J.L. Yes, you mention procedure; I have a tendency to evoke gestures or ideas. I like to start things with a deliberately simple idea, an observation like: constraint + ball = action (in this case the action is falling, flooding, like in the Symphony series). The rudimentary gesture of throwing something that rolls is what causes the action. In previous works, one might consider the question of the intentionality of the oranges, but one stayed in a reality that was unmodified, except for that micro-modification represented by the gesture. This time, I spoke directly about foreign bodies, about “others”… It’s true that film images take us in a fictional direction as soon as the choice is made to have a succession of constructed shots, to get the shape of the oranges to evolve into something else, and therefore to have a script. In this case, we’re really in the realm of the moving image, but you could reconsider works like the Relic series (2013) using a similar vocabulary. These small, constructed sculptures made of chewing gum were doomed to collapse, and the idea was to laboriously replace damaged sticks of gum with balsa wood sticks as needed. Each time, it was a matter of an understudy, an “other”. But in that case, it helped stop the form’s evolution. This time it’s the opposite. The understudy enables the transformation.

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

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

C.K. You reference the world of fantasy films, especially Z movies. So you decided to tackle a more constructed image while sticking to a very cobbled-together aesthetic that once again places a lot of importance on labour. Why?
J.L. The reference to Z movies and DIY special effects with the mutation of the oranges made it possible to keep things light-hearted. Labour is something important in the way I work. In this case, it is less visible because it’s not the subject of the work per se, but it’s fundamental. I peeled an overwhelming quantity of oranges… It was like something out of science fiction! And I developed a specific technique as I went along. For this video, gestures and repetitions that are sometimes absurd are still there, but behind the scenes. The film enabled me to experiment with the potential for these banal, real-world protagonists to become autonomous objects. I think the parallel with the image of the UFOs is linked to this idea: push a simple procedure to the point of creating an object that possesses its own fictional logic, while maintaining that “pleasant strangeness”. The desire for fiction was also linked to what you mentioned earlier: the desire not to deal with the question of the drama that the village now bases its identity on. I wanted to speak about the possibility that this territory could invent a new story and move beyond the existing context.

Protagonist: Jérémy Laffon
Project: Piano – alto!

Céline Kopp Tu as récemment eu l’opportunité d’aller en résidence à Casso dans les Dolomites. Pour un artiste chez qui les questions d’équilibre, d’apesanteur, de mouvement et de chute sont des thèmes récurrents, j’imagine qu’être dans un village accroché à même la montagne a été un contexte plutôt fort pour ton travail ?
Jérémy Laffon En effet, la contrainte du dénivelé important sur lequel ce village est bâti est devenue le moteur du travail que j’ai développé et il reprend le motif de la chute. J’ai approché ce village au passé tragique comme un décor ; j’ai voulu en faire un environnement fantôme, sans être dramatique, et j’ai choisi d’y réaliser une vidéo qui s’est intitulée Invasione pacifica. Ce village a été quasi déserté suite à la catastrophe du barrage du Vajont en 1963, où une immense vague a été causée par un glissement de terrain. Dans cette vidéo, le village est vide de toutes traces de vie humaine, un peu comme dans un vieil épisode de Twilight Zone… Ce contexte a été l’occasion de prolonger des motifs qui reviennent irrégulièrement dans mon travail depuis plusieurs années, et de les remettre en situation : la balle, le rebond, etc.

C.K. Lors d’une conversation tu as beaucoup insisté sur le fait que ton travail n’a pas été une réponse à l’histoire du village. Le motif du déferlement est quelque chose de présent depuis longtemps pour toi. Ta vidéo est d’ailleurs plutôt légère et emplie d’humour, peux-tu nous en dire plus ? Elle semble beaucoup plus « produite » que les précédentes… est-ce une manière d’ouvrir de nouvelles pistes, tout en évoquant des travaux précédents ?
J.L. Oui tout à fait, Invasione pacifica est le récit pictural d’un déferlement d’oranges, venues de nulle part, envahissant les ruelles du village en rebondissant. De manière tragi-comique, ces corps étrangers vont peu à peu « fusionner » entre eux et évoluer vers une masse informe. Il s’agit en partie d’une réactivation de la vidéo-happening Symphony #1 (2005) poussée vers une forme plus cinématographique. (On y trouvait déjà les oranges, avec un plan séquence en vue plongeante. Elles étaient filmées sur la dernière marche d’un escalator dont le fonctionnement provoquait leurs mouvements). J’ai voulu assumer cette nouvelle vidéo comme faisant partie d’un ensemble, tout en changeant le registre de l’image, et finalement beaucoup d’éléments et de paramètres sont intervenus dans un jeu d’équilibre entre construction et simplicité. D’ailleurs, cela m’amusait particulièrement, presque dix ans après, de remettre en scène ces vieux (acteurs ?) protagonistes-agrumes qui font toujours aussi bien le boulot.

C.K. Tiens, pourquoi les oranges n’éclatent pas ?
J.L. Il n’y a pas d’impact très violent et elles ont des doublures quand elles se ramollissent (sourire).

C.K. Les oranges ont des doublures ! Il s’agit d’un détail très révélateur… Cette vidéo semble démarrer avec un protocole aussi simple que dans des travaux précédents, mais, ici, tu déplaces la forme de l’image d’une simple capture du réel vers une forme plus produite. Est-ce que cela t’a obligé à te confronter à la possibilité d’une fiction ? Est-ce ce dont tu parles lorsque tu dis que beaucoup de paramètres sont intervenus dans le processus ?
J.L. Oui, tu parles de protocole, de mon côté j’ai tendance à évoquer des gestes ou des idées. J’aime faire démarrer les choses avec une idée volontairement simple, un constat du type : contrainte + balle = action (ici l’action est la chute, le déferlement, comme dans la série des Symphony). C’est le geste rudimentaire de lancer une chose qui roule qui amène l’action. Dans les travaux précédents, on pouvait se poser la question de l’intentionnalité des oranges, mais on restait dans un réel non modifié, si ce n’est cette micro-modification qu’était le geste. Ici, j’ai carrément parlé de corps étrangers, « d’autres »… c’est vrai que l’image filmique nous amène dans une direction fictionnelle dès lors que le choix est fait d’une succession de plans construits, de l’évolution de la forme des oranges vers autre chose, et donc du scénario. Ici, on est vraiment dans le domaine de l’image en mouvement, mais tu pourrais repenser à des œuvres comme la série Relic (2013) en utilisant un vocabulaire similaire. Ces petites sculptures construites en chewing-gum étaient vouées à l’effondrement et l’idée était de remplacer laborieusement, et au fur et à mesure, les tablettes endommagées par des tablettes de balsa. A chaque fois, il s’agit donc aussi d’une doublure, d’un « autre ». Mais dans ce cas, il permet de stopper l’évolution de la forme. Ici c’est le contraire. La doublure permet la mutation.

C.K. Tu cites l’univers du film fantastique, mais surtout la série Z. Tu as donc décidé de te confronter à une image plus construite tout en restant dans une esthétique très bricolée et qui donne encore beaucoup d’importance au labeur. Pourquoi ?
J.L. La référence à la série Z et aux effets spéciaux DIY avec la mutation des agrumes permet de rester dans la légèreté. Le labeur est quelque chose d’important dans la façon dont je travaille. Ici, il est moins visible et ce n’est pas l’objet de l’œuvre en soi, mais il est fondamental. J’ai pelé une quantité envahissante d’oranges… c’était de l’ordre de la science-fiction ! J’ai d’ailleurs développé une technique spécifique au fur et à mesure. Pour cette vidéo, le geste et la répétition parfois absurdes sont toujours là, mais en coulisses. Le film m’a permis d’expérimenter le potentiel de ces protagonistes banals, issus du réel, à devenir des objets autonomes. Je pense que le parallèle avec la figure de l’OVNI est lié à cette idée : pousser un protocole simple vers la création d’un objet possédant une logique fictionnelle propre, tout en maintenant cette « sympathique étrangeté ». L’envie de fiction était aussi liée à ce que tu as évoqué tout à l’heure : l’envie de ne pas traiter la question du drame sur lequel ce village construit désormais son identité. Je voulais parler de la possibilité de ce territoire à réinventer une histoire, à aller au-delà du contexte existant.

Images:
1. Jérémy Laffon in residence in Casso. Photo dc archive
2. Jérémy Laffon in residence in Casso. Oranges floating in the hamlet of Casso. Photo dc archive
3. Jérémy Laffon, A Pacific Invasion, August 2014, Casso. Video still
4. Jérémy Laffon, A Pacific Invasion, August 2014, Casso. Working in the canonica, dc’s residence in Casso. Photo dc archive

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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

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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

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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

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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.

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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.

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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.

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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.

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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

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LOIS WEINBERGER

Born 1947, Stams, Austria
Lives and works in Vienna, Austria

Lois Weinberger is a key figure in the debate on the relationship between art and nature: for thirty years he has explored and used gardening as a tool to reconcile the natural environment and human intervention. Known above all for his environmental projects, which follow the dynamics of the spontaneous expansion of the plant world in marginal, abandoned urban areas, Weinberger has for some time been engaged in projects with a strong social and political component. He draws inspiration from uncultivated land and plants that flourish there naturally to create notes, drawings, photographs, objects, texts, films, and public art projects. As the artist states, gardens are a manifestation of a “voluntary withdrawal,” being a defined area in which relationships arise spontaneously between the elements present. Garden is a project he began working on in 1994. It consists of a plastic container with a simple irrigation system in which wild plant species like elder and moss spontaneously take root. This naturally occurring phenomenon (which generates both food and a “green aesthetic”) contrasts with the practices of our industrialized, consumerist society. In 2011, together with the Bressanone architects Gerd Bergmeister and Michaela Wolf, Weinberger entered the competition run by the Bolzano Provincial Administration to mitigate the frieze on the building that was once the Fascist Casa Littoria and currently hosts the internal revenue offices. The proposal submitted by the artist features a small forest, something like a theater set, which is left to grow naturally and alters our perception of the frieze and its image of Mussolini.

Nato a Stams, Austria, nel 1947
Vive e lavora a Vienna, Austria

Lois Weinberger riveste un ruolo fondamentale nel dibattito sul rapporto tra arte e natura: per trent’anni, infatti, l’artista ha indagato il tema del giardinaggio come strumento che rende possibile riconciliare ambiente naturale e intervento umano. Conosciuto soprattutto per i suoi progetti ambientali, che seguono le dinamiche di espansione spontanea del mondo vegetale in aree marginali e dismesse del tessuto urbano, da tempo Weinberger è impegnato in interventi dal forte contenuto sociale e politico. La terra incolta e le piante che crescono spontaneamente diventano lo spunto per creare appunti, disegni, foto, oggetti, testi, film e interventi di arte pubblica. Come afferma l’artista, il giardino è espressione di una “rinuncia volontaria”, essendo un’area delimitata, nella quale nascono delle relazioni spontanee tra gli elementi presenti. Garden è un progetto iniziato nel 1994. Consiste in un contenitore di plastica, dotato di un semplice sistema di innaffiamento, nel quale germogliano in maniera del tutto spontanea piante selvatiche come il sambuco o il muschio. Si tratta di un atto di produzione spontanea (sia di cibo, sia di una “estetica verde”), che si contrappone alle pratiche di una società industrializzata e consumistica. Nel 2011, insieme agli architetti di Bressanone Gerd Bergmeister e Michaela Wolf, Weinberger partecipa al concorso, indetto dalla Provincia autonoma di Bolzano, per il depotenziamento del fregio del palazzo che ospita attualmente gli uffici finanziari della città, ex Casa Littoria. Nella proposta dell’artista un piccolo bosco, simile a una scenografia, cresce spontaneamente, modificando la percezione del fregio e dell’effige del Duce.

Project: Soleil politique

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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

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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

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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

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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

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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

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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

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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

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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

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Valérie Mazouin

Valérie Mazouin has been director of CAC Chapelle St Jacques in Saint-Gaudens since 2002. After having studied Arts, she focused her interest on working with public. She is responsible of the artistic direction of the art center since 2002. At that time, she starts programming art exhibitions following precise ideas, based on reflecting narrative and literature, while maintaining a strong connection with architecture and landscapes, and giving a place to experimentation. She invites both young and prominent artists from the French art scene to perform their personal projects. Notables exhibitions: Berdaguer & Péjus, Marc Desgranchamps, Délphine Gigoux-Martin.

Project: Piano – alto!
Space: CAC Chapelle St Jacques

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VINCENT HONORÉ IN CONVERSATION WITH VALÉRIE MAZOUIN, CAC CHAPELLE ST JACQUES, SAINT-GAUDENS

VINCENT HONORÉ IN CONVERSATION WITH VALÉRIE MAZOUIN, CAC CHAPELLE ST JACQUES, SAINT-GAUDENS

Vincent Honoré Can you tell us about the centre d’art and its environment?
Valérie Mazouin The institutional purpose of the centre dart Chapelle Saint-Jacques in St Gaudens manifests itself through a way of seeing things and a through a connection with the city and region, which have a stake in it. Actors in the region need to join forces to provide the public with dynamically open access to culture. We wish to offer a place that establishes circulations between visual arts, architecture, urbanism, and economic and social life. The centre dart wants to contribute to a public policy that lays down the conditions for a new development of the region, and supports a process that is currently giving concrete form to a political fact.
Art and culture can be very powerful levers of communal life. These have the ability to bring meaning, desire and community to social developments that are all too often merely endured. The involvement of our partners shows that the legibility of the centre dart is a genuine regional concern, and with this project, they support events in the large sense, but not events in the small day-today sense. In fact, developing this centre means believing in utopia as a development value, since today art is one of the best forms of shared expression.

V.H. It seems increasingly difficult to operate small, often isolated centres in France. This raises the question of their validity in a region that may not be conducive to contemporary art. Does the question also arise of the utopian nature or obsolescence of regional divisions and the dissemination of contemporary art? Or the lack of public will?
V.M. The centre operates on a budget of 160,000 euros, including salaries. So it’s a small centre. The project is therefore difficult to manage. Despite all of these problems, we were able to develop a project policy directed at the region. Our partners are numerous and varied. Not everyone currently supports us but that’s perfectly normal. The centre dart has occupied an important position throughout its twenty-year existence. Its activities have genuine legitimacy. This is not a matter of minimising the difficulty, but rather of taking account of the demand of a public that doesn’t always manage to make itself heard. Politicians don’t represent the public. They only come to exhibition openings and they often have electioneering aims. On the other hand, the visitors we meet are happy to have this place in their lives, offering something different in a rural area. In terms of utopia, it’s hard to justify the presence of a centre dart. Giving ourselves the possibility of creating a breeding ground means engaging in discourse that is situated on the level of economics and regional development. Utopia comes into play in our programming and mediation. The work aimed at the public is essential for making people aware that a programme is first and foremost a little utopia factory. It’s possible to bring politicians this far on these questions of utopias. It’s quite complex and tedious, but we have a role to play as citizens. We should be political actors of this public will.

V.H. As director, how do you articulate your programme? What are the highlights of 2015?
V.M. Even though our programming alternates between young, emerging and recognised artists from the French scene, we are still primarily focused on supporting young artists. Visual artists are usually invited to the centre dart to conceive works on site. The place needs to be taken into account, in its entirety and through its architecture, a 17th century chapel. The programming aims to bring out its narrative density, seen as a plinth for the project.

V.H. What are the ethical, artistic and social responsibilities of the director of a centre d’art in 2015?
V.M. As I’ve already mentioned, we have a civic role, we have this role as an educator to foster understanding, to train and sustain, for artists, for the public.
Because we must continue to advance and help contemporary art to be a maker of utopias and ideas. We’re political actors who have the mission of promoting independent thought.

V.H. PIANO creates a network between French and Italian art centres. Why is it important to collaborate, and what is the project you’re going to present?
V.M. Collaborating on PIANO means working in a network and sharing ideas, testing new ways of working, experimenting with the unknown. We also need to promote the work of the centres d’art abroad and PIANO offers an excellent opportunity. Our project for the PIANO platform is Piano – alto! Des géographies nomades, with artists Nina Fiocco, Lise Lacombe, Jérémy Laffon, Daniele Pezzi and Guillaume Robert.

Space: CAC Chapelle St Jacques
Protagonist: Valérie Mazouin
Project: Piano – alto!

Vincent Honoré Pouvez-vous nous présenter le centre d’art et son environnement ?
Valérie Mazouin Le projet d’établissement du centre d’art Chapelle Saint-Jacques à St Gaudens se manifeste par un regard et une rencontre avec la ville et les territoires investis. Les acteurs des territoires doivent se mobiliser pour un accès à la culture en direction des publics dans des dynamiques ouvertes. Nous souhaitons offrir un site qui organise les circulations entre les arts plastiques, l’architecture, l’urbanisme, la vie économique et sociale. Le centre d’art veut s’inscrire dans une politique publique qui pose les conditions d’un nouveau développement du territoire et favorise un chantier qui aujourd’hui incarne un fait politique.
L’art et la culture peuvent être des leviers très puissants du « vivre ensemble ». Ils ont le pouvoir de donner du sens, du désir et du collectif aux évolutions sociétales trop souvent subies. Ainsi, l’engagement des partenaires montre que la lisibilité du centre d’art est un véritable enjeu de territoire, et avec ce projet, ils soutiennent l’événement mais pas l’évènementiel. En effet, faire évoluer cette structure c’est croire en l’utopie comme valeur de développement, car aujourd’hui l’art en est une des meilleures expressions partagées.

V.H. Il semble de plus en plus difficile de faire fonctionner en France des structures petites, souvent isolées. Se pose la question de leur validité dans un territoire qui peut être n’est pas propice a l’art contemporain. Est-ce que se pose aussi la question de l’utopie ou de l’obsolescence de la répartition territoriale et de la diffusion de l’art contemporain ? Ou de l’absence de volonté publique ?
V.M. La structure fonctionne avec un budget de 160 000 €, salaires compris. C’est donc une petite structure. Le projet est donc assez difficile à mener. Nous avons, malgré toutes ses difficultés, pu développer une politique de projet tournée vers le territoire. Les partenariats sont nombreux et diversifiés. Aujourd’hui nous n’obtenons pas l’adhésion de tous et c’est tout à fait normal. Le centre d’art tient une place importante depuis vingt ans d’existence, il y a une réelle légitimité de ses actions. Il ne s’agit pas de minimiser la difficulté, mais plutôt de prendre en compte la demande d’un public qui ne sait pas toujours se faire entendre. Les élus ne représentent pas le public, ils ne se déplacent que pour les vernissages et leurs visées sont souvent électoralistes. En revanche, le public que nous rencontrons est heureux d’avoir ce lieu de vie qui amène une offre différente sur un territoire rural. En terme d’utopie il est difficile de justifier la présence d’un centre d’art. Nous donner la possibilité de vivier c’est avoir un discours qui se place au niveau économique et de développement territoriale. L’utopie se joue dans la programmation et la médiation. Le travail en direction des publics est essentiel pour faire prendre conscience qu’une programmation est avant tout une petite fabrique d’utopies. C’est à cet endroit qu’il est possible d’amener les élus sur ces questions d’utopies. C’est assez complexe et fastidieux, mais nous avons un rôle à jouer en tant que citoyens. Nous devons être acteurs politiques de cette volonté publique.

V.H. Comment en tant que directrice articulez-vous votre programme ? Quels sont les temps forts de 2015 ?
V.M. Même si la programmation alterne entre la jeune création, la création émergente et les artistes reconnus de la scène artistique française, l’axe fort reste le soutien à la jeune création. Les plasticiens invités sont accueillis au centre d’art pour faire des propositions le plus souvent in situ. Le lieu nécessite d’être pris en compte dans son intégralité et par son architecture, une chapelle du 17ème siècle. La programmation souhaite faire émerger la densité narrative vue comme un socle au projet.

V.H. Quelles sont les responsabilités éthiques, artistiques et sociales d’une directrice de lieu d’art en 2015 ?
V.M. Comme déjà évoqué, nous avons un rôle citoyen, nous avons ce rôle de pédagogue pour faire comprendre, entraîner et continuer pour les artistes, pour le public.
Car nous devons continuer d’avancer et d’aider la création contemporaine facteur d’utopie et de réflexions. Nous sommes des acteurs politiques qui avons comme mission de promouvoir une autonomie de la pensée.

V.H. PIANO crée un réseau entre les centres d’art français et italien. Pourquoi était-ce important de collaborer et quel est le projet que vous allez présenter ?
V.M. Collaborer à PIANO c’est travailler en réseau et partager des idées, tester de nouvelles modalités de travail, expérimenter l’inconnu. Il nous faut aussi promouvoir le travail des centres d’art à l’étranger et PIANO est une excellente opportunité. Le projet inscrit dans la plateforme PIANO est Piano – alto! Des géographies nomades, avec les artistes Nina Fiocco, Lise Lacombe, Jérémy Laffon, Daniele Pezzi et Guillaume Robert.

Image:
1. Lionel Redon. Ici, Ailleurs, 2013, exhibition view at CAC Chapelle St Jacques. Photo: F. Deladerrière

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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

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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.

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RETO PULFER

Born 1981, Bern, Switzerland
Lives and works in Berlin, Germany

Project: The Registry of Promise

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CLÉMENCE SEILLES

Born 1984, Besançon, France
Lives and works between Paris, France and Amsterdam, Netherlands 

Her work has been exhibited internationally: Moucharabieh, Triangle, Marseille (2015); 100 ans plus tard, Palais de Tokyo, Paris (2014); Universal Studio, galerie Torri, Paris (2014); What do you write when men are puking into plastic bags,Chert gallery, Berlin (2014); La vie est un songe, Parc Saint Leger, Pougues-les-eaux (2013) ; La chute, Palais de Tokyo, Paris (2013); Hotel Abisso,Centre d’art contemporain de Genève, Geneva (2013); The day after, Van Horbourg and Le foyer, Zurich (2012).

Née à Besançon, France, en 1984
Vit et travaille entre Paris, France et Amsterdam, Pays Bas

Son travail a été exposé internationalement: Moucharabieh,Triangle, Marseille (2015) ; 100 ans plus tard, Palais de Tokyo, Paris(2014), Universal Studio, galerie Torri, Paris (2014) ; What do you write when men are puking into plastic bags,Chert gallery, Berlin (2014) ; La vie est un songe, Parc Saint Léger, Pougues-les-eaux (2013) ; La chute, Palais de Tokyo, Paris (2013) ; Hotel Abisso,Centre d’art contemporain de Genève, Genève (2013) ; The day after, Van Horbourg et Le foyer, Zurich (2012).

Project: Exercizing Doubt: On Exhibition as Research

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DOROTHÉE DUPUIS IN CONVERSATION WITH CLÉMENCE SEILLES

DOROTHÉE DUPUIS IN CONVERSATION WITH CLÉMENCE SEILLES

Dorothée Dupuis Could you talk about your formal influences? What do you look at? How do you think? How has your training as a designer informed how you produce forms in the exhibition sphere? It seems that the language of abstraction is still important for you. In what sense do you think you’re tackling it in a new way?
Clémence Seilles I regularly go back and see images by my classical masters: Tatlin, Sottsass, Sonia, as well as Robert Delaunay, Superstudio, Hélio Oiticica, the Gelatin collective… to mention only a handful of “dirty artists” who have navigated or are navigating, casually and doubtfully, between applied arts and fine arts. Primordial shapes like circles, triangles, squares… enable me to concentrate more on narratives, circumstances and processes. I proceed from what societies tangibly produce to build themselves. I visit companies dealing in supplies or construction equipment, and go to rendering plants and product assembly factories. I idly drive through industrial estates in Italy, France, Germany and Holland. On YouTube I watch guitar swirling in garages and industrial plastic machining. In China, Russia, Morocco, Jamaica and Mexico, I study wire mesh houses, terracotta vehicles, simple and exuberant displays, custom cars, street amenities for chance meetings… I’m fascinated by amusements, even the most modest: a subwoofer in a pot with holes, a fish-shaped gun barrel in the bar of a deck chair… I adore permissive societies. The work Bassin ouvert (Open Basin) at ar/ge kunst in Bolzano, which first appeared at Triangle in Marseille, is a desire to create a social space within that of art, where people are invited to create a critical product. In this context, the work is at once an everyday object and something fantastical: a fountain, a long swimming pool, in which shapes and materials follow directly from the research I mentioned a moment ago. Although my training as a designer informs manipulations of conventions (much more than manipulations of shapes), the exhibition sphere, which is not very familiar with functional services and devices, opens up a fertile field of experiments that are more complicated to develop in the commercial sphere.

Cl+®mence Seilles - argekunst web 11

2. Exhibition view, Clémence Seilles, Bassin ouvert

D.D. You do a lot of collaborative projects with your “gang”. You’re invited to organise birthdays (Triangle, ar/ge kunst); your friends cross Europe to work with you; you share the fee money; you sell cocktails and t-shirts; you teach; you occupy squats and villas. Are you more of a Fassbinder, Wako or Beverly Hills 90210?
C.S. I’m from Montboucons. It’s the Beverly Hills of Besançon in Franche-Comté. A gang can be Philip K. Dick (Ubik) and Kerouac (The Dharma Bums) living in the City of Quartz (Mike Davis), flirting on Less Than Zero (Bret Easton Ellis) with the risk of ending up like in The Postman Always Rings Twice (James M. Cain), alone and condemned. I try to combine sustainable economic efficiency with the risk of alienation. The gang – made up of artists, designers, composers, curators and architects who are all fanatical about hard beats – lives between Berlin, Amsterdam and Paris, and is heterogeneous and multifarious. There’s no unifying manifesto, exclusive dogma, or even a name. The action hierarchies are healthy, made of individuals who do their singular research and can take turns implementing or supporting a project. Drama is part of this game that we haven’t really found rules for, but experience has shown us that the virtues of fraternity bring tangible added value to our critical ambitions and to the wellbeing of our respective lives. To name a few of these creations that I’m surrounded by: the Krux, a giant, well-equipped collective studio for periods of production, big parties and ‘afters coalitions’. PostNorma, a fabulous squat conquered and dissolved in one year, which generated workshops and various events. The Dirty Art department, an institutional bouillabaisse that made lots of meetings and journeys possible. SANKS, a design company among friends. Cicciolinas, unifying techno parties. Secret Castles, a contemporary art festival/summer camp hybrid…

Cl+®mence Seilles - argekunst web 01

3. Exhibition view, Clémence Seilles, Bassin ouvert

D.D. How do you reconcile the “post-hippie” aspect of your methodology with the need for rigour linked to the idea of artistic commitment? What is you position in all of this relative to institutions and the art market?
C.S. I see the “hippie” position, this sort of non-conformist, as a necessary step, even if it’s only temporary, time enough to identify our views and strengthen them while freeing ourselves from commodities as much as possible. I don’t want to marginalise myself on a desert island and live my life with my group, I simply want to avoid getting sucked up by the art market, so I have time to create. I believe in a market that’s integrated into society, and it is precisely by being active in different spheres and markets (art, design, performance) that one can build a new kind of expert position. My artistic commitment is romantic. It is to create an optimal climate for creativity, establishing circumstances that produce autonomous strengths and attitudes without excluding myself from society – quite the opposite. I practice lateral thinking and oblique strategies. Oblique Strategies is a set of cards invented by Brian Eno and Peter Schmidt in 1974. Each card contains a cryptic phrase or comment to meditate on, one that can be used to overcome a creative block or dilemma. Lateral thinking is the opposite of vertical or conventional thinking, which rejects an idea if its application hasn’t been validated. It is based on imagination and on putting forward impossible, absurd, unrealistic theories in order to create springboards towards other ideas that are themselves achievable. Embodied in my practice, this means that I go off into fairly diverse application areas and development structures, working with people who are also very different and sometimes have polar opposite ways of thinking. This makes it more tiring and difficult to exist in different markets instead of only one, since people still have a strong tendency (less in English-speaking countries) to recognise only a single profession for each person. This is why I tirelessly dodge having to justify myself as an artist or a designer and explain why I created the “dirty artist” designation, which symbolises that universal position of the creator before the historical split between applied arts and fine arts.

Cl+®mence Seilles - argekunst web 18

4. Exhibition view, Clémence Seilles, Bassin ouvert

Project: Exercizing Doubt. Exhibition as Research
Space: ar/ge kunst Galerie Museum 
Protagonist: Clémence Seilles

Dorothée Dupuis Peux-tu me parler de tes influences formelles ? Qu’est-ce que tu regardes, comment tu penses ? Comment ta formation de designer informe-t-elle ta production de formes dans le domaine de l’exposition ? Le langage de l’abstraction reste, semble-t-il, important pour toi, en quoi penses-tu t’y confronter de façon nouvelle ?
Clémence Seilles Je vais régulièrement revoir des images de mes maîtres classiques : Tatlin, Sottsass, Sonia comme Robert Delaunay, Superstudio, Hélio Oiticica, le collectif Gelatin… pour ne citer qu’une poignée de ‘dirty artists’ ayant navigué ou navigant avec désinvolture et doute entre les arts appliqués et les beaux-arts. Les formes primordiales telles cercles, triangles, carrés… me permettent de me concentrer davantage sur les narrations, les circonstances et les procédés. Je pars de ce que les sociétés produisent de tangible pour se construire. Je visite les compagnies de fournitures, d’équipement de chantiers, des usines de transformations de matériaux, d’assemblage de produits, je conduis désœuvrée dans les zones industrielles d’Italie, de France, d’Allemagne et de Hollande, je visionne sur YouTube du swirling de guitare en garage et de la chaudronnerie plastique industrielle. En Chine, Russie, Maroc, Jamaïque et Mexique, j’étudie les maisons en grillages, les véhicules en terre cuite, les étalages sommaires comme exubérants, les customs de voitures, les aménagements de rue pour réunions fortuites… je suis passionnée par le détournement, même les plus modestes : caisson de basse dans marmite trouée, canon de fusil à poisson dans barre de chaise longue… J’adore les sociétés permissives. L’œuvre Bassin ouvert à ar/ge kunst à Bolzano, et avant dans sa première apparition à Triangle à Marseille, est un désir de créer un espace social dans celui de l’art où des acteurs sont invités à réaliser une production critique. L’œuvre, dans ce contexte, est à la fois objet d’usage et de fantasme : une fontaine, un bassin de nage, dont formes et matériaux découlent directement des recherches évoquées plus hauts. Si ma formation de designer informe des manipulations d’usages (bien plus que de formes), le domaine de l’exposition, peu familier aux services et dispositifs fonctionnels, m’ouvre un champ fertile d’expérimentations, plus compliquées à développer dans le domaine commercial.

D.D. Tu fais beaucoup de projets collaboratifs avec ta “bande”, on t’invite pour organiser des anniversaires (Triangle, ar/ge kunst), tes amis traversent l’Europe pour travailler avec toi, vous partagez l’argent des cachets, vous vendez des cocktails, des t-shirts, vous enseignez, vous occupez des squats et des villas, tu es plutôt Fassbinder, Wako ou Beverly Hills 90210 ?
C.S. Je viens des Montboucons, c’est le Beverly Hills de Besançon en Franche-Comté. Une bande, ça peut être Philip K. Dick (Ubik) et Kerouac (les clochards célestes) qui vivent dans City of quartz (Mike Davis), flirtent sur Less than zero (Bret Easton Ellis) avec le risque de finir comme dans Le facteur sonne toujours deux fois (James M. Cain), seul et condamné. J’essaye de combiner efficacité économique durable et risque d’aliénation. La bande, constituée d’artistes, designers, composeurs, commissaires, architectes, tous boulimiques de rythmes durs, vit entre Berlin, Amsterdam et Paris, et est hétérogène et multiple. Il n’y a pas de manifeste fédérateur, de dogme excluant, de nom même. Les hiérarchies d’actions sont saines, faites d’individus qui entreprennent leurs recherches singulières et peuvent à tour de rôle porter ou appuyer un projet. Le drame fait partie de ce jeu auquel nous n’avons pas vraiment trouvé de règles, mais l’expérience nous a montré que les vertus de la fraternité apportent tout de même une plus-value tangible à nos ambitions critiques et au bien-être de nos vies respectives. Quelques unes de ces réalisations qui m’entourent : le Krux, atelier collectif géant très équipé, pour moments de production, de fêtes géantes et ‘afters coalitions’. PostNorma, un squat fabuleux conquis et dissout en une année, qui généra workshops et évènements divers. Le département Dirty Art, bouillabaisse institutionnelle qui permit beaucoup de rencontres et de voyages. SANKS, une compagnie de design entre amis. Les Cicciolinas, fêtes technos fédératrices. Châteaux secrets, hybride entre festival d’art contemporain et campement d’été…

D.D. Comment concilies-tu l’aspect “post-hippie” de ta méthodologie au besoin nécessaire de rigueur lié à l’idée d’engagement artistique ? Quelle est alors ta position par rapport au marché de l’art et à l’institution dans tout ça ?
C.S. Je vois la posture du “hippie”, cette sorte de marginal, comme une étape nécessaire, même si seulement temporaire, le temps d’identifier le discours et le fortifier en se libérant au maximum des commodités. Je ne souhaite pas m’exclure sur une île déserte et vivre ma vie avec mon groupe, je souhaite simplement que le marché de l’art ne m’aspire pas pour me donner le temps de créer. Je crois en un marché intégré à la société, et c’est justement en agissant dans des domaines et marchés différents (l’art, le design et le spectacle) qu’on peut construire une posture d’expert d’une nature nouvelle. Mon engagement artistique est romantique, il est de créer un climat optimum pour la création, réunir les circonstances qui accouchent de forces et d’attitudes autonomes sans me disqualifier de la société, au contraire. Je pratique pensées latérales et stratégies obliques. Les stratégies obliques est un set de cartes inventées par Brian Eno et Peter Schmidt en 1974. Chaque carte contient une phrase ou une remarque cryptique sur laquelle méditer, qui peut être utilisée pour se sortir d’un blocage créatif ou d’une situation de dilemme. La pensée latérale s’oppose à la pensée verticale, ou classique, selon laquelle une idée est rejetée quand son application n’est pas validée. Elle repose sur l’imagination et l’émission d’hypothèses impossibles, absurdes, irréalistes pour créer des tremplins vers d’autres idées elles-mêmes réalisables. Incarné dans ma pratique, cela veut dire que je pars dans des domaines d’application et structures de développement assez éparses, travaillant avec des acteurs aussi très différents dans des logiques parfois aux antipodes. Cela rend plus fatiguant et difficile d’exister sur différents marchés plutôt qu’un seul, puisque nous avons tout de même une forte tendance (moins dans les pays anglo-saxons) à ne reconnaitre qu’une seule profession à une personne. C’est donc inlassablement que j’esquive de devoir me justifier d’être une artiste ou une designer, et d’avoir créé la dénomination ‘dirty artist’, symbolisant cette position universelle de créateur avant le schisme historique entre arts appliqués et beaux-arts.

Images:
1-4. Exhibition views, Clémence Seilles, Bassin ouvert. Photo: aneres. Courtesy the artist and ar/ge kunst

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ANICKA YI

PLE-TPOMPT-001

Born 1971, Seoul, South Korea
Lives and works in New York, NY, USA

Image:
Anicka Yi, Tenzingbaharakginaeditscottronnienikolalosangsandrafabiansamuelaninahannahelaine, 2013 © Aurélien Mole / Parc Saint Léger

Project: The Registry of Promise

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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

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Isa Genzken

Born 1948, Bad Oldesloe, Germany
Lives and works in Berlin, Germany

Isa Genzken uses a wide range of materials, media, and technology to create works that express a strong connection with reality. Her pieces, which take many different forms (columns, paintings, sculptures, and installations), can be viewed as “molds” that trace the relationship between the artist and the objects, spaces, and architectural structures that surround her. Zwei Frauen im Gefecht (Two Women in Combat) is one of Genzken’s first videos, produced while the artist was at the Düsseldorf Academy of Art. It might seem strange to choose a video, given that the artist is better known for her sculptures, yet in the 1970s many artists and performers used their bodies and the medium of video installation to expose the sexism and patriarchal set-up of the art establishment. In her practice Genzken often adopts a cinematographic approach, for example in her works devoted to the architecture of cities like New York and Chicago, not to mention her numerous photographic projects. The video on show in the exhibition dates to 1974 and documents a performance in which Isa Genzken and fellow artist Susanne Grayson repeatedly exchange clothes, leaving one naked and the other dressed and then vice versa, highlighting the marked differences in their body shapes. The two friends pass a bra, shirt, skirt, and shoes back and forth, making amused attempts to fit the clothes to their bodies. The video was filmed by the German art historian Benjamin H. D. Buchloh, anticipating Genzken’s practice of including other artists and people from the art world in her works.

Nata a Bad Oldesloe, Germania, nel 1948
Vive e lavora a Berlino, Germania

Utilizzando i più svariati materiali, media e tecnologie, Isa Genzken crea opere che esprimono un forte legame con la realtà. I suoi lavori, che assumono le forme più disparate (colonne, dipinti, sculture o installazioni), possono essere considerati come dei “calchi”, raffiguranti la relazione che intercorre tra l’artista e gli oggetti, gli spazi e le architetture che la circondano. Zwei Frauen im Gefecht (Due donne in competizione) è uno dei primi video di Genzken, realizzati quando l’artista studiava all’Accademia di Düsseldorf. Selezionare un video di Isa Genzken per una mostra è una scelta insolita, dato che l’artista è più conosciuta per le sue opere scultoree. Tuttavia, negli anni ’70 molte artiste e performer hanno utilizzato il proprio corpo e il mezzo della videoinstallazione per denunciare il sessismo e la gestione patriarcale del sistema dell’arte. Nella sua pratica artistica Genzken adotta spesso uno sguardo cinematografico, come emerge dai suoi lavori dedicati alle architetture di città quali New York o Chicago, o da numerosi progetti fotografici. Il video citato, del 1974, documenta una performance in cui Isa Genzken e l’amica e artista Susanne Grayson si scambiano più volte gli abiti che indossano, risultando a turno una nuda e l’altra vestita, ciò che evidenzia diverse corporature delle due donne. Le amiche si passano il reggiseno, la camicia, la gonna e le scarpe, e cercano di volta in volta di adattare i capi ai loro corpi, sorridendo. Le riprese sono effettuate dallo storico dell’arte tedesco Benjamin H. D. Buchloh e, in questo senso, il video anticipa la pratica di Genzken di coinvolgere nei propri lavori altri artisti e persone che operano nel mondo dell’arte.

Project: Soleil politique

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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

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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

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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

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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

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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

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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

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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

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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

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Marie Cool Fabio Balducci

Marie Cool, Fabio Balducci, Sans titre, 2011

Marie Cool, Fabio Balducci, Sans titre, 2011

Marie Cool born 1961, Valenciennes, France, Fabio Balducci born 1964, Ostra, Italy
Live and work in Paris, France and Pergola, Italy

Marie Cool and Fabio Balducci began to work together in 1995, and their art is performance-based. Simple, clear, precise, slow gestures, performed mainly by Marie Cool, seek to place the body, time and the materials used on the same plane of meaning and importance. These materials include sheets of paper, pencils, adhesive tape, water and shadows. In other words, simple, humble materials that evoke the 1960s Italian art movement known as “Arte Povera”. At the end of the action, which might just be a simple movement. or a fold made in a sheet of paper, the resulting sculptures, which are unstable and precarious, paradoxically succeed in creating a sense of strength and presence in the exhibition space. They are, in fact, displayed on a table covered by a thin film of water, contained at the edges by a strip of adhesive tape. This tension and unstable equilibrium, combined with the delicacy and precision of such a tenuous barrier, stimulates visitors’ imaginations, confronting them with the physical fact that water can be contained by a strip of sticky tape.

Nati a Valenciennes, Francia, nel 1961 e a Ostra, Italia, nel 1964
Vivono e lavorano tra Parigi, Francia e Pergola, Italia

Marie Cool e Fabio Balducci iniziano a collaborare nel 1995. La loro pratica artistica si attua principalmente nella performance. Con gesti semplici, chiari, precisi e lenti, interpretati per lo più da Marie Cool, i due artisti intendono porre il corpo umano, il tempo e i materiali selezionati per le loro azioni su uno stesso piano di significato e d’importanza. Tra i materiali figurano fogli di carta, matite, nastro adesivo, acqua e giochi di ombre: si tratta di materie semplici e “povere”, aggettivo che rimanda all’omonima corrente artistica italiana degli anni ’60, l’Arte Povera, appunto. Al termine dell’azione, che può essere originata dal semplice spostamento o piegarsi di un foglio di carta, gli oggetti scultorei ottenuti affermano forza e presenza nello spazio espositivo attraverso la loro instabilità e precarietà. Il tavolo in mostra è coperto da un sottile strato di acqua, trattenuta ai margini da una striscia di nastro adesivo. La tensione, l’equilibrio precario e, al contempo, la delicatezza e la precisione dell’azione di contenimento rimandano a un gioco di immaginazione, che il visitatore deve compiere davanti al dato fisico, all’evidenza dell’acqua trattenuta dal nastro adesivo.

Image:
Marie Cool, Fabio Balducci, Sans titre, 2011, courtesy of the artist and Marcelle Alix, Paris. Museion 2014. Photo: Luca Meneghel

Project: Soleil politique

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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

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Marcello Maloberti

Born 1966, Codogno, Italy
Lives and works in Milan, Italy

Using performance, installation, video, and photography, Marcello Maloberti explores everyday life, with a preference for the little details. His work centers on precariousness, uncertainty, and waiting, capturing the unique, distinctive aspects of liminal situations such as the urban periphery. Maloberti’s light and sound installations, hosted in both private and public spaces, are highly theatrical pieces that seek the close engagement of the public. The final image of the performance is usually generated by the sum of the energies of those present and the random nature of events.
On the occasion of the 2012 exhibition D’après Giorgio at the Fondazione Giorgio e Isa de Chirico, the home/museum of one of the leading exponents of the twentieth-century avant-garde, Maloberti exhibited the work NINNANANNA (Lullaby). The photograph, which shows him sleeping in de Chirico’s bed, forges an intimate relationship with the figure of the artist and his home/museum. It is both a tribute to de Chirico and at the same time a way of getting physically closer to a painter Maloberti has always admired. The Milanese artist thus uses this simple but poetic image, which ties in with the painterly tradition of portraits of sleepers, to spark a new narrative.

Nato a Codogno, Italia, nel 1966
Vive e lavora a Milano, Italia

Attraverso la performance, l’installazione, il video e la fotografia, Marcello Maloberti indaga la vita quotidiana, soffermandosi preferibilmente su piccoli dettagli. La sua attenzione si concentra sui temi della precarietà, dell’incertezza e dell’attesa. Nelle sue opere, l’artista si propone di registrare ciò che è unico e speciale in situazioni limite, riscontrabili per esempio nelle periferie urbane. Le performance e le installazioni sonore e luminose di Maloberti trovano spazio in luoghi sia privati sia pubblici, e sono caratterizzate da un forte impatto teatrale e dalla stretta interazione con il pubblico. L’immagine conclusiva delle performance è data in genere dalla somma delle energie dei corpi partecipanti e della casualità degli eventi.
In occasione della mostra D’après Giorgio, ospitata nel 2012 presso la Fondazione Giorgio e Isa de Chirico, nella casa-museo romana di una della figure cardine dell’avanguardia del Novecento, Maloberti ha contribuito con l’opera NINNANANNA. L’artista stabilisce una relazione intima con la figura di Giorgio de Chirico e con la sua casa-museo, utilizzando una immagine fotografica che lo ritrae mentre dorme nel letto di de Chirico. Si tratta di un omaggio e, al contempo, di un modo per essere ancora più vicino, anche fisicamente, al pittore che Maloberti ha sempre stimato. L’artista milanese avvia così una nuova narrazione e al tempo stesso crea un’immagine semplice, ma dalla intensa carica poetica, che si inserisce nella tradizione pittorica dei soggetti dormienti.

Project: Soleil politique

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JOHN CAGE

Born 1912, Loas Angeles, CA, USA
† 1992

Focus: Cage without Cage. Brief notes on the prepared piano and its inventor

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CAGE WITHOUT CAGE – Brief Notes on the prepared piano and its inventor

CAGE WITHOUT CAGE

by Giacomo Fronzi

With the revolutionary discovery of the prepared piano, John Cage opens the doors of music to unexplored worlds of sound and unknown expressive possibilities. Through simple physical alterations of the musical instrument to change its sound, the compositional activity becomes with Cage something completely new, extended, transformed. The PIANO project, inspired by this artist’s experimentations, aims at defining a novel use of the tools of cultural exchange, extending the horizons of art disciplines and geography, mixing practices, connecting places, promoting dynamism and the breaking of schemes. The philosopher and musicologist Giacomo Fronzi focuses here the attention on Cage’s experimentations around this reinvented instrument, highlighting the huge potential of a path always directed towards exceeding the limits.
Genius is the talent (natural gift) which gives the rule to Art.”(1) The history of art is marked by turns, breaks, returns, revolutions and counter-revolutions. These actions are always started by someone who, by virtue of a mysterious “visionary force”, sees and shows,(2) indicating new pathways, suggesting unexpected solutions, establishing (and this happens especially in the twentieth century) new relationships with the artistic and extra-artistic matter.

John Cage, Milano, 1977

John Cage, Milan, 1977

Although John Cage is one of the most controversial figures on the art scene of the twentieth century – the target of fierce and sometimes staid, verbose criticism, as well as the recipient of apologies not always supported by adequate knowledge of the subject –, he remains, in my opinion, a revolutionary who played more than once with his last name, which carried a sort of announced self-denial, a conceptual and practical self-overcoming: a Cage which rejects any cage, whether theoretical, moral, musical.
Cage was an anarchic, funny, humorous, spontaneous, irreverent composer, a character of bizarre and multifaceted passions (arts, eastern philosophy, the I Ching, Zen Buddhism, mycology, plants, mesostics, macrobiotic cooking, chess etc.), many love affairs, not only musical but also literary and sociological-political (Buckminster Fuller, Meister Eckhart, Erik Satie, Marshall McLuhan, Henry David Thoreau, Daisetz T. Suzuki come to mind). An artist capable of brilliant ideas ranging from electronics to prepared piano, from the first “happening” of history to the pioneering of graphical-pictorial scores, from the experience of live electronics or musicircus to works for dance, radio or television.
Cage (whose twentieth death and one-hundredth birth anniversaries were celebrated in 2012(3)) belongs in many histories and revolutions, and is one of those composers who in the mid-twentieth century cultivated the hope of the final ending of the realm of harmony(4), centering his musical discourse and compositional activity on new bases, structured from elements that could be, from time to time, musical, extra-musical, random or number-based.
While in Seattle around the end of the thirties with his wife Xenia, Cage works intensely on percussive music and dance, striking relationships with artists such as Mark Tobey, Morris Graves and Laszlo Moholy-Nagy, but also with dancers and choreographers such as Bonnie Bird, Syvilla Fort and, especially, Merce Cunningham. At the Cornish School, Cage conceives the revolutionary prepared piano, specifically for Syvilla Fort’s Bacchanale ballet. One of Cage’s tasks, at that time, is to accompany the dancers during lectures and concerts, although this is something he hates doing. On one of these occasions, as soon as Cage starts playing, a piece of brass placed on a tray on the instrument accidentally falls into the piano case and starts rolling on the strings. The resulting sound piques Cage’s interest, eventually leading to the idea of the prepared piano.(5) Later, when it comes to making music for the Bacchanale, Cage initially tries to find a twelve-tone row that would sound “African”, but his quest fails. He then remembers the sound of the piano when Cowell struck or plucked the strings, or when he slid metal needles over them. From the kitchen he takes a plate and puts it on the strings, together with a book. But the plate bounces. Hence, Cage takes a nail and sticks it between the strings. But again there is a problem: the nail slips away. He thus replaces the nail with a wood screw. This time the solution works. The prepared piano is born(6).

pianoforte_preparato

Senza titolo-5

Prepared piano, preparation by Giancarlo Cardini for the performance of musical compositions by John Cage. Turin, 1984

Since that time, and specifically from the beginning of the forties to the mid-fifties, Cage uses the prepared piano in about thirty of his works (not all published), especially dedicated to dance (from Bacchanale to And the Earth Shall Bear Again – choreographed by Valerie Bettis, from In the Name of the Holocaust to Totem Ancestor, both with choreographies by Merce Cunningham). In addition to the Sonatas and Interludes for piano, the Prelude for Meditation, the Concerto for Prepared Piano and Chamber Orchestra and Two Pastorales, the prepared piano is also used in two compositions for film, the first published with the title Music for Marcel Duchamp for the film Dreams That Money Can Buy by Hans Richter, and the second for the film Works of Calder by Herbert Matter; furthermore, we find the instrument in the works for ensemble Amores, for percussion and prepared piano, Second Construction, for percussion and prepared piano, and She Is Asleep, for 12 tom-toms, voice, piano and prepared piano. Although the titles above are not all of Cage’s compositions involving the use of prepared piano(7), they represent the most significant works and examples of using this bizarre but tonally very effective instrument, which offers new creative possibilities both to the composer and the interpreter. As Mario Lavista wrote, with the prepared piano “the interpreter is actively involved in the definition and configuration of the new colors […],” through the deliberate placement of objects inside the instrument. The quality and characterization of the sound depends directly from that placement: “a change of place, albeit small, slightly changes the pitch, the dynamics, and thus the timbre of the sounds. The instrument becomes a percussion ensemble under the control of a single performer.»(8)
John Cage showed new expressive possibilities also through a revolution of the means, once again demonstrating a willingness to participate in a profound metamorphosis, an inevitable revolution, one for which the doors of music have opened to musical universes still surprising and attractive to this day.

notes:
(1) I. Kant, Kant’s Critique of Judgement, translated with Introduction and Notes by J.H. Bernard (2nd ed. revised) (London: Macmillan, 1914), §46, p. 188.
(2) I am referring to the words used by Wassily Kandinsky to describe the artist’s condition:«Veiled in obscurity are the causes moving us forward and upward by “the sweat of the brow,” through suffering, evil, and pain. Many grievous obstacles along this road must be conquered, so as to arrive at the first stage; and even then an evil, unseeing hand may toss more obstacles in the way, so that this road sometimes appears to be totally impassable, as all landmarks vanish. It is then that there unfailingly arises some human being, no different from the rest of humanity but for a secret power of “Vision” within him.He sees and points the way. Sometimes he would prefer to lay aside his power, as it is a heavy cross to bear; but he cannot do so. Though scorned and hated, he never lets go but drags the cartload of protesting humanity after him, ever forcing it forward and upward, over all obstacles in his way.» (W. Kandinsky, On The Spirtual In Art, Solomon R. Guggenheim Foundation, for the Museum of Non-Objective Painting, N.Y., 1946, p.14).
(3) As regards Cage, see G. Fronzi (edited by), John Cage. Una rivoluzione lunga cent’anni,with a previously unpublished interview, Mimesis, Milan 2012.
(4) B.W. Joseph, “John Cage and the Architecture of Silence”, in October, lxxxi, Summer 1997, pp. 73-99: 73.
(5) K. Silverman, Begin Again: A Biography of John Cage, Alfred A. Knopf, New York 2010, p. 31.Presenting, in June 1949, the Sonatas and Interludes for prepared piano at Suzanne Tézenas’ salon, Pierre Boulez says: “In his 1942-43, his research narrowed and gradually produced the prepared piano such as you are going to hear today. After many cautious experiments Cage tried to establish what objects could remain stable between the strings of a piano, what were the materials to use and how they should be placed; from this he deduced the necessity of modifying duration, amplitude, frequency, and timbre – in other words, the four characteristics of a sound. To facilitate realization, he used everyday objects such as screws, nails, nuts, felt, rubber, and pennies wedged vertically between two strings or horizontally straddling the three strings relating to a key. Using the una corda pedal would therefore also modify the pitches, since the hammer, shifted sideways, would strike only two strings out of three.” The Boulez-Cage Correspondence, edited by Jean-Jacques Nattiez, translated and edited by Robert Samuels, Cambridge University Press, 1993, pp. 29, 30.
(6) J. Cage, La musica (fino al 1970), in Lettera a uno sconosciuto, edited by R. Kostelanetz, with a memory by M. Cunningham, preface by E. Sanguineti, Edizioni Socrates, Rome 1996, pp. 99-129: 102 (orig. publ. Conversing with Cage, Limelight Editions, New York 1988; then Omnibus Press, London 1989; ii ed. Routledge, New York 2003).
(7) To listen to all of Cage’s works for prepared piano, cfr. John Cage. Works for Prepared Piano:Mysterious Adventure, A Room, Tossed as it is Untroubled, Primitive, Music for Marcel Duchamp, Totem Ancestor, A Valentine out of Season, Spontaneous Earth, Root of an Unfocus, The Perilous Night, Daughters of the Lonesome Isle, The Unavailable Memory of, And the Earth Shall Bear Again, Triple Paced, Bacchanale, Prelude for Meditation, In the Name of the Holocaust, Our Spring Will Come, Two Pastorales, col legno, WWE 2CD 20027 (2 CD), Germany 2000.
(8) M. Lavista, John Cage e il pianoforte preparato. Alcune considerazioni sugli aspetti formali, in F. Ballardini – A. Cutroneo – E. Negri(edited by), John Cage. L’espressione si sviluppa in colui che la percepisce, Conference proceedings (Riva del Garda, 3-10 September 2002), Lim, Lucca 2003, pp. 115-32:117.

 

 

Con la rivoluzionaria scoperta del pianoforte preparato, John Cage apre le porte della musica a universi sonori inesplorati e possibilità espressive ignote. Attraverso semplici interventi materiali sullo strumento musicale, l’attività compositiva diventa con lui qualcosa di completamente nuovo, esteso, rinnovato. Il progetto PIANO, ispirandosi alle sperimentazioni dell’artista, mira a definire un uso inedito degli strumenti dello scambio culturale, aprendo gli orizzonti delle discipline e delle geografie artistiche, mescolando le pratiche, congiungendo i luoghi, promuovendo il dinamismo e la rottura degli schemi. Il filosofo e musicologo Giacomo Fronzi focalizza qui l’attenzione sulle sperimentazioni di Cage intorno a questo strumento reinventato, mettendo in luce le ampie potenzialità di un percorso sempre volto al superamento dei limiti.

“Il genio è il talento (dono naturale), che dà la regola all’arte”(1). La storia delle arti è attraversata da sterzate, rotture, ritorni, rivoluzioni e controrivoluzioni. A dare l’avvio a simili dinamiche trasformative c’è sempre qualcuno che, in virtù della propria misteriosa forza “visionaria”, vede e fa vedere(2), indicando nuovi percorsi, suggerendo inaspettate soluzioni, istituendo (e questo accade specificamente nel Novecento) nuove relazioni con la materia artistica ed extra-artistica.
Sebbene si tratti di una figura tra le più controverse del panorama artistico del XX secolo, bersaglio di critiche feroci talvolta barbose e verbose, così come anche destinatario di apologie non sempre supportate da un’adeguata conoscenza della materia, John Cage resta, a mio modo di vedere, un rivoluzionario, un rivoluzionario che più di una volta ha giocato con il suo cognome, nel quale era inscritta una sorta di autonegazione annunciata, un autosuperamento concettuale e pratico: un Cage (che in lingua inglese, si sa, significa “gabbia”) che rifiuta qualsiasi gabbia, teorica, morale, musicale.
Cage era un compositore anarchico, divertente, ironico, spontaneo, irriverente, un personaggio dalle passioni bizzarre e multiformi (arti, filosofie orientali, I Ching, buddhismo zen, micologia, piante, mesostici, cucina macrobiotica, scacchi…), dai numerosi amori, non solo musicali, ma anche letterari e sociologico-politici (si pensi a Buckminster Fuller, a Meister Eckhart, così come a Erik Satie, a Marshall McLuhan, Henry David Thoreau o Daisetz T. Suzuki). Un artista capace di idee geniali che vanno dall’elettronica al pianoforte preparato, dal primo happening della storia alle pionieristiche partiture di tipo grafico-pittorico, dalle esperienze live electronics o del musicircus alle opere per danza, radio o televisione.
Cage (del quale, nel 2012, si sono celebrati i vent’anni dalla morte e i cento dalla nascita(3)) rientra in molte storie, in molte rivoluzioni, è uno di quei compositori che a metà Novecento hanno coltivato la speranza di porre fine, definitivamente, al regno dell’armonia(4), centrando il discorso musicale, l’attività compositiva su basi nuove, strutturate a partire da elementi che potevano essere, di volta in volta, musicali, extra-musicali, aleatori o numerici.
Mentre si trova a Seattle (siamo alla fine degli anni Trenta) insieme alla moglie Xenia, Cage svolge un intenso lavoro sulla musica percussiva e sulla danza, entrando in rapporto con artisti come Mark Tobey, Morris Graves o Laszlo Moholy-Nagy, ma anche con danzatori e coreografi come Bonnie Bird, Syvilla Fort e, soprattutto, Merce Cunningham. È qui, presso la Cornish School, che Cage concepisce il rivoluzionario pianoforte preparato, più precisamente per il balletto Bacchanale di Syvilla Fort. Uno dei compiti di John, in quel periodo, è quello di accompagnare i ballerini durante le lezioni e i concerti, per quanto fosse qualcosa che detesta fare. In una di queste occasioni, non appena Cage inizia a suonare, un pezzo d’ottone posto in un vassoio sullo strumento cade accidentalmente nella cassa del pianoforte e comincia a rotolare sulla corde. Il suono che proviene dallo strumento suscita in Cage un particolare interesse. È del tutto concentrato su questo oggetto, che rotola su e giù per le corde. Inizia a farsi strada l’idea del pianoforte preparato(5). Successivamente, quando si tratta di realizzare la musica per il Bacchanale, Cage inizialmente cerca di individuare una serie dodecafonica che potesse suonare “africana”, ma senza riuscirci. Gli viene allora in mente il suono del pianoforte quando Cowell percuoteva o pizzicava le corde, o quando vi faceva scorrere sopra degli aghi di metallo. Si sposta in cucina, prende un piatto e lo mette con un libro sulle corde. Ma il piatto rimbalza. Cage prende allora un chiodo e lo infila tra le corde. Ma si presenta un altro problema: il chiodo scivola via. Viene allora in mente a John di sostituire il chiodo con una vite da legno. La soluzione funziona. Era nato il pianoforte preparato(6).
Da quel momento, Cage – dall’inizio degli anni Quaranta a metà degli anni Cinquanta – inserisce il prepared piano in una trentina di suoi lavori (non tutti pubblicati), soprattutto dedicati alla danza (si pensi, a partire da Bacchanale, a And the Earth Shall Bear Again – con coreografia di Valerie Bettis –, a In the Name of the Holocaust o Totem Ancestor – ambedue con coreografia di Merce Cunningham). Oltre che nelle pagine pianistiche di Sonatas and Interludes,del Prelude for Meditation, del Concerto for Prepared Piano and Chamber Orchestra e delle Two Pastorales, il ricorso al pianoforte preparato non manca anche in due lavori per il cinema, il primo pubblicato con il titolo Music for Marcel Duchamp per la pellicola Dreams That Money Can Buy di Hans Richter e il secondo per il film Works of Calder di Herbert Matter, ma anche in Amores per pianoforte preparato e trio di batterie, in Second Construction per quartetto di batterie e pianoforte preparato e in She Is Asleep per quartetto di batterie, voce, pianoforte preparato e pianoforte non preparato. I titoli appena citati non coprono certo tutta la produzione cageana che prevede l’impiego del pianoforte preparato(7), tuttavia si tratta delle opere più significative ed esemplificative dell’utilizzo di questo strumento bizzarro, ma timbricamente molto efficace, e che offre inedite possibilità creative tanto al compositore quanto all’interprete. Come ha scritto Mario Lavista, con il pianoforte preparato “l’interprete partecipa attivamente alla definizione e configurazione dei nuovi colori […]”, attraverso la giusta collocazione degli oggetti all’interno dello strumento. La qualità e la caratterizzazione del suono dipende direttamente da tale collocazione: “un cambiamento di posto, seppur piccolo, modifica anche lievemente, l’altezza, la dinamica e quindi la qualità timbrica dei suoni. Si tratta di una vera e propria orchestra di percussioni, un’orchestra controllata da un unico esecutore”(8).
Anche attraverso questa rivoluzione dei mezzi, John Cage ha indicato nuove possibilità espressive, dimostrando ancora una volta la volontà di partecipare a una metamorfosi profonda, a una rivoluzione inevitabile, quella per la quale le porte della musica si sono spalancate a universi sonori sorprendenti e ancora oggi decisamente attraenti.

(1) I. Kant, Critica del Giudizio (1790), trad. it. di A. Gargiulo, rev. di V. Verra, introd. di P. D’Angelo, Laterza, Roma-Bari 20053, §46, p. 291.
(2) Mi riferisco, qui, alle parole che dedica Wassily Kandinsky alla condizione che è propria dell’artista. Ecco il passo completo: “Non sappiamo perché sentiamo il dovere di andare avanti con “sudore della fronte”, tra sofferenza, malvagità e crisi. Raggiunta una meta, eliminati molti sassi pericolosi dalla strada una mano invisibile e crudele getta su questa strada nuovi blocchi, rendendola irriconoscibile. Allora però arriva un uomo, che ci assomiglia, ma ha in sé una misteriosa forza “visionaria”. Egli vede e fa vedere. A volte vorrebbe liberarsi di questa superiore capacità che per lui costituisce spesso una pesante croce. Ma non può. Fra scherno e odio trascina in alto il pesante carro dell’umanità, che oppone resistenza e si blocca fra i sassi” (W. Kandinsky, Lo spirituale nell’arte, a cura di E. Pontiggia, SE, Milano 1989, p. 21; ed. orig. Über das Geistige in der Kunst, R. Piper& Co., München 1912).
(3) Su Cage, mi sia consentito rinviare a G. Fronzi (a cura di), John Cage. Una rivoluzione lunga cent’anni,con un’intervista inedita, Mimesis, Milano 2012.
(4) B.W. Joseph,John Cage and the Architecture of Silence, in “October”, lxxxi, Summer 1997, pp. 73-99: 73.
(5) K. Silverman, Begin Again: A Biography of John Cage, Alfred A. Knopf, New York 2010, p. 31. Presentando, nel giugno 1949, le Sonate e Interludi per pianoforte preparato nel salotto di Suzanne Tézenas, Pierre Boulez dirà: “Nel 1942-43, la sua ricerca si precisa e arriva a poco a poco al pianoforte preparato così come lo sentirete oggi. Dopo molti tentativi, Cage prova a stabilire quali oggetti possano rimanere fermi fra le corde di un pianoforte, quali siano i differenti materiali da usare e come debbano essere sistemati; ne dedusse la necessità di modificare durata, ampiezza, frequenza e timbro, vale a dire le quattro caratteristiche di un suono. Per comodità di realizzazione, utilizzò oggetti quotidiani, come viti, chiodi, dadi, feltri, gomme e monete, incuneati verticalmente fra due corde o sovrapposti orizzontalmente alle tre corde relative a un tasto. L’uso del pedale una corda potrà dunque modificare anche le altezze, perché il martelletto, spostandosi lateralmente, colpirà solo due corde su tre” (Pierre Boulez presenta Sonate e Interludi per pianoforte preparato di John Cage nel salotto di Suzanne Tézenas, in P. Boulez – J. Cage, Corrispondenze e documenti, trad. it. a cura di W. Edwin Rosasco, Archinto, Milano 2006, pp. 49-57: 52; ed. orig. Correspondance et documents, a cura di J.-J. Nattiez et al., Amadeus, Winterthur 1990).
(6) J. Cage, La musica (fino al 1970), in Lettera a uno sconosciuto, a cura di R. Kostelanetz, con un ricordo di M. Cunningham, prefaz. di E. Sanguineti, Edizioni Socrates, Roma 1996, pp. 99-129: 102 (ed. orig. Conversing with Cage, Limelight Editions, New York 1988; poi Omnibus Press, London 1989; ii ed. Routledge, New York 2003).
(7) Per un ascolto completo dei lavori per pianoforte preparato, cfr. John Cage. Works for Prepared Piano:Mysterious Adventure, A Room, Tossed as It Is Untroubled, Primitive, Music for Marcel Duchamp, Totem Ancestor, A Valentine out of Season, Spontaneous Earth, Root of an Unfocus, The Perilous Night, Daughters of the Lonesome Isle, The Unavailable Memory of, And the Earth Shall Bear Again, Triple Paced, Bacchanale, Prelude for Meditation, In the Name of the Holocaust, Our Spring Will Come, Two Pastorales, col legno, WWE 2CD 20027 (2 CD), Germany 2000.
(8) M. Lavista, John Cage e il pianoforte preparato. Alcune considerazioni sugli aspetti formali, in F. Ballardini – A. Cutroneo – E. Negri(a cura di), John Cage. L’espressione si sviluppa in colui che la percepisce, Atti dell’omonimo Convegno di Studi (Riva del Garda, 3-10 settembre 2002), Lim, Lucca 2003, pp. 115-32: 117.

all images © Roberto Masotti

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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

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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

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Lili Reynaud-Dewar

Lili Reynaud-Dewar, I don't know what a conceptual artist looks like (Fondation Generali), 2012

Lili Reynaud-Dewar, I don’t know what a conceptual artist looks like (Fondation Generali), 2012

Born 1975, La Rochelle, France
Lives and works in Grenoble, France

Lili Reynaud-Dewar’s works draw on cultural references that range from the Rastafari movement to jazz, Voodoo, conceptual art, cinema, and design. The artist mingles these elements in video art, sculptures, sound installations, and performances that are duly filmed.
The title of the video in the exhibition, Vivre avec ça?!, refers to a poem by the American writer Eileen Myles and is highly representative of Reynaud-Dewar’s current work. Initiated in 2001 in the artist’s studio, the project was subsequently extended to other sites. Reynaud-Dewar paints her body black and then films herself dancing in empty exhibition spaces. Her moves are inspired by those of Joséphine Baker, the French-American dancer, actress, and singer who in the 1930s became a symbol of racist stereotypes but also the struggle to overcome them.
Using Baker’s moves, Lili Reynaud- Dewar engages not only with the exhibition space but also other parts of the building—the corridors, offices, and service areas. Her performance thus becomes an intimate critique of the institution and a reflection on the lengthy history of the avant-garde movements, subverting the sexual, racial, and political norms that contribute to constructing our individual identity and conveying stereotypes. Besides hosting the video inside the venue, Museion is screening it on the media façade, as an extension of the relationship forged by the artist with the external architecture and “skin” of the museum.

Nata a La Rochelle, Francia, nel 1975
Vive e lavora a Grenoble, Francia

Nei lavori di Lili Reynaud-Dewar convivono spunti eterogenei provenienti dalla cultura rastafari, dal jazz, dal Voodoo, dall’arte concettuale, dal cinema e dal design. Combinando tra loro elementi tanto variegati, l’artista crea video, sculture, installazioni sonore e performance che vengono regolarmente filmate.
Il titolo del video in mostra, Vivre avec ça?!, fa riferimento a una poesia dell’autrice americana Eileen Myles e ben rappresenta la produzione attuale di Reynaud-Dewar. Iniziato nel 2001 nell’atelier dell’artista, il progetto è stato successivamente esteso ad altri luoghi. Reynaud- Dewar si dipinge il corpo di nero, per poi filmare se stessa mentre danza all’interno dello spazio espositivo in assenza del pubblico. I movimenti della danza si rifanno a quelli di Joséphine Baker, ballerina, attrice e cantante franco-americana divenuta negli anni ’30 simbolo degli stereotipi razzisti, ma anche della lotta per il loro superamento. Attraverso le movenze mutuate da Baker, Lili Reynaud-Dewar si confronta non solo con la sala espositiva, ma anche con altre parti dell’edificio, come corridoi, uffici e vani di servizio. La sua performance diventa così un’intima critica istituzionale e una riflessione sulla lunga storia delle avanguardie, finalizzata a sovvertire le regole sessuali, razziali e politiche che contribuiscono alla costruzione dell’identità individuale e alla trasmissione degli stereotipi. Oltre a ospitare il video all’interno della mostra, Museion lo proietta sulla sua facciata mediale, quale estensione della relazione instaurata dall’artista con l’architettura esterna e la “pelle” del museo.

Image:
Lili Reynaud-Dewar, I don’t know what a conceptual artist looks like (Fondation Generali), 2012, videostill

Project: Soleil politique

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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

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SLAVEN TOLJ

Born 1964, Dubrovnik, Yugoslavia
Lives and works in Dubrovnik and Rijeka, Croatia

Slaven Tolj is one of the leading exponents of the art scene in Croatia. His radical minimalist practice, which includes performance, photography, actions, and ready-mades, explores social situations and historic events. In the 1990s, Tolj focused on the situation in his country, namely the break-up of Yugoslavia and in particular the siege of Dubrovnik, his home town. Also known for his curatorial work, in 1988 he founded the Lazareti Art Workshop in Dubrovnik, one of Croatia’s busiest art hubs. In his solo show Low Season, hosted by the Dubrovnik Museum of Modern Art in 2007, Slaven Tolj recreated a stylized version of the city inside the museum, linking the areas of the building with various neighborhoods of Dubrovnik. The title of the exhibition refers to the tourist season and is a clear indication that the project was mainly destined for the local population.
The show also featured the work Map of the City of Dubrovnik, a city plan reworked by the artist. After the conflict, a map showing where the city was bombed after the siege in 1991-92 was placed by the road going into the city. Tolj used the same map, but in his version the key refers to the bars, fast food outlets, souvenir shops, etc. that are steadily taking over those parts of Dubrovnik, a new kind of siege. It is a vision of a city that is being emptied and turned into a holiday destination: memories of the horrors of war are gradually being replaced by the invasion of tourism.

Nato a Dubrovnik, Yugoslavia, nel 1964
Vive e lavora a Dubrovnik e Rijeka, Croazia

Slaven Tolj è uno dei più importanti esponenti della scena artistica croata. La sua pratica radicale e minimalista, che comprende performance, fotografie, azioni e oggetti ready-made, si focalizza su fatti sociali ed eventi storici. Negli anni ‘90 Tolj ha concentrato il suo lavoro sulla situazione del proprio Paese, ovvero sulla disintegrazione della Jugoslavia e, in particolare, sull’assedio di Dubrovnik, sua città natale. L’artista, inoltre, si è sempre dedicato alla pratica curatoriale, che lo ha visto fondare nel 1988 l’Art Workshop Lazareti di Dubrovnik, uno dei centri d’arte più attivi in Croazia. Nella personale Low Season (Bassa stagione), tenutasi al Museum of Modern Art di Dubrovnik nel 2007, Slaven Tolj ha stilizzato la città all’interno del museo, collegando gli spazi dell’istituzione alle varie aree di Dubrovnik. Il titolo della mostra si riferisce a quei periodi dell’anno in cui il fenomeno del turismo di massa è assente o quasi, e indica come il progetto fosse principalmente destinato alla popolazione locale.
In mostra era presente anche l’opera Map of the City of Dubrovnik (Piantina della città di Ragusa), una piantina della città rielaborata dall’artista. Al termine del conflitto all’entrata di Dubrovnik è stata collocata una mappa con legenda informativa, che segnala dove ebbero luogo i bombardamenti seguiti all’assedio del 1991-’92. Tolj ha usato la stessa mappa, ma nella sua versione la legenda evidenzia i bar, i fast-food, i negozi di souvenir ecc., che di anno in anno aprono in quelle zone della città. Si ha quindi la visione di una Dubrovnik progressivamente assediata da spazi di ricezione turistica: una città sempre più vuota e trasformata in destinazione di vacanza, dove i disastri della guerra sono stati sostituiti dall’invasione dell’industria del turismo. In mostra sono presenti due piantine: quella originale della città, e quella elaborata e aggiornata dall’artista.

Project: Soleil politique

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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

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Bernhard Rüdiger

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

Project: Soleil politique

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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

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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

 

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Isidoro Valcárcel Medina

Born 1937, Murcia, Spain
Lives and works in Madrid, Spain

As an artist, Isidoro Valcárcel Medina does not aim to produce art objects, but rather to interact within a given context. Nor does he seek professional recognition for his work, and yet he continues to be a major influence on younger artists. Valcárcel Medina has never limited his practice to a specific medium; he employs cinema, organizes public events, which he documents through photography and sound recordings, and subsequently produces sound installations. In his early work, space and time play an important role. Subsequently, at the end of the 1960s, he became interested in minimalist art. At the end of the 1970s, he investigated the role of the spectator, in particular the role of passive participation. As a result of his investigation, he produced a series of “mail art” works that addressed the spectator beyond the institutional context. In the following decades, Valcárcel Medina turned to the formal language of architectural plans in his conceptual work, presenting proposals for public space that take into account diverse social needs. For his solo exhibition, Otoño de 2009 at the Reina Sofia Museum in Madrid, rather than present a retrospective of his works in the conventional sense, Valcárcel Medina proposed a series of twenty “circumstances.” He uses this word to refer to various factors (time and space), giving rise to a series of often ephemeral interventions that challenge the accumulation of objects in museums and other art institutions. In applying his critical view of retrospectives and museum acquisitions, the artist testifies to a radical immanence and a rejection of intrinsic values. His work surpasses fixed and conventional uses and demonstrates how use can be extremely varied. The first in the series of “circumstances” took the form of an invitation card. The work The Collection Of The Museum Reina Sofia in Autumn 2009 was produced as one of the “circumstances” for the exhibition Otoño de 2009. Both an artist’s book and an exhibition catalog, the work comprises a series of detailed plans of all artworks in each room of the museum’s collection, showing their exact dimensions and distance from each other, although the works themselves are not represented. The function and spatial organization of the museum thus becomes Valcárcel Medina’s work. The “circumstances” created in response to the invitation by the Reina Sofia Museum included October 1709 – Autumn 2009, an exhibition of Valcárcel Medina’s entire body of work. The works were exhibited along with a text celebrating the three-hundred-year anniversary of an exhibition organized by the Grand Prince of Tuscany, Ferdinando de’ Medici, in 1707 and 1709 in the Santissima Annunziata, Florence. The exhibition consisted of 250 paintings from various Florentine collections, which covered the entire walls of the church from floor to ceiling. Valcárcel Medina took this historical reference and its anniversary as a model for an exhibition that covered the corridors of the Reina Sofia, thus underscoring the impossibility of viewing the works in their entirety. The anecdote appeared in another of the artist’s works, an “encyclopedic” publication titled 2000 d. de J. C. For the new millennium, Valcárcel Medina published a 2,000-page book printed on Bible paper with one event per year on each page, from the year zero to 2001. Valcárcel Medina chose events that are not included in official history. In privileging certain events rather than others, the artist creates what amounts to a personal, and thus non-hegemonic, vision of history— a reading of history by way of anecdotes. Yet, when the book is read, its content appears to be entirely correct and consistent, as if Medina had chosen to include the most important historical events. At the Reina Sofia, another “circumstance” took the form of a clock hung on a museum wall. The clock fulfilled no other function than its conventional role of telling time. Yet its presence in the museum marked the intrusion of an object of daily life, a daily constraint that is generally ignored in the museum, the latter choosing instead a contemplative suspension, impervious to the presence of real time.

Nato a Murcia, Spagna, nel 1937
Vive e lavora a Madrid, Spagna

Il lavoro di Isidoro Valcárcel Medina non aspira alla creazione di oggetti d’arte, ma all’interazione con una precisa situazione. Egli non ricerca il riconoscimento professionale in quanto artista e, tuttavia, ha una grande influenza sugli artisti delle generazioni successive alla sua. Valcárcel Medina non si è mai limitato a un solo mezzo espressivo: utilizza il cinema, organizza eventi pubblici documentati con fotografie o registrazioni audio, e propone anche installazioni sonore. Nei suoi primi lavori, lo spazio e il tempo giocano un ruolo importante. In seguito, alla fine degli anni ’60, s’interessa al minimalismo. Alla fine degli anni ’70 studia il ruolo del ricevente e, in particolare, il concetto di partecipazione passiva: ne risultano nello specifico i lavori “postali”, che si rivolgono allo spettatore al di fuori del quadro istituzionale. Durante il decennio successivo, Medina inserisce il linguaggio formale dei piani architettonici nel suo lavoro concettuale, presentando delle proposte per lo spazio pubblico che tengano conto di diverse richieste sociali.
Per Otoño de 2009, la personale dell’artista al Museo Reina Sofia di Madrid, invece di pensare a questo evento come a una retrospettiva delle proprie opere in senso classico, Valcárcel Medina ha proposto una ventina di “circostanze”: un termine particolare, che rappresenta un compromesso di vari elementi (tempo/ spazio), dando luogo a degli interventi a volte furtivi, che vanificano la questione dell’accumulo di oggetti nei musei e nelle istituzioni. L’artista mette così in atto uno sguardo critico sulle retrospettive e sulle acquisizioni museali, dando prova di un’immanenza radicale e di un rifiuto del loro valore intrinseco. Valcárcel Medina oltrepassa gli usi imposti e normati, e dimostra che tali usi possono essere molto aperti. Il biglietto d’invito è la prima di queste “circostanze”.
La seconda opera è stata realizzata come una “circostanza” proposta per Otoño de 2009. L’oggetto, tra libro d’artista e catalogo di mostra, è composto da una serie di schemi minuziosi, ottenuti dalla misura delle dimensioni delle opere e delle distanze tra le opere in ognuna delle sale del museo, senza che le opere siano rappresentate. L’insieme del funzionamento e dell’organizzazione spaziale del museo diventa in questo modo l’opera di Valcárcel Medina. Alle altre “circostanze”, che rispondono alla proposta di una retrospettiva fattagli dal museo, si aggiunge una mostra dell’insieme del lavoro di Valcárcel Medina. Le sue opere sono state presentate al Reina Sofia con un testo che celebrava i trecento anni di una mostra, che il principe Ferdinando di Toscana aveva organizzato nel 1707 e nel 1709 nel Chiostro dell’Annunciazione a Firenze, facendo installare duecentocinquanta dipinti provenienti da collezioni fiorentine, che coprivano per intero le pareti fino al soffitto. L’artista ha attinto da questa storia per proporre, nella data della ricorrenza, lo stesso modello di mostra e ha interamente coperto un corridoio del Reina Sofia, rinnovando con questo gesto la questione dell’impossibilità di comprendere tutte le opere.
L’aneddoto ricompare in un’altra opera dell’artista, una pubblicazione “enciclopedica” intitolata 2000 d. de J.C. Per celebrare il nuovo millennio, Valcárcel Medina ha realizzato un libro di duemila pagine in carta velina, che elenca un avvenimento all’anno e a pagina, dall’Anno Zero al 2001 selezionando degli eventi che non compaiono nella storia ufficiale. Privilegiando alcuni fatti storici piuttosto che altri, l’artista costruisce un racconto che può essere compreso come una visione personale, e dunque non egemonica, della storia. È una lettura della storia per aneddoti, ma, quando si scorre il libro, il suo contenuto appare talmente preciso e denso da fare pensare che l’artista abbia voluto scegliere gli avvenimenti più importanti.
Sempre al Reina Sofia, un’altra “circostanza” consisteva in un orologio appeso alla parete di una sala del museo. L’orologio non ha altro ruolo se non quello di uso comune, cioè di indicare l’ora. Tuttavia, la presenza di questo oggetto nel museo segna l’intrusione del quotidiano, di una regola della vita di tutti i giorni che generalmente viene dimenticata all’interno di uno spazio espositivo, a profitto di una sospensione contemplativa e refrattaria alla presenza del tempo reale.

Né à Murcia, Espagne, en 1937
Vit et travaille à Madrid, Espagne

Le travail d’Isidoro Valcárcel Medina ne vise pas la création d’objets d’art, mais plutôt l’interaction avec une situation donnée. Il ne cherche pas la reconnaissance professionnelle en tant qu’artiste, et néanmoins ne cesse d’influencer les artistes des générations ultérieures. Valcárcel Medina ne s’est jamais limité à un médium spécifique : il utilise le cinéma, organise des événements publics documentés par la photographie ou l’enregistrement audio, et propose aussi des installations sonores. Dans ses premières œuvres, l’espace et le temps jouent un rôle important ; par la suite, à la fin des années 1960, il s’intéresse au minimalisme. À la fin des années 1970, il étudie le rôle du récepteur, en particulier la participation passive ; en résultent notamment ses travaux « postaux » qui s’adressent au spectateur en dehors du cadre institutionnel. Pendant la décennie suivante, Medina intègre le langage formel des plans architecturaux dans son travail conceptuel, présentant des propositions pour l’espace public qui prennent en compte diverses demandes sociales.

Otoño de 2009, Circumstancias (carton d’invitation) (2009)
A l’occasion de Otoño de 2009, son exposition personnelle au Musée Reina Sofia (Madrid), plutôt que de penser cet événement comme une rétrospective de ses œuvres au sens classique du terme, Valcárcel Medina a proposé une vingtaine de « circonstances » : un mot singulier qui représente une équation de plusieurs éléments (temps/espace), donnant lieu à des interventions parfois furtives qui désamorcent la question de l’accumulation d’objets dans les musées et les institutions. L’artiste met ainsi en acte son regard critique sur les rétrospectives et les acquisitions muséales, faisant preuve d’une immanence radicale et d’un refus de la valeur intrinsèque. Il dépasse les usages imposés et normés et démontre que ces usages peuvent être très ouverts. Le carton d’invitation est la première de ces « circonstances ».

La Colección del Museo Nacional Centro de Arte Reina Sofía en Otoño de 2009 [La collection du musée Reina Sofia, Automne 2009] (2009)
Cette œuvre a été réalisée en tant qu’une des « circonstances » proposées pour Otoño de 2009. L’objet, entre livre d’artiste et catalogue d’exposition, est composé d’une série de plans minutieux obtenus par la mesure des dimensions des œuvres et les distances entre elles dans chacune des salles du musée, les œuvres n’étant pas elles-mêmes représentées. L’ensemble du fonctionnement et de l’organisation spatiale du musée deviennent ainsi l’œuvre de Valcárcel Medina.

2000 d. de J.C. (2001)
Aux autres « circonstances » répondant à la proposition d’une rétrospective qui lui avait été faite par le musée, vient s’ajouter une exposition de l’ensemble du travail de Valcárcel Medina. Ses œuvres étaient présentées au Reina Sofia avec un texte célébrant les trois cents ans d’une exposition que le prince Ferdinand de Toscane avait organisée en 1707 et 1709 dans le Cloître de l’Annonciation à Florence et pour laquelle il avait installé 250 peintures issues de collections florentines, de manière à couvrir entièrement les murs jusqu’au plafond. L’artiste s’est saisi de cette histoire pour proposer à la date anniversaire le même modèle d’exposition et a couvert entièrement un couloir du Reina Sofia, reconduisant ainsi par cet accrochage l’impossibilité d’appréhender toutes les œuvres.
L’anecdote apparaît dans une autre pièce de l’artiste, une publication « encyclopédique » intitulée 2000 d. de J.C. À l’occasion du nouveau millénaire, Valcárcel Medina a réalisé un livre de 2000 pages en papier bible qui répertorie un événement par an et par page depuis l’année zéro jusqu’à 2001. Valcárcel Medina a cherché des événements qui ne figurent pas dans l’histoire officielle. En privilégiant certains faits historiques plutôt que d’autres, l’artiste construit un récit qui peut être compris comme une vision personnelle d’histoire, et donc non-hégémonique. C’est une lecture de l’histoire par l’anecdote ; néanmoins quand on parcourt le livre, son contenu paraît tellement juste et consistant que s’il avait voulu choisir les événements les plus importants.

Otoño de 2009, Circumstancias (horloge murale) (2009)
Au Reina Sofia, une autre « circonstance » était une horloge accrochée sur une cimaise du musée. L’horloge ne remplit rien d’autre que son rôle habituel, c’est à dire donner l’heure. Pourtant la présence de cet objet dans le musée marque l’intrusion du quotidien, d’une règle de la vie généralement oubliée dans le musée au profit d’une suspension contemplative et étanche à la présence du temps réel.

Project: Soleil politique

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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

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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

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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

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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

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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

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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.

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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 post-conceptual, new vernacular, performance and sound, interested in incompleteness and circularity, duplication and accumulation, waste, layering, forgery, faux-real. He also works for Mousse Magazine and Vdrome. http://www.spcnvdr.org/

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

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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

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Rosalind Nashashibi

PLE-TPOMPT-056

Born 1973, Croydon, United Kingdom
Lives and works in Liverpool, United Kingdom

Image:
Rosalind Nashashibi, The Prisoner, 2008, 16 mm film, 5 minutes. © Aurélien Mole / Parc Saint Léger

Project: The Registry of Promise

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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

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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

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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

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Daniele Pezzi

Daniele Pezzi, Tutulma, 2010-2013

Daniele Pezzi, Tutulma, 2010-2013

Born 1977, Ravenna, Italy
Lives and works in Ravenna, Italy
His work is mainly constituted of videos, while photos, sculptures, and paintings are often the result of the film’s production process. The themes that he is working on are linked to nomadism (as the dangerous alternative to belligerent stillness), to archeology and anthropology (as the disciplines that study the hidden past, and perhaps contribute to a re-writing of history itself), and to environmental psychology (of both the fictional characters as well as the spectators themselves). The screenplays are more similar to lists of ideas, instructions and short tales, and are discussed together with actors and further adapted to the surrounding landscapes and architectures. The finished work is the result of an open process of mediation in which the author considers himself as a catalyzing agent.

Project: Piano – alto!

 

(1977, vive e lavora a Ravenna) La sua produzione è costituita prevalentemente da lavori video, mentre le foto, le sculture e le pitture sono spesso il risultato del processo di produzione filmico. I temi su cui lavora costantemente sono connessi ai concetti di nomadismo (in quanto alternativa pericolosa alla stanzialità belligerante), all’archeologia e antropologia (in quanto discipline di comprensione del passato remoto, e che contribuiscono alla riscrittura della storia), e alla psicologia dello spazio (sia dei personaggi che popolano i lavori, sia degli spettatori che li vedranno). Le sceneggiature sono in realtà elenchi di idee, istruzioni e racconti brevi che vengono discusse con gli attori e rielaborate anche in relazione all’architettura o al paesaggio che li circonda. Il lavoro concluso è quindi il risultato di un processo aperto di mediazione in cui l’autore si considera come catalizzatore.

 

Né en 1977, vit et travaille à Ravenna. Sa production est constituée principalement de vidéos, les photographies, les sculptures et les peintures étant le résultat du procédé de production filmique. Les thèmes qui animent sa recherche touchent au nomadisme (comme alternative dangereuse à la sédentarité belligérante), à l’archéologie et l’anthropologie (disciplines de la compréhension du passé lointain, qui contribuent à la réécriture de l’histoire) et à la psychologie de l’espace (celle des personnages qui peuplent ses travaux ainsi que des spectateurs qui les regardent). Les scénarios sont en fait des listes d’idées, instructions ou brèves narrations qui font l’objet d’une discussion avec les acteurs et sont ensuite adaptées en fonction de l’architecture et du paysage qui les entourent. Le travail achevé est donc le résultat d’un processus ouvert de médiation dans lequel l’auteur incarne le rôle de catalyseur.

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

Martine Michard
décembre 2014

Image:
Daniele Pezzi, Tutulma, 2010-2013, video still HD. Courtesy of the artist

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ANDREA BRUCIATI IN CONVERSATION WITH DANIELE PEZZI

ANDREA BRUCIATI IN CONVERSATION WITH DANIELE PEZZI

Andrea Bruciati Hi Daniele, could you tell me about the spirit with which you are going about this experience?
Daniele Pezzi First, the residence I was selected for is somewhat atypical: I will spend 45 days staying at three art centers located in the region of Midi-Pyrénées. In each of these (in order of time: Maison des Arts Georges Pompidou in Cajarc, Chapelle St Jacques in Saint-Gaudens, and BBB in Toulouse), I will spend 15 days. The residence theme focuses on movement and utopia, both from a practical point of view (the experience of the artist who has to bring together within the project the various art centers involved, which are physically distant from each other), and from the point of  view of theory (hence the choice of selecting my work method for this residence). These characteristics and associated limitations represent the challenge that I have to face and the stimulus to imagine possible solutions.

ALPEGGIO

A.B. What process/project do you intend to develop?
D.P. In the project, I want to continue to study unexpected solutions for the fusion between reality and fiction: I shall follow a process that I have been developing in the last few years, through a series of videos designed and produced while constantly on the move. A variable condition in which it is impossible to work according to a screenplay or a rigid schedule; it is not possible to predict the weather, the difficulties of accessibility of a given location, the physical limitations etc. Unlike previous projects, which unfolded gradually during the course of the work, this time I was forced to define in advance a range of possibilities and potentialities from which to draw to make the most of the short time available. If I were to give a title to the shapeless mass of ideas, techniques and scenes that make up the project at this time, it could be “The Unmasking”.

ROADS-ENDING1

A.B. Specifically, what is it about?
D.P. In every location of the residence I will select one or more volunteering actors (professional and amateur) with whom to activate a process of definition of the character that they will interpret. I am interested in a fully collaborative approach in which I put aside the control ravings typical of the ‘dictauthor’. The result of these meetings will be characters sprouting naturally from a compromise between my idea, the personality of the interpreter and the limitations of the context in which we will take action. For several years, I’ve been working on a wandering figure who observes the contexts it goes through, and at the same time struggles with having to adapt to the changing environmental conditions.

ROADS-ENDING2

A.B. A sort of almost plastic metamorphosis on the one hand, and a Zelig-style changing character on the other.
D.P. As the scenery, the temperature, the architecture change, so does the character, psychologically (varying its mood and dramatics) but also physically (because played by different actors). The character becomes a flexible and pliable being that each time becomes other than itself; while retaining a few elements of resemblance, such as clothes style, physical aspect, etc., depending on the situation his/her attitude can be aggressive, or collapse under the weight of a constraint, thus becoming fragile. If this character had a model, he/she would look like the protagonist of Pasolini’s Petrolio, who alternatively switches between being a man and a woman, as a result of a trauma that would otherwise be impossible to recount.

St_cirq-lapopie-mini

A.B. What result would you ultimately like to reach from this relentless transformation flow?
D.P. The film that will result from this process will be divided in areas: natural or manmade places where one will see the characters act and mature, go through and look at the situations that they face. The backdrop to this staging will be reality, the one that I will find in that region of France, expressed in a documentary fashion. The way in which the real and unexpected event will inevitably influence the project, will form the backbone, will determine the urge. We will start logistically from the peaks of the Pyrenees, in search of the routes of smugglers and illegal immigrants to arrive at Saint-Gaudens, overcoming mountains that have always represented natural boundaries and limits. We will cross the countryside and forests of Cajarc, trying to uncover the signs of the influence of today’s political propaganda and media, to close at a library at the University of Toulouse, where we will attend a debate between a group of people trying to find an agreement on the perfect model of democracy to pursue. Toulouse was in fact the city where the Veneto-born Silvio Trentin opened the library which soon became the reference point of the anti-fascist movements in Europe: the place where people met to discuss utopias and resistance.

St-Gaudens-mini

A.B. A sort of documentary, or you are looking for a different film language?
D.P. The film is certainly not intended to come to an end in the classic sense – quite the opposite. The result of the construction, which I will work on in the months after my coming back, will be the most effective arrangement of a wealth of material collected in a period of intense work and discovery, with a number of concerns and questions that will guide the entire process. From a technical point of view I will use a different shooting style for each residence location; although there will never be a more overtly “documentary” part, in the sense of improvised aesthetic. The goal, in fact, is to manage to build a solid narrative and emotional experience in which the character and its alterations can be reflected deeply in the viewer.

Andrea Bruciati Ciao Daniele, puoi raccontarmi lo spirito con cui ti accingi ad intraprendere questa esperienza?
Daniele Pezzi Per prima cosa la residenza per cui sono stato selezionato è in qualche modo atipica: trascorrerò 45 giorni spostandomi tra tre centri d’arte situati nella regione del Midi-Pyrénées. In ognuno di questi (in ordine di successione: Maison des Arts Georges Pompidou di Cajarc, Chapelle St Jacques di Saint-Gaudens e BBB di Toulouse) trascorrerò un periodo di tempo di 15 giorni. Il tema della residenza verte sullo spostamento e l’utopia, sia da un punto di vista pratico (l’esperienza dell’artista che deve unire nel suo progetto i vari centri d’arte che sono fisicamente distanti tra loro) sia da un punto di vista teorico (da cui la scelta di selezionare il mio metodo di lavoro per questa residenza). Queste caratteristiche e le limitazioni che ne derivano rappresentano la sfida che mi trovo di fronte e la propulsione a immaginare possibili soluzioni.

A.B. Quale processo/progetto intendi sviluppare?
D.P. Nel progetto voglio continuare a studiare le soluzioni inaspettate della fusione tra reale e fiction: seguirò un processo che ho sviluppato negli ultimi anni, attraverso una serie di video concepiti e realizzati in continuo spostamento. Uno stato variabile in cui è impossibile lavorare basandosi su una sceneggiatura o uno schema rigido di progetto; non è infatti possibile prevedere le condizioni meteo, le difficoltà di accessibilità di un determinato luogo, i limiti fisici ecc. A differenza dei precedenti, che si svelavano completamente solo in corso d’opera, questa volta sono stato obbligato a definire anticipatamente un ventaglio di possibilità e potenzialità da cui attingere per sfruttare al massimo il breve periodo di tempo a disposizione. Se dovessi dare un titolo alla massa informe di idee, tecniche e scene che formano il progetto in questo momento, potrebbe essere “Lo Smascheramento”.

A.B. Nello specifico di cosa si tratta?
D.P. In ogni luogo della residenza selezionerò uno o più attori volontari (professionisti e non) con cui attivare un processo di definizione del personaggio che andranno a interpretare. Sono interessato a un approccio totalmente collaborativo in cui metto da parte le smanie di controllo tipiche del ‘dittautore’. Il risultato di questi incontri saranno personaggi che germoglieranno naturalmente dal compromesso tra la mia idea, la personalità dell’interprete e i limiti del contesto in cui ci troveremo ad agire. Da diversi anni, infatti, lavoro su una figura errabonda che è osservatore del contesto che attraversa, e allo stesso tempo alle prese con l’adattamento a condizioni ambientali variabili.

A.B. Una sorta di metamorfosi quasi plastica da un lato e un personaggio cangiante alla Zelig dall’altro.
D.P. Come cambiano il paesaggio, la temperatura, l’architettura, allo stesso tempo muta il personaggio, psicologicamente (variando stato d’animo e drammaturgia) ma anche fisicamente (essendo interpretato da attori diversi). Il personaggio diventa quindi un essere elastico e malleabile che diventa di volta in volta altro da sé; pur mantenendo alcuni elementi di somiglianza, come lo stile degli abiti, la costituzione fisica, ecc., a seconda delle situazioni  il suo atteggiamento può essere aggressivo, o crollare sotto il peso di una costrizione, e diventare fragile. Se questo personaggio dovesse trovare un modello assomiglierebbe al protagonista di Petrolio di Pasolini, che si ritrova a essere alternativamente uomo o donna, come effetto di un trauma che sarebbe impossibile raccontare diversamente.

A.B. Quale risultato ultimativo vuoi perseguire da questo incessante flusso in trasformazione?
D.P. Il film che risulterà da questo processo sarà suddiviso per ambienti: luoghi naturali o antropizzati in cui si vedranno i personaggi agire e maturare, attraversare e osservare, le situazioni che si troveranno di fronte. L’orizzonte di questa messa in scena sarà la realtà, quella che troverò nella Francia di quella regione, espressa con una prassi affine al documentario. Il modo in cui l’evento reale e inaspettato influenzerà inesorabilmente il progetto ne formerà l’ossatura, ne determinerà l’urgenza. Si partirà logisticamente dalle cime dei Pirenei, cercando i tragitti dei contrabbandieri e dei clandestini per arrivare a Saint-Gaudens, superando montagne che da sempre sono confini e limiti naturali. Si attraverseranno le campagne e i boschi di Cajarc cercando di svelare i segni dell’influenza della propaganda politica e mediatica di oggi, fino a chiudere in una biblioteca dell’università di Tolosa, dove assisteremo a un dibattito tra un gruppo di persone che cercherà di trovare un accordo sul modello perfetto di Democrazia da perseguire. Tolosa è stata infatti la città dove il veneto Silvio Trentin aprì la libreria che diventò presto il punto di riferimento dei movimenti anti-fascisti europei: il luogo dove si ritrovavano per discutere di utopie e di resistenza.

A.B. Una sorta di documentario o sei alla ricerca di un linguaggio cinematografico differente?
D.P. Il film non sarà sicuramente inteso per essere concluso in senso classico, al contrario. Il risultato del montaggio, che seguirò nei mesi successivi al mio ritorno, sarà la configurazione più efficace di un bagaglio di materiali costruiti in un periodo di intenso lavoro e scoperta, con una serie di preoccupazioni e di punti interrogativi che guideranno l’intero processo. Da un punto di vista tecnico utilizzerò uno stile di ripresa diverso per ogni luogo di residenza; non ci sarà mai però una parte più dichiaratamente “documentaristica”, intesa come estetica improvvisata. L’obiettivo, infatti, è riuscire a costruire una solida esperienza narrativa ed emozionale in cui il personaggio e le sue alterazioni possano riflettersi profondamente nello spettatore.

Images:
cover. Daniele Pezzi, Tutulma, 2010-2013, video still HD. Courtesy of the artist
other pictures: video stills and reasearch images

Project: Piano – alto!
Spaces: Maison des Arts Georges Pompidou CAC, CAC Chapelle St Jacques, BBB centre d’art
Protagonists: Daniele Pezzi

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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

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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

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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.

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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 i