BÉTONSALON – CENTRE D’ART ET DE RECHERCHE (PARIS)

 

Exercizing Doubt: Exhibition As Research

BÉTONSALON – CENTRE D’ART ET DE RECHERCHE (PARIS)
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BÉTONSALON – CENTRE D’ART ET DE RECHERCHE (PARIS)

Direction:
Mélanie Bouteloup

Contacts:
9 esplanade Pierre Vidal-Naquet, ground floor of la Halle aux Farines, 75013 Paris
postal address Bétonsalon, BP 90415 / 75626 Paris cedex 13
telephone +33 (0)1 45 84 17 56
e-mail info@betonsalon.net
website www.betonsalon.net

Info:
Free entry, open Tuesday-Saturday 11 am-7 pm
Closed on holidays and on August

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Bétonsalon – Centre for art and research strives to develop a space where to reflect on and in society. Integrated into the site of the University Paris 7 at the very heart of a neighbourhood undergoing reconstruction, the ZAC Paris Rive Gauche in the 13th district of Paris, Bétonsalon works at the confluence of art and university research with the ambition to question normalised forms of production, classification and distribution of knowledge.
The activities of Bétonsalon develop in a process-based, collaborative and discursive manner, following different time spans, in cooperation with various local, national and international organizations, and present themselves under different forms. Exhibitions are enriched by different associated events (workshops, conferences, performances, round table discussions…). Seminars and workshops are organized in collaboration with teachers from the University Paris 7. Off-site research projects are led in partnership with other institutions and residency programs are offered for researchers, artists and curators.
In 2014, Bétonsalon – Centre for art and research celebrated its 10th Anniversary.

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Bétonsalon – Centre d’art et de recherche est pensé comme un espace où élaborer un questionnement sur et en société. Situé au sein de l’Université Paris Diderot – Paris 7, au cœur d’un quartier récemment réaménagé du 13ème arrondissement, Bétonsalon œuvre à la confluence de l’art et de la recherche afin d’interroger les formes normalisées de production, de classification et de distribution du savoir.
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 de Bétonsalon comprend plusieurs expositions annuelles ponctuées d’événements associés (conférences, performances, tables-rondes…). Différents séminaires et ateliers sont de plus organisés durant les semestres universitaires, en collaboration avec des professeurs de l’Université Paris Diderot. Enfin, des projets de plus long terme (résidences de recherche, coproductions artistiques, colloques…) sont menés à l’international avec un réseau d’institutions partenaires.
En 2014, Bétonsalon – Centre d’art et de recherche a fêté son dixième anniversaire.

Images:
1-3. Bétonsalon façade.

Project: Exercizing Doubt: On Exhibition As Research

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MUSEO MARINO MARINI (FLORENCE)

 

Alfred Jarry Archipelago

MUSEO MARINO MARINI (FLORENCE)
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MUSEO MARINO MARINI (FLORENCE)

Direction:
Alberto Salvadori

Contacts:
Piazza San Pancrazio, 50123 Florence
telephone +39 055 219432
e-mail info@museomarinomarini.it
website www.museomarinomarini.it

Info:
Open 10 am-5 pm. Closed on Tuesday, Sunday and on public holidays

2. Overview of the first floor

2. Overview of the first floor

Mission
The Marino Marini Museum of Florence, together with the Foundation Marino Marini in Pistoia, was set up with the aim of ensuring the conservation, protection and promotion of the work and artistic patrimony of Marino Marini (Pistoia 1901 – Viareggio 1980).
The aim of the Marini San Prancrazio foundation is to manage and support the Marino Marini Museum, which occupies the former San Pancrazio’s church in Florence; to further a calendar of events and exhibition devoted to contemporary artists, from the twentieth century until the most recent productions and themes in the crypt.
Thanks to its exhibition program the Museum has earned, under the artistic direction of Alberto Salvadori, a prominent role among the Italian institutions dedicated to contemporary art. In the past few years the Museum has organized important solo exhibitions of international artists such as: Esther Kläs, Silke Otto-Knapp, Jonathas de Andrade, Marie Lund, Deimantas Narkevicius, Matthew Brannon, João Maria Gusmão + Pedro Paiva.
One of the main focus of the exhibition program is also to support new productions and exhibitions of Italian artists including: Yuri Ancarani, Massimo Bartolini, Francesco Gennari, Andrea Kvas, Nicola Martini, Valerio Rocco Orlando and Luca Trevisani.
The Museum is a member of the AMACI Associacion of Contemporary Art Museum in Italy.

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3. Exhibition view 30/60 Opere dalla collezione del FRAC Champagne-Ardenne

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4. Exhibition view 30/60 Opere dalla collezione del FRAC Champagne-Ardenne

The collection
The museum houses 182 works of art by Marino Marini: sculptures, paintings, drawings and engravings. The works are not arranged in a chronological order but thematically. The themes themselves are arranged not by iconographical representation, but rather by a state of mind.
The collection focuses around the large equestrian sculpture from The Hague (1957-58) that stands at the centre of the former liturgical space and is illuminated by natural light coming from the great absidal window.
Marino Marini considered natural light to be necessary in reading his own work. this principle is fully adopted and used in the museum: each piece has different possible points-of-view and the idea of “putting the artwork on a stand” – a concept so alien to Marini’s poetics – is avoided.

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5. Exhibition view João Maria Gusmão and Pedro Paiva, There’s nothing more to tell because this is small, as is every fecundation

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6. Exhibition view João Maria Gusmão and Pedro Paiva, There’s nothing more to tell because this is small, as is every fecundation

The building
The Marino Marini Museum is situated in the heart of the historical centre of Florence – in the area between Via Della Vigna Nuova and Piazza Santa Maria Novella – and it occupies the former San Pancrazio’s church.
The ecclesiastical settlement of San Pancrazio, which can trace its existence back to the beginning of the ninth century, was transformed into priory after 1100 and the building underwent massive renovation thanks to the Vallombrosian monks – who had taken the place of the Benedictine nuns. The radical renewal of the cloister came to an end between 1457 and 1467 under the supervision of Leon Battista Alberti who was patronized by the Rucellai family. His St. Sepulchre’s chapel, previously connected to the church, was closed in 1808, when Napoleon opted, by law, for the abolition of the ecclesiastic orders and Saint Pancrace’s church was deconsecrated. On that occasion the triforium designed by Alberti was removed and turned into a new façade whose proportions were strongly altered.
Ever since, until 1988, the building has been desecrated several times; after the dispersion of the ecclesiastical furniture, the church served the seat of the city’s lottery, then it was turned into a tribunal and in a tobacco factory, when a fire burnt the masonry of the apse. it was used as military dump eventually.
In 1988 the opening of a contemporary art museum – the first ever in Florence – which would combine antiquity and contemporary languages, called a halt to the long and troubled history of the building. Thanks to an articulated renovation plan supervised by the two architects Bruno Sacchi and Lorenzo Papi, Florence could take the building back, after years of improper uses.
The 16th of February 2013 the connection between the Rucellai chapel and the San Pancrazio church was re-opened and now the Sacellum of the Holy Sepulchre by Leon Battista Alberti can be accessed from the Museum.

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7. Exhibition view Deimantas Narkevičius, da capo

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8. Exhibition view Deimantas Narkevičius, da capo

Mission
Congiuntamente alla Fondazione Marino Marini di Pistoia, il Museo Marino Marini di Firenze ha lo scopo di assicurare la conservazione, la tutela e la valorizzazione dell’opera e del patrimonio artistico di Marino Marini.
La Fondazione Marini San Pancrazio ha lo scopo di gestire il Museo Marino Marini situato nella ex chiesa di San Pancrazio a Firenze, di promuovere manifestazioni culturali ed esposizioni dedicate ad artisti e tematiche dal Novecento alla contemporaneità nella sottostante cripta.
In questi ultimi anni, sotto la direzione artistica di Alberto Salvadori, il Museo Marino Marini si è guadagnato un ruolo di primo piano tra le istituzioni museali italiane grazie a un programma di mostre personali di artisti internazionali tra cui Esther Kläs, Silke Otto-Knapp, Jonathas de Andrade, Marie Lund, Deimantas Narkevicius, Matthew Brannon, João Maria Gusmão + Pedro Paiva.
Il programma espositivo si distingue inoltre per una particolare attenzione alle nuove produzioni di artisti italiani cui sono state dedicate importanti mostre personali. Tra questi: Yuri Ancarani, Massimo Bartolini, Francesco Gennari, Andrea Kvas, Nicola Martini, Valerio Rocco Orlando e Luca Trevisani.
Il Museo è membro di AMACI (Associazione Musei d’Arte Contemporanea Italiani).

La collezione
Il museo conserva 183 opere di Marino Marini: sculture, dipinti, disegni e incisioni. La loro disposizione è tematica piuttosto che cronologica, intendendosi come tema più uno stato d’animo che un soggetto iconografico in senso stretto: essa ruota intorno all’imponente gruppo equestre dell’Aja (1957-58) collocato nell’epicentro dell’antico spazio liturgico e immerso nella luce naturale proveniente dalla grande vetrata absidale.
Marini considerava la luce naturale un vincolante elemento di lettura della propria opera: questo criterio è pienamente accolto e sfruttato nel museo; i punti di osservazione sono molteplici, ovviando così all’avversione dell’artista per “l’opera sul piedistallo”, concetto assai distante dalla poetica mariniana.

L’edificio
Il Museo Marino Marini è collocato nel centro storico di Firenze, all’interno della ex-chiesa di San Pancrazio, tra Via della Vigna Nuova e piazza Santa Maria Novella.
L’insediamento ecclesiastico di San Pancrazio, già documentato agli inizi del IX secolo, viene costituito in prioria dopo il 1100; alle monache benedettine che lo hanno in uso tra il XII e il XIII secolo subentrano i vallombrosani, che attuano una radicale ristrutturazione del convento, completata tra il 1457 e il 1467 dall’intervento di Leon Battista Alberti, patrocinato dai Rucellai. La sua cappella del Santo Sepolcro, originariamente comunicante con l’interno della chiesa, viene isolata nel 1808, anno della soppressione napoleonica e della sconsacrazione di San Pancrazio, con la rimozione del triforio albertiano, ricomposto nella facciata con proporzioni fortemente variate. Un destino di profanazione attende l’edificio: alla dispersione degli arredi segue l’impiego come lotteria napoleonica, sede della pretura e poi della manifattura tabacchi, quando un incendio distrusse la muratura absidale; infine come deposito militare. Questa lunga e alterna vicenda si conclude nel 1988 con l’apertura di uno spazio museale che coniuga felicemente antico e moderno: la città ritrova un edificio storico sottratto ad usi impropri attraverso una laboriosa opera di restauro, progettata dagli architetti Bruno Sacchi e Lorenzo Papi, e acquista il primo museo di arte contemporanea.
Il 16 febbraio del 2013 è stato riaperto il passaggio che collega la Cappella Rucellai alla chiesa di San Pancrazio. Il tempietto del Santo Sepolcro di Leon Battista Alberti è quindi entrato a far parte del percorso espositivo del Museo Marino Marini.

Project: Alfred Jarry Archipelago

Images:
1. Museo Marino Marini. Overview of the ground floor. Photo © Dario Lasagni
2. Museo Marino Marini. Overview of the first floor. Photo © Dario Lasagni
3-4. Exhibition view 30/60 Opere dalla collezione del FRAC Champagne-Ardenne, curated by Leonardo Bigazzi and Florence Derieux. Photo © Dario Lasagni
5-6. Exhibition view João Maria Gusmão and Pedro Paiva, There’s nothing more to tell because this is small, as is every fecundation, curated by Nuno Faria and Alberto Salvadori. Photo © Carlo Fei
7-8. 7. Exhibition view Deimantas Narkevičius, da capo, curated by Alberto Salvadori and Andrea Viliani. Photo © Dario Lasagni

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CAC Chapelle St Jacques (Saint-Gaudens)

 

Piano – alto!
June 2014 - Summer 2015

CAC Chapelle St Jacques (Saint-Gaudens)
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CAC Chapelle St Jacques (Saint-Gaudens)

Direction:
Valérie Mazouin

Contacts:
Avenue du Maréchal Foch, 31800 Saint-Gaudens
telephone +39 (0)6 83 92 08 96
e-mail chapelle-st jacques@wanadoo.fr
website www.lachapelle-saint-jacques.com

Info:
Winter, open Wednesday-Saturday 2-6 pm
Summer, open Wednesday-Saturday 3-7 pm

CAC Chapelle St Jacques from 1995 to 2014…

The CAC Chapelle St Jacques dating from 17th century is located in Saint-Gaudens, in the Pyrénées. Both work and action extend over the Luchonnais and Volvestre territories about 90 kilometers from Toulouse. The Chapelle St Jacques has been rehabilitated in 1994 on the initiative of the City with the aim of making an exhibition place. A second program of work has just finished, now equipping the art center with an extension comprising offices, children’s workshop and artist residency apartment.

The artistic and cultural project

“An exhibition has an educational purpose, and this should not be a show but an experience”,Eric de Chassey, director of the Villa Medici, Rome

Living – Being possessed in and through the city, a shared narrative.

Living on this territory, consider singularities and imagine a program based on a discussion between artists and the public. Territory and spaces are the frame of the project, resulting from a long conversation between multiple narratives… Between contemporary art and architecture, the art center produces its habits connected to the world around on defined territories, whether local, regional, national or international. This entire project makes a living and cultural quality equipment for a city of 12,000 inhabitants only. Even through an alternated program between young artists, emerging artists and recognized French art scene artists, the central goal remains support to young designers. Guests are welcomed to the art center to make, most often,in-situ proposals. The new architecture induces a reflection on motion to adapt and create the necessary exchange time for contemporary creation. The place should be entirely considered, as the program could make a narrative density emerge, the base of the project. The curator chooses the work depending on the location, atmosphere and the desires he wants to spread with great subjectivity. All kinds of art are performed: paintings, sculpture, installations, videos. The main objective is to reveal to a large public the different ways of interpreting contemporary creation. In this way, the work art, in the center, keeps taking up space… From top to bottom, bottom to top, polystyrene, concrete, cardboard, anything goes… Nothing’s ruled out, the place is cleared and magnified under the eyes of successive artists. In 2014 we received Caroline Pandelé, an artist from Toulouse, trained at the art school of Grenoble, Mickaël Beutler, a German artist received from the Festival International d’art de Toulouse, and David Coste, an artist from Toulouse represented by Françoise Besson gallery in Lyon.
From winter to summer, summer to winter, the great diversity of images confirms the place of singularity among the eager community that we all form. Referring our proposals to the art center or in the public space, we can confirm our appetite for discovery, discovery of others.

Project: Piano – alto!

 

 

Il centro d’arte contemporanea Chapelle St Jacques, adibito all’interno di una cappella del XVII secolo, si trova a Saint-Gaudens, nella zona pedemontana dei Pirenei, a 90 km a sud di Tolosa. Il centro d’arte contemporanea è un luogo di vita dove pubblico e artisti si riuniscono intorno alle opere create in loco. Lo scopo delle mostre e di far conoscere i vari significati dati oggi all’arte, anche se le problematiche dell’architettura si trovano spesso al cuore delle proposte degli artisti plastici invitati a esporre. Le mostre costituiscono una base per lo sviluppo di un’azione culturale rivolta al pubblico che favorisca la diffusione dei progetti che continuano a occupare lo spazio. Dall’alto in basso, dal basso in alto, polistirolo, cemento, cartone, non manca niente. Nulla viene scartato, lo spazio viene cancellato ed esaltato sotto lo sguardo degli artisti che si avvicendano.

 

Le centre d’art contemporain Chapelle St Jacques, chapelle du 17ème  siècle, est situé à Saint-Gaudens dans le piémont des Pyrénées. Son action s’étend sur les territoires du Luchonnais et du Volvestre à 90 kilomètres au sud de Toulouse. Le lieu, qui a fait l’objet d’une réhabilitation en 1994 sur l’impulsion de la Ville avec pour objectif d’en faire un lieu d’exposition, vient de connaître un deuxième programme de travaux. Le centre d’art est aujourd’hui doté d’une extension regroupant les bureaux, l’atelier des enfants et l’appartement résidence d’artiste. L’ensemble fait de ce projet un lieu de vie et un équipement culturel de qualité, pour une ville de 12 000 habitants seulement.

Le projet artistique et culturel

« Une exposition a clairement une vocation pédagogique ; cela ne devrait pas être du spectacle mais un essai ». Eric de Chassey, directeur de la Villa Médicis à Rome.

Habiter – Être habité, dans et par la cité, un récit partagé.

Habiter ce territoire c’est tenir compte de singularités et imaginer une programmation qui instaure, installe, une discussion entre les artistes et le public. Territoire et espaces constituent le bâti d’un projet qui n’est qu’une longue conversation au cœur de multiples récits… Entre arts plastiques et architecture contemporaine, le centre d’art fabrique ses pratiques, connecté au monde qui l’entoure, sur des territoires définis, qu’ils soient locaux, régionaux, nationaux ou internationaux.
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. La nouvelle architecture favorise une réflexion en mouvement pour s’adapter et créer un temps propice à l’échange nécessaire à la création contemporaine. Le lieu doit donc être pris en compte dans son intégralité et la programmation souhaite faire émerger la densité narrative vue comme un socle au projet. Le commissaire fait le choix de l’œuvre en fonction du lieu, de l’atmosphère et de ses désirs qu’il souhaite diffuser avec une grande subjectivité. Toutes les formes plastiques sont  donc convoquées, peintures, sculpture, installations, vidéos. L’objectif premier est de faire connaître au plus grand nombre les multiples regards pouvant se développer autour de la création contemporaine. Ainsi, l’œuvre au centre d’art continue de prendre l’espace… De haut en bas, de bas en haut, polystyrène, béton, carton, tout y passe… Rien n’est écarté, le lieu s’efface et se magnifie sous le regard des artistes qui se succèdent. En 2014  nous recevrons, Caroline Pandelé, artiste toulousaine ayant fait l’école d’art de Grenoble, Mickaël Beutler, artiste Allemand reçu dans le cadre du Festival International d’art de Toulouse, et David Coste, artiste toulousain représenté par la galerie Françoise Besson à Lyon. De l’hiver à l’été, de l’été à l’hiver, la formidable diversité des images confirme la place du singulier au cœur de cette communauté des curieux que nous sommes toutes et tous. Nos propositions, au centre d’art ou dans l’espace public, affirment notre appétit de la découverte, celle d’autrui.

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

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CNEAI = (CHATOU)

 

Red Swan Hotel
October 2015 – March 2016

CNEAI = (CHATOU)
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CNEAI = (CHATOU)

Direction:
Sylvie Boulanger

Contacts:
Île des Impressionnistes, 2, rue du Bac
78400 Chatou
telephone +33 (0)1 39 52 45 35
e-mail cneai@cneai.com
website www.cneai.com

Info:
open Wednesday-Sunday 1-6 pm and everyday for groups and educational programs (public@cneai.com)

Based in Chatou since 1997, on the Impressionist island, the Cneai occupies the Maison Levanneur, which used to be a restaurant and the birthplace of Fauvism, but also the first studio of André Derain and Maurice de Vlaminck in the early 20th century. Transformed by the agency Bona-Lemercier, the new spaces have been reconsidered and give a new dimension favorable to art: the space is luminous, unified by a grey painting, the furniture multipurpose and a hanging staircase has been especially conceived in bichromate steel.
First dedicated to artist’s research in engraving, the Cneai is today interested in all kind of media which – like engraving in its time – insert from its conception the idea of distribution. Reproducible and transmittable, eminently democratic, those artworks can take difference shapes: books, discs, films, posters, tracts, postcards, magazines, websites…
From 2012 onwards, the Cneai invite artists, graphic artists, curators, editors, collectors, art schools, to think new projects together on and off site; to write a parallel history of art.
The artistic walkway starts in outdoor spaces and also ar the “Maison flottante”, a residency conceived in 2006 by Erwan and Ronan Bouroullec. Then the visitor goes across nine other spaces or “points of view”, from the big press – still in service – on the ground floor, to the research hall which allows one an idea the size of the FMRA collection on the second floor (a collection of artist’s publications one of a kind, constantly growing: from a catalogue of hundreds of pages to a simple invitation card). Inaugurated by a weekend festival where will follow on performances, concerts and conferences, each sequence invites the visitor to start a dialogue, to become the actor of what she or he sees, to drop the posture of a respectful contemplation.

Cneai’s exhibition space

2. Cneai’s exhibition space

Cneai’s staircase by Bona-Lemercier

3. Cneai’s staircase by Bona-Lemercier

Project: Ephemera

 

Il Cneai, centro nazionale d’arte contemporanea dedicato ai media, si trasforma, dal 1997, al ritmo dei desideri e delle necessita artistiche: costituzione del fondo per edizioni e multipli sin dalla sua creazione (600 edizioni), creazione della collezione FMRA nel 2000 (11.000 pubblicazioni di artisti). Commessa ai fratelli Erwan e Ronan Bouroullec nel 2006 per la realizzazione della residenza per artisti sull’acqua “Maison Flottante”, installazione di opere sull’isola dal 2010, allestimento della Maison Levanneur a opera degli architetti Philippe Bona e Elisabeth Lemercier nel 2012.
Oltre la trasformazione fisica degli spazi interni, il Cneai inventa un nuovo modello di programmazione collaborativa: dei gruppi di ricerca producono ogni stagione, insieme a numerosi partner scientifici, un percorso espositivo composto da dieci punti di vista, aperto alle esperienze sensibili dell’artista e del visitatore. Questo percorso viene inaugurato dal Festival Island, un appuntamento inaugurale per le forme vive della cultura contemporanea, che mescola performance sonore, visive, coreografiche, grafiche, letterarie e scientifiche nell’arco di un fine settimana.

 

Installé à Chatou depuis 1997 sur l’Île des impressionnistes, qui doit son nom au souvenir de Renoir et Maupassant qui, parmi tant d’autres peintres et écrivains, fréquentaient les guinguettes de l’île, le Cneai occupe la Maison Levanneur, elle-même ancien restaurant et lieu de naissance du Fauvisme pour avoir abrité le premier atelier des peintres André Derain et Maurice de Vlaminck au tout début du XXème siècle. Transformés par l’agence d’architectes Bona-Lemercier, les espaces de la Maison Levanneur prennent une nouvelle dimension propice à la rencontre de l’art : tout y est lumineux, unifié par un traitement des surfaces dans un même ton de gris, par un mobilier modulable et un escalier suspendu en acier bichromaté conçus spécialement.
D’abord consacré aux recherches des artistes contemporains dans le domaine de l’estampe, le Cneai s’intéresse aujourd’hui plus largement aux œuvres média qui – comme la gravure en son temps – intègrent dès leur conception l’acte de diffusion. Reproductibles et transmissibles, éminemment démocratiques, ces œuvres peuvent prendre de nombreuses formes : livre, disque, film, affiche, tract, carte postale, magazine, site internet…
À partir de 2012, une nouvelle voie s’ouvre sur un modèle coopératif. À la manière d’un producteur indépendant opérant dans les marges de la culture dominante, tel qu’il en existe dans le cinéma ou l’édition, le Cneai invite artistes, graphistes, commissaires d’exposition, éditeurs, collectionneurs, universitaires, écoles d’art – français et internationaux – à penser, ensemble, des projets artistiques et éditoriaux pour le lieu ou hors les murs ; à écrire une histoire de l’art parallèle.
La promenade artistique débute par les espaces extérieurs de l’île et la Maison Flottante, résidence sur l’eau conçue en 2006 par Erwan et Ronan Bouroullec pour les artistes invités. Le visiteur traverse ensuite neuf espaces ou « points de vue », depuis la grande presse d’imprimerie – toujours en fonctionnement – au rez-de-chaussée, jusqu’à la salle de recherche qui permet de deviner l’ampleur de la collection FMRA au deuxième niveau (une collection de publications d’artistes unique en son genre, en constante augmentation : du catalogue de plusieurs centaines de pages à l’éphémère carton d’invitation en passant par des enregistrements sonores, des magazines). Inaugurée par un week-end festival où se succèdent performances, concerts et tables rondes, chaque séquence d’exposition invite le visiteur à initier le dialogue, à devenir acteur de ce qu’il voit, à abandonner l’attitude de la contemplation respectueuse.

Images:
1. Cneai’s Maison Flottante. Photo: Sebastien Agnetti
2. Cneai’s exhibition space. Photo: Aurélien Mole
3. Cneai’s staircase by Bona-Lemercier. Photo: Cneai

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

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

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

Cneai’s staircase by Bona-Lemercier

Cneai’s staircase by Bona-Lemercier

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

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

Cneai’s Maison Flottante

Cneai’s Maison Flottante

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

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

Cneai’s exhibition space

Cneai’s exhibition space

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

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

 

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

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

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

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

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

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

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

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

Protagonist: Sylvie Boulanger
Space: Cneai =
Project: Ephemera

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Passerelle Centre d’art contemporain (Brest)

 

La démocratie est illusion – La democrazia è illusione
8 February – 3 May 2014

Passerelle Centre d’art contemporain (Brest)
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Passerelle Centre d’art contemporain (Brest)

Direction:
Etienne Bernard

Contacts:
41, rue Charles Berthelot, 29200 Brest
telephone +33 (0)2 98 43 34 95
e-mail contact@cac-passerelle.com
website www.cac-passerelle.com

Info:
open Tuesday 2-8 pm
Wednesday-Saturday 2-6.30 pm

Passerelle Centre d’art contemporain is an exchange platform between art production and audience, managed since 1988 by an association, set up within an exceptional 4,000 square meter industrial building located in the heart of Brest in the district of Saint Martin.
Built between 1946 and 1955 according to the plans and representative of the late 1930s trend for a fruits and vegetables cooperative society. This former industrial wasteland has many rooms which are spread in the form of large areas or more intimate corners, sometimes labyrinthine playing with shadows and lights producing many interactions within a united bloc.
Aiming at creation, mediation and diffusion, Passerelle thrives on its many collective production areas where artists and visitors contribute actively on argumentation toward what stirs, build and sharpen our relationship with contemporary art.
Each year, the program combines around 10 solo or group exhibitions featuring French and international artists, screenings, lectures, debates and various means of assistance for the audience in their discovery of techniques used and exhibited.
Passerelle Centre d’art contemporain is also a cross-disciplinary scene exploring other fields of contemporary creation such as design and performing arts.

Wilfrid Almendra. L’intranquillité, 2013. Installation view

2. Wilfrid Almendra. L’intranquillité, 2013. Installation view

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

 

Passerelle Centre d’art contemporain è una piattaforma di dialogo tra produzioni artistiche e pubbliche, gestita dal 1988 da un’associazione ubicata all’interno di una straordinaria area industriale di 4000 m2, nel cuore della città di Brest. Le sue missioni di creazione, mediazione e diffusione vengono concepite come altrettanti spazi collettivi di produzione di senso, nel cui ambito artisti e visitatori partecipano attivamente a una discussione su ciò che anima, costruisce e motiva il nostro rapporto con l’arte contemporanea.
La programmazione coniuga ogni anno una decina di mostre monografiche o collettive, cicli di proiezioni, incontri, dibattiti e svariati dispositivi di accompagnamento del pubblico durante la sua scoperta delle pratiche esposte.
Passerelle Centre d’art contemporain è anche il luogo in cui si travalicano le discipline, esplorando gli altri ambiti della creazione contemporanea, dalla grafica alla danza, dalla musica al design.

 

Passerelle Centre d’art contemporain est une plateforme de dialogue entre productions artistiques et publiques, gérée depuis 1988 par une association, installée sur un exceptionnel site industriel de 4000 m2 situé en plein cœur de Brest, dans le quartier de Saint-Martin. Construit entre 1946 et 1955 selon des plans s’inscrivant dans la mode de la fin des années 1930 pour le compte d’une société coopérative de fruits et légumes, cette ancienne friche industrielle dispose de volumes exceptionnels où de nombreuses salles se déploient sous la forme de vastes espaces ou de recoins plus intimistes, parfois même labyrinthiques jouant avec les ombres et les lumières, comme autant d’interactions de forces au sein d’un bloc solidaire.
Ses missions de création, de médiation et de diffusion sont envisagées comme autant d’espaces collectifs de production de sens au sein duquel artistes et visiteurs participent activement à une discussion sur ce qui anime, construit et motive notre rapport à l’art contemporain.
La programmation conjugue chaque année une dizaine d’expositions monographiques ou collectives, des cycles de projections, des rencontres, des débats et différents dispositifs d’accompagnement des publics dans leurs découvertes des pratiques exposées.
Passerelle Centre d’art contemporain est aussi le lieu du décloisonnement disciplinaire qui explore les autres champs de la création contemporaine, du graphisme à la danse, de la musique au design.

Images:
1. Anne et Patrick Poirier. L’âme du voyageur endormi, 2004, exhibition view at Passerelle Centre d’art contemporain, Brest. Photo: Alain Monot
2. Wilfrid Almendra. L’intranquillité, 2013, exhibition view at Passerelle Centre d’art contemporain, Brest. Photo: Nicolas Ollier

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

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

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

Wilfrid Almendra. L’intranquillité, 2013

2. Wilfrid Almendra. L’intranquillité, 2013

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

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

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

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

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

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

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

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

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

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

Stephen Willats. Talking city, 2011

4. Stephen Willats. Talking city, 2011

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

Images:

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

 

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MUSEION (Bolzano)

 

Soleil politique
27 September 2014 – 11 January 2015

MUSEION (Bolzano)
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MUSEION (Bolzano)

Direction:
Letizia Ragaglia

Contacts:
via Dante 6, 39100 Bolzano
telephone + 39 0471 22 34 13
e-mail info@museion.it
website www.museion.it

Info:
open Tuesday-Sunday 10 am-6 pm.
Thursday 10 am-10 pm

Museion, the museum for modern and contemporary art in Bolzano, was founded in 1985 and is funded by the Fondazione Museion, which is made up of the Associazione Museion and the autonomous Province of Bolzano.
2008 saw the opening of the new Museion building designed by Berlin-based architects KSV – Krueger, Schuberth, Vandreike. The building is a cube that is 54 meters long, 25 meters high and 23 meters wide, fitting well into the urban landscape and representing a physical and symbolical bond between the two parts of town.
The interior is characterized by fluid lines and open spaces: the different “levels of art” – i.e. exhibition and event areas, workshop and labs, cafeteria and shop – don’t exist in rigid separation but, rather, blend into each other in a close interrelation. A flexible system of mobile glass walls allows the degree of separation, or communication, needed between these rooms to allow for adjustment. The two bridges on the River Talvera are part of the museum’s architecture. Like a sculpture, they carve the space in front of the building with two parallel and oscillating curves.

Museion operates in four main areas:
Exhibitions
With special attention to contemporary sculpture and female artists, Museion’s curators are keen to organize themed exhibitions with pieces from the Museion collection as well as personal shows for high profile artists from the current contemporary art scene. In recent years, Museion has presented artists such as Carl Andre, VALIE EXPORT, Isa Genzken, Monica Bonvicini, Teresa Margolles, Paweł Althamer, Rosemarie Trockel and Klara Lidén. In addition, every year a guest-curator is invited to Museion to prepare a themed exhibition and, what’s more, the Museion Project Room provides young artists with the opportunity to exhibit and develop new works and projects. In the summer months, the Museion façade hosts projections, doubling up as an additional exhibition space.

Collection
The collection currently contains more than 4,500 pieces and is growing continuously with works acquired from Museion’s ongoing exhibitions. Over the years, the Museion collection has been enriched by pieces on permanent loan from important private collectors.

Mediation and education
Museion offers introductions to art and art-education lectures for adults and children. Art workshops, family afternoons and guided tours encourage critical thought and creativity. Every year, the special program for school classes brings over 10,000 children to Museion and represents a valuable additional resource for teachers.

Events
Museion Passage hosts openings, meetings with the artists and discussions on art which are open to everyone. Every Thursday night a guided tour of the exhibitions is followed by events that aim at communicating contemporary art on different levels: “The ABC of Art”, for a first introduction to contemporary art; “In context”, to further explore general concepts of contemporary art and put current exhibitions into context; director’s tours with curator and director of Museion, Letizia Ragaglia, sharing her background information and insider knowledge of the exhibitions; the lectures “artiparlando” (in collaboration with the University of Bolzano) featuring important experts and artists. Museion also acts as a center for events of contemporary culture in collaboration with other institutions, such as the Südtirol Jazz Festival Alto Adige, Bolzano Danza, Art May Sound, Murarte, Transart, Filmclub and the Festival of contemporary music.

Danh Vo, We the people. Installation view

2. Danh Vo, We the people. Installation view

Klara Lidén, Invalidenstraße. Installation view

3. Klara Lidén, Invalidenstraße. Installation view

Project: Soleil politique

 

Museion, il museo d’arte moderna e contemporanea di Bolzano, è stato fondato nel 1985 dall’associazione Museion ed è gestito e finanziato oggi dalla Fondazione Museion, di cui fanno parte l’associazione Museion e la Provincia Autonoma di Bolzano.
Nel 2008 è stata inaugurata la nuova sede di Museion su progetto dello studio di architettura KSV – Krueger, Schuberth, Vandreike di Berlino. L’edificio è un cubo lungo 54 metri, alto 25 e largo 23 e si inserisce come un legame fisico e simbolico tra le due parti della città. Gli spazi interni sono caratterizzati da fluidità e apertura: i  diversi “livelli dell’arte” – aree espositive e per manifestazioni, laboratori didattici, caffetteria e shop – non sono suddivisi rigidamente, ma sono in stretta interrelazione l’uno con l’altro. Un sistema flessibile di pareti mobili consente di far comunicare tra loro questi spazi a seconda delle necessità. I ponti sul fiume Talvera fanno parte dell’architettura del museo. Sono una scultura nello spazio, costituita da due curve parallele e oscillanti.

Museion opera in quattro grandi ambiti museali:
Mostre
Con un focus sulla scultura contemporanea e l’arte femminile, Museion si impegna a creare mostre tematiche con le opere della collezione e mostre di artisti dalla scena attuale dell’arte contemporanea. Negli ultimi anni Museion ha presentato mostre, per esempio, di artisti come Carl Andre, VALIE EXPORT, Isa Genzken, Monica Bonvicini, Teresa Margolles, Paweł Althamer, Rosemarie Trockel e Klara Lidén. Inoltre viene invitato ogni anno un curatore ospite per seguire una mostra tematica e, grazie alla Project Room, giovani artisti possono sviluppare e esporre progetti inediti. Nei mesi estivi la facciata di Museion presenta una visione di grande suggestione grazie alle proiezioni di video d’artista. La rassegna è diventata ormai un appuntamento fisso e un punto d’incontro della vita cittadina.

Collezione
La collezione attualmente conta più di 4500 opere e cresce ogni anno grazie anche alle acquisizioni dei lavori degli artisti in mostra. Nel tempo, le raccolte del museo si sono arricchite anche delle opere che importanti collezionisti privati hanno scelto di depositare proprio a Museion.

Mediazione e didattica
Museion presenta al pubblico offerte di formazione e avvicinamento all’arte, sia per bambini sia per adulti. Laboratori d’arte, pomeriggi per le famiglie e visite guidate stimolano tutti a creare e a pensare in modo critico. Inoltre, i percorsi didattici per le scuole portano più di 10.000 bambini ogni anno a Museion e sono una risorsa aggiuntiva per maestre e insegnanti.

Eventi
Museion Passage ospita inaugurazioni, incontri con gli artisti e discussioni sull’arte aperte a tutti. Ogni giovedì sera Museion offre una visita guidata alle mostre, seguita da eventi pensati per comunicare l’arte contemporanea su vari livelli: “ABC dell’arte” per un primo approccio all’arte contemporanea; “Nel contesto” per approfondire i concetti generali dell’arte contemporanea e contestualizzare le mostre in corso; le visite guidate con la direttrice Letizia Ragaglia, che condivide i retroscena delle mostre e le sue conoscenze di storia dell’arte. Infine, il ciclo “artiparlando”, in collaborazione con l’Università di Bolzano, che ospita esperti e artisti di alto profilo.
Museion è anche un punto di riferimento per eventi di cultura contemporanea in collaborazione con istituzioni come il Jazz Festival, Bolzano Danza, Art May Sound, Murarte, Transart, Filmclub e il Festival di musica contemporanea di Bolzano.

 

Le Museion est situé au cœur de la ville de Bolzano dans un bâtiment futuriste conçu par l’agence KSV Berlin. La transparence et l’ouverture données par l’architecture traduisent la vocation de laboratoire de recherche international et interdisciplinaire du musée : la programmation intègre aussi bien les arts visuels que la musique, la performance, le cinéma ou encore le théâtre. La collection, qui compte plus de 4 500 œuvres, est présentée dans des expositions thématiques, tandis que les expositions temporaires s’intéressent particulièrement à la sculpture contemporaine et à l’art au féminin. Dans ce domaine, le Museion a exposé au cours des dernières années (souvent pour la première fois en Italie) des artistes comme Carl Andre, Valie Export, Isa Genzken, Rosemarie Trockel, Danh Vo ou Klara Lidén. L’été, la façade du musée accueille une programmation vidéo et offre ainsi à la ville une vision évocatrice. Fort de son statut privilégié, le Museion a su tisser au fil des ans un vaste réseau de collaborations internationales.

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

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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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VILLA CROCE MUSEO D’ARTE CONTEMPORANEA (GENOA)

 

La démocratie est illusion – La democrazia è illusione
14 November 2014 – 15 January 2015

VILLA CROCE MUSEO D’ARTE CONTEMPORANEA (GENOA)
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VILLA CROCE MUSEO D’ARTE CONTEMPORANEA (GENOA)

Direction:
artistic director Ilaria Bonacossa

Contacts:
Via Jacopo Ruffini 3, 16128 Genoa
telephone +39 010 58 00 69
+ 39 010 58 57 72
e-mail museocroce@comune.genova.it
staff mostre@comune.genova.it
website www.villacroce.org

Info:
open Tuesday-Friday 9 am-6.30 pm
Saturday-Sunday 10 am-6.30

A neoclassical villa nestled amongst the greenery of a quaint city park: the Museum, donated to the city by the Croce family in 1951, sits perched over the sea, as if to keep a watchful eye over the city of Genoa. Established in 1985, it boasts a permanent collection of both Italian and international art, gathered by the expert hands of Maria Cernuschi Ghiringhelli. The masterpieces of renowned artists such as Licini, Reggiani, Radice, Fontana, Manzoni, Dadamaino, Uncini, Agnetti sit next to contemporary pieces by Ben Vautier, Philip Cornell, Flavio Favelli, Adrian Paci, Alberto Tadiello and Marta dell’Angelo.
The ground floor, with its walls decorated a tempera so typical of the eclectic taste of the late 1800s, hosts a conference room and a library specialized in contemporary art and open to the public. The first floor is dedicated to temporary exhibits while the second floor holds both the museum’s permanent collections as well as temporary exhibits.
In the vanguard and always interested in the work of young, emerging artists, Villa Croce Museum annually hosts a series of contemporary art exhibits, accompanied by frequent incursions into the world of music, cinema, theatre, and literature. These initiatives are also accompanied by exhibits dedicated to individuals, movements and situations that have deeply changed the history of artistic research. The museum prides itself on innovation and continuous exploration of different artistic disciplines, regardless of standard categories. Villa Croce’s exhibit program offers a prompt representation of the contemporary art world, from design to video, from installations to photography, with a desire to showcase the international art scene and to support the most promising young and emerging Italian artists.
In 2012, Villa Croce launched an innovative management model that combines both public and private funding, thanks to the collaboration between Comune di Genova (the Municipality of Genoa) and Palazzo Ducale Fondazione per la Cultura and a group of private companies and foundations among which Gruppo Hofima, Fondazione Edoardo Garrone, Costa Crociere, Banca Carige, Villa Montallegro, and Coeclerici.
The Villa Croce committee has raised the necessary funds for the first two years of activity, proving the great potential behind this type of management by guaranteeing a rich, international program. The confirmation of funds for another two-year period offers the museum a chance to establish itself both nationally and internationally.
Thanks to its public and private funding, the museum works with agility and flexibility, creating the opportunity for individuals to meet artists and discover their work, setting aside the sterile combination between role and names. Villa Croce’s objective is to guarantee an articulate cultural project that, through multiple National and International partnerships, can support high quality art projects addressed to everyone.

Thomas Grunfeld. Homey. Installation view

2. Thomas Grunfeld. Homey. Installation view

Massimo Grimaldi. Slideshows. Installation view

3. Massimo Grimaldi. Slideshows. Installation view

Project: La démocratie est illusion

 

Un edificio neoclassico immerso nel verde: il Museo, donato al Comune dalla famiglia Croce nel 1951, si erge a picco sul mare, come vigile faro della città di Genova. Inaugurato nel 1985, vanta una collezione permanente di opere d’arte italiana e internazionale, frutto del lungimirante lavoro di ricerca di Maria Cernuschi Ghiringhelli. Capolavori di artisti del calibro di Licini, Reggiani, Radice, Fontana, Manzoni, Dadamaino, Uncini, Agnetti si affiancano a opere più contemporanee di Ben Vautier, Philip Cornell, Flavio Favelli, Adrian Paci, Alberto Tadiello e Marta dell’Angelo.
Al piano terra, decorato a tempera nel tipico gusto eclettico di fine ‘800, si trovano la sala conferenza e una ricca biblioteca, aperta al pubblico, specializzata in arte contemporanea. Il primo piano è dedicato alle esposizioni temporanee mentre il secondo conserva le collezioni del museo, ospitando a sua volta mostre temporanee.
Realtà all’avanguardia e sensibile al lavoro di giovani artisti, il Museo di Villa Croce svolge una programmazione annuale di mostre prevalentemente rivolta alla ricerca contemporanea, con incursioni nei territori della musica, cinema, teatro e letteratura. A questo tipo di iniziative, si affiancano anche mostre storiche dedicate a personaggi, movimenti e situazioni che hanno profondamente segnato l’evoluzione della ricerca artistica.
Una realtà innovativa e in continuo work in progress, che esplora differenti discipline artistiche, eliminando ogni categorizzazione. Il programma di mostre di Villa Croce, offrendo una rappresentazione puntuale della contemporaneità, che spazia dal design ai video, dalle installazioni alla fotografia, nasce dal desiderio di presentare la situazione internazionale della realtà artistica sostenendo le eccellenze italiane e giovani artisti emergenti.
Villa Croce ha inaugurato nel 2012 un innovativo modello di gestione pubblico-privato grazie alla collaborazione tra il Comune di Genova, Palazzo Ducale Fondazione per la Cultura e un gruppo di privati tra cui Gruppo Hofima, Fondazione Edoardo Garrone, Costa Crociere, Banca Carige, Villa Montallegro, Coeclerici.
Il comitato Villa Croce ha reperito i finanziamenti necessari per i primi due anni di attività espositive, dimostrando le potenzialità di questo nuovo modello di gestione e garantendo al museo un programma internazionale di mostre. La riconferma dei finanziamenti per un ulteriore biennio offre al museo l’occasione di affermarsi a livello internazionale e non solo italiano.
Grazie alla sua struttura mista pubblico-privata, il Museo opera in modo rapido e flessibile, favorendo incontri tra persone e artisti, individui e opere d’arte, accantonando lo sterile binomio ruolo-nomi. Villa Croce si pone l’obiettivo di garantire un progetto culturale articolato che, attraverso molteplici partnership e collaborazioni italiane e internazionali, supporti progetti d’arte di qualità rivolti a tutti.

 

Le Museo Villa Croce, inauguré en 1985, est situé dans un bâtiment néoclassique du 19e siècle, don de la famille Croce a la Ville de Gênes en 1952. Sa collection permanente regroupe plus de 3 000 œuvres d’art italiennes et étrangères de la seconde moitié du 20e siècle, ainsi que le fond d’art abstrait Maria Cernuschi Ghiringhelli riche de plus de 200 œuvres d’artistes italiens et internationaux majeurs des années 60 et 70, parmi lesquels Mario Radice, Osvaldo Licini, Lucio Fontana, Bruno Munari, Dadamaino, Piero Manzoni ou Fausto Melotti.
En 2012, la Villa Croce inaugure un modèle innovant de gestion public-privé à travers la collaboration avec la Ville de Gênes, le soutien du Palais Ducal, Fondation pour la Culture et un groupe de mécènes privés (Gruppo Hofima Holding Malacalza, Fondazione Edoardo Garrone, Costa Crociere, Banca Carige, Villa Montallegro et Coeclerici).
La Villa Croce présente des expositions d’artistes et de mouvements émergents sur la scène de l’art contemporain international, mais également des expositions historiques autour des collections permanentes. Elle collabore activement avec les musées et centres d’art contemporain du monde entier.

Images:
1. Museo Villa Croce, Genoa. Photo: Nuvola Ravera
2. Thomas Grunfeld. Homey. Exhibition view at Villa Croce, 21 March – 18 May 2014.  Courtesy Villa Croce. Photo: Nuvola Ravera
3. Massimo Grimaldi. Slideshows. Exhibition view at Villa Croce, 9 September -18 November 2012. Courtesy Villa Croce. Photo: Simona Cupoli

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VINCENT HONORÉ IN CONVERSATION WITH ILARIA BONACOSSA, VILLA CROCE MUSEO D’ARTE CONTEMPORANEA, GENOA

VINCENT HONORÉ IN CONVERSATION WITH ILARIA BONACOSSA, VILLA CROCE MUSEO D’ARTE CONTEMPORANEA, GENOA

Vincent Honoré How the past history of the Villa Croce informs its programme and your vision of the museum? I am referring to its history as a building belonging to the Croce Family as well as to its more recent history as a museum.
Ilaria Bonacossa The museum was previously vital with a collection of abstract art and had slowed down, ending up hosting exhibitions that were financially sustainable with no exact criteria or project.
In Italy power and energy historically move around in the art world from place to place, often in smaller centres for limited periods: it is as if cities like Rome and Milan, which have a rich gallery scene, have a harder time activating their institutions. We have worked with the community and friends of Villa Croce to build a hub in a time that has obvious financial and (ideological?) philosophical challenges. After a period of national excess it seemed like, in some ways, there was an advantage to work with more limited resources. This situation offered a way to frame the desire of a community or wider group for contemporary art, to remember what we want to think, say and see.
The historical building, an 18th century neo-classical style building overlooking the sea, becomes an occasion for artists to work out of the white cube. Similarly Genoa, a city that was the financial capital of Europe in the 17th century, rich of history and past but off most tourist routes, offers artists the occasion to encounter beauty and history in a very personal and intimate way.

2. Museo Villa Croce, Genoa

2. Museo Villa Croce, Genoa

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 like yours in Genoa should be?
I.B. We wanted to look at diverse and polyvalent ways of making art and offered the space to different artists who used space and time in different ways. Every show has retransformed the museum, has potentially spoken to a different audience and offered a different kind of research or product. A museum as a space of knowledge and freedom. On the other hand with the “Genova maXter Program” every year for two weeks the museum becomes a school where young artists can discuss and experiment collaboratively their practice.

V.H. Similarly, what are the main responsibilities of a curator working in a museum nowadays?
I.B. A museum curator shoulddeal with administrations, corporations and other organizations and, at the same time, has to offer stimulations to other people in a rapidly changing, developing and in some ways devolving world. We have to think about the public, but it’s important to have a person-by-person attention rather than act in a populist way. All individuals need to be inspired and are looking for alternative ideas.

3. Thomas Grunfeld. Homey

3. Thomas Grunfeld. Homey

V.H. “A collection isn’t a shelter into which to retreat. It’s a source of energy for the curator as much as for the visitor” (Pontus Hultén). There had been lately some very interesting experiments with collections, collecting and the dynamic of conservation. How do you articulate the collection within the programme and how do you activate it in the museum?
I.B. Our collection is very specific and is mainly constituted by works from the same period. It includes some amazing works, that we have presented in a revised context with a series of smaller archive and art historical shows focusing on Italian artists that have in some way been overlooked by the market and art history. This is not only a way of giving new value to the collection, but a way of contextualizing the present art market and showing the fact that careers are a strange phenomenon.

3. Massimo Grimaldi, Slideshows

4. Massimo Grimaldi, Slideshows

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?
I.B. It’s a bit disingenuous to think about existing just in one place in these current times. Everyone is kind of everywhere now, we need to continuously negotiate and work in diverse and common directions. Institutions can work together and support experiments and forms of experimentation.

 

 

Vincent Honoré In che modo il programma di Villa Croce e la tua visione del museo sono influenzati dalla storia passata del luogo? Mi riferisco alla sua storia di edificio appartenente alla famiglia Croce e alla sua più recente identità di museo.
Ilaria Bonacossa Il museo ha avuto una sua precedente vitalità con una collezione di arte astratta e poi è decaduto, finendo per organizzare mostre economicamente sostenibili ma prive di un criterio o un progetto preciso.
In Italia le energie del mondo dell’arte si muovono di luogo in luogo, passando spesso in determinate fasi nei centri minori: è come se le città come Roma e Milano, dotate di una ricca scena di gallerie, avessero più difficoltà a rendere attive le proprie istituzioni. Abbiamo lavorato con la comunità e con gli amici di Villa Croce per costruire un hub in un momento di evidenti difficoltà finanziarie (ideologiche?) e filosofiche. Dopo un periodo di eccessi sul piano nazionale, sembra che ora ci sia in qualche modo un vantaggio nel lavorare con risorse più limitate. La situazione ha offerto la possibilità di dare una cornice al desiderio di una comunità o di un gruppo più ampio, di ricordare cosa vogliamo pensare, dire e vedere.
L’edificio storico, un palazzo del XVIII secolo in stile neoclassico affacciato sul mare, fornisce agli artisti l’occasione di lavorare fuori dal white cube. Allo stesso modo Genova, città che nel XVII secolo fu la capitale finanziaria d’Europa, ricca di storia e di passato ma esterna rispetto agli itinerari turistici tradizionali, offre agli artisti l’occasione di vedere la storia e la bellezza in un modo molto personale e intimo.

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?
I.B. Volevamo mettere in luce modi diversi e polivalenti di fare arte e mettere a disposizione degli artisti lo spazio, facendo in modo che usassero lo spazio e il tempo in modi diversi. Ogni mostra ha ritrasformato il museo, rivolgendosi a un pubblico diverso e proponendo un genere inedito di ricerca o di prodotto. Un museo come spazio di conoscenza e libertà. In altro modo con il “Genova maXter Program” il museo si trasforma ogni anno per due settimane in una scuola in cui i giovani artisti possono confrontarsi e sperimentare la loro pratica in maniera collaborativa.

V.H. Quali sono oggi le principali responsabilità di un curatore museale?
I.B. Un curatore museale deve confrontarsi con le amministrazioni, le società e altre organizzazioni e al contempo deve offrire stimoli agli altri in un mondo in rapida trasformazione e sviluppo. Dobbiamo tenere conto del pubblico, ma è importante avere un’attenzione al singolo senza agire in modo populistico. Ogni individuo ha bisogno di essere ispirato e cerca idee nuove.

V.H. “Una collezione non è un rifugio nel quale ritirarsi. È una fonte di energia per il curatore così come per il visitatore” (Pontus Hultén). Ultimamente ci sono stati esperimenti molto interessanti con le collezioni, l’atto del collezionare e la dinamica della conservazione. Come gestisci la collezione all’interno del programma e come viene attivata nel museo?
I.B. La nostra collezione è molto particolare ed è costituita da opere risalenti al medesimo periodo. Contiene alcuni lavori eccezionali, da noi presentati in un allestimento inedito con una serie di mostre di dimensioni ridotte di carattere archivistico o storico-artistico, incentrate su artisti italiani che sono stati ignorati dal mercato o dalla storia dell’arte. Abbiamo così non solo voluto dare nuovo valore alla collezione, ma anche contestualizzare il mercato artistico di oggi e mostrare quanto le carriere artistiche siano uno strano fenomeno.

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?
I.B. È sbagliato pensare di esistere solo in un luogo in questi tempi. Ognuno si trova ovunque ora, dobbiamo negoziare continuamente e lavorare in direzioni insieme differenti e comuni. Le istituzioni possono lavorare insieme e sostenere esperimenti e forme di sperimentazione.

Images:
1. Julieta Aranda. If a Body Meet a Body. Exhibition view at Villa Croce, 9 May – 30 June 2013. Courtesy Villa Croce. Photo: Nuvola Ravera
2. Museo Villa Croce, Genoa. Photo: Nuvola Ravera
3. Thomas Grunfeld. Homey. Exhibition view at Villa Croce, 21 March – 18 May 2014.  Courtesy Villa Croce. Photo: Nuvola Ravera
4. Massimo Grimaldi. Slideshows. Exhibition view at Villa Croce, 9 September – 18 November 2012. Courtesy Villa Croce. Photo: Simona Cupoli

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

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DE VLEESHAL (MIDDELBURG, NETHERLANDS)

 

The Registry of Promise
25 January – 29 March 2015

DE VLEESHAL (MIDDELBURG, NETHERLANDS)
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DE VLEESHAL (MIDDELBURG, NETHERLANDS)

Direction:
Roos Gortzak

Contacts:
Markt, Middelburg the Netherland
phone +31 (0)118 652200
e-mail office@vleeshal.nl
website www.vleeshal.nl

Info:
open Tuesday-Sunday, 1-5 pm, admission free

The SBKM (the Middelburg non-profit Foundation for Visual Arts) realizes contemporary art exhibitions and projects at De Vleeshal and De Kabinetten van De Vleeshal in Middelburg (The Netherlands).
De Vleeshal is located in Middelburg’s former town hall, on the market square. Characterized by its distinct Gothic architecture, De Vleeshal is a unique space. The venue has inspired many artists in creating extraordinary exhibitions, bringing De Vleeshal international renown.
In addition to De Vleeshal, the SBKM has a second exhibition space: De Kabinetten van De Vleeshal.
Further tasks of the SBKM are: the implementation of Middelburg’s policy for art in the public space; the composition, management, maintenance and restoration of the municipal art collection, including public artworks; and the execution of council policy on subsidies to individual artists.

Project: The Registry of Promise

 

La SBKM (Fondazione di Middelburg per le arti visive) realizza mostre e progetti d’arte contemporanea presso il De Vleeshal e il De Kabinetten van de Vleeshal, a Middelburg (Paesi Bassi).
Il De Vleeshal si trova nell’antico municipio di Middelburg, nella piazza del mercato. Caratterizzato da una marcata architettura gotica, il De Vleeshal è uno spazio unico nel suo genere, la cui peculiarità ha spinto molti artisti a creare mostre straordinarie che hanno contribuito alla sua reputazione.
Oltre al De Vleeshal, la SBKM usufruisce di un secondo spazio espositivo, il De Kabinetten van De Vleeshal. Gli altri obiettivi della SBKM vanno dalla realizzazione della politica artistica di Middelburg nello spazio pubblico, alla costituzione, gestione, conservazione e restauro della collezione d’arte comunale comprese le opere in esterni, oltre all’attuazione della politica cittadina di sovvenzione agli artisti.

 

Le SBKM (Fondation de Middelburg pour les arts visuels) réalise des expositions et des projets d’art contemporain a De Vleeshal et a De Kabinetten van de Vleeshal à Middelburg (Pays-Bas).
De Vleeshal est situé dans l’ancien hôtel de ville de Middelburg, sur la place du marché. Caractérisé par son architecture gothique très marquée, De Vleeshal est un espace unique. Le lieu a inspiré de nombreux artistes a créer des expositions extraordinaires, qui ont fait sa renommée.
En plus de De Vleeshal, le SBKM possède un second lieu d’exposition : De Kabinetten van De Vleeshal. Les autres missions du SBKM sont la mise en œuvre de la politique artistique de Middelburg dans l’espace public, la constitution, la gestion, la conservation et la restauration de la collection d’art municipale, y compris les œuvres extérieures, et l’exécution de la politique de la ville en matière de subventions aux artistes.

Image:
1. Jimmie Durham,The center of the world, De Vleeshal, 1995. Exhibition view. Photo: Leo van Kampen

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CENTRE D’ART BASTILLE (GRENOBLE)

 

Double Cross, from Both Sides of a Mountain

CENTRE D’ART BASTILLE (GRENOBLE)
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CENTRE D’ART BASTILLE (GRENOBLE)

Direction:
Vincent Verlé

Contacts:
Fort de la Bastille, 38000 Grenoble
telephone +33 (0)4 76 54 40 67
e-mail contact@cab-grenoble.net
website www.cab-grenoble.net

Info:
Open Tuesday-Sunday 11 am-6 pm

2. Exhibition view, Hugo Scibetta, Project room, 2014

2. Exhibition view, Hugo Scibetta, Project room, 2014

The Centre d’Art Bastille (CAB), is a contemporary art center located on the Bastille site in Grenoble. It can be reached using one of the oldest urban cable cars in the world. This exhibition, production and experimentation space, devoted to contemporary art and set in an ancient fortress, has as main goal to offer the wide public the possibility to discover the extend and variety of contemporary art practices, to raise curiosity and interest towards the arts, to accompany French and foreign artists in their projects, to support the emerging art scene and to allow sensitivities to meet with artworks by creating an appropriate environment. The CAB also organises regular events, concerts and performances in collaboration with local non-profit associations.

3. Vincent Mauger, Untitled, 2014

3. Vincent Mauger, Untitled, 2014

Le centre d’art bastille (cab) est un centre d’art contemporain situé au cœur de la Bastille de Grenoble. On y accède par l’un des plus anciens téléphériques urbains au monde. Lieu d’exposition, de production et d’expérimentation dévolu à la création artistique contemporaine, installé dans des casemates voûtées en pierre de tailles, ses missions sont de faire découvrir la richesse et la diversité de l’art contemporain à un large public, d’en éveiller la curiosité et d’en susciter l’intérêt pour la création actuelle, d’accompagner artistes français et étrangers dans leurs projets, de soutenir la scène artistique émergente et de permettre une rencontre sensible avec les œuvres en jouant la carte de l’intermédiation entre expérience artistique et public. Le cab s’attache ainsi à diversifier les propositions d’expositions mais aussi de médiations et de rencontres autour de l’appréhension de l’œuvre d’un artiste dans sa globalité. Il organise par ailleurs régulièrement des événements, concerts et performances en collaboration avec diverses associations grenobloises.

4. Exhibition view, Le geste des matériaux, 2014

4. Exhibition view, Le geste des matériaux, 2014

5. Nicolas Sassoon, Mansion studies, 2013

5. Nicolas Sassoon, Mansion studies, 2013

Images:
1. Exhibition view, Thomas Julier & Nick Oberthaler, The Blackbird Must Be Flying, 2014. © Thomas Julier
2. Exhibition view, Hugo Scibetta, Project room, 2014. © Hugo Scibetta
3. Vincent Mauger, Untitled, 2014, in situ installation, production centre d’art bastille. © Alexandra David
4. Exhibition view, Le geste des matériaux, 2014. © Alexandra David
5. Nicolas Sassoon, Mansion studies, 2013, production centre d’art bastille. © Nicolas Sassoon

Project: Double Cross, from Both Sides of a Mountain

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FONDAZIONE GIULIANI (Rome)

 

The Registry of Promise
9 May – 18 July 2014

FONDAZIONE GIULIANI (Rome)
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FONDAZIONE GIULIANI (Rome)

Direction:
President Giovanni Giuliani
Vice-President Valeria Giuliani
Director Adrienne Drake

Contacts:
via Gustavo Bianchi 1, 00153 Rome
telephone +39 06 57 30 10 91
e-mail info@fondazionegiuliani.org
website www.fondazionegiuliani.org

Info:
open Tuesday-Saturday 3-7.30 pm and by appointment

The Fondazione Giuliani per l’arte contemporanea is a private non-profit foundation dedicated to the advocacy, research and exhibition of contemporary art. It was founded in 2010 by the art collectors Giovanni and Valeria Giuliani, and is under the directorship and curatorial programming of Adrienne Drake.
With particular attention attuned to the practices and methodologies of the newest generations of Italian and international artists, the Foundation produces three on-site exhibitions each year, as well as supporting and promoting selected projects taking place in Rome and abroad. Artists who have never before exhibited in Rome, such as Nora Schultz, Giulia Piscitelli, Ahmet Ögüt, Simon Dybbroe Møller, Oscar Tuazon, Seb Patane, Benoît Maire, are invited for solo shows, for which the Foundation commissions and produces new artworks. It also publishes a catalogue dedicated to the artist; each publication is envisioned as a hybrid between a catalogue, which documents the exhibition, and an artist’s book. The Foundation strives to support and sustain each artist’s practice through the creation of an open and flexible dialogue in order to push his or her practice towards new directions.
Group exhibitions sometimes cull works from the collection to cultivate an examination and interpretation of the very process of collecting, and to unveil and underline common threads within the collection itself. The Foundation also produces shows in which the artists are invited to select and display artworks from the collection, positioned as counterparts or complements to their own practice. Using the collection as archive, resource material and experience, the artists facilitate multiple readings of a single work of art, enriching and expanding the context of display through additional layers of meaning and interpretation.

Simon Dybbroe Møller, Hello. Installation view

2. Simon Dybbroe Møller, Hello. Installation view

Project: The Registry of Promise
Focus: Vincent Honoré in conversation with Adrienne Drake, Fondazione Giuliani

La Fondazione Giuliani per l’arte contemporanea è un ente privato non-profit fondato nel 2010 da Giovanni e Valeria Giuliani, sotto la direzione di Adrienne Drake, che si dedica al sostegno, alla ricerca e all’esposizione dell’arte contemporanea, con particolare attenzione alle pratiche e alle metodologie delle nuove generazioni di artisti italiani e internazionali. Produce ogni anno tre mostre in sede e sostiene altri progetti esterni; invita per le mostre personali artisti che non hanno mai esposto a Roma – si ricordano Nora Schultz, Giulia Piscitelli, Ahmet Ögüt, Simon Dybbroe Møller, Oscar Tuazon, Seb Patane, Benoît Maire – commissionando la produzione di nuove opere e pubblicando un catalogo dedicato all’artista. Ogni pubblicazione è immaginata come un ibrido tra un catalogo, che documenta la mostra, e un libro d’artista. La Fondazione cerca di arricchire la pratica degli artisti coinvolti nei diversi progetti, impostando un dialogo aperto con l’artista, al quale viene data la massima fiducia e libertà nello spingere la sua ricerca verso nuove direzioni.
In occasione di mostre collettive si tende a fare una selezione delle opere della collezione per svelarne e sottolinearne fili conduttori interni. Per alcune mostre personali gli artisti vengono appositamente invitati a selezionare e mettere in mostra lavori della collezione, posizionandoli come contrappunti o complementi della loro pratica. Utilizzando la collezione come archivio, materiale di ricerca ed esperienza, gli artisti stimolano letture multiple di una singola opera d’arte, arricchendo e approfondendo il contesto del display attraverso più livelli di significato e interpretazione.
La Fondazione si pone l’obiettivo di rivolgersi a un pubblico il più ampio possibile anche attraverso l’organizzazione di incontri e visite guidate. Promuove inoltre la formazione didattica tramite tirocini in collaborazione con l’Università e lo sviluppo di partnership con altre istituzioni in Italia e all’estero.

 

La Fondazione Giuliani est un organisme privé a but non lucratif fondé en 2010, dédié au soutien, à la recherche et à l’exposition de l’art contemporain, avec une attention particulière aux pratiques et aux méthodologies des nouvelles générations d’artistes italiens et internationaux. Elle produit chaque année deux ou trois expositions in situ et soutient, en parallèle à son propre programme d’expositions, des projets et des collaborations externes, en Italie et à l’international.
Elle invite pour des expositions personnelles des artistes n’ayant encore jamais exposé à Rome, avec la production de nouvelles œuvres et la publication d’un catalogue consacré à l’artiste. Chaque publication est imaginée comme un objet hybride, entre catalogue documentant l’exposition et livre d’artiste. S’adressant à un public vaste et hétérogène, la Fondazione Giuliani favorise les rencontres, les visites guidées et les stages en collaboration avec l’Université.

Images:
1. Gianni Piacentino 1965-2000. Installation view of the exhibition at Fondazione Giuliani, Rome 2014. Photo: Giorgio Benni
2. Simon Dybbroe Møller, Hello. Installation view of the exhibition at Fondazione Giuliani, Rome 2011-2012. Photo: Francesco De Michelis

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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 il dialogo, l’impegno e la partecipazione, inserendo le attività locali della Fondazione con gli artisti, i curatori e le istituzioni in un contesto internazionale.
Nello specifico la Fondazione Giuliani ospiterà una mostra collettiva con quattro artisti, The Promise of Melancholy and Ecology, primo capitolo di una serie di mostre intitolata The Registry of Promise. L’intero progetto è curato dal guest curator Chris Sharp, di cui ammiro e rispetto la pratica curatoriale, in collaborazione con Parc Saint Léger Centre d’art contemporain, Centre d’art contemporain d’Ivry – le Crédac e SBKM/De Vleeshal, tutte istituzioni con cui la Fondazione ha un’affinità e con le quali condivide un comune terreno di ricerca e programmazione.

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

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Kunst Meran Merano Arte (Merano)

 

From & To
7 February – 12 April 2015

Kunst Meran Merano Arte (Merano)
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Kunst Meran Merano Arte (Merano)

Direction:
Herta Wolf Torggler
Artistic direction
Valerio Dehò

Contacts:
Portici 163, 39012 Merano
telephone +39 0473 212643
e-mail info@kunstmeranoarte.org
website www.kunstmeranoarte.org

Info:
open Tuesday-Sunday 10 am-6 pm
Tickets: 6 Euro, reduced 5 Euro, free under 14 years old

Merano Arte is an international meeting point for contemporary expressive forms, a platform in the area of figurative art, photography, architecture, music, literature, and new media.
It is seated in the historical building of the Porticos of Merano, protected by the Cultural Heritage, and owned by the Cassa di Risparmio of Bolzano; for this reason it is called “Cassa di Risparmio Building”. The major part of the activities of the association are directed to the organization of solo and collective exhibition of internationally known creative artists, as well as to the curatorship of themed shows of international appeal. Merano Arte is committed to promoting and assessing expressive movements of the 20th century as well as those closer to present creative activities.
One of its most notable characterizing aspects resides in the idea of promoting and supporting praiseworthy local artists through exhibitions and initiatives that aim to show their work to the public by supplying them with a course meant to highlight their value. The promotion of local artists abroad is carried out by an artist exchange in-between the residency in Merano and the one in the city of Salzburg. Both the residencies and the exhibition at the end of the stay are made possible thanks to a collaboration with the Cultural Office of Merano. Art assessment and education on interdisciplinary culture are cultivated by Merano Arte through a wide range of initiatives that start from the same exhibiting activity, expanding to round tables, conferences, workshops, international exchanges and artists’ residencies, concerts, and school activities. One of the main objectives is the sensitization of youth towards contemporary art. Within the present aim, guided tours for schools and themed workshops are offered. Merano Arte is moreover, one of the most active South Tyrolean institutions in contemporary architecture. Sensitivity towards architectural themes is developed not only by exhibiting proposals, but it is brought to the forefront through initiatives and round tables that aim to approach local residents on topics that go from newly made sustainable projects, to the restoration of existing buildings, to highlighting landscape architecture, to problems concerning urban space and the debate developed around the evolution of the South Tyrolean architectural tradition in contemporary settings.
Merano Arte is an attentive speaker for local stakeholders, and looks for a dialogue guided by a deep awareness of public and private realities. Initiatives carried out in a collaboration with territorial operators, museums, exhibiting seats, and tourists’ facilities are numerous.
It has been a member of AMACI, Italian Association of Contemporary Art Museums, www.amaci.org, since 2001.
On an international level, the association has established a dynamic exchange with neighboring German-speaking countries, examples are given by collaborations with Augsburg in Germany; Vienna, Klagenfurt, Kärtern in Austria; Berne, Cerms, Graubunden in Switzerland. Many shows organized by Merano Arte have been hosted by exhibiting spaces in Rome, Turin, Venice. Various collaborations with galleries and private associations have taken place in other countries all around Europe.

History
It was in the ‘50s that figures such as Peggy Guggenheim, Max Ernst, Jackson Pollock, Ezra Pound, and the Milanese editor, Vanni Scheiwiller, brought prestige to the local artistic scene, and stimulated the making of major shows. The union of Merano and the arts has continued in the following decades. It was in 1996 that upon the initiative of Herta Torggler and of several art lovers, together with the support of many local artists, the original core of Merano Arte was created, called at the time Art Forum Gallery. In 2001, thanks to the foundation of 14 members, the gallery has become the bilingual Association Kunst Meran Merano Arte. Thanks to the excellent results attained up to then, the Cassa di Risparmio of Bolzano decided to become the main sponsor of the association, and to grant the use of the building owned by the bank in Portici Street, 163. In 2001, the architects Höller & Klotzner restored the spaces in order to suit a contemporary art gallery. After the restoration, on October 26, 2001, Merano Arte opened the new seat with the show Art and wellness – the aesthetic of rest (curated by Professor Dieter Ronte, Carl Aigner, Andrea Domesle). In 2011 it celebrated its first ten years of activity at the Cassa di Risparmio Building by opening Tony Cragg – In 4D, in a collaboration with the Fondazione Musei Civici of Venice and the galleries Michela Rizzo and Caterina Tognon.
Kunst Meran Merano Arte is a public private partnership and it counts today 58 members.

Desiring the real. Austria contemporary, 2013. Installation view

2. Desiring the real. Austria contemporary, 2013. Installation view

Project: From & To

 

Kunst Meran Merano arte è un punto d’incontro internazionale per le forme espressive del contemporaneo, una piattaforma nel campo dell’arte figurativa, della fotografia, dell’architettura, della musica, della letteratura e dei nuovi media. Ha sede in un edificio storico dei Portici di Merano, protetto dai beni culturali e di proprietà della Cassa di Risparmio di Bolzano, detto per questo “Edificio Cassa di Risparmio”. Gran parte dell’attività dell’associazione consiste nell’organizzazione di mostre personali e collettive di creativi noti a livello internazionale, oltre che nella curatela di esposizioni tematiche dal profilo interculturale. Merano Arte si inscrive in un’ottica volta alla promozione e valorizzazione delle forme espressive del XX secolo così come di quelle più legate alla creatività dei giorni nostri.
Uno degli aspetti più sostanziali che ne caratterizza l’attività è l’idea di promuovere e sostenere gli artisti locali più meritevoli attraverso mostre e iniziative e farli conoscere al pubblico fornendo un percorso che permetta di comprenderne il valore. La promozione degli artisti locali all’estero si realizza inoltre ogni anno attraverso lo scambio di artisti in residenza tra Merano e la città di Salisburgo. La residenza e la mostra che ha luogo alla fine della permanenza sono rese possibili grazie alla collaborazione con l’Ufficio Cultura del Comune di Merano. La valorizzazione dell’arte e l’educazione a una cultura di tipo interdisciplinare vengono coltivate da Kunst Merano Merano arte attraverso un ampio spettro di iniziative che partono dall’attività espositiva in senso stretto per allargarsi a tavole rotonde, conferenze, workshop, scambi internazionali e residenze d’artista, concerti e attività con le scuole. Uno degli obiettivi principali è la sensibilizzazione dei più giovani in materia di arte contemporanea: per questo vengono proposte visite guidate per le scuole e workshop tematici. Kunst Meran Merano Arte è inoltre tra le istituzioni altoatesine più attive in materia di architettura contemporanea. La sensibilità nei confronti delle tematiche legate all’architettura non si esaurisce solamente in proposte espositive, ma si sostanzia in iniziative e tavole rotonde volte a sensibilizzare gli abitanti locali nei confronti di argomenti che vanno dalla sostenibilità dei progetti di nuova realizzazione, al risanamento di quelli esistenti, al valore dell’architettura del paesaggio, alle problematiche che riguardano l’urbanistica e il dibattito che concerne l’evoluzione della tradizione architettonica altoatesina nel contemporaneo.
Kunst Meran Merano Arte è interlocutrice attenta degli stakeholder territoriali e cerca il dialogo e il confronto con realtà pubbliche e private. Numerose sono le iniziative realizzate in collaborazione con operatori territoriali, musei, sedi espositive, realtà turistiche.
Dal 2001 il museo è membro di AMACI, associazione dei musei d’arte contemporanea italiani (www.amaci.org).
In senso internazionale l’associazione ha stabilito un intenso scambio con i vicini paesi di lingua tedesca, come per esempio: Augsburg in Germania; Vienna, Klagenfurt, Kärtern in Austria; Berna, Cerms, Graubunden in Svizzera. In Italia hanno ospitato mostre realizzate da Kunst Meran Merano Arte sedi espositive a Roma, Torino e Venezia. Varie collaborazioni con gallerie e associazioni private hanno avuto luogo con gli altri paesi di tutta Europa.

La storia
Negli anni ’50 a Merano personalità come Peggy Guggenheim, Max Ernst, Jackson Pollock, Ezra Pound e l’editore milanese Vanni Scheiwiller hanno dato lustro alla scena artistica locale e stimolato la realizzazione di mostre di grande rilievo.Il connubio tra Merano e le arti è continuato nei decenni successivi: nel 1996 infatti, su iniziativa di Herta Torggler e di alcuni appassionati d’arte, con il sostegno di molti artisti locali, si è dato vita al nucleo originale di Kunst Meran Merano Arte, allora chiamata Art Forum Gallery. Nel 2001 grazie alla fondazione di 14 soci, la galleria diventa l’Associazione bilingue Kunst Meran Merano Arte. Sulla base dei buoni risultati conseguiti sino ad allora, la Cassa di Risparmio di Bolzano decide di diventare main sponsor dell’associazione e concede l’utilizzo dell’edificio di sua proprietà sito in Via Portici 163. Nel 2001 gli architetti Höller & Klotzner hanno risanato e adattato gli spazi in modo da poter creare una galleria per l’arte contemporanea. Dopo la ristrutturazione, il 26 ottobre 2001 ha inaugurato la nuova sede con la mostra Arte e benessere – estetica del riposo (a cura del Prof. Dieter Ronte, Carl Aigner, Andrea Domesle). Nel 2011 Kunst Meran Merano Arte ha festeggiato il decennale di attività nell’Edificio Cassa di Risparmio, proponendo la mostra Tony Cragg – In 4D, in collaborazione con la Fondazione Musei Civici di Venezia e le gallerie Michela Rizzo e Caterina Tognon.
Kunst Meran Merano Arte è un’associazione privata di pubblica utilità che conta oggi ben 58 soci.

Le Kunst Meran / Merano Arte est un point de rencontre international pour les formes expressives de l’art contemporain, une plateforme dans le champ de l’art figuratif, de la photographie, de l’architecture, de la musique, de la littérature et des nouveaux médias. Le musée est situé dans un bâtiment historique des fortifications de Merano, inscrit au registre des monuments nationaux et propriété de la Caisse d’Epargne de Bolzano. Une grande part des activités du musée est dédiée à l’organisation d’expositions personnelles et collectives d’artistes reconnus internationalement, ainsi qu’au commissariat d’expositions thématiques interculturelles, l’organisation de tables rondes, conférences, ateliers, résidences d’artistes, concerts et activités pédagogiques.
Un aspect important du musée consiste à promouvoir et soutenir les artistes locaux les plus intéressants. Le Kunst Merano est également l’une des institutions les plus actives du Tyrol du Sud dans le domaine de l’architecture contemporaine.

Images:
1. Installation view of the exhibition Prospettive di Futuro, 2012. Photo: Andreas Marini
2. Installation view of the exhibition Desiring the real. Austria contemporary, 2013. Photo: Andreas Marini

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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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DOLOMITI CONTEMPORANEE (BELLUNO)

 

Piano – alto!
June 2014 - Summer 2015

DOLOMITI CONTEMPORANEE (BELLUNO)
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DOLOMITI CONTEMPORANEE (BELLUNO)

Direction:
Gianluca D’Incà Levis

Contacts:
New Venue of Casso, via Sant’Antoni 1, 33080 Casso (Erto e Casso)
telephone +39 0427 666068 / +39 338 1492993
e-mail info@dolomiticontemporanee.net
website www.dolomiticontemporanee.net

Info:
open Tuesday-Sunday 10 am-12.30 pm and 3-7 pm

Dolomiti Contemporanee (DC) is a workshop of visual arts in the context of the environment. Big abandoned factories in Unesco’s Dolomites are morphed into creative resorts, through the “Residence for artists”. The Nuovo Spazio di Casso (New Venue of Casso) is the only perpetual site of Dolomiti Contemporanee. It used to be a school, which was closed down in 1963 because of the terrible Vajont Tragedy. Reopened after half a century, it is nowadays a center for visual arts.

New Venue of Casso

2. New Venue of Casso

New Venue of Casso

3. New Venue of Casso

Project: Piano – alto!

Dolomiti Contemporanee (DC) è un laboratorio d’arti visive in ambiente. Grandi fabbriche abbandonate nelle Dolomiti-Unesco, vengono trasformate in stazioni creative, attraverso Residenze d’artista. Unico sito stabile di Dolomiti Contemporanee, il Nuovo Spazio di Casso. Si tratta di una scuola che fu chiusa nel 1963 a causa della terribile tragedia del Vajont. Riaperto dopo mezzo secolo, è oggi un centro d’arti visive.

Dolomiti Contemporanee est un laboratoire expérimental d’arts visuels in situ. Le projet prend place dans de grands sites industriels ou civils abandonnés dans la région des Dolomites (classée par l’UNESCO). Ils accueillent pendant les mois d’été des résidences d’artistes et des expositions. A l’issue de celles-ci, certains lieux devenus attractifs, sont réinvestis par des activités économiques. L’art et la culture constituent ainsi un instrument concret de relance des infrastructures.
L’unique site permanent de Dolomiti Contemporanee est le Nouvel Espace de Casso, ouvert en 2012. Situé a quelques mètres du barrage de Vajont, dévasté par une catastrophe naturelle en 1963, ce lieu est exemplaire de la réhabilitation d’un site désaffecté en centre culturel dans les montagnes.

Images:
1. One of the openings held at the New Venue of Casso on summer 2013. Photo: G. De Donà
2. New Venue of Casso, the building from Casso’s town. Photo: S. Osta
3. New Venue of Casso, the platform facing the sign of the landslide of the Mount Toc

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VILLA ARSON (NICE)

 

From & To
9 November 2014 – 19 January 2015

VILLA ARSON (NICE)
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VILLA ARSON (NICE)

Direction:
Jean-Pierre Simon
Eric Mangion

Contacts:
20, Avenue Stephen Liégeard, 06105 Nice
telephone +33 (0)4 92 07 73 73
e-mail cnac@villa-arson.org
website www.villa-arson.org

Info:
open Wednesday-Monday 2-6 pm
(2-7 pm in July and August)

The Villa Arson includes a school of art, an art center, artists’ residencies and a multimedia library; therefore its artistic program aims at highlighting the relation between education and creation, research and transmission. The exhibitions stem from projects conducted at the Villa by teachers, artists in residence, as well as projects conducted in collaboration with other national or international institutions (schools of art, art centers, associations…) with the goal of increasing exchanges and collaborations. The Villa Arson also invites guest artists and curators who would like to carry through singular projects in the context of their research.
On top of its residency/research program for graduate students, 5/7, the Villa Arson welcomes two artists in residence every year. Each receives a grant from the DRAC Provence Alpes-Côte d’Azur. The artists have housing accommodations on campus for three months and benefit from the use of a private studio. Artists may not apply for these residencies: they are chosen by the director of the Villa Arson and the director of the art center according to projects that must be carried out at the Villa in the context of the artistic or educational program.
Lastly, thanks to the support of the DRAC Provence Alpes-Côte d’Azur, the Villa Arson also has a program of short residencies for young curators who wish to work on the writing and preparation of exhibition projects. They benefit from free housing accommodation and access to the multimedia library to carry on their research. Transport to Nice is also offered. Guest curators have the opportunity to meet young artists who have graduated from the Villa Arson and who might contribute to their projects.

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

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

Roman Ondák, Door Leading to Many Directions, 1997

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

Project: From & To

 

In collegamento col suo statuto di scuola legata a un centro d’arte, alle residenze di artisti e alla mediateca, la programmazione artistica di Villa Arson punta a valorizzare le relazioni tra insegnamento, creazione, ricerca e trasmissione. Le mostre nascono da progetti realizzati internamente dagli insegnanti, gli artisti, ma anche con strutture esterne nazionali o internazionali (scuole d’arte, centri d’arte, reti associative…) al fine di moltiplicare gli scambi e le collaborazioni. Sono anche invitati a partecipare i curatori che desiderano attuare progetti specifici nell’ambito della propria ricerca.

En lien avec son statut d’école liée à un centre d’art, des résidences d’artistes et une médiathèque, la programmation artistique de la Villa Arson souhaite mettre en valeur les relations entre enseignement, création, recherche et transmission. Les expositions sont issues de projets menés en interne par les enseignants, les artistes résidents, mais aussi avec des structures extérieures, nationales ou internationales (écoles d’art, centres d’art, réseaux associatifs…) afin de multiplier les échanges et les collaborations. Des invitations sont également lancées à des artistes ou à des commissaires désireux de mener à bien des projets singuliers dans le cadre de leur recherche.
Parallèlement à son programme de résidences/recherche lié au post-diplôme 5/7, la Villa Arson accueille deux artistes en résidence par an. Chacun reçoit une allocation de résidence versée par la DRAC Provence Alpes-Côte d’Azur. Les artistes sont hébergés sur place pour une période de trois mois environ et bénéficient d’un atelier individuel. Aucune candidature spontanée n’est envisageable. Les artistes sont choisis par le directeur de l’établissement et par le directeur du centre d’art en fonction de projets à développer sur place dans le cadre de la programmation artistique ou pédagogique.
Enfin, avec le soutien de la DRAC Provence-Alpes-Côte d’Azur, la Villa Arson mène un programme de résidences courtes pour des commissaires souhaitant travailler à l’écriture et à la préparation de projets d’exposition. Ils peuvent ainsi bénéficier gratuitement d’un studio et du fonds de la bibliothèque pour mener à bien leurs recherches. Sont pris en charge leurs frais de transport sur Nice. Les commissaires invités ont ainsi l’occasion de rencontrer des jeunes artistes issus de la Villa Arson qui pourront éventuellement participer à leurs projets.

Images:
1. Mike Kelley, A Fax Transmission from: Oct. 21, 1986, 1 :07 p.m., 1986-2004, installation, mixed media, 220 x 289 x 122 cm. Exhibition L’institut des archives sauvages, Villa Arson, 17 February – 28 May 2012
2. Ryan Gander, Cyclopean Illusion (Remi), 2009. C-print framed under serigraphed glass, 45 x 30 cm (photograph), 40 x 55 x 4 cm (frame). Courtesy of the artist; Ryan Gander, Gallery Cover, 2000-2007 installation (orange canvas, runners, 9 spots), dimensions of the room. Courtesy of the artist and Annet Gelink Gallery, Amsterdam. Exhibition The Die Is Cast, Villa Arson, 26 June – 18 October 2009
3. Roman Ondák, Door Leading to Many Directions, 1997, installation, 168 x 95 x 27 cm. Courtesy of the artist. Exhibition Shaking Horizon, Villa Arson, 2 July – 17 October 2010

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

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

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

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

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

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

Roman Ondák, Door Leading to Many Directions, 1997

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

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

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

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

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

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

5. Lorraine Château, Installation The Cloud, 2014

5. Lorraine Château, Installation The Cloud, 2014

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

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

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

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

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

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

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MACRO MUSEO D’ARTE CONTEMPORANEA (ROME)

 

Red Swan Hotel
27 November 2014 – 15 March 2015

MACRO MUSEO D’ARTE CONTEMPORANEA (ROME)
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MACRO MUSEO D’ARTE CONTEMPORANEA (ROME)

Direction:
Federica Pirani

Contacts:
via Nizza 138, 00198 Rome
telephone +39 06 67 10 70 400
website www.museomacro.org

Info:
open Tuesday-Sunday 11 am-7 pm

The MACRO is the Museum of the city of Rome dedicated to contemporary art. The headquarters of the Museum, with the latest opening of the new wing designed by Odile Decq, redefines its vocation to promotion of contemporary art, nationally and internationally, building an expressive mosaic of different languages. Over the years the museum has hosted major exhibitions of Italian and foreign artists, becoming a reference point in not only the civic, but also the international panorama. Starting with a large and diverse exhibition program, MACRO positions itself as a center of contemporary artistic production and research. This identity stems from the need to reconsider the role of the artist, the driving force behind the activities that characterize the Museum.
Specific programs have been developed for MACRO’s via Nizza spaces that exalt its potential and architectural quality. Similarly, MACRO Testaccio, is located in the center of a redevelopment plan, aimed at conferring upon it, along with the whole of which it is a part, a strong and incisive vocation as a center for research and artistic and cultural production. With the new course, as outlined, the MACRO intends to open itself to the public, proposing a dynamic, transversal and participatory formula.
The MACRO at via Nizza 138 is located in Rome’s Salario-Nomentano neighborhood and occupies part of a complex that until 1971 the Peroni Beer Company used for its manufacturing activities. The structure was built by Gustavo Giovannoni and represents a rare example of industrial architecture in the city.
Its brewery activities ended in 1974 and the company devised a recovery plan, together with the city of Rome, which included the sale of part of it to the municipality for the construction of public services in the neighborhood. This sale took place in 1983.
Following restoration work on the complex – which took place between 1995 and 1999 – the Galleria Comunale d’Arte Moderna e Contemporanea (Civic Gallery of Modern and Contemporary Art) came to occupy a portion of the lot, however it was totally inadequate both in terms of exhibition and storage space for the collections. The design competition, held in 2000, responded not only to these needs, but also to those of redefining the image and the operation of the entire complex, with new spaces responding to the diversity of contemporary artistic production as well as a system of relationships and connections within the existing spaces and the surrounding urban space.
Odile Decq, the French architect who won the competition, gave the Museum a dynamic system comprising many joints and connections: large spaces such as exhibition halls (which occupy a total space of 4,350 square meters), the foyer, auditorium and the terrace (or panoramic garden) are connected by staircases, elevators, balconies and steps that in addition to offering tangential perspectives and sequential points of view, make the architectural experience of the Museum dynamic, attractive, and always new and different.
Since 2011, the archives of the curatorial platform 1:1projects are housed in MACRO’s spaces in the Testaccio neighborhood. Started in Rome in 2006, 1:1projects is a non-profit association aimed at the development and promotion of contemporary art projects and is part of an international network of independent organizations and associations. Over the years, 1:1projects has instituted an archive of Italian and international artists and a program of laboratories, seminars, meetings and exhibitions aimed at constructing an area of research open to interdisciplinary forms of dialogue, encouraging emerging artistic practices and committed to raising awareness of art and contemporary culture.

1:1archive

2. 1:1archive

Project: Red Swan Hotel

Il MACRO è il Museo della città di Roma dedicato all’arte contemporanea. La sede principale del Museo con l’apertura definitiva della nuova ala progettata da Odile Decq ridefinisce la sua vocazione alla promozione dell’arte contemporanea, nazionale e internazionale, costruendo un mosaico espressivo di diversi linguaggi. Negli anni il Museo ha ospitato importanti mostre di artisti italiani e stranieri, divenendo punto di riferimento non solo nel panorama cittadino, ma anche in quello internazionale. A  partire da un programma espositivo ampio e diversificato, il MACRO si pone come centro di produzione artistica e ricerca sul contemporaneo. Tale identità nasce dall’esigenza di riconsiderare il ruolo dell’artista, motore principale delle attività che connotano il Museo.
Per gli spazi del MACRO di via Nizza sono stati sviluppati programmi specifici che ne esaltano qualità architettoniche e potenzialità. Allo stesso modo MACRO Testaccio si trova al centro di un piano di riqualificazione volto a conferirgli, insieme al complesso di cui fa parte, una forte e incisiva vocazione a polo di ricerca e produzione artistica e culturale. Con il nuovo corso così delineato il MACRO intende aprirsi al pubblico, proponendo una formula dinamica, trasversale e partecipativa.

Il MACRO di via Nizza 138 si trova nel quartiere romano Salario Nomentano e occupa parte del complesso che fino al 1971 la Società Birra Peroni impiegò per le sue attività di produzione. La struttura fu realizzata da Gustavo Giovannoni e rappresenta un raro esempio in città di archeologia industriale. Cessate le attività del Birrificio, nel 1974 la Società elaborò insieme al Comune di Roma un piano di recupero con inclusa la cessione di una sua parte al Comune stesso per la realizzazione di servizi pubblici di quartiere. Tale cessione avvenne nel 1983. In seguito ai lavori di recupero del complesso — svoltisi tra il 1995 e il 1999 — la Galleria Comunale d’Arte Moderna e Contemporanea venne a occupare una parte del lotto, totalmente insufficiente sia in termini espositivi che di deposito delle collezioni. Il concorso di progettazione, indetto nel 2000, rispose non solo a queste necessità ma anche a quelle di ridefinire l’immagine e il funzionamento dell’intero complesso, con nuovi spazi rispondenti alla eterogeneità della produzione artistica contemporanea sempre e comunque nell’ambito di un sistema di relazioni e connessioni con gli spazi già esistenti nonché con lo spazio urbano circostante.
L’intervento di Odile Decq, l’architetto francese vincitore del concorso, ha conferito al Museo un sistema dinamico di articolazioni e collegamenti molteplici; i grandi spazi quali le sale espositive (che occupano uno spazio complessivo di 4350 m2), il foyer, l’auditorium e la terrazza (o giardino panoramico) sono collegati da scalinate,  ascensori,  ballatoi e passaggi che oltre a offrire prospettive tangenziali e punti di vista sequenziali rendono l’esperienza dell’architettura del Museo dinamica, attraente, sempre nuova e diversa.
Dal 2011 MACRO ospita, negli spazi della sede del quartiere Testaccio, l’archivio della piattaforma curatoriale  1:1projects. Nata a Roma nel 2006, 1:1projects è un’associazione non-profit volta allo sviluppo e alla promozione di progetti di arte contemporanea, che fa parte di un network internazionale di organizzazioni e associazioni indipendenti. Nel corso degli anni 1:1projects ha istituito un archivio di artisti italiani e internazionali e un programma di laboratori, seminari, incontri e mostre miranti alla costruzione di uno spazio di ricerca aperto a forme di dialogo interdisciplinare, incoraggiando pratiche artistiche emergenti e impegnandosi nella sensibilizzazione verso l’arte e la cultura contemporanee.

Le MACRO est le musée de la Ville de Rome dédié à l’art contemporain. L’inauguration du nouveau projet architectural d’Odile Decq a permis de réaffirmer la vocation du MACRO à promouvoir l’art contemporain national et international, en construisant une mosaïque expressive de différents langages. Au fil des années, le musée a organisé d’importantes expositions d’artistes italiens et étrangers, devenant un point de référence, non seulement dans le paysage culturel de la ville de Rome, mais également à l’international. A partir d’un programme d’expositions riche et diversifié, le MACRO se positionne comme un centre de production artistique et de recherche sur le contemporain. Cette identité se structure autour de la nécessité de prendre en compte le rôle de l’artiste, au cœur des activités qui constituent le MACRO.

Images:
1. MACRO Museo d’Arte Contemporanea Roma. Photo: Luigi Filetici – ODBC
2. 1:1archive. Photo: Giorgio Benni

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Maison des Arts Georges Pompidou CAC (Cajarc)

 

Piano – alto!
June 2014 – Summer 2015

Maison des Arts Georges Pompidou CAC (Cajarc)
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Maison des Arts Georges Pompidou CAC (Cajarc)

Direction:
Martine Michard

Contacts:
134, avenue Germain Canet – BP 24, 46160 Cajarc
telephone +33 (0)5 65 40 78 19
e-mail contact@magp.fr
website www.magp.fr

Info:
open Wednesday-Sunday 2-6 pm
July-August open Tuesday-Sunday 10 am-1 pm/2-6 pm

The Maison des Arts Georges Pompidou CAC – MAGP (an association under the Law of 1901) incorporates both the Center for contemporary art in Cajarc and the center for international artists’ residencies, the Maisons Daura in Saint-Cirq Lapopie.
Founded in 1989, the MAGP takes the name of President Pompidou, a very cultural man and great admirer of the artists of his generation, who was also counselor in Cajarc, village of only 1,200 inhabitants, between 1965 and 1971.
The shared mission of the contemporary art center and residencies is to support and promote new trends in art. Our determination to exchange pleasure and puzzlement with the public is based on the strength of the artists’ vision and their ability to multiply the possibilities of what it means to ‘make sense’. For us that necessitates a range of choices and requires an open-mindedness that we hope our visitors will share.
The contemporary art centerpresents a program committed to Cajarc and beyond. Its rural location does not exclude or limit any programming possibilities. The program combines eclecticism and exigency in an attempt to make sense of the contemporary world in light of its problems. Dedicated to the discovery of both emerging and established artists, the contemporary art center produces new works, organizes meetings, conferences, performances, publishes books and other printed works. The effort required by the viewing public echoes that of the artist reflecting the implementation of their approach and attitude or formatting generated by their work. However, programming is accompanied by a number of actions of mediation that are designed to facilitate access to the works, in order to assert the work of the artist, their immersion in the contemporary world and offer visitors the rule of actor rather than consumer of art. The opening of eyes, the shifting vision, the movement of borders, decrypting and re-imagining the world around us.
Eight to fifteen artists of all disciplines come to the Maisons Dauraeach year. The vast, newly renovated architectural complex offers living and work spaces for six artists simultaneously.
From around the world, here they experiment with new projects. Their works most often echo their perception of the unique environment of a site that has become a major tourist spot in the region.
Each summer, the Contemporary art circuit in the Lot valley offers artists visibility in the heart of this rich heritage, and offers public enjoyment of artistic discoveries always cast in new light.
All programs are possible thanks to a dynamic of local and global partnerships and exchanges.
MAGP / art center and residences are involved in the Air Midi – contemporary art network Midi-Pyrénées.

France Valliccioni, Le Beau Projet

2. France Valliccioni, Le Beau Projet

Project: Piano – alto!

La Maison des Arts Georges Pompidou / MAGP coniuga le missioni di un centro d’arte contemporanea a Cajarc con quelle delle residenze internazionali d’artisti – le Maisons Daura, a Saint-Cirq Lapopie. Le linee programmatiche associano l’eclettismo all’esigenza, per meglio affrontare le problematiche del mondo contemporaneo.
Dedicato alla scoperta degli artisti, sia emergenti sia affermati, il centro d’arte contemporanea produce opere nuove, accompagnando contemporaneamente il pubblico attraverso azioni specifiche di mediazione. Le residenze offrono spazi di vita e di lavoro agli artisti venuti dal mondo intero per sperimentare qui nuovi progetti. Le loro opere, che echeggiano spesso la loro percezione dell’ambiente eccezionale di questo sito, diventato ormai una meta turistica imprescindibile della regione, vengono presentate ogni estate lungo il percorso d’arte contemporanea nella valle del Lot.

La Maison des Arts Georges Pompidou / MAGP (association loi 1901) combine les missions d’un centre d’art contemporain à Cajarc et celles de résidences internationales d’artistes, les Maisons Daura à Saint-Cirq Lapopie.
Créée en 1989, l’association porte le nom du Président Georges Pompidou, homme de culture et grand défenseur de l’art contemporain qui fut conseiller municipal à Cajarc (1200 habitants) de 1965 à 1971.
La MAGP a pour mission le soutien et la promotion des tendances nouvelles de l’art. Notre volonté d’échanger plaisirs et interrogations avec le public se fonde sur la force du regard des artistes et leur capacité à augmenter les possibilités de faire sens. Cela implique une nécessaire pluralité des choix et une ouverture d’esprit que nous cherchons à partager avec nos visiteurs.
Le centre d’art contemporain conventionnéprésente un programme engagé à Cajarc et hors les murs. Sa situation en milieu rural n’exclut aucune possibilité de programmation. Les axes de programmation allient éclectisme et exigence pour faire sens au regard des problématiques du monde contemporain. Dédiée à la découverte des artistes émergents et confirmés, le centre d’art contemporain produit des œuvres nouvelles, organise des rencontres, conférences, performances, édite des livres et des multiples. L’effort demandé au public fait écho à celui opéré par les artistes pour la réflexion, la mise en œuvre de leur démarche et l’attitude ou la mise en forme générés par leur travail. Cependant, la programmation est accompagnée d’un certain nombre d’actions de médiation qui ont pour but de faciliter l’accès aux œuvres afin de faire valoir le travail des artistes, leur immersion dans le monde contemporain et de proposer au visiteur une attitude d’acteur plutôt que de consommateur de l’art. Il s’agit d’ouvrir le regard, de décaler la vision, de faire bouger les frontières pour décrypter et rêver le monde.
Huit à quinze artistes de toutes disciplines viennent en résidences chaque année auxMaisons Daura. Le vaste ensemble architectural récemment rénové, offre des espaces de vie et de travail pour six artistes en simultané. Venus du monde entier, ils expérimentent ici de nouveaux projets. Leurs œuvres font le plus souvent écho à leur perception de l’environnement exceptionnel de ce site devenu un spot touristique incontournable dans la région.
Chaque été, le Parcours d’art contemporain en vallée du Lot offre aux artistes une visibilité au cœur de ce riche patrimoine, et au public le plaisir de découvertes artistiques toujours renouvelées.
L’ensemble des programmes s’inscrivent dans une dynamique d’échanges et de partenariats complices avec d’autres structures et d’autres géographies.
La MAGP / centre d’art et résidences participe à Air de Midi – réseau art contemporain Midi-Pyrénées.

Images:
1. Olivier Nottellet, Du vent dans les cordes. Photo: © Nelly Blaya, 2006. Courtesy of the artist
2. France Valliccioni, Le Beau Projet, pour Water Walk, contemporary art trail in the Lot valley. Photo: © Nelly Blaya, 2010. Courtesy of the artist

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Centre d’art contemporain d’Ivry – le Crédac (Ivry-sur-Seine)

 

The Registry of Promise
12 September – 21 December 2014

Centre d’art contemporain d’Ivry – le Crédac (Ivry-sur-Seine)
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Centre d’art contemporain d’Ivry – le Crédac (Ivry-sur-Seine)

Direction:
Claire Le Restif

Contacts:
La Manufacture des Œillets, 25/29 rue Raspail, 94200 Ivry-sur-Seine
telephone +33 (0)1 49 60 25 06
e-mail contact@credac.fr
website www.credac.fr

Info:
open Tuesday-Friday 2-6 pm, Saturday-Sunday 2-7 pm

 

The contemporary art center – le Crédac is located in Ivry, at the south of Paris, a townreachable by metro.
Le Crédac was created in 1987, emerging from the strong cultural policy of the city council, as well as the general movement of the creation of non-profit, publically-funded art centers and regional funds of contemporary art everywhere in France during the eighties.
We produce 4 shows every year. Our exhibition program concentrates on the presentation of emerging to well established French and international artists. Claire Le Restif is the director and curator since 2003.
Renown for its willingness to prepare the ground and give a chance to young artists, le Crédac combines a demanding curating policy with a constant search for proximity to the public. Our exhibitions and conferences programs intend to involve all generations of artists and thinkers.
The Public Outreach Department is the core of le Crédac’s activity. Our education programs aim to make the public’s contact with art easier, however broad and varied that audience is. For us, the important thing is to facilitate the public’s encounter, a sensitive, meaningful one, with the works of art, while promoting a dialogue with artists and mediators. Always different, adapted to each exhibition, a whole range of guided visits, encounters, in-studio activities, information sheets and education booklets await both groups and individual visitors, younger to elderly people, every day at le Crédac.
Since September 2011, le Crédac is located in the Manufacture des Œillets, an old industrial complex, representative of the rational industrial architecture of the first third of the 20th century. Our venue comprises 3 exhibition rooms (around 450 square meters), a production space (100 square meters), a studio dedicated to educational programs, conferences and workshops (85 square meters).
By inviting artists to work with this space, the Manufacture is being returned to its initial activity as a production facility. The venue will be home to artists’ work spaces for creating, developing and producing art; spaces for various audiences for artmaking, experimentation, thinking about art, and spaces for discussion and reflection in the course of workshops, debates and talks. There are many artists today for whom the historical or formal power of an exhibition venue and the memory of a certain physical place are indeed decisive. In such circumstances artworks act like open questions, sounding out the resonance of a venue and reviving its mystery.

6. Lara Almarcegui, Ivry souterrain

2. Lara Almarcegui, Ivry souterrain, 2013

5. Boris Achour,

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

Project: The Registry of Promise

 

Il Centre d’art Contemporain d’Ivry – le Crédac ha come attività principale il sostegno alla creazione, alla ricerca, alla diffusione e la mediazione dell’arte contemporanea. Ben radicato nel territorio che lo circonda, il centro sviluppa anche una programmazione rivolta all’ambito internazionale, inserendosi così in reti professionali più ampie. Scopo del centro e la concezione, la produzione, la coproduzione e la presentazione regolare di opere significative della produzione contemporanea all’interno di luoghi dedicati. Favorisce l’emergere di artisti e di pratiche innovative nell’ambito espositivo. Le mostre possono essere monografiche o collettive, avere un carattere sperimentale ma anche classico o storico.
Il Crédac concepisce e sviluppa azioni di formazione e mediazione destinate a facilitare l’avvicinamento del pubblico all’arte contemporanea. La sua missione consiste in un’opera di sensibilizzazione che si realizza attraverso la programmazione regolare: laboratori, conferenze, incontri pubblici con gli artisti e pubblicazioni, che facilitano l’accesso ai riferimenti storici ed estetici da cui si sviluppa l’arte contemporanea.

 

Le Centre d’art contemporain d’Ivry le Crédac est un lieu d’expositions, de production et d’expérimentation dévolu à la création artistique contemporaine.
Nos missions sont d’accompagner artistes français et étrangers dans leurs projets et de permettre une rencontre sensible entre le public et les œuvres. Le Crédac propose ainsi des activités et des outils favorisant l’écoute et le dialogue. Des événements ouverts à tous les publics sont organisés pour chaque exposition.
Le Centre d’art contemporain d’Ivry le Crédac a été créé en 1987. Il est implanté depuis 2011 à la Manufacture des Œillets, fleuron du patrimoine industriel ivryen. Ce bâtiment de brique et d’acier, construit en 1913 sur le modèle américain de la Daylight Factory, aux formes claires et modernes évocatrices de l’école de Chicago et du Bauhaus, est un des premiers exemples du fonctionnalisme en France.
La Manufacture est ainsi, d’une certaine manière, rendue à son activité initiale d’atelier de production : ateliers de création, de mûrissement et de production pour les artistes (100 m2); ateliers de pratiques artistiques, d’expérimentation et documentation en libre consultation pour les différents publics (85 m2); moments de discussion et de réflexion lors de workshops, de rencontres et de débats.

Images:
1.  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
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. 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

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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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LE QUARTIER CAC (QUIMPER)

 

Alfred Jarry Archipelago

LE QUARTIER CAC (QUIMPER)
en - fr

LE QUARTIER CAC (QUIMPER)

Direction:
Keren Detton

Contacts:
10 esplanade François Mitterrand, 29000 Quimper
telephone +33 (0)2 98 55 55 77
e-mail contact@le-quartier.net
website www.le-quartier.net

Info:
October-May: open Tuesday-Saturday 1-6 pm
July-September: open Tuesday-Saturday 10 am-12 pm and 1-6 pm
Sunday and holidays open 2-6 pm
Closed on Mondays, January 1st, May 1st, November 1st, November 11th, and December 25th 

Project room

2. Project room

Founded in 1990, Le Quartier is housed in the former army barracks in the Tour d’Auvergne. The building, which dates from 1874, is also home to the Quimper School of Art. A flagship for contemporary art in Brittany, Le Quartier functions both as a production hub for artists and a focal point for communication with the public. As a centre for exploration and experimentation, it provides concrete assistance with the creation of new works. Le Quartier’s activities revolve around three annual exhibitions. Keeping a close eye on developments in the work of established artists and the emergence of new trends, the art centre maintains a broad generational span while working in both national and international contexts. Accompanied by screenings, talks and discussions aimed at sharing and exchanging ideas and experiences, the exhibitions are also backed up by publications.
Le Quartier is run by a non-profit association. It receives funding from the City of Quimper, the Ministry of Culture and Communications, the Brittany Region Cultural Affairs Office (DRAC), the Finistère departement and the Brittany Region.

Librairie

3. Library

Espace enfant

4. Educational space

Fondé en 1990, Le Quartier agit à la fois comme un pôle de production pour les artistes et comme un lieu de diffusion auprès des publics. Attentif à l’émergence de formes nouvelles comme aux développements récents des pratiques d’artistes confirmés, le centre d’art privilégie la production d’œuvres nouvelles et les approches croisant les disciplines. Une dizaine d’expositions sont programmées annuellement : trois expositions s’inscrivent dans un temps de recherche et de production au long cours, tandis que le Project Room agit en expérimentant matières, formes, idées, récits. Inscrit dans une dynamique internationale, Le Quartier crée du lien dans un contexte local et invite des commissaires d’exposition, des historiens, des philosophes, des conteurs à porter leurs regards sur des œuvres. Les expositions sont également prolongées par des publications aux formats renouvelés.
Le Quartier est une association et reçoit le soutien de la Ville de Quimper, de la DRAC Bretagne, du Conseil Général du Finistère et de la Région Bretagne.

Project: Alfred Jarry Archipelago

01 Sorcie¦Çres

5. Exhibition view L’Heure des Sorcières

02 Ariella Azoulay

6. Exhibition view Général Bordure

03 Carey Young

7. Exhibition view Carey Young: Let the World Speak for Itself

04 Abstraction manifeste

8. Exhibition view Abstraction manifeste

05 Pierre Labat

9. Exhibition view Armer les toboggans

Project: Alfred Jarry Archipelago

Images:
1. Façade. © Le Quartier
2. Project room. © Le Quartier
3. Library. © Le Quartier
4. Educational space. © Le Quartier
5. Richard John Jones & Max Allen, Develop Your Legitimate Strangeness, 2014; Bruce Lacey, Awakening of the Earth Goddess, Rougham, 1982; exhibition view, L’Heure des Sorcières, Le Quartier, 2014. Photo © Dieter Kik
6. Ariella Azoulay, Histoire potentielle, 2012; exhibition view Général Bordure, Le Quartier, 2013-2014. Photo © Dieter Kik
7. Carey Young, Terminal Velocity, 2010; Memento Park, 2010; exhibition view Carey Young: Let the World speak for Itself, Le Quartier, 2013. Photo © Dieter Kik
8. Exhibition view Abstraction manifeste, Le Quartier, 2013. Photo © Dieter Kik
9. Pierre Labat, Mr. Anderson, 2012; exhibition view Armer les toboggans, Le Quartier, 2012. Photo © Dieter Kik

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Careof DOCVA (Milan)

 

Piano – alto!
June 2014 - Summer 2015

Careof DOCVA (Milan)
en - it - fr

Careof DOCVA (Milan)

Direction:
Chiara Agnello

Contacts:
Via Procaccini 4, 20154 Milan
telephone +39 02 33 15 800
e-mail careof@careof.org
website www.careof.org
www.fdvresidencyprogram.org

Info:
open Monday-Friday, 11 am-7 pm. Saturday by appointment

 

Careof is an Italian non-profit organization for the promotion of contemporary artistic research. It includes people that firmly believe in the value of art as a resource that has the capacity to develop new concepts and promote knowledge. With passion, Careof encourages cultural experimentation in all forms, with particular attention paid to young artists. Developing a dense teaching and exhibition program, documentation services on visual arts and residences for young creative artists, the organization is also an intermediary between artists, curators, critics and a non-specialized public.

Careof – The history

1987: The organization is founded in Cusano Milanino in 1987 based on a project by Mario Gorni and Zefferina Castoldi. The guidelines for the organization’s activity are: promotion of artistic research, cataloguing and conservation of contemporary art materials (artists’ portfolios, photos, videos, books and catalogues) and giving the public the possibility to consult the acquired resources.
1995: Careof starts a long-lasting relationship with the City of Milan (Comune di Milano) for the management of contemporary arts services for youth.
2006: An important goal is met when Careof is included by the Ministero per i Beni e le Attività Culturali among the nationally relevant Historical Archives.
2008: Careof inaugurates its new space at the Fabbrica del Vapore in Milan with 150 square meters of office and gallery space. On this particular occasion, and from the collaboration, started in 1995, between Careof and Viafarini, DOCVA Documentation Center for Visual Arts is born. Thanks to funding by the Fondazione Cariplo educational activities are noticeably increased.
2011: Careof curates FDV_Residency Program, a new project for artist residences at the Fabbrica del Vapore.

Today, Careof is:

> A production center. Careof promotes emerging artists through exhibitions, projects, events, video screenings, workshops and conferences. In twenty years of activity more than 300 exhibitions, both solo and group shows have been organized, providing space to new experimentations and creating a dialogue between the Italian and international art scene.

> A documentation center. Archiving, conservation and circulation of contemporary art materials are among Careof’s main focuses. The resources collected since the 1970’s to the present – photos, works of video art, video documentations, catalogues, specialized publications, artist’s portfolios – are available to the public today at DOCVA Documentation Center for Visual Arts, where materials from the Library, Artist Archive, Video Archive and Databank Artbox are gathered.

> An educational center. With the aim of promoting knowledge around contemporary art, Careof organizes workshops, conferences, meetings and the presentation of new publications and projects. Study courses and educational activities for different age groups in collaboration with schools, colleges and academies are also organized. Careof regularly welcomes interns.

> A center for international relations. The residency program for artists FDV Residency promotes cultural and international exchanges, dialogue with and between the public and the territory. It hasaninterdisciplinary nature and is open to young professionals working in the fields of visual arts, design, architecture, photography, music, performance and dance. By offering studio space in Milan for a long period of time, the project highlights the importance of research, ideation and creation in different cultural fields. The structure includes six studios.

Careof’s FDV Residency Program, 2011

2. Careof’s FDV Residency Program, 2011

Davide Savorani, Green Room, 2011

3. Davide Savorani, Green Room, 2011

Project: Piano – alto!

 

Careof è un’organizzazione non-profit italiana per la promozione della ricerca artistica contemporanea. Con passione incoraggia la sperimentazione culturale in tutte le sue forme, in particolare il lavoro dei giovani artisti. Sviluppando un ricco programma espositivo e didattico, servizi di documentazione sulle arti visive e un centro di residenze per creativi, l’organizzazione si pone come interlocutore privilegiato fra artisti, curatori, critici e pubblico non specializzato.

Careof – La storia

1987: Careof nasce nel 1987 a Cusano Milanino da un progetto di Mario Gorni e Zefferina Castoldi. Le linee guida su cui si basa l’attività dell’organizzazione sono: promuovere la ricerca artistica, catalogare e conservare i materiali d’arte contemporanea (portfolio d’artista, fotografie, video, libri e cataloghi), offrire al pubblico la consultazione del patrimonio acquisito.
1995: Inizia il rapporto con il Comune di Milano per la gestione di servizi sull’arte contemporanea per giovani.
2006: Un importante traguardo è raggiunto nel 2006, quando il Ministero per i Beni e le Attività Culturali inserisce Careof tra gli Archivi Storici di rilevanza nazionale.
2008: Nel 2008 Careof inaugura la nuova sede alla Fabbrica del Vapore di Milano con uffici e uno spazio espositivo di 150 m2In tale occasione – dalla collaborazione fra Careof e Viafarini, iniziata nel 1995 – nasce il DOCVA Documentation Center for Visual Arts. Grazie alla vincita di un bando della Fondazione Cariplo vengono notevolmente incrementate le attività didattiche.
2011: Careof cura il nuovo progetto di residenze alla Fabbrica del Vapore, FDV_Residency Program.

Oggi, Careof si propone come:

> Un centro di produzione. Careof promuove artisti emergenti attraverso mostre, progetti, eventi, videoscreening, workshop, conferenze.
In vent’anni d’attività ha organizzato e prodotto oltre 300 mostre, fra personali e collettive, dando spazio a nuove sperimentazioni e creando un dialogo strutturato fra realtà italiana e panorama internazionale.

> Un centro di documentazione. Archiviare, conservare e diffondere i materiali d’arte contemporanea è fra le vocazioni principali di Careof.
Il patrimonio raccolto dagli anni ’70 a oggi – fotografie, video d’artista, video documentazioni, cataloghi, riviste specializzate, portfolio d’artista – è consultabile presso il DOCVA Documentation Center for Visual Arts, dove sono riuniti i materiali della Biblioteca, dell’Archivio Artisti, dell’Archivio Video e della Banca Dati ArtBox.

> Un centro di formazione. Al fine di promuovere la conoscenza dell’arte contemporanea Careof organizza workshop, conferenze, incontri e presentazioni di pubblicazioni e nuovi progetti; organizza inoltre corsi di approfondimento e attività didattiche per differenti fasce d’età in collaborazione con scuole, università e accademie. Careof accoglie regolarmente studenti in stage.

> Un centro di scambi internazionali. Il programma di residenze per creativi, FDV_Residency Program, promuove la cultura e gli scambi internazionali, il dialogo con il territorio e il pubblico. Ha natura interdisciplinare ed è aperto a professionisti provenienti dalle arti visive, dal design, dall’architettura, dalla fotografia, dalla musica, dalla performance e dalla danza. Offrendo uno studio a Milano per un tempo prolungato, il progetto evidenzia l’importanza del processo di ricerca, ideazione e creazione nei molteplici campi culturali. La struttura dispone di sei studi.

 

Careof est une organisation à but non lucratif qui œuvre pour la promotion de la recherche artistique contemporaine à Milan depuis 1987. Careof encourage avec passion l’expérimentation culturelle sous toutes ses formes, en particulier le travail des jeunes artistes. Careof se positionne comme un interlocuteur privilégié pour les artistes, curateurs, critiques et un large public, à travers un programme complet d’expositions et de médiation, un service de documentation sur les arts visuels organisé par le DOCVA et un programme de résidences de créateurs ‘FDV Residency program’.
Centré sur la recherche vidéo, Careof a accumulé un patrimoine important, centre névralgique de la plupart des activités organisées. La base de données en ligne ‘Archiviovideo.it’ rassemble plus de 6 000 oeuvres d’artistes, ainsi que la documentation réunie par DOCVA.
Careof, DOCVA et FDV Residency se situent dans la Fabbrica del Vapore (usine à vapeur) de Milan, témoignant du travail d’archéologie industrielle mené par 13 laboratoires réunis au sein du FDVLab.

Images:
1.Careof’s new space, Fabbrica del Vapore, 2008. Photo: Andrea Astesiano (for Maxdesign)
2. Careof’s FDV Residency Program, 2011
3. Davide Savorani, Green Room, 2011

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AR/GE KUNST GALERIE MUSEUM (BOLZANO)

 

Exercizing Doubt: Exhibition As Research

AR/GE KUNST GALERIE MUSEUM (BOLZANO)
en - it

AR/GE KUNST GALERIE MUSEUM (BOLZANO)

Direction:
Emanuele Guidi

Contacts:
Via Museo 29, 39100 Bolzano
telephone +39 0471 971 601
e-mail info@argekunst.it
website www.argekunst.it

Info:
Open Tuesday-Friday 10 am-1 pm and 3-7 pm, Saturday 10 am-1 pm
Free entry

2. Exhibition view, invernomuto, I-Ration

2. Exhibition view, Invernomuto, I-Ration

Founded in 1985 with the ambition of presenting emerging trends in regional, national and international contemporary art to the local audience, ar/ge kunst Galerie Museum is the Kunstverein of Bolzano. The main field of interest of the institution lies in producing and presenting to the public new projects by those artists whose work demonstrates a specific cultural awareness in terms of research and innovation. The working method of ar/ge kunst Galerie Museum is based on sustaining a critical reflection on current developments in the contemporary art scene, by emphazising the relevance of the role of artists within the construction of a present and future social dimension. The continuous emphasis on promotion and activities undertaken by the Kunstverein is intended to increase the interest of both members and visitors for areas of experimentation within contemporary art, as well as to stimulate openness and confidence towards the complexity of art in all its various manifestations.
As Kunstverein ar/ge kunst is founded on the contributions and support of its members who by their participation gain the possibility to closely follow and supervise the artistic association and all its activities. All activities are also realized thanks to the support of the Autonomous Province of Bolzano and of the Foundation Südtiroler Sparkasse.

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

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

Fondato nel 1985 con l’ambizione di presentare le emergenze dell’arte contemporanea regionale, nazionale e internazionale al pubblico locale, l’ar/ge kunst Galleria Museo è il Kunstverein di Bolzano. L’interesse primario dell’istituzione è dato dall’attività di produzione e presentazione di nuovi progetti di artisti la cui prassi abbia una precisa consapevolezza culturale in termini di ricerca e innovazione. Lo stile di lavoro dell’ar/ge kunst Galleria Museo è incentrato sulla volontà di tenere attiva una riflessione critica sugli sviluppi dell’arte contemporanea, evidenziando la rilevanza del ruolo degli artisti nella costruzione della dimensione sociale presente e futura. La continua attività di mediazione messa in atto dal Kunstverein è indirizzata ad accrescere l’interesse dei suoi membri e visitatori per la sperimentazione in arte contemporanea, stimolando apertura e fiducia verso la complessità dell’arte in tutte le sue manifestazioni.
ar/ge kunst in quanto Kunstverein si fonda sul contributo e il sostegno dei suoi membri che tramite la loro partecipazione hanno la possibilità di accompagnare da vicino il Kunstverein in tutte le sue attività. Tutte le attività avvengono grazie al sostegno della Provincia Autonoma di Bolzano e della Fondazione Cassa di Risparmio.

Images:
1. ar/ge Kunst space
2. Exhibition view, Invernomuto, I-Ration, 2014.
3. Exhibition view, Falk Pisano/Archive Books. Constellation of One and Many, 2014
Photos: Ivo Corrà

Project: Exercizing Doubt: On Exhibition As Research

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Parc Saint Léger (Pougues-les-Eaux)

 

The Registry of Promise
14 June – 14 September 2014

Parc Saint Léger (Pougues-les-Eaux)
en - it - fr

Parc Saint Léger (Pougues-les-Eaux)

Direction:
Sandra Patron

Contacts:
avenue Conti, 58320 Pougues-les-Eaux
telephone +33 (0)3 86 90 96 60
e-mail contact@parcsaintleger.fr
website www.parcsaintleger.fr

Info:
open Tuesday-Sunday 3-7 pm

 

The Parc Saint Léger is a contemporary art center at the forefront of creation. A lively, experimental and convivial place, it spearheads exciting projects for artists and the public, developing a dialogue between the art world and the local area, through training and awareness programs.
The art center is located in the heart of a park, two hours from Paris, on the site of the former thermal spa of Pougues-les-Eaux. The premises dates from the 19th century and it was renovated in 1998 to accommodate the exhibition space, offices and artists’ accommodation. The 460 square meter exhibition space, split into two levels, is situated in the former bottling factory. In the reception area, there is a documentation center, with a collection of 5,000 books that are available for consultation on site, and a sales outlet for the Parc Saint Léger’s publications and co-publications.
On site, the art center holds monographic or collective exhibitions, along with talks and events, which allow the public access to national and international arts news. In addition, it reinforces its action among artists through its residency programs – Résidences Secondaires and La Grande Ourse – as well as the production of works and publications of books and artists’ catalogues.
Maintaining a constant dialogue with the local area and its stakeholders, the art center also develops a decentralized focus for the whole Nièvre department, known as Parc Saint Léger Hors les Murs. This program involves the production of works, exhibitions or events, which are always created through discussions with its host partners: museums, heritage sites, educational institutions, social welfare centers, associations and so on. In this context, it is a question of providing artists with places for experimentation and, in terms of the public, providing encounters with contemporary art in environments that are sometimes isolated from cultural practices.
The public service department of the Parc Saint Léger accompanies all of the exhibitions by devising events and mediation tools that are appropriate for all audiences. Through a varied activities program (tours, talks, conferences, workshops, etc.), the public service department guides different audiences in a sensitive approach to the works and fosters an understanding of the concerns and problematics of contemporary creation.
The Parc Saint Léger has been able to use its location within a rural area to best advantage, by promoting its position as a reactive laboratory that is fully committed to the artists and the public. Under the stewardship of Sandra Patron since 2007, the Parc Saint Léger now has a solid foothold within contemporary art networks both in France and abroad, and has had a decisive impact on its local area through a wide range of partnerships and awareness-raising actions.

Gabriel Kuri, bottled water branded water. Installation view

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

Simon Starling, THEREHERETHENTHERE (la Source). Installation view

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

Project: The Registry of Promise

 

Immerso nel verde di un parco a due ore da Parigi, il centro d’arte e allestito all’interno dell’antica stazione termale di Pougues-les-Eaux. Il centro d’arte programma in loco mostre monografiche o collettive, abbinate a incontri ed eventi che permettono al pubblico di avvicinarsi all’attualità artistica nazionale e internazionale. Il centro rafforza inoltre la propria azione nei confronti degli artisti accogliendoli in qualità di residenti – attraverso i programmi Résidences secondaires e La Grande Ourse –, con la produzione di opere e l’edizione di libri e di cataloghi d’artista. In un dialogo costante col territorio e i vari attori che lo animano, il centro d’arte sviluppa un’azione decentralizzata su tutta la provincia della Nièvre con il Parc Saint Léger-Hors les murs. Questo programma può assumere varie forme – produzione di opere, mostre o eventi – in un’ottica costante di scambio con i vari partner che lo accolgono, come musei, luoghi legati al patrimonio, edifici scolastici, centri sociali e associazioni.
Il Parc Saint Léger ha saputo trarre vantaggio dal suo insediamento in una zona rurale ponendosi come laboratorio reattivo, totalmente impegnato nei confronti degli artisti e del pubblico.

 

Situé au cœur d’un parc de verdure à deux heures de Paris, le centre d’art est implanté dans l’ancienne station thermale de Pougues-les-Eaux, dont les locaux datant du XIXème siècle ont été réhabilités en 1998 pour accueillir l’espace d’exposition, les bureaux et les logements pour les artistes. L’espace d’exposition de 460 m2, répartis sur deux niveaux, est situé dans l’ancienne usine d’embouteillage. À l’accueil se trouvent un centre de documentation, avec un fond de 5000 ouvrages consultables sur place, et un espace de vente des éditions et coéditions du Parc Saint Léger. In situ, le centre d’art programme des expositions monographiques ou collectives, combinées à des rencontres et des événements, qui permettent au public d’accéder à l’actualité artistique nationale et internationale. Par ailleurs, il renforce son action auprès des artistes par l’accueil en résidence – programmes Résidences secondaires et La Grande Ourse, la production d’œuvres et l’édition de livres et de catalogues d’artistes.
En dialogue constant avec le territoire et ses acteurs, le centre d’art développe une action décentralisée sur tout le département de la Nièvre : le Parc Saint Léger-Hors les murs. Ce programme peut prendre la forme de productions d’œuvres, d’expositions ou encore d’événements, toujours construit dans un échange avec les partenaires qui l’accueillent : musées, lieux patrimoniaux, établissements scolaires, centres sociaux, associations… Par ce contexte, il s’agit de proposer aux artistes des espaces d’expérimentation et au public d’aller à la rencontre de l’art contemporain dans des environnements parfois isolés des pratiques culturelles.
Le service des publics du Parc Saint Léger accompagne l’ensemble des expositions par la conception d’événements et d’outils de médiation adaptés à chaque public. Grâce à  un programme d’activités variées (visites, rencontres, conférences, ateliers…), le service des publics accompagne les publics dans une approche sensible des œuvres et favorise l’appréhension des enjeux et problématiques de la création contemporaine.
Le Parc Saint Léger a su tirer profit de son implantation en zone rurale en se positionnant comme un laboratoire réactif, pleinement engagé auprès des artistes et des publics. Dirigé depuis 2007 par Sandra Patron, le Parc Saint Léger est aujourd’hui définitivement ancré dans les réseaux de l’art contemporain français et internationaux et a maillé son territoire local par la multiplication et la diversification des partenariats et des actions de sensibilisation.

Images:
1. © Aurélien Mole / Parc Saint Léger
2. Gabriel Kuri, bottled water branded water, exhibition view, 2013. © Aurélien Mole / Parc Saint Léger
3. Simon Starling, THEREHERETHENTHERE (la Source), exhibition view, 2009. © Aurélien Mole / 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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CAC DE LA FERME DU BUISSON (NOISIEL)

 

Alfred Jarry Archipelago

CAC DE LA FERME DU BUISSON (NOISIEL)
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CAC DE LA FERME DU BUISSON (NOISIEL)

Direction:
Julie Pellegrin

Contacts:
Allée de la Ferme – Noisiel, 77448 Marne-la-Vallée cedex 2
telephone +33 (0)1 64 62 77 00
e-mail contact@lafermedubuisson.com
website www.lafermedubuisson.com

Info:
Open Wednesday-Sunday 2-7.30 pm
Until 9 pm on performance nights

2. CAC de la Ferme du Buisson, work by Gianni Motti

2. CAC de la Ferme du Buisson, work by Gianni Motti

Located on an exceptional site, La Ferme du Buisson is a national cultural centre of international reach. This 19th Century “model-farm” features an art centre, a theatre, a cinema and a concert hall, all enabling in an exemplary manner the permeability between disciplines. The art centre has for over 20 years been an active producer, diffuser and publisher. Insisting on emerging or rarely seen artists in France, it is a reference for performance, pluridisciplinarity and experimentation on exhibition formats, focused on a dialogue between visual arts and other fields. Under the direction of Julie Pellegrin, the centre aims to seize every opportunity 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, etc.) The art scene is viewed as being part and parcel of the wider social, political and cultural context. Solo and group exhibitions mix with publications, talks and performances. The programme focuses on new or rarely seen talent in France, and on the significance of processes and experimentation in the performative dimension of art.

3. CAC de la Ferme du Buisson, work by Lois Weinberger

3. CAC de la Ferme du Buisson, work by Lois Weinberger

Implantée sur un site exceptionnel, La Ferme du Buisson est un centre culturel pluridisciplinaire d’envergure nationale et internationale. Ancienne « ferme-modèle » du XIXe siècle, elle concentre aujourd’hui un centre d’art, six salles de spectacles, un cinéma et une salle de concert, favorisant de manière exemplaire le décloisonnement des disciplines.
Le Centre d’art contemporain est engagé depuis vingt ans dans un soutien actif à la création à travers un travail de production, de diffusion et d’édition. Mettant l’accent sur les artistes émergents ou peu représentés en France, il s’est spécialisé sur les questions de performance, de pluridisciplinarité et d’expérimentation autour des formats d’exposition. Sous la direction de Julie Pellegrin depuis huit ans, la programmation s’attache à faire dialoguer l’art contemporain avec d’autres disciplines artistiques (en particulier le théâtre et la danse) ou avec les sciences sociales (économie, philosophie, anthropologie…). Concevant la scène artistique comme partie intégrante de la scène sociale, politique et culturelle, elle mêle expositions monographiques et collectives, publications, discussions et performances. Résolument prospective, cette programmation repose sur une conception performative de l’art qui met à l’honneur processus et expérimentation.

4. Mathieu Kleyebe Abonnenc, Orphelins de Fanon, 2011

4. Mathieu Kleyebe Abonnenc, Orphelins de Fanon, 2011

5. Mathieu Kleyebe Abonnenc, Orphelins de Fanon, 2011

5. Mathieu Kleyebe Abonnenc, Orphelins de Fanon, 2011

6. Mai Thu Perret, La Fée idéologie, 2014

6. Mai Thu Perret, La Fée idéologie, 2014

Images:
1. CAC de la Ferme du Buisson, work by Gustav Metzger. Photo: © Aurélien Mole
2. CAC de la Ferme du Buisson, work by Gianni Motti. Photo: © Céline Bertin
3. CAC de la Ferme du Buisson, work by Lois Weinberger. Photo: © Aurélien Mole
4-5. Mathieu Kleyebe Abonnenc, Orphelins de Fanon, exhibition view, La Ferme du Buisson, 2011. Photo: © Aurélien Mole
6. Mai Thu Perret, La Fée idéologie, exhibition view, The Yvonne Rainer Project: Lives of Performers, La Ferme du Buisson, 2014. Photo: © Emile Oroumov

Project: Alfred Jarry Archipelago

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CAC LA SYNAGOGUE DE DELME (DELME)

 

October – December 2015
The Book Society #02

CAC LA SYNAGOGUE DE DELME (DELME)
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CAC LA SYNAGOGUE DE DELME (DELME)

Direction:
Marie Cozette

Contacts:
33 rue Poincaré, 57 590 Delme
telephone +33 (0)3 87 01 43 42
e-mail info@cac-synagoguededelme.org
website www.cac-synagoguedelme.org

Info:
Open Wednesday-Saturday 2-6 pm, Sunday 11 am-6 pm

2. Gue(ho)st House

2. Gue(ho)st House

The Delme Contemporary Art Centre boasts the special feature of being located in an old Synagogue, built in the late 19th century in an orientally-inclined style. It was blown up during the Second World War, then rebuilt along more austere lines.
With a peristyle, raised platform, first-floor balcony and dome, the Synagogue is an atypical space, well removed from the neutrality of the white cube. The harmonious proportions, alternating arcades and right angles together with the great variety of viewpoints and outstanding light quality are just some of its architectural features. Since 1993, the art centre has set art and artists at the hub of its activities, encouraging the production of works. Artists are invited to develop specific projects for the Synagogue. Over and above the invitation to exhibit works, the program also involves developing areas of research, where the artist’s praxis comes up against this specific venue.

3. Exhibition view, Michel Blazy, La marge d'erreur

3. Exhibition view, La marge d’erreur

Thus, since 1993, many artists have gradually constructed the identity of this place, at the same time as they have established its renown. Among these artists, let us mention François Morellet, Daniel Buren, Tadashi Kawamata, Ann Veronica Janssens, Peter Downsbrough, Marc Camille Chaimowicz, Katinka Bock, Gianni Motti, Yona Friedman, Eric Baudelaire, Chloé Maillet and Louise Hervé, Erik Beltran, Marie Cool and Fabio Balducci, Susan Hiller, Clément Rodzielski, Peter Friedl…

4.  Erick Beltran, La part abyssale

4. Erick Beltrán, La part abyssale

Throughout its turbulent history, which has seen the centre proceed from a cultural function to its present artistic role, the Synagogue has been an open, collective place ever since it was built. This “elsewhere” that is defined by its architecture is also the grist of its artistic project, lending a keen ear to the international art scene. Its openness to other European countries is likewise bolstered by its special location, just three hours from Basel, Paris, Brussels and Cologne, and not far from the borders of Germany and Luxembourg, and major urban centres such as Metz, Nancy, Luxembourg, Strasbourg and Saarbrücken.

5. Exhibition view, Christian Hidaka, Meeting House

5. Exhibition view, Christian Hidaka, Meeting House

The Delme Synagogue has managed to make the most of its smallish size and its rural site by assuming the position of a laboratory that is once reactive, fully committed to artists, and eager to set up a real dialogue with all the different audiences it attracts, based on a hands-on logic.
Inaugurated on 22 September 2012, Gue(ho)st House is an architecture-sculpture made out of an existing building. It offers new visitor reception spaces dedicated to mediation and documentation, and allows everyone to prolong their visit to the exhibitions at the art centre.

6. Exhibition view, Susan Hiller, Channels

6. Exhibition view, Susan Hiller, Channels

7. Exhibition view, Schizophonia

7. Exhibition view, Schizophonia

Le centre d’art contemporain de Delme est situé dans une ancienne synagogue, construite à la fin du XIXe siècle dans un style orientalisant. Sa coupole, son entrée à arcades, ornée de motifs réticulés, ses fenêtres aux vitraux géométriques ne sont pas les moindres de ses particularités.
Pendant la seconde guerre mondiale, la synagogue est en partie détruite. Les murs extérieurs subsistent, mais l’intérieur sera reconstruit après-guerre selon des lignes plus strictes. Au début des années ’80, la synagogue est fermée définitivement en tant que lieu de culte, faute d’un nombre suffisamment élevé de pratiquants. La première exposition à la synagogue a lieu en 1993. Depuis plus de quinze ans, de nombreux artistes se sont succédés dans ce centre d’art atypique.
C’est aux artistes qu’il doit son identité et son rayonnement, sur la scène locale mais aussi internationale : François Morellet, Daniel Buren, Tadashi Kawamata, Ann Veronica Janssens, Peter Downsbrough, Marc Camille Chaimowicz, Katinka Bock, Gianni Motti, Yona Friedman, Eric Baudelaire, Chloé Maillet et Louise Hervé, Erik Beltran, Marie Cool and Fabio Balducci, Susan Hiller, Clément Rodzielski, Peter Friedl…
Tous ont porté un regard singulier sur ce lieu par la production d’œuvres in situ.
Outre les trois à quatre expositions temporaires organisées chaque année dans l’ancienne synagogue de Delme, le centre d’art gère un programme de résidences d’artistes dans le Parc naturel régional de Lorraine, au sein du village de Lindre-Basse.
De dimension modeste, située au cœur de la Lorraine et dans une zone rurale, la synagogue de Delme s’est toujours positionnée comme un laboratoire, un lieu de production et de recherche pour les artistes. Le centre d’art reste soucieux d’établir un réel dialogue avec tous les publics qu’il accueille, dans une logique de proximité.
Inaugurée en 2012, Gue(ho)st House est une sculpture-architecture des artistes Berdaguer et Péjus, réalisée à partir d’un bâtiment existant. Elle offre de nouveaux espaces d’accueil des publics, dédiées à la médiation et à la documentation, et permet à tous de prolonger la visite des expositions au centre d’art.

Images:
1. Centre d’art contemporain – la synagogue de Delme
2. Berdaguer & Péjus, Gue(ho)st House, Centre d’art contemporain – la synagogue de Delme, 2012. © Adagp Paris 2012
3. Exhibition view, La marge d’erreur, work by Michel Blazy, Centre d’art contemporain – la synagogue de Delme, 2008
4. Exhibition view, Erick Beltrán. La part abyssale, Centre d’art contemporain – la synagogue de Delme, 2012
5. Exhibition view, Christian Hidaka. Meeting House, Centre d’art contemporain – la synagogue de Delm, 2013
6. Exhibition view, Susan Hiller. Channels, Centre d’art contemporain – la synagogue de Delme, 2013
7. Exhibition view, Schizophonia, work by Latifa Echakhch, Resolutions, Centre d’art contemporain – la synagogue de Delme, 2013
Photos © OHDancy

Project: The Book Society #02

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CAC Brétigny (Brétigny-sur-Orge)

Direction:
Pierre Bal-Blanc

Contacts:
Rue Henri Douard, 91220 Brétigny-sur-Orge
telephone +33 (0)1 60 85 20 76
e-mail info@cacbretigny.com
website www.cacbretigny.com

Info:
Free entry, open Tuesday-Friday 2-6 pm, Saturday according to exhibition program 2-6 pm and by appointment

 

The CAC Brétigny is a contemporary art center situated in the southern suburbs of Paris. The revised and redeveloped mission of the art center places artistic creation and education at the forefront of its main activities of production, exhibition, and documentation. At the same time, a continual process of evolution is emphasized as the basis of the center’s program.
Parallel to the exhibition program, the CAC Brétigny commissioned artists to develop collaborative, creative, and educational projects that facilitate the center’s social contact with the surrounding neighborhood. A significant number of art and educational works and displays commissioned by CAC Brétigny are now permanently or alternatively installed at the center as part of the Phalanstère Project.
As a kind of archaeological gesture, we have named our project Phalanstère in order to recall the time when the Left ran the administration in Brétigny. At the CAC, the curatorial method inspired by Fourier’s phalanstery aims to both reconfigure the institutional boundaries dividing the time of production from the time of reception andto recover the consecrated (and, perhaps, even confiscated) professional and public spaces in favor of a new reading of the past and present cultural and political environment.
Begun in 2003, the permanent Phalanstère Project is an experimental program that consists in producing works that participate, over an extended period of time, in the running and architecture of the center. The project aims to break the discontinuity brought about by the phenomenon of the “white cube” in introducing continuity into the commissioning of permanent works. Dissociated from the cumulative and indexical method of a collection, the project generates ongoing connections between the temporary exhibitions, its strata progressively articulating the center’s interior and exterior spaces.

Not
a summation
a collection
a family

but
a composition
an ensemble
a multitude

Phalanstère Project can be understood as an experimental architectural program based on the immanent character of artistic creation, via a series of works created specifically for the site, that exceed the duration of a temporary exhibition. As such, it encourages the organic development of a creative and experimental space that benefits its users.
The center is certified by the French Ministry of Culture and Communication, and receives funding from the DRAC Ile-de-France, the Région Ile-de-France, the Conseil Général de l’Essonne, the municipality of Brétigny-sur-Orge, and the Communauté d’agglomération du Val d’Orge.
CAC Brétigny is a part of different network comprising the visual art structure and non-profit associations Tram, d.c.a, Cluster, Corpus.

7. IMG_1208

2. Matthieu Saladin, Opinions, 2013

 

Il CAC Brétigny, centro d’arte di Brétigny, è uno spazio d’arte contemporanea sito alla periferia di Parigi. La definizione e lo sviluppo delle sue missioni hanno influenzato le funzioni dei suoi spazi destinati alla produzione, alle mostre e alla documentazione, in un movimento di perpetua evoluzione. Parallelamente alla programmazione delle mostre, le collaborazioni con gli artisti hanno continuato a produrre nuovi progetti quali mezzi di creazione e di educazione, agevolando le relazioni sociali tra il centro d’arte e i luoghi che lo circondano. Un numero importante di opere realizzate per il centro d’arte e organizzate intorno all’idea del “Falansterio” sono esposte in permanenza o in alternanza.
Al CAC Brétigny, la metodologia curatoriale ispirata al “Falansterio” di Fourier si traduce in una riconfigurazione delle frontiere istituzionali messa in atto nell’intersecarsi della doppia temporalità della produzione e dell’accoglienza; in una riconquista degli spazi professionali e pubblici consacrati (e forse confiscati) per una nuova lettura dell’ambiente culturale e politico passato e presente.

Le CAC Brétigny, centre d’art de Brétigny, est un lieu d’art contemporain situé dans la banlieue parisienne. La définition et le développement de ses missions ont influencé les fonctions de ses espaces dévolus à la production, l’exposition et la documentation, tout en étant dans un mouvement de perpétuelle évolution. Parallèlement à la programmation d’expositions, des collaborations avec des artistes ont continué de produire de nouveaux projets en tant que moyens de création et d’éducation, facilitant les relations sociales entre le centre d’art et les environs. Un nombre important d’œuvres réalisées pour le centre d’art et organisées autour de l’idée de « Phalanstère » sont visibles de manière permanente ou alternée.
Au CAC Brétigny, la méthodologie curatoriale inspirée par le Phalanstère de Fourier se traduit par une reconfiguration des frontières institutionnelles ayant lieu au croisement de la double temporalité de la production et de la réception ; en une reconquête des espaces professionnels et publics consacrés (et peut-être confisqués) en faveur d’une nouvelle lecture de l’environnement culturel et politique passé et présent.
En développement depuis 2003, le permanent « Projet Phalanstère » consiste à produire des œuvres qui participent, sur une durée étendue, dans le programme architectural et fonctionnel. Ce projet vise à défaire la discontinuité produite par le phénomène du « white cube » via l’introduction d’une continuité au travers d’œuvres permanentes. Ces dernières se dissocient de la méthode cumulative et indexée d’une collection et génèrent des connexions aux expositions temporaires, stratifiant des significations tout en articulant progressivement les espaces intérieurs et extérieurs du lieu.

Non pas
une sommation
une collection
une famille

Mais
une composition
un ensemble
une multitude

La contribution constructive et concrète au développement physique et social du centre d’art par l’installation à long terme des œuvres est associée avec la contribution d’artistes invités à participer dans une présentation temporaire d’objets ou projets dans les expositions. Le projet « Phalanstère » est un programme architectural expérimental basé sur l’immanence de la création d’une série d’œuvres qui émergent du programme curatorial régulier. Pourtant, ces œuvres sont développées spécifiquement pour le site et excédent la durée de leur exposition temporaire. En tant que telles, elles favorisent le développement – dans une progression organique – d’un espace créatif et expérimental qui profite à ses visiteurs et usagers.
Le CAC Brétigny est un équipement de la Communauté d’agglomération du Val d’Orge, labellisé par le Ministère de la Culture et de la Communication. Il reçoit le soutien de la DRAC Ile-de-France, de la Région Ile-de-France, du Conseil Général de l’Essonne, de la Ville de Brétigny et de la Communauté d’agglomération du Val d’Orge.
Le CAC Brétigny anime et fait partie des réseaux Tram, d.c.a, Cluster, Corpus.

Images:
1. Christodoulos Panayiotou, Untitled, 2012, colour-layered glass, 173 x 148 cm. Production CAC Brétigny, 2012. Exhibition Christodoulos Panayiotou. L’achat du cuivre, 13 May – 28 July 2012 / Christodoulos Panayiotou. Rapporter le monde au monde, 1 July – 28 July 2012, CAC Brétigny. Photo: Steeve Beckouet
2. Matthieu Saladin, Opinions, 2013. This book contains fifty surveys since the turn of the century by the leading French opinion poll (BVA, CSA, FIFG, TNS Sofres, etc.), affecting both economic and political issues as social and cultural. Co-published with editions Uncertain Sens, distributed by Les presses du réel. Exhibition Matthieu Saladin. There’s A Riot Goin’ On, 2013-2014. Photo: Steeve Beckouet

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Vincent Honoré in conversation with Pierre Bal-Blanc, CAC Brétigny

Pierre Bal-Blanc is director of the CAC Brétigny, an exemplary center for the arts, both for the commitment shown toward artists and for its program of atypical productions and exchanges. A space that continually re-elaborates the notions of a program, an exhibition, a collection… 

06. Fosse13

1. Teresa Margolles, Fosse commune (Fosa Comùn), 2005

Vincent Honoré The purpose of this conversation is to speak about a program and its underlying dynamics. The idea is also to explain what a space is, a center of art… and what having a place means. These are the points I have been interested in addressing, from when I started working in another space for the Foundation, in London, and at amoment in which I re-elaborate my program and turn to my previous experiments – in London, as elsewhere.

Pierre Bal-Blanc The latest program – in which there was a true reflection upon the nature of a program and upon the question of programming – is titled L’Escorte (2011). It is quite symbolic, even symptomatic, of a set of projects that, conducted separately and each having its own development, in the end crystallize, thus constituting the evidence of the program itself. My world of work is essentially this: I follow various paths, which seem to be dictated a priori by the institution, but which are also related to recurrent research in the general program and that eventually begin to work together. L’Escorte developed in this way. I have always tried to work following very advanced processes, deep and long-lasting, and simultaneously to establish visibility in extremely short time frames. That is, I do not define a program a year in advance, I often decide at the last minute, based on common programs with other centers of art, in order to be sure that things succeed in standing out by themselves. This is possible in a structure in which the constraints are not too rigid; it is a freedom from which I can benefit, given that Brétigny has an atmosphere sympathetic to what is developing there and also because the space, by nature, allows one to escape pre-establishedrules of press kits prepared six months in advance, of press relations built up with great anticipation, etc. I immediately realized what was needed: reactivity and relevance to contents that directly echo actual interests, without delays. The program of which I am speaking is an example. Its title, L’Escorte, has a double meaning: on the one hand it means a guided escort, one that guides the public or is a figure that mediates and protects; on the other hand it implies a commercialization of the body, a prostitution, that once had an uglier name. This also offers a new perspective on projects of recent years – such as La Monnaie Vivante (2010), focused on the reification of the body, or The Death of the Audience, centered on the notion of the group, of community, as statute. L’Escorte constitutes a sort of conclusion of the year on the two ideas, here taken up by other artists.

V.H. The Death of the Audience was exhibited in 2009, in Vienna.

P.B.B. At Secession. But the question of the gregariousness of the group, of the collective, is an issue that repeatedly comes up in my projects in Brétigny.

V.H. Do you have complete freedom of programming?

P.B.B. Yes. From this point of view I have no obligations besides relations with the local population, an educational mission through the national education system, at all levels, from nursery school through to university. Brétigny is a public service, and I am part of the administration.

Emilie Parendeau, A LOUER # 7, 2011, Jiří Kovanda, Untitled, 2008, Lawrence Weiner, En morceaux, 1971, exhibition view from L’Escorte, CAC Brétigny, 2011

2. Exhibition view from L’Escorte, CAC Brétigny, 2011

exhibition view from L’Escorte, CAC Brétigny, 2011

3. Exhibition view from L’Escorte, CAC Brétigny, 2011

V.H. It is interesting to associate The Death of the Audience, an external project, by an independent curator, with the program of Brétigny.

P.B.B. Yes. In truth, I have always presented myself as a ‘dependent’ curator, in the sense that one is always, in one way or another, dependent on a surrounding environment. Calling oneself an independent curator is a slightly elegant way to think of oneself as being free when, in fact, one is not.

V.H. CAC is a rather unique place. How old is it?

P.B.B. It was founded in the 1990s, but not as an art center. Work related to the visual arts had been going on there since the 1970s. In truth, there is a history of the visual arts in Île-de-France which begins in the 1970s, the ‘couronne rouge’ [the red crown]: the Communists were a majority in the region of the banlieue and there were initiatives in Brétigny, at that time, with projects often more advanced than in Paris. In Paris there were very few things, which then evolved in a progressive manner; the projects began in the outskirts, of which Brétigny was one. Then, the mayor of Brétigny, a lover of arts, constructed a building designed to bring together various cultural activities, including the visual arts. These were headed until 2000 by the previous director, Xavier Franceschi, with choices aimed at a French environment and the new generation, but also at an international atmosphere, with projects of Maurizio Cattelan and Carsten Höller, who produced notable works which again represented points of reference. In 2000, the space was recognized as a center of the arts in France, and was given government support which made architectural extensions possible. I arrived in 2003, upon the completion of this foundation’s work. I had a knowledge of the place from various actions, such as those of Cattelan; his work consisted in reproducing the roof of an eleventh-century church located behind CAC, and placing it on the postmodern (or late-modern) building of the Center. It is a work done in relief, for its manner of establishing itself in the surrounding environment, that I would like to ask him to redo. Another work is that commissioned to Atelier Van Lieshout: a structure, annexed to the facade, that provides an anthropomorphic space, conceived for a walking body inside a limited space, with various possible uses, a coffee machine, equipment to watch videos and read books… A structure conceived as a piece of furniture, which it is possible to move. These actions were a kind of draft of what it was possible to create in this space. The space itself was small, rather difficult, very complicated. From this point of departure, I sent out a series of invitations. The first went to Van Lieshout. The circumstances themselves were rather unusual. I, newly arrived, was inviting an artist who had already been here, invited by the previous director. A curious thing, a sort of reissue, but at the same time, a way to place myself in the act of becoming, that would have allowed me to pursue the construction of the place. Thus, I called Van Lieshout to build Edutainer (2003), a space made up of two containers and a tank, in front of the art center; one space that was missing, a place of mediation, for the artists and the staff, a space in which the staff, artists, and public meet. It is a symbolic space, because it is situated outside the building. The idea was to come out of the structure and create an intersection between the internal and the external. This space has been operational for more than eight years. It is unique, it has containers and seems an active construction site, but on the inside there is an environmentof wood, welcoming and comfortable. The container is symbolic of the circulation of goods, but also of knowledge. After this many other works followed, which have since been installed, even if in an unsystematic manner: there is no principle of systematic order. The choices are tied rather to the relevance of the works, which in the context of a temporary exhibition can become in situ. The work remains when it succeeds in standing out per se. Teresa Margolles requested permission to break up the floor in order to reset it with a preexisting tread, a smooth cement floor, realized with water recuperated from Mexican morgues. She also realized a table and some benches outside. It was an important action, a work of movement that projects us into a different geopolitical context, that puts us in contact with a new reality and at the same time with a new dimension, through the meeting of creation and destruction. The work is called Fosse commune (2005) and was a prolific source of inspiration for subsequent artists. However much it is a real work, it remains very discreet visually, so much so as to also be a conceptual and symbolic work: if one doesn’t ask about it, one doesn’t see it. In my choices I have always tried to balance and weigh the presence (of the work) and the space to leave to the next artist. These works must not be invasive, but rather must inspire. But their density is such that more and more they open the way to exchanges, plans, and negotiations. The latest work is more present than the others, I have to see how to arrange it with Daniel Buren.

Alexandra Bachzetsis, A Piece Danced Alone (version exposition), 2011

4. Alexandra Bachzetsis, A Piece Danced Alone (version exposition), 2011

V.H. Is Buren’s work a permanent one?

P.B.B. Truthfully, no work is permanent. After my experience with David Lamelas, I understood that in a public space some works can have a long duration, times that can be negotiated, but one cannot accept the responsibility for perpetuity. I have neither the power nor the assignment to do so, since the art center does not possess a collection. Even if I try to experiment with a collection, I do it with a different idea than what a collection is, in itself: not something that appears, accumulates, and then disappears, but rather something that generates action, that remains – or doesn’t – according to the suitability of a long duration. It is a kind of attempt at a new typology of museums. I can perfectly imagine a place that comes to be built progressively, little by little, artists working one after another, without following a principle of permanence, but rather something in perpetual change, like an organism. This is a concept which also comes up in my conversations with François Roche, close to his way of conceiving architecture, a principle of immanence capable of generating a situation. In this case, I attempted the experiment. There is something very concentrated and sophisticated in the current situation, many works that are being combined, that can appear or disappear according to the needs of exhibitions. Among other things, I would like to create a method capable, perhaps, of reducing the volume of Daniel Buren’s work, a sort of scaling down.

V.H. This is a recent work; it first appeared at the exhibition of Christopher D’Arcangelo, this year.

P.B.B. Yes. D’Arcangelo, among others, was an opportunity for me to present a model which has often inspired me, 84 West Broadway, where a version of this work of Buren’s had already been presented. In 1978 Christopher D’Arcangelo and Peter Nadin gave life to a project in Nadin’s loft, 30 Days Work, a work that consisted of restoring a space as an exhibition space. 30 Days Work then became a catalog of all the materials used and a description of the labor times that the two dedicated to the operation. It was a series of actions, executed successively in various spaces in New York. Afterwards, they followed a principle of cumulative interventions. The first artist was Daniel Buren, with a work titled Following and To Be Followed (1978) which reflected the spirit of the exhibition. Such a principle of programming constitutes a model for what I intend to create: every artist must enter into a cumulative process with other subsequent artists. I have other models too, such as Felix Gonzalez-Torres, with Every Week There Is Something Different (1991), his exhibition by Andrea Rosen, which functioned according to a very similar criterion: every week a new work was added to what was previously presented, or else substituted it. In Brétigny every work, like that of David Lamelas, a 1967 installation which I asked him to reproduce, participates in the reflection that I carry out in the space. Lamelas placed two 16mm projectors side by side: the first projects an image into the exhibition space, while the second projects a light towards the outside, through an opening. To transmit the light, Lamelas created a nine-meter-long corridor that functioned as an immersive camera. This corridor was presented and placed as an intervention in a rather intrusive area, as it cut off the route that normally ran along the art center, creating a kind of detour. After the exhibition, it became the entrance to the space, acting as a screen. The general project by David Lamelas was titled L’Effet Ecran (2004). It remained in place for four years until the authorities asked us to tear it down. Evenfor this, the art center’s project is interesting, in the sense that it is constantly being subjected to negotiations with the authorities over works conceived to be permanent, as also over legal aspects that govern our activities. The demolition was rather traumatic, but it also permitted us to enter into a dialog in a deeper manner and establish a relationship with the authorities for future projects. The conflict was intense and the demolition of the work was an important act, a sacrifice for the recognition of the activities of the place. Consequently, it did not stop our development. The subsequent programming was done in such a way as to make our various activities more comprehensible to the outside, and to make it easier to proceed with other interventions, which have been better received.

V.H. There are the floor of Teresa Margolles, the bench of Roman Ondák…

P.B.B. There is a work by Jens Haaning, a recently installed neon light, a frieze by Daniel Buren, an opera composed this year by Matthieu Saladin: a sonorous work whose score is generated directly by the Paris Stock Exchange and its variations. We are also reflecting, with Dominique Mathieu, designer and resident at the art center, on the daily needs of the place.

V.H. And the graphic artists Vier5…

P.B.B. Vier5 have been here from the beginning and we are continuing to work with them on communication and signs, which we renew with every exhibition.

08._MG_9783 (2)

5. Exhibition view from The Death of the Audience, Secession, Wien, 2009

07. _MG_9775

6. Exhibition view from The Death of the Audience, Secession, Wien, 2009

02

7. Atelier van Lieshout, The Edutainer, 2003

01

8. David Lamelas, Projection, 2004

V.H. What is the substance of the Art Center of Brétigny? Time? Volume?

P.B.B. I think that these are interwoven concepts, and I always consider one with respect to the other. We are on the inside of something that has its origin in articulation. The substance, therefore, is the combination of these notions. It is also the experience of marginality, considering this phenomenon of living at the edges of an otherwise extremely centralized region. We experience marginality with respect to Paris, as well as to other more dominant cultural fields. The substance is the re-imagining of those limits and parameters that we are normally subjected to. How can we give life to something which doesn’t exist elsewhere, because it is only found in a particular region? Unfortunately, numerous spaces rework certain forms instead of rethinking them. In Brétigny, motivation and energy are favored precisely by our relationship with a state of permanent inadequacy. And I think that the existence of similar initiatives, where they are not expected, is essential.

(article published on CURA. No. 10, Winter 2012)

Space: CAC Brétigny
Protagonists: Pierre Bal-Blanc

 

 

Pierre Bal-Blanc est le directeur du CAC Brétigny, un centre d’art exemplaire dans son engagement auprès des artistes et son programme de productions et d’échanges atypiques. Un lieu qui ne cesse de reformuler les questions de programme, d’exposition, de collection…

Vincent Honoré L’idée de cette conversation c’est de parler d’un programme et des dynamiques qui le sous-tendent. C’est aussi d’essayer de définir ce que peut être un espace, un centre d’art… Qu’est-ce que ça veut dire d’avoir un lieu ? Ce sont ces questions qui m’intéressent, au moment où je travaille sur un autre espace pour la Fondation à Londres, au moment où je refonds mon programme et reviens sur les expériences que j’ai menées à Londres et ailleurs.

Pierre Bal-Blanc Le dernier programme – ici il y a vraiment une réflexion sur ce qu’est le programme, sur la question de la programmation – s’appelle L’Escorte (2011). Il est assez emblématique, voire symptomatique, d’un ensemble de projets qui sont menés séparément et qui, dans un développement propre à chacun, finissent par se cristalliser et devenir l’évidence d’un programme. C’est un peu comme ça que je travaille : je mène différentes pistes qui a priori semblent très intuitives, cependant liées à des recherches récurrentes dans le programme, qui à un certain moment s’agencent ensemble. L’Escorte s’est construit de cette manière. J’ai toujours essayé au maximum de travailler sur des processus très en avance, approfondis et longs sur la durée, et en même temps de déterminer leur visibilité dans un temps très court. C’est-à-dire que je ne fais pas de programme un an en avance, je décide presque à la dernière minute, selon des programmes communs avec d’autres centres d’art, pour m’assurer que les choses s’imposent d’elles-mêmes. C’est possible dans une structure qui n’a pas de contraintes trop fortes. C’est une liberté dont je profite parce que Brétigny est soumis à un environnement en phase avec ce qui se passe, et parce que l’échelle de l’espace me permet d’échapper au protocole établi du dossier de presse préparé six mois en avance, de relations presse construites très en amont, etc. J’ai très tôt pris conscience que ce qu’il fallait, c’était être dans une réactivité et une pertinence sur des contenus qui sont en résonnance directe avec les enjeux actuels, en évitant les décalages. C’est l’exemple de ce programme. Son titre, L’Escorte, a un double sens: il est lié à l’escorte dans le sens d’une escorte qui se dirige, qui escorte le public, l’escorte en tant que figure du médiateur, du passeur, qui protège, encadre mais cache aussi une commercialisation du corps, camoufle une prostitution auparavant nommée de façon plus crue. Ça remet en perspective des projets que j’ai pu mener ces dernières années comme La Monnaie Vivante (2010), qui se focalisait sur la réification du corps, et The Death Of The Audience,qui s’intéressait au groupe, à la question de la communauté dans son statut. L’Escorte est comme une conclusion de l’année sur ces deux notions qui ont été abordées, qui sont réabordées ici avec d’autres artistes.

V.H. The Death of the Audience a eu lieu en 2009 à Vienne.

P.B.B. À la Secession. Mais la question de la grégarité du groupe est récurrente dans mes projets à Brétigny, la problématique de la collectivité.

V.H. Tu as totale liberté de programmation ?

P.B.B. Oui. Sur ce point, je n’ai que des contraintes de relations aux populations du territoire, des missions d’éducation à travers l’éducation nationale, tous les différents niveaux de la maternelle à l’université. Brétigny est un service public, je suis dans une administration.

V.H. C’est intéressant de lier The Death of the Audience, un projet extérieur de commissariat indépendant, au programme de Brétigny.

P.B.B. Oui, en fait je me suis toujours présenté comme un commissaire ‘dépendant’, dans le sens où on dépend toujours, quoi qu’il en soit, d’un environnement. La question du commissaire indépendant est un peu une forme élégante de penser qu’on est libre alors qu’on ne l’est pas.

V.H. Le CAC est un lieu assez particulier, il existe depuis quand ?

P.B.B. Il est né dans les années 90, mais pas en tant que centre d’art. Il y a une activité d’art plastique qui s’est installée dans ce bâtiment qui remonte aux années 70. En fait, c’est une histoire des arts plastiques en Île-de-France qui a débuté dans les années 70, la couronne rouge : les communistes étaient majoritaires dans la grande couronne et il y a eu des initiatives à ce moment à Brétigny, avec des projets souvent plus avancés qu’à Paris. À Paris, il y avait très peu de choses, tout a évolué très progressivement, c’est la banlieue qui a d’abord initié des projets, dont Brétigny. Ensuite le maire de Brétigny, qui était amateur d’art plastique, a fait construire un bâtiment culturel réunissant différentes activités : il a voulu y inscrire l’art plastique. Cette activité s’est développée jusqu’en 2000 avec le précédent directeur, Xavier Franceschi, avec des choix très ciblés sur la scène française et sa nouvelle génération, mais aussi internationale avec des projets de Maurizio Cattelan et Carsten Höller, qui ont fait des pièces remarquables, pour moi des signes à suivre. En 2000, le lieu a été reconnu comme un centre d’art conventionné en France, avec un soutien d’état qui a permis l’extension de l’architecture. Je suis arrivé en 2003, une fois que ce travail de fondation avait été effectué. J’avais une lecture de ce lieu avec ces actions emblématiques, dont Maurizio Cattelan, sa pièce qui consistait à reproduire le toit d’une église du XI siècle, qui se trouve derrière le centre d’art, et de le positionner sur le bâtiment postmoderne ou moderne tardif du centre. Une pièce remarquable dans son inscription dans l’environnement, que j’aimerai beaucoup lui proposer de refaire. Une autre pièce est une commande à l’atelier Van Lieshout d’une annexe qui vient se greffer sur la façade, qui offre un espace anthropomorphique puisqu’il est conçu pour un corps qui se déplace dans un minimum d’espace, avec des usages variés, avec une machine à café, un équipement de consultation de vidéos et de livres… C’est une structure comme un meuble qu’on peut déplacer. Ces actions étaient comme une esquisse de ce qui pouvait être poursuivi dans ce lieu. Le lieu était aussi très sommaire, c’était un espace assez ingrat, très complexe. A partir de là, j’ai lancé une série d’invitations. La première à Van Lieshout. C’était déjà un acte particulier parce que moi arrivant j’invitais un artiste qui avait déjà été invité par le précédent directeur. C’était assez curieux, comme une espèce de répétition, mais en même temps c’était une façon de me placer dans un devenir qui était là et qui allait me permettre de poursuivre la construction de ce lieu. J’ai donc invité Van Lieshout à construire l’Edutainer (2003), un espace formé par deux containers et une citerne devant le centre d’art, pour créer un espace qui manquait, un lieu pour la médiation, pour les artistes et pour l’équipe, pour créer un espace de croisement entre les équipes, les publics et les artistes. C’est un espace emblématique, car il est à l’extérieur du bâtiment. L’acte c’était de sortir du bâtiment et de créer une intersection entre l’extérieur et l’intérieur. Cet espace fonctionne depuis plus de huit ans. Il est particulier, ce sont des containers, on pense à un chantier en train de se poursuivre, mais à l’intérieur on est dans un espace chaleureux, en bois, confortable. Le container est un emblème de la circulation des biens mais aussi des savoirs. Ont suivis beaucoup d’autres œuvres qui se sont inscrites dans la durée, mais jamais systématiquement : on n’est pas dans un principe de commande systématique. C’est lié à la pertinence de propositions qui dans des expositions temporaires peuvent proposer des œuvres in situ. L’œuvre reste quant elle s’impose d’elle-même. Teresa Margolles a demandé à détruire le sol et à le refondre dans une chape qui fait parti du lieu, un sol lissé en ciment fait avec l’eau récupérée des morgues au Mexique. Elle a aussi réalisé une table et des bancs à l’extérieur. C’est un acte important, une œuvre de déplacement qui nous projette dans un autre contexte géopolitique, nous connecte avec une autre réalité, et en même temps une autre dimension entre la création et la destruction. Cette œuvre s’appelle Fosse Commune (2005). Elle a beaucoup inspirée les artistes qui lui ont succédé. Même si l’œuvre est réelle, elle reste visuellement discrète, elle est autant conceptuelle et symbolique : si on ne se renseigne pas, on ne la voit pas. Dans les choix que j’ai pu faire, j’ai essayé de balancer ou de doser la présence et la place qui est laissée au prochain artiste. Ces œuvres ne doivent pas être intrusives, au contraire elles doivent venir inspirer. Mais la densité des œuvres est telle que de plus en plus ça ouvre à des échanges, des concertations, et des négociations. La dernière œuvre est plus présente que les autres, je dois voir son réglage avec Daniel Buren.

V.H. Buren, c’est une intervention pérenne ?

P.B.B. En fait, il n’y a aucune œuvre pérenne. Suite à l’expérience avec David Lamelas, j’ai compris que dans un lieu public je peux proposer des durées étendues, des durées qui peuvent être reprogrammées, mais je ne peux pas prendre la responsabilité de la pérennité. Je n’en ai ni le pouvoir ni la mission, puisque le centre d’art n’a pas de collection. Si je mène une expérience de la collection, c’est dans une autre idée de ce que peut être la collection : non pas quelque chose qui apparaît, s’accumule et disparaît, mais quelque chose qui génère une activité, qui reste ou pas selon la pertinence des œuvres dans la durée. C’est un peu un essai pour un nouveau genre de musée. Je vois très bien comment on pourrait imaginer un lieu qui se constituerait progressivement à partir d’interventions d’artistes sans pour autant obéir à quelque chose qui serait totalement pérenne, mais quelque chose qui muterait en permanence, comme un organisme. C’est quelque chose qui réapparait dans mes conversations avec François Roche, proche de sa façon de concevoir l’architecture, ce principe d’immanence qui va générer une situation. Ici j’ai essayé de tenter cette expérience. Il y a quelque chose de concentré et de sophistiqué dans la situation actuelle, il y a beaucoup d’œuvres qui s’agencent, qui peuvent apparaitre ou disparaitre selon les expositions. Je veux d’ailleurs proposer une modalité qui pourra éventuellement baisser le volume de l’œuvre de Daniel Buren, une sorte de réglage.

V.H. Cette œuvre est récente, elle est apparue au moment de l’exposition Christopher D’Arcangelo cette année.

P.B.B. Oui. D’Arcangelo était d’ailleurs pour moi l’occasion de présenter un model dont je me suis inspiré : 84 West Broadway, dans lequel une version de cette œuvre de Buren a été présentée. En 1978 Christopher d’Arcangelo et Peter Nadin ont initié un projet dans le loft de Peter Nadin, avec d’abord un 30 Days Work, une pièce qui consiste à restaurer un espace et à le requalifier en espace d’exposition. Le 30 Days Work c’est un listing de tous les matériaux et la description du temps de travail que l’un et l’autre ont consacré à cette réfection. C’est une série qu’ils ont activée à différents endroits à New York. Ensuite, le principe était celui d’interventions cumulatives. Le premier artiste a été Daniel Buren, avec une pièce intitulée Following and To Be Followed (1978) dans l’esprit de cette exposition. Ce principe de programmation est un model par rapport à ce que j’essaie de faire : chaque artiste devait s’inscrire dans quelque chose qui cumulait vers autre chose. Il y a d’autres modèles, celui de Felix Gonzalez-Torres, Every Week There Is Something Different (1991), son exposition à Andrea Rosen, qui fonctionnait sur un principe un peu similaire : une œuvre chaque semaine se cumulait à ce qui était présenté, ou le remplaçait. A Brétigny, chaque œuvre, comme celle de David Lamelas, une oeuvre de 1967 que je lui ai demandé de réinscrire dans le lieu, participe à la réflexion que j’ai sur le lieu. Lamelas a proposé ces deux projecteurs 16mm dos-à-dos : l’un forme une image dans l’espace d’exposition et l’autre projette la lumière vers l’extérieur, au travers d’une ouverture. Pour conduire cette lumière il a proposé un corridor de 9 mètres de long qui devenait le sas d’entrée de l’exposition. Ce corridor a été présenté et posé comme une intervention dans l’espace assez franche, car il coupait le chemin qui longe le centre d’art pour créer comme une déviation. Ce corridor, après l’exposition, devenait l’entrée du centre d’art et a fonctionné comme un écran. Le projet général de David lamelas s’appelait L’Effet Ecran (2004). Il a fonctionné pendant 4 ans jusqu’au jour où les autorités ont demandé sa destruction. C’est là où le projet du centre d’art est aussi intéressant dans le sens où il est soumis à une négociation permanente avec l’autorité, par rapport aux œuvres qui seraient susceptibles de rester, à l’aspect juridique auquel on est soumis, etc. Cette destruction a été assez traumatique mais elle a aussi permis d’entrer dans un dialogue plus étroit et de faire la médiation du projet du centre d’art avec les autorités. La crise a été intense et la destruction de l’œuvre a été un acte fort, un sacrifice au profit d’une reconnaissance des activités du lieu. Elle ne nous a pas arrêtée dans la progression. La programmation a veillé par la suite à ce que les choses soient mieux comprises, et on a continué avec d’autres interventions qui ont été mieux considérées.

V.H. Il y a le sol de Teresa Margolles, le banc de Roman Ondak…

P.B.B. Il y a une œuvre de Jens Haaning, un néon qui a été installé récemment, la frise de Daniel Buren, une œuvre créée cette année par Matthieu Saladin : une œuvre sonore dont la partition est produite en direct par la bourse de Paris et ses variations de la valeur. On mène aussi une réflexion dans la durée avec Dominique Mathieu, un designer en résidence au centre d’art, sur les besoins quotidiens du lieu.

V.H. Et les graphistes Vier5…

P.B.B. Vier5 qui sont là depuis le début et avec qui on travaille sur la communication et la signalétique, que l’on renouvelle pour chaque exposition.

V.H. La matière du centre d’art de Brétigny, c’est quoi ? Le temps ? Le volume ?

P.B.B. Je pense que ces notions sont intriquées, je les considère les unes par rapport aux autres. On est dans quelque chose qui relève d’une articulation. La matière, c’est l’agencement de ces notions. C’est aussi l’expérience de la marge, il y a quand même ce phénomène d’être marginalisé par rapport à un territoire qui est extrêmement centralisé. On est dans une expérience de la marge par rapport à Paris, à la marge aussi par rapport à d’autres champs culturels plus dominants. Toute la matière, c’est la réappropriation des contraintes ou des paramètres que l’on subit normalement. Comment faire naitre quelque chose qui n’existe pas ailleurs parce qu’on est dans un territoire particulier ? Beaucoup de lieux malheureusement reconduisent des formes plutôt que de se les réapproprier. À Brétigny, c’est notre relation à l’inadéquation permanente qui favorise la motivation, l’énergie. Je pense que c’est important que de telles initiatives existent là où on ne les attend pas.

Images:
1. Teresa Margolles, Fosse commune (Fosa Comùn), 2005, water, cement, pigment, resin. Production: CAC Brétigny, 2005. Photo: Marc Domage
2-3. Emilie Parendeau, A LOUER # 7, 2011, Jiří Kovanda, Untitled, 2008, Lawrence Weiner, En
morceaux, 1971, exhibition view from L’Escorte, CAC Brétigny, 2011. Courtesy: CAC Brétigny. Photo: Steeve Beckouet
4. Alexandra Bachzetsis, A Piece Danced Alone (version exposition), 2011, conceived and performed by Alexandra Bachzetsis and Anne Pajunen, exhibition view from L’Escorte at CAC Brétigny, 2011. Courtesy: CAC Brétigny. Photo: Steeve Beckouet
5-6. Exhibition views from The Death of the Audience, Secession, Wien, 2009. Courtesy: Secession, Wien; CAC Brétigny. © Wolfgang Thaler
7. Atelier van Lieshout, The Edutainer, 2003, containers, wood, furniture; Teresa Margolles, Table and two benches – Mesa y dos bancos, 2005, water, cement, pigments, resin. Courtesy: CAC Brétigny
8. David Lamelas, Projection, 2004. Production: CAC Brétigny, 2004 Photo: Marc Domage

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BBB centre d’art (Toulouse)

 

Piano – alto!
June 2014 - Summer 2015

BBB centre d’art (Toulouse)
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BBB centre d’art (Toulouse)

Direction:
Cécile Poblon

Contacts:
96, rue Michel Ange, 31200 Toulouse
telephone + 33 (0)5 61 13 37 14
e-mail contact@lebbb.org
website www.lebbb.org
social networks
facebook
Twitter

Info:
Free entry, open Tuesday-Saturday 2-7 pm

 

Since 1994, the BBB centre d’art organizes exhibitions, events and artistic education programs in the field of contemporary art. It is also a resource platform to support artists and professionals through advisory tools and vocational training.
Exhibitions, residences and education programs take into account the context: the position of both artworks and visitors within the context of philosophical considerations and experimentations.
The BBB centre d’art is based in Toulouse in a 350 square meter former industrial electric reels factory.
The art center supports living artists in the field of plastic and visual arts by producing pieces of art. Our core ambition is to take care of the dissemination and the reception of the artists’ creations towards professionals and amateurs. In its research approach, the BBB centre d’art considers plural and unique forms, mediums and purposes. The artistic direction supports and shares upright, open, and prospective projects that open everyone to the pleasure of reflection.
The BBB centre d’art develops various levels of intervention from local to international levels for the promotion of contemporary creations. It finances new artistic works or significant editions, professional events, artistic exchanges and institutional partnerships.
In order to contributeto the professionalization of the artistic sector, the BBB centre d’art coordinates a resource platform dedicated to artists and cultural professionals to provide them technical advice and vocational training.
The BBB centre d’art cares about having a privileged relation to its visitors. Then it develops an important program of cultural action with other cultural institutions, schools, social and health organizations, private companies and all type of publics. Settled in North Toulouse, France, the art center works in connection with its territory to imagine and animate one of its fundamental dynamics: what would be the art public space?

Educational program at BBB centre d’art

2. Educational program at BBB centre d’art

Project: Piano – alto!

 

 

Stabilito a Tolosa, in una fabbrica dismessa di bobine elettriche industriali, BBB centre d’art accompagna gli artisti contemporanei delle arti plastiche e visive sin dal 1993. Il BBB centre d’art è anche una piattaforma destinata agli artisti e ai professionisti del settore (consulenza, accompagnamento, formazione).

La produzione, la diffusione delle opere e il modo in cui queste vengono recepite da professionisti e amanti dell’arte costituiscono il pane quotidiano, l’ambizione e l’impegno di lungo corso dei nostri mestieri. Pluralità e singolarità delle forme, dei mezzi d’espressione, dei discorsi… La programmazione artistica mette al centro delle sue proposte il problema dei contesti, degli spazi dell’opera e dello spettatore, interrogandosi, ponendosi in una rappresentazione e una messa in prospettiva del nostro tempo – partendo dall’arte, dal mondo. Si tratta per il BBB, testa pensante, spirito libero, di sostenere e di condividere progetti integri, aperti, prospettici, oggetto di piacere e di riflessione. Per la promozione della creazione contemporanea, il centro d’arte lavora su vari livelli di intervento, dal locale all’internazionale: finanziamento di opere nuove o di edizioni significative, eventi professionali o pubblici, scambi artistici e partnership istituzionali.

 

Ouvert depuis 1994, le BBB centre d’art développe un programme d’expositions, d’évènements et d’actions d’éducation artistique et culturelle en art contemporain. Il est également une plateforme ressource pour les artistes et professionnels du secteur (conseil, accompagnement, formation).
Le programme d’expositions, de résidences et de médiations place la question des contextes, des espaces de l’œuvre et des publics au cœur de ses sujets de réflexions et d’expérimentations.
Le BBB centre d’art est implanté à Toulouse dans une ancienne fabrique de bobines électriques industrielles et occupe actuellement un espace d’exposition de 350 m2.
Le BBB centre d’art accompagne des artistes contemporains dans le domaine des arts plastiques et visuels. La production, la diffusion des œuvres et les conditions de leur réception auprès des professionnels et des amateurs sont le quotidien, l’ambition et le travail au long court de nos métiers. Pluralité et singularité des formes, des médiums, des discours… Il s’agit aujourd’hui pour le BBB, tête chercheuse, esprit libre, de soutenir et de partager des projets intègres, ouverts, prospectifs, objets de plaisir et de réflexion, avec chacun d’entre vous.
Pour la promotion de la création contemporaine, le centre d’art a plusieurs niveaux d’interventions, du local à l’international : financement d’œuvres nouvelles ou d’éditions significatives, évènements professionnels ou publics, échanges artistiques et de partenariats institutionnels.
Pour la structuration professionnelle du secteur des arts plastiques et visuels, le BBB anime une plateforme ressource dédiée aux artistes et aux acteurs culturels : appui technique, conseil, formation.
Pour une relation privilégiée au public, le BBB développe un important programme d’action culturelle avec les secteurs culturels, éducatifs, sociaux, de la santé, entrepreneuriaux et tout visiteur. Implanté au Nord de la ville de Toulouse, le centre d’art y conçoit des projets originaux animés d’une dynamique fondamentale : quel serait l’espace public de l’art ?

Images:
1. Sven’t Jolle, Blue Collar, 2007-2010, polyester, 50 x 200 x 110 cm. ExhibitionSven’t Jolle in the frame of the project A comme Anaconda of the Festival International d’Art de Toulouse
2. Educational program at BBB centre d’art

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VIAFARINI DOCVA (MILAN)

 

Double Cross, from Both Sides of a Mountain

VIAFARINI DOCVA (MILAN)
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VIAFARINI DOCVA (MILAN)

Direction:
President and administrative director Patrizia Brusarosco
Artistic director Simone Frangi

Contacts:
Fabbrica del Vapore, Via Procaccini 4, 20154 Milano
telephone +39 02 45471153
e-mail viafarini@viafarini.org
website www.viafarini.org

Info:
Open Monday-Friday 3-7 pm

2. Viafarini-in-residence space. Exhibition view Valentin Carron

2. Viafarini-in-residence space. Exhibition view, Valentin Carron

Viafarini is a creative incubator and a hub for visual arts located at Fabbrica del Vapore, collaborating with other renowned organizations in Milan, in Italy and abroad. Viafarini has been founded in 1991 as non profit organization for contemporary art, when this concept was new to Italy.
Nowadays Viafarini is renovating its mission: starting from the idea of a creative incubator aiming at the professional training of emerging artists within the art system, it is shifting toward the idea of an agency for the creation of networks of collaboration between artistic research, private commission, entrepreneurship and the social environment. Viafarini’s know-how about documentation, art consultancy, production, residency, education, communication and exhibition services are put at disposal for interdisciplinary collaboration projects. The benefits guaranteed by this innovative approach reverberates not only on the single artist’s career, but on the society itself.
Thanks to this hybrid, participative and multidisciplinary approach Viafarini innovates its cultural offer in order to understand the implications of the great change under way: from an artistic as well as social, political and anthropological point of view.
Viafarini Bureau is a spin-off of Viafarini. Bureau is a platform open to art professionals and entrepreneurs for the development of synergies between different contexts: the artistic and creative field on one side, the business and productive milieu on the other, as well as the civil society. Bureau is available to its customers the information and liaisons with the most relevant art scene, in order to affirm the role of the artists as social innovator.

3. DOCVA space. Exhibition view, Academy Awards

3. DOCVA space. Exhibition view, Academy Awards

Viafarini è incubatore creativo e hub per le arti visive, attivo a Milano alla Fabbrica del Vapore in rete con altre organizzazioni d’eccellenza a Milano, in Italia e all’estero. Viafarini è stato fondato nel 1991 come organizzazione non profit per la promozione della ricerca artistica, con una gestione basata sulla collaborazione con enti pubblici e privati, quando tale concetto era nuovo per l’Italia.
Oggi Viafarini ha rinnovato la propria mission: da incubatore creativo per formare artisti per il sistema dell’arte, si allarga a osservatorio e agenzia finalizzata alla creazione di reti di collaborazione tra ricerca artistica, committenza privata e società civile. Il know how maturato da Viafarini, in termini di servizi di documentazione, consulenza agli artisti, produzione, residenza, formazione, comunicazione ed esposizione viene messo oggi a disposizione per collaborazioni interdisciplinari. I benefici garantiti da questo approccio innovativo non si fermano alla realtà professionale del singolo artista, ma a cascata si riversano sulla società nel suo complesso. Grazie a questo approccio ibrido, partecipativo e multidisciplinare Viafarini innova l’offerta culturale per leggere la portata dei cambiamenti in atto: dal punto di vista artistico certo ma anche sociale, politico, antropologico.
Il programma Viafarini Bureau è uno spin-off di Viafarini. Bureau si rivolge ai professionisti dell’arte e al mondo dell’impresa sviluppando sinergie fra l’ambito artistico-creativo, quello produttivo-tecnologico e la società civile, mettendo a disposizione dei committenti le informazioni e i rapporti consolidati con la scena artistica più qualificata per investire sul ruolo dell’artista come innovatore sociale.

Images:
1. Viafarini project space. Exhibition view, Alberto Scodro, 2013. Photo: Davide Tremolada
2. Viafarini-in-residence space. Exhibition view, Valentin Carron, 2008. Photo: Zeno Zotti
3. DOCVA space. Exhibition view, Academy Awards, 2013. Photo: Davide Tremolada

Project: Double Cross, from Both Sides of a Mountain

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PEEP-HOLE (MILAN)

 

June – July 2015
The Book Society #02

PEEP-HOLE (MILAN)
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PEEP-HOLE (MILAN)

Direction:
Vincenzo de Bellis
Bruna Roccasalva

Contacts:
Via Stilicone, 10, 20154 Milan
telephone +39 (0)2 87 06 74 10
mobile Telephone +39 345 07 74 884
e-mail info@peep-hole.org
website www.peep-hole.org

Info:
Open Wednesday-Saturday 2.30-7 pm

2. Adriano Costa, How to be Invisible in High Heels, 2014

2. Adriano Costa, How to be Invisible in High Heels, 2014

3. Uri Aran, Puddles, 2014

3. Uri Aran, Puddles, 2014

Peep-Hole is an independent art center founded in Milan in 2009, active in the promotion and diffusion of contemporary art. The aim of Peep-Hole –as underlined by its name – is to encourage people to take a closer look at artists’ practices through an articulated program that moves between the format of exhibitions, publications, lectures and workshops, always intended to foreground artists and artworks. Peep-Hole’s mission is to weed out useless superstructures replacing them with a leaner relationship between artwork and viewer. Its activities take place mainly in the space located Milan, at Fonderia Artistica Battaglia, historical foundry of the town. Collateral events and projects extend outside the space, with events organized in collaboration with national and international institutions.
Peep-Hole was initiated adopting in part the model of German Kunstverein and of Anglo-Saxon alternative spaces. Peep-Hole is a small institution similar to the “project room of a museum, without the museum”, producing site-specific projects with international artists of different generations. It is a non profit organization supported by artists who believe in its mission and who they donate their works to support activities and programs. To date, Peep-Hole counts on more than 150 artists supporters.
The program intends to activate collaborations with other institutions confronting with diverse approaches and methods and forging a network of international connections and exchanges. Peep-Hole’s public nature is underscored by the constant policy of collaboration with other national and international museums, art centers and institutions. Projects have been realized with: Kunsthalle Zurich; Swiss Institute, Rome and Milan; Galleria Civica, Trento; Museion, Bozen; CAC Vilnius; Nomas Foundation, Rome; CAC Brétigny; Museo del Novecento, Milan; Kunst Halle Sankt Gallen; Villa Croce, Genoa; Frac Champagne-Ardenne, Reims; Extra City, Antwerpen.
Peep-Hole Sheet runs as a parallel, intrinsic project of the space. It is a quarterly of writings by artists published and distributed by Mousse Publishing. Each issue of Peep-Hole Sheet is dedicated solely to one artist, who is invited to contribute with an unpublished text whose content is completely free in terms both of subject and format. Over time Peep-Hole Sheet aspires to build up an anthology of writings meant for those who believe that artists are catalysts for ideas all around us, and who want to read their words without any filter. Peep-Hole Sheet is published by Mousse Publishing and distributed in main public and private contemporary art spaces, in bookshops and concept stores of major European and US towns.
The activity of Peep-Hole, appreciated by the public and the critics, has been internationally recognized. In 2010 Peep-Hole was among the seventy international organizations invited to No Soul For Sale, the festival of independent spaces that took place in the Turbine Hall at Tate Modern, London. In April 2011 Peep-Hole curated the program of talks and conferences at MiArt, Milan art fair, while in November of the same year participated to The Next Stop at MAXXI in Rome, an educational program on contemporary art management. In 2012 Peep-Hole was included in the Art Spaces Directory by New Museum, New York , a guide on the 400 most interesting independent spaces in the world. In 2012 Peep-Hole Sheet has been selected in the exhibition Millenium Magazines at MoMA, New York. Between 2012-2013 Peep-Hole’s activities were supported by Fondazione Cariplo. In 2014 Peep-Hole won the competition IC-Cultural Innovation, launched by Fondazione Cariploin collaboration with Regione Lombardia, thanks to which is developing Arthuro, a digital platform devoted to public programs and educational activities promoted worldwide by contemporary art institutions, with the aim to encourage a direct knowledge of art by a growing public.

Peep-Hole è un centro d’arte contemporanea fondato nel 2009 che opera per la promozione e la diffusione dell’arte contemporanea. Come sottolineato dal suo nome (peephole in inglese significa “spioncino”), Peep-Hole ha come obiettivo principale quello di invitare a uno sguardo più attento verso le pratiche artistiche contemporanee attraverso un programma articolato di mostre, lectures, seminari ed eventi. All’attività espositiva che si svolge principalmente nello spazio situato a Milano, presso la storica Fonderia Artistica Battaglia, si affiancano una serie di attività e progetti che si estendono fuori dai confini della sua sede, con eventi organizzati in collaborazione con istituzioni nazionali e internazionali.
Peep-Hole è nato mutuando in parte il modello dei Kunstverein tedeschi e quello degli Alternative Space anglosassoni. Peep-Hole è una piccola istituzione che si presenta come “la project-room di un museo, senza museo” alternando progetti di giovani artisti a mostre di artisti già consolidati all’estero ma alla loro prima mostra in Italia.
Peep-Hole è un’associazione culturale senza scopo di lucro e si sostiene grazie al supporto fondamentale degli artisti che ogni anno donano le loro opere a sostegno dell’attività e della programmazione. A oggi Peep-Hole conta su oltre centocinquanta artisti sostenitori.
La natura pubblica e “istituzionale” di Peep-Hole è sottolineata dalla politica costante di collaborazioni con altre istituzioni nazionali e internazionali. Finora sono stati realizzati progetti con: Kunsthalle Zürich, Istituto Svizzero di Milano, Galleria Civica di Trento, Museion di Bolzano, Contemporary Art Center di Vilnius, Nomas Foundation di Roma, CAC Centre d’Art Contemporaine di Brétigny, Portikus di Francoforte, Kunst Halle Sankt Gallen, Museo del Novecento di Milano, Museo d’Arte Contemporanea Villa Croce di Genova, FRAC Champagne-Ardenne di Reims, Extra City di Anversa.
Parallelamente all’attività espositiva Peep-Hole realizza un progetto editoriale, Peep-Hole Sheet, un trimestrale di scritti d’artista. Ogni numero è dedicato a un singolo artista invitato a contribuire con un testo inedito i cui contenuti e il cui formato sono completamente liberi. I testi sono pubblicati in lingua originale, accompagnati da traduzioni in inglese e in italiano. Peep-Hole Sheet si rivolge a tutti coloro che considerano gli artisti catalizzatori di idee e desiderano leggere le loro parole senza alcun filtro. Nel corso del tempo aspira a costruire un’antologia di scritti che possa aprire nuove prospettive per interpretare e comprendere i nostri tempi. Peep-Hole Sheet è pubblicato da Mousse Publishing ed è disponibile nei principali spazi d’arte contemporanea pubblici e privati, nei bookshop e concept store delle maggiori città Europee e degli Stati Uniti.
L’attività di Peep-Hole, apprezzata dal pubblico e dalla critica, ha ricevuto prestigiosi riconoscimenti internazionali. Nel 2010 Peep-Hole è stata una tra le settanta realtà internazionali invitate a No Soul For Sale, il festival degli spazi indipendenti tenutosi nella Turbine Hall della Tate Modern di Londra. Nell’aprile 2011 Peep-Hole ha curato il programma di conferenze e incontri di MiArt, la fiera dell’arte di Milano, mentre nel novembre dello stesso anno ha partecipato, presso il MAXXI di Roma, a The Next Stop, un percorso educational sui temi del management dell’arte. contemporanea. Nel 2012 Peep-Hole è stato inserito nella Art Spaces Directory del New Museum di New York, una guida ai 400 spazi indipendenti più interessanti del mondo. Peep-Hole Sheet è stato selezionato nel 2012 nella mostra Millenium Magazines al MoMA di New York.
Nel biennio 2012-2013 Peep-Hole ha realizzato la sua attività con il contributo di Fondazione Cariplo.
Nel 2014 Peep-Hole ha vinto il bando IC-Innovazione culturale, lanciato da Fondazione Cariplo in collaborazione con Regione Lombardia, grazie al quale sta sviluppando Arthuro, una piattaforma dedicata ai public program e alle attività didattiche e formative offerte dalle istituzioni d’arte contemporanea di tutto il mondo, nell’intento di stimolare una conoscenza diretta dell’arte da parte di un pubblico sempre più vasto.

Images:
1. Paolo Icaro. Front: Linee equilibrio terra-cielo, 2014, aluminium rod, 0,8 Æ cm, installation with variable measurements. Racconto, acciaio, 1969, steel, 10,5 x 10,5 x 16,5 cm. Rear: Cumulo rete, 1968, polyethylene pipe and galvanized steel chain, variable measurements (max: 3,5 x 400 x 450 cm). Asse, boccole, 1969, 2 chromed brass bushings, 15 x 6,5 Æ cm (each) in lined steel box, 22 x 22 x 22 cm. Black Gate, 1967, painted steel, 216 x 430 x 7 cm. Exhibition view at Peep-Hole Milan, 2014
2. Adriano Costa, How to be Invisible in High Heels, 2014, concrete, sand, red soil, iron, 50 x 5 cm, variable heights. Exhibition view at Peep-Hole Milan, 2014
3. Uri Aran, Puddles, 2014. Front: Uri Aran, Untitled, 2014. Plaster, metal ball bearings, and dog biscuits, 85.5 x 77 x 1200 cm. Rear: Untitled, 2006, video, 3′ 24”.
Images courtesy of Peep-Hole, Milan. Photos: Andrea Rossetti

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