Biografije - Cankarjev Dom

Transcription

Julien Prévieux
www.previeux.net
Rojen leta 1981. Živi in ustvarja v Parizu.
Zastopata ga galeriji Jousse Entreprise (Pariz) in West (Haag).
Delo, upravljanje, ekonomija, politika, nadzorni sistemi in visoko izpopolnjena tehnologija so »svetovi«, ki jih s svojo umetnostjo raziskuje Julien Prévieux. Najsi Julien piše
»ne-spremna/nemotivacijska« pisma prošnjam, se spoprijema z urbanimi ovirami ali ustvarja posebne učinke hollywoodskega filma, vedno si prizadeva za razvozlanje
uganke sveta, zaznamovanega s temeljitimi ideološkimi spremembami, ter obenem snuje načine bivanja v njem. V nizu geometrijskih slik, filmov in diagramov, ki mu
omogočajo vnovično branje velikih besedil politične ekonomije, Julien sledi svoji raziskavi pojma dela in vrednostne produkcije v dobi kognitivnega kapitalizma.
Born in 1981. Lives and works in Paris.
Represented by the galleries Jousse Entreprise (Paris) and West (The Hague).
Work, management, economy, politics, control systems and cutting edge technologies are the “worlds” in which Julien Prévieux immerses himself in his work. Whether
writing “letters in non-support of application”, negotiating an obstacle course through the city or redoing the special effects of a Hollywood movie, he strives to decipher
a world marked by profound ideological changes but also proposes ways to live in it. In series of geometric paintings, films and diagrams enabling him to reread the great
texts of political economy, he is pursuing his exploration of the notion of work and the production of value in the age of cognitive capitalism.
Izobrazba
Training
2004
La Seine, podiplomski študij, École nationale supérieure des Beaux-Arts/Akademija za lepe umetnosti, Pariz
2004
La Seine, post-graduate, École nationale supérieure des Beaux-Arts, Paris
2001
Collège invisible, podiplomski študij, École supérieure d'art et de design Marseille-Méditerranée/Akademija za umetnost in oblikovanje
2001
Collège invisible, post-graduate, École supérieure d’art et de design Marseille-Méditerranée
2000
diploma iz upodabljajočih umetnosti – kiparstva, Akademija za umetnost, Grenoble
2000
DNSEP, École supérieure d’art de Grenoble
1999
magisterij iz celularne biologije in fiziologije, Univerza Josepha Fourierja, Grenoble
1999
Diploma in Cellular Biology and Physiology, Université Joseph Fourier, Grenoble
Nagradi
Prizes
2014 – nagrada Marcela Duchampa, Pariz
2011 – nagrada Science PO za sodobno umetnost po izboru občinstva, Pariz
2014 – Prize Marcel Duchamp, Paris
2011 – Prize Science PO for contemporary art by public’s choice, Paris
Samostojne razstave
Solo exhibitions
2013
Le jeu idéal, Galerija Showcase, Grenoble
2013
Le jeu idéal, Showcase Gallery, Grenoble
2012
10 puissance 120, FRAC Spodnja Normandija, Caen
Stratagèmes et espaces clos, Galerija Akademije za lepe umetnosti v Rouenu, Rouen
2012
10 puissance 120, FRAC Basse-Normandie, Caen
Stratagèmes et espaces clos, Gallery of École des Beaux-Arts de Rouen, Rouen
2011
Lettres de non-motivation, Maison Populaire, Montreuil
Dimenzije sodobnega menedžmenta, Galerija Jousse Entreprise, Pariz
Le Choc du futur, Médiathèque de Tarnos, Tarnos
Anomalies construites, Galerija Edouarda Maneta, Gennevilliers
Lettres de non-motivation, Le Théâtre, Scène conventionnée de Laval, Laval
Lettres de non-motivation, Knjižnica Simone de Beauvoir, Rouen
2011
Lettres de non-motivation, Maison Populaire, Montreuil
Dimensions in Modern Management, Jousse Entreprise Gallery, Paris
Le Choc du futur, Mediatheque de Tarnos, Tarnos
Anomalies construites, Edouard ManetGallery, Gennevilliers
Lettres de non-motivation, Le Théâtre, Scène conventionnée de Laval, Laval
Lettres de non-motivation, Simone-de-Beauvoir Library, Rouen
2010
Le Dilemme du prisonnier, Le Château des Adhémar, Center sodobne umetnosti, Montélimar
Brezbarvne zelene ideje spijo divje, Galerija West, Haag
2010
Le Dilemme du prisonnier, Le Château des Adhémar, Center of Contemporary Art, Montélimar
Colorless Green Ideas Sleep Furiously, West Gallery, The Hague
Skupinske razstave
Group exhibitions
2015
Pripravlja monografsko razstavo v Centru Pompidou, Pariz
Boîte-en-valise #5, Muzej moderne in sodobne umetnosti, Reka
Boîte-en-valise #4, Cankarjev dom, Ljubljana
2015
Preparing a monograph exhibition in Pompidou Center, Paris
Boîte-en-valise #5, Museum of Modern and Contemporary Art, Rijeka
2014
Le fil des possibles, Prostor konkretne umetnosti, Mouans-Sartoux
W, Center likovnih umetnosti, Lille
Le commerce de la parole, Muzej sodobne umetnosti, Rochechouart
Disnovation, Festival Accès(s), Pau
nagrada Marcela Duchampa 2014, FIAC 2014, Pariz
Toutes directions, Muzej Wilhelma Hacka, Ludwigshafen
Le cercle parfait de la lune ne dure qu’une nuit, Château Guiraud – Frac Aquitaine, Sauternes
nagrada Marcela Duchampa, Muzej lepih umetnosti, Abbatiale Saint-Ouen, Rouen
The Crime Was Almost Perfect, PAC Paviljon sodobne umetnosti, Milano
L’embarras, Toves, København
Média – Médiums, Galerija Ygrec, Pariz
Side Effects, Stari muzej slikarstva, Grenoble
Transfert de fonds, Galerija NaMiMa – Ensa Nancy, Nancy
Boîte-en-valise #3, Galerija sodobne umetnosti Enča Pironkova, Plovdiv
Boîte-en-valise #2, Muzej Benaki, Solun
Boîte en valise#1, Muzej Alex Mylonas, Atene
The Crime Was Almost Perfect, Witte de With – Center sodobne umetnosti, Rotterdam
Lumière noire, Frac Aquitaine, Bordeaux
La République, Villa du Parc – Center sodobne umetnosti, Annemasse
2014
Le fil des possibles, Espace de l’art concret, Mouans-Sartoux
W, Center of Visual Arts, Lille
Le commerce de la parole, Museum of Contemporary Art, Rochechouart
Disnovation, Festival Accès(s), Pau
Prize Marcel Duchamp 2014, FIAC 2014, Paris
Toutes directions, Wilhelm Hack Museum, Ludwigshafen
Le cercle parfait de la lune ne dure qu’une nuit, Château Guiraud – Frac Aquitaine, Sauternes
Prix Marcel Duchamp, Museum of Fine Arts / Abbatiale Saint-Ouen, Rouen
The Crime Was Almost Perfect, PAC Pavilion of Contemporary Art, Milan
L’embarras, Toves, Copenhagen
Média – Médiums, Ygrec Gallery, Paris
Side Effects, Ancient Museum of Painting, Grenoble
Transfert de fonds, NaMiMa Gallery – Ensa Nancy, Nancy
The Crime Was Almost Perfect, Witte de With – Center of Contemporary Art, Rotterdam
Lumière noire, Frac Aquitaine, Bordeaux
La République, Villa du Parc – Center of Contemporary Art, Annemasse
Boîte-en-valise #3, Encho Pironkov’s House, Plovdiv
Boîte-en-valise #2, Benaki Museum, Thessaloniki
Boîte-en-valise #1, Museum Mylanos, Athens
2013
Oracular Vernacular, MAMO – Center umetnosti– Cité Radieuse, Marseille
Fiac 2013, Galerija Jousse Entreprise, Pariz
Par les temps qui courent, LiFE – base des sous-marins, Saint-Nazaire
Quand l’art prend la ville, Galerija Defacto, Pariz
La sentinelle, CAPC – Muzej sodobne umetnosti, Bordeaux
Histoires et geographies, Frac Bretagne, Rennes
And So On and So Forth vol. 2, EKKM – Estonski muzej sodobne umetnosti, Talin
Fluxus – Contre-emploi, Galerija L’œil Histrion, Hermanville-sur-Mer
Apartés 2013, Muzej sodobne umetnosti mesta Pariz
Rêver le quotidian, La Brasserie, Foncquevillers
Travaïe!?, Galerija Lillebonne, Espace Culturel d’Art Contemporain, Nancy
Side Effects, EKKM – Estonski muzej sodobne umetnosti, Talin
La distance juste, Galerija Vallois, Pariz
Mémoires vives, razstavišče Pôle d’archives de Bayonne et du Pays basque, Bayonne
Et demain…? After Office, Espace Modem, Pariz
La dernière vague, La Friche Belle de Mai, Marseille
Mandrake a disparu, Espace Khiasma, Les Lilas
Chessroom, Atelje Rouart, Paris
Quel travail?! Manières de faire, manières de voir, CPIF, Pontault-Combault
Zbirka Joseph Kouli, Mains d’œuvre, Saint-Ouen
Le voyage dans la lune, Center umetnosti Albert Chanot, Clamart
Revue Initials / G. M. (George Maciunas), 8, rue Saint-Bon, Pariz
Courtesy / Los Angeles, For Your Art, Los Angeles
Abstraction manifeste, Le Quartier – Center sodobne umetnosti, Quimper
Florence Doléac, Matthew Darbyshire, Martin Le Chevallier in Julien Prévieux, Galerija Jousse Entreprise, Pariz
Capitale(s), Galerija Gouvernnec Ogor, Marseille
2013
Oracular Vernacular, MAMO – Art Center of Cité Radieuse, Marseille
Fiac 2013, Jousse Entreprise Gallery, Paris
Par les temps qui courent, LiFE – base des sous-marins, Saint-Nazaire
Quand l’art prend la ville, Defacto Gallery, Paris
La sentinelle, CAPC – Museum of Contemporary Art, Bordeaux
Histoires et geographies, Frac Bretagne, Rennes
And So On and So Forth vol. 2, EKKM – Contemporary Art Museum of Estonia, Tallinn
Fluxus – Contre-emploi, L’œil Histrion Gallery, Hermanville-sur-Mer
Apartés 2013, Museum of Modern Art of the City of Paris
Rêver le quotidian, La Brasserie, Foncquevillers
Travaïe!?, Lillebonne Gallery, Espace Culturel d’Art Contemporain, Nancy
Side Effects, EKKM – Contemporary Art Museum of Estonia, Tallinn
La distance juste, Vallois Gallery, Paris
Mémoires vives, Pôle d’archives de Bayonne et du Pays basque, Bayonne
Et demain…? After Office, Space Modem, Paris
La dernière vague, La Friche Belle de Mai, Marseille
Mandrake a disparu, Space Khiasma, Les Lilas
Chessroom, Studio Rouart, Paris
Quel travail ?! Manières de faire, manières de voir, CPIF, Pontault-Combault
Collection Joseph Kouli, Mains d’œuvre, Saint-Ouen
Le voyage dans la lune, Center of Art Albert Chanot, Clamart
Revue Initials / G. M. (George Maciunas), 8, rue Saint-Bon, Paris
Courtesy / Los Angeles, For Your Art, Los Angeles
Abstraction manifeste, Le Quartier – Center of Contemporary Art, Quimper
Florence Doléac, Matthew Darbyshire, Martin Le Chevallier et Julien Prévieux, Jousse Entreprise Gallery, Paris
Capitale(s), Gouvernnec Ogor Gallery, Marseille
2012
Izgubljen v L.A., LAMAG, Barnsdall Park, Los Angeles
In tako in tako dalje, KIM? Center sodobne umetnosti, Riga
État de Veille, Galerija Jousse Entreprise, Pariz
10. izdaja, Sejem LOOP, Barcelona
Le bruit de dehors, Bienale Le Havre 2012, Pomorski in pristaniški muzej, Le Havre
L’Amour du risque, Muzej sodobne umetnosti v Zagrebu
Pozor na sistem, najdi vrzel, Z33, Hasselt
Transakcije, Kulturni center, Ciudad de Gutemala
Čudeži, Kulturni dom Krems, Krems
L’Institut des archives sauvages, Villa Arson, Nica
2012
Lost in L.A., LAMAG, Barnsdall Park, Los Angeles, USA
And So On and So Forth, KIM? Contemporary Art Center, Riga
État de Veille, Jousse Entreprise Gallery, Paris
10th edition, LOOP Fair, Barcelone
Le bruit de dehors, Biennial of Havre 2012, Naval Museum, Le Havre
L’Amour du risque, Museum of Contemporary Art, Zagreb
Mind the System, Find the Gap, Z33, Hasselt
Transactions, Cultural Center, Guatemala City
Miracles, Kunsthalle Krems, Krems
L’Institut des archives sauvages, Villa Arson, Nice
2011
Ce matin …, Le Quartier, umetnostni center Quimper, Quimper
Artissima 18, Torino
Monodrome, 3. bienale v Atenah, Atene
Abstrakcija & pripovedništvo I, Galerija Marz, Lizbona
Transakcije, Galerija Horrach Moya, Palma de Mallorca
Wunder, Deichtorhallen Hamburg, Hamburg
Katalog, Muzej sodobne umetnosti v Saint-Étiennu
Ni na zalogi, Timmerfabriek, Maastricht
Bolje biti virus kot nalesti se prehlada, Stúdió Galéria, Budimpešta
Bienale sodobne umetnosti, Anglet
Da, nismo, IAC, Villeurbanne
Art Brussels, Bruselj
Center sodobne umetnosti Zona Mexico, Mehika
L’Art est un sport de combat, Muzej lepih umetnosti v Calaisu, Calais
2011
Ce matin…, Le Quartier, Art Center of Quimper, Quimper
Artissima 18, Turin
Monodrome, 3rd Biennial, Athens
Abstraction & Storytelling I, Marz Gallery, Lisbon
Transactions, Horrach Moya Gallery, Palma de Mallorca
Wunder, Deichtorhallen Hamburg, Hambourg
Catalogue, Musée d’Art Moderne de Saint-Étienne
Out of Storage, Timmerfabriek, Maastricht
Better Being a Virus Than Catching a Cold, Stúdió Galéria, Budapest
Biennial of Contemporary Art, Anglet
Yes We Don’t, IAC, Villeurbanne
Art Brussels, Bruxelles, Belgique
Zona Mexico arte contemporaneo, Mexico
L’Art est un sport de combat, Museum of Fine Arts, Calais
2010
Guliver ali gledanje iz daljave, Nova saška galerija, Chemnitz
FIAC, Pariz
Prehajanje fantazije, Cube Project Space, Tajpej, Tajvan
Ce qui vient, Les ateliers de Rennes, Rennes
Ljubezen na prvi pogled, Muzej lepih umetnosti Kaohsiung
Collège Robinson, Les Arques
Art Brussels, solo projekt, Bruselj
Skupinska razstava, Galerija Y3K, Melbourne
Armory Show, New York
Argent, dela iz zbirke FRAC Bretanja, Lycée Chateaubriand, Rennes
Korporativno vse, Fri Art, Center sodobne umetnosti, Fribourg
Mots en turbulence, Mestna knjižnica v Pantinu, Pantin
Možnost(i), Maison des syndicats, Montpellier
2010
Gulliver or Looking From a Distance, Neue Sächsische Gallery, Chemnitz
FIAC, Paris
Traversing The Fantasy, The Cube Project Space, Taipei, Taiwan
Ce qui vient, Studios of Rennes, Rennes
Love at First Sight, Kaohsiung Museum of Fine Arts
Collège Robinson, Les Arques
Art Brussels, project solo, Brussels
Group Show, Y3K Gallery, Melbourne
Armory Show, New York
Argent, work from the collection of FRAC Bretagne, Lycée Chateaubriand, Rennes
Corporate Everything, Fri Art, Center of Contemporary Art, Fribourg
Mots en turbulence, Municipal Library of Pantin, Pantin
Possible(s), House of the Syndicates, Montpellier
Projekt: Muzej napak – stopnja 1: Videoigrice, 2012
The Project: Bug Museum - Level 1: Video Games, 2012
Kot pri vseh igrah je tudi pri videoigricah napaka poglavitni dejavnik: napaka igralca, seveda, napaka, ki se je mora za vsako ceno izogibati, če želi doseči cilj, in do katere
skuša pripraviti svojega nasprotnika. Vendar je napaka tudi in predvsem tista specifična hiba v svetu računalniškega programiranja, poimenovana hrošč ali spregled.
Namen prenosnega Muzeja napak je prikazati videoigrice prek njihovih napak. Napake so idealni filter, s katerim dobimo vpogled v širok razpon delovanja videoigric
in njihovih igralcev. Zaznamuje jih edinstvena lastnost, da sočasno razkrijejo tehnološke omejitve, igrico, odigrano po pravilih, ter množico igrivih igralčevih strategij za
reševanje iz zagat in ustvarjalnih izhodov.
In video games, as in all games, error is a fundamental factor: the error of the player of course, the error to be avoided at all costs to reach one’s goal, and the error one
pushes one’s opponent to commit. But the error is also and above all those faults specific to the computer programming world, the bug or glitch. The aim of this portable
Bug Museum is to show video games by means of their errors. Bugs are the ideal filter through which to understand the wide-ranging activities that video games and
gamers generate. They have the unique quality of simultaneously revealing technological limits, the game played with the rules, and a host of gamers’ playful recovery
strategies and creative ways out.
Škatla v kovčku
Boîte en valise
Hommage à Marcel Duchamp
Namen potujoče razstave je v mednarodnem okolju izpostaviti ustvarjalnost skupine obetajočih mladih
umetnikov, diplomantov francoskih likovnih akademij.
Projekt se neposredno sklicuje na delo Boîte en valise ali Škatla v kovčku, ki ga je Marcel Duchamp
ustvaril ob izselitvi v ZDA, ter ponuja refleksijo o kroženju umetnin in promociji umetnikov. V tem
kontekstu se petnajst umetnikov loteva vprašanja predstavitve svoje umetnosti v neprestano
spreminjajočem se svetu. Vsak je bil povabljen k sodelovanju z izrecnim navodilom, naj ustvari delo
»v kovčku«, ali sliko, instalacijo, video ali performans.
Razstava bo na ogled v različnih mednarodnih ustanovah (galerijah, muzejih in razstavnih prostorih).
Vsi zaboji bodo potovali skupaj, vendar na vsakem prizorišču ne bodo sistematično razstavljena vsa
dela. Vsako razstavno prizorišče opravi izbor umetnin ter se odloči za način njihove predstavitve in
tehnične postavitve (določene artefakte pa so umetniki opremili z izrecnimi navodili za postavitev).
Farah Atassi, Laëtitia Badaut-Hausmann, Jonathan Binet, Gaëlle Boucand,
Louise Hervé & Chloé Maillet, Renaud Jerez, Pierre Labat, Christophe
Lemaître, Emilie Pitoiset, Elisa Pône, Julien Prévieux, Florian Pugnaire
& David Raffini, Clément Rodzielski, Benjamin Seror, Shingo Yoshida
The aim of this travelling exhibition is to highlight the work of a group of emerging artists, all graduates
of French art schools, in an international context.
The project refers directly to the Boîte en valise or Box in a Suitcase that Marcel Duchamp made
when he immigrated to the United States, and proposes a reflection on the circulation of artworks
and the promotion of artists. With this in mind, some fifteen artists were invited to pose the question
of presenting themselves and their work in a constantly changing context. Each was asked to create
a work with the specific brief of putting a work “in a suitcase”, whether it be a painting, installation,
video or performance.
The project will be shown in a variety of international institutions (galleries, museums and exhibition
spaces). All the crates will travel together, but not all the works will be systematically displayed at each
venue. Each place where the project is shown is responsible for the choice of works displayed and
their technical installation and presentation (where necessary following instructions provided by the
artist in the crate).
Producent razstave: Francoski inštitut, Pariz
Production of the exhibition: French Institute, Paris
Komisarja razstave: Adeline Blanchard, Vincent Gonzalvez
Exhibition commissioners: Adeline Blanchard, Vincent Gonzalvez
Kustosinji ljubljanske postavitve: Nina Pirnat Spahić, Katarina Štok
Ljubljana exhibition curated by: Nina Pirnat Spahić, Katarina Štok
Grafično oblikovanje: Brane Žalar
Graphic Design: Brane Žalar
V sodelovanju s Francoskim inštitutom v Sloveniji
In collaboration with the French Institute in Slovenia.
Benjamin Seror
Rojen v Lyonu leta 1979. Živi in ustvarja v Bruslju.
Born in Lyon in 1979.
Dela Benjamina Serora zaznamuje refleksija o predstavljanju zgodb z različnimi uprizoritvami našega dejanskega in fiktivnega spomina. Modeli, skulpture in dogodki,
ki jih uprizarja Benjamin Seror, z enako močjo dekonstruirajo in dinamizirajo pripovedna orodja. So loci soli, v katerih so prvine vsakega dela obenem avtonomne in
soodvisne. V performansih je glasba odprto polje refleksije, umetnik pa obenem avtor, igralec in glasbenik, prehajajoč med modeli predavanja, trubadurskega muziciranja
in operne pripovedne zgradbe.
Lives and works in Brussels. Benjamin Seror shows the fruit of a reflection on the transmission of a story by questioning the possible staging of our real and fictive
memory. The models, sculptures and events that Benjamin Seror stages deconstruct narrative tools as much as they dynamise them. They are loci soli in which the
elements of each work are both autonomous and interdependent. Music is an open field of reflection in performances in which the artist simultaneously plays the role
of author, actor and musician, between the lecture model, the role of troubadour and the narrative structure of an opera.
Izobrazba
Training
2014
ameriški rezidenčni program, REDCAT, Los Angeles – Francoski inštitut
2014
American Residency programme at REDCAT, Los Angeles / Institut Français
2012–2013
produkcijska rezidenca, Le Plateau Fracîle de France, Pariz
2012–2013
Production residence, Le Plateau Fracîle de France, Paris
2009
podiplomski študij, École nationale supérieure des Beaux-Arts/Akademija za lepe umetnosti, Lyon
2009
Post-graduate diploma, École nationale superieure des Beaux-Arts, Lyon
2006
diploma iz upodabljajočih umetnosti – kiparstva, École nationale supérieure des Beaux-Arts/Akademija za lepe umetnosti, Lyon
2006
Superior national diploma of plastic arts, École Nationale Superieure des Beaux-arts, Lyon
Performansi
Performances
2014
The Marsyas Hour, I., II. in III. del, REDCAT, Los Angeles
Radio pantomime, The Ambitions Final Chapter, Stedelijk Museum, Amsterdam
Radio pantomime, Poglavja X do XII, Kunstverein, Amsterdam
Le Principe Totochabo, Le Plateau-Frac Île-de-France, Pariz
Zazzuzhâ, Laboratoires d’Aubervilliers, Pariz
2014
The Marsyas Hour, Part I, II and III, REDCAT, Los Angeles
Mime Radio, The Ambitions Final Chapter, Stedelijk Museum, Amsterdam
Mime Radio, Chapter X to Chapter XII, Kunstverein, Amsterdam
Le Principe Totochabo, Le Plateau-Frac Île-de-France, Paris
Zazzuzhâ, Laboratoires d’Aubervilliers, Paris
2013
Radio pantomime, Poglavji VIII in IX, Crac Alsace, Altkirch
Radio pantomime, Poglavje VII, Dexter Sinister, New York
Radio pantomime, Poglavje VI, Witte de With, Rotterdam
Koncert, Marres, Maastricht
Radio pantomime, Poglavje IV, Lace, Los Angeles
Radio pantomime, Poglavje V, Galerija Walterja Phillipsa, Banff
2013
Mime Radio, Chapters VIII and IX, Crac Alsace, Altkirch
Mime Radio, Chapter VII, Dexter Sinister, New York
Mime Radio, Chapter VI, Witte de With, Rotterdam
Concert, Marres, Maastricht
Mime Radio, Chapter IV, LACE, Los Angeles
Mime Radio, Chapter V, Walter Phillips Gallery, Banff
2012
Radio pantomime, Poglavji II in III, Fabra i Coats, Barcelona
Preobremenite Bernharda, Bienale v Bellevillu, Pariz
Benjamin Seror predstavlja Benjamina Serrora, Baltiški trienale, Vilna
Masyas, pauvre Marsyas, L’(Entre) Ouverture, Tokijska palača, Pariz
2012
Mime Radio, Chapters II & III, Fabrai Coats, Barcelona
Preoccupy Bernhard, Biennial of Belleville, Paris
Benjamin Seror presents Benjamin Serror, Baltic Triennial, Vilnius
Masyas, pauvre Marsyas, L’(Entre) Ouverture, Palais de Tokyo, Paris
2011
Pesniški klub Eifflovega stolpa predstavlja …, Narodno gledališče Chaillot, Pariz
12 Nouveaux Chapitres, FRAC Alzacija, Sélestat
Servilna knjižnica, Objektivne razstave, Antwerpen
Koncert, FRAC Île-de-France, Le Plateau, Pariz
2011
The Tour Eiffel Poetry Club Presents…, Théâtre national de Chaillot, Paris
12 Nouveaux Chapitres, FRAC Alsace, Sélestat
The Serving Library, Objectif Exhibitions, Antwerp
Concert, FRAC Île-de-France, Le Plateau, Paris
2010
La Fortune critique de Nicolas Poussin, Le Printemps de Septembre, Toulouse
5 tednov, Bétonsalon, Pariz
Une Ville à l’oblique, Galerija Arko, Parc Saint Léger, Nevers
Une Sono, une veste à fleur et autres vanités, Fundacija Ricard, Pariz
2010
La Fortune critique de Nicolas Poussin, Le Printemps de Septembre, Toulouse
5 Weeks, Bétonsalon, Paris
Une Ville à l’oblique, Gallery Arko, Parc Saint Léger, Nevers
Une Sono, une veste à fleur et autres vanités, Fondation d’entreprise Ricard, Paris
2009
Le Vase Brisé I & II, MUDAC Festival Les Urbaines, Lozana
5 Chansons de Pulsar Noir, Fri-Art Kuntshalle au Nouveau Monde, Fribourg
Resteront-ils pendus encore longtemps?, Akademija za lepe umetnosti, Lyon
RER + Tram + Métro. Qu’il est long Jeanne le chemin pour arriver jusqu’à toi, Muzej sodobne umetnosti Val-de-Marne, Vitry-sur-Seine
Précisions sur l’homme de demain, Live in Your Head, Ženeva
Un Cridans la nuit noire, Château des Adhémar, Montélimar
2009
Le Vase Brisé I & II, MUDAC Festival Les Urbaines, Lausanne
5 Chansons de Pulsar Noir, Fri-Art Kuntshalle au Nouveau Monde, Fribourg
Resteront-ils pendus encore longtemps? École nationale supérieure des Beaux-Arts, Lyon
RER + Tram + Métro. Qu’ilest long Jeanne le chemin pour arriver jusqu’àtoi, Museum of Contemporary Art, Val-de-Marne, Vitry-sur-Seine
Précisions sur l’homme de demain, Live in Your Head, Geneva
Un Cri dans la nuit noire, Château des Adhémar, Montélimar
Skupinske razstave
Group exhibitions
2015
2015
2014
Paroles / Formes, Akademija za lepe umetnosti, Pariz
L'interprète, kustos Xavier Franceschi, Le Plateau-Frac Île-de-France, Pariz
Boîte-en-valise #1, Muzej Alex Mylonas, Atene
2014
Paroles / Formes, École des beaux arts de Paris
L’interprète, Le Plateau-Frac Île-de-France, curated by Xavier Franceschi, Paris
Boîte-en-valise #3, Encho Pironkov’s Gallery of Contemporary Art, Plovdiv
Boîte-en-valise #1, Museum Alex Mylonas, Athens
2013
Susan Vérité, Des Méthodes, kustos Elfi Turpin, Crac Alsace, Altkirch
Pride Goes Before a Fall / Beware of a Holy Whore – An Exhibition in Two Acts, kustos Richard Birkett, Artists Space, New York
Nenehno spreminjajoči se pomen, kustos François Aubart, CNEAI, Chatou
Eno po eno, kustos Heman Chong, Witte de With, Rotterdam
Zavetišče, Walden Affairs, projekt Marka Geffriauda, Haag
A Spoken Word Exhibition, kustos Mathieu Copland, Jeu de Paume, Pariz
Nenehno spreminjajoči se pomen, kustos François Aubart, Walter Phillips Gallery, Banff
L.A. Existential, kustosinja Marie de Brugerolle, L.A.C.E., Los Angeles
2013
Susan Vérité, Des Méthodes, curated by Elfi Turpin, Crac Alsace, Altkirch
Pride Goes Before a Fall / Beware of a Holy Whore – An Exhibition in Two Acts, curated by Richard Birkett, Artists Space, New York
An Ever Changing Meaning, curator François Aubart, CNEAI, Chatou
A Thing at a Time, curator Heman Chong, Witte de With, Rotterdam
Shelter, Walden Affairs, project by Mark Geffriaud, The Hague
A Spoken Word Exhibition, curated by Mathieu Copland, Jeu de Paume, Paris
An Ever Changing Meaning, curator François Aubart, Walter Phillips Gallery, Banff
L.A. Existential, curator Marie de Brugerolle, L.A.C.E., Los Angeles
2012
Deep Cuts, kustosinja Lisette Smith, Marres, Maastricht
Mindaugas: 11. baltiški trienale, kustosi Defne Ayas, Benjamin Cook, Ieva Miseviciute in Michael Portnoy, Center sodobne umetnosti, Vilna
To tudi ni umetnostna razstava, kustos David G. Torres, Fabra i Coats, Barcelona
Fantovščina: rojstni dan Marcela Duchampa z Willom Holderjem, kustos Will Holder, Inštitut sodobne umetnosti, Philadelphia
Baltic Triennial, Center sodobne umetnosti, Vilna
L’Entre-deux des savoir bouleversés, kustos Vincent Honoré, Kunsthalle, Mulhouse
2012
Deep Cuts, curated by Lisette Smith, Marres, Maastricht
Mindaugas: 11th Baltic Triennial, curators Defne Ayas, Benjamin Cook, Ieva Miseviciute and Michael Portnoy, Contemporary Art Center, Vilnius
This is Not an Art Show, Either, curator David G. Torres, Fabra i coats, Barcelona
Bachelor Party: Marcel Duchamp’s Birthday with Will Holder, curator Will Holder, Institute of Contemporary Art, Philadelphia
Baltic Triennial, Contemporary Art Center, Vilnius
L’Entre-deux des savoir bouleversés, curator Vincent Honoré, Kunsthalle, Mulhouse
2011
Teci, tovariš, stari svet ti je za petami, kustos Will Bradley, Kunsthalle Oslo
Vzniknila je grozljiva lepota, kustosinja Victoria Noorthoorn, 11. lyonski bienale
Košara, ne košara, kustosinja Elfi Turpin, Galerija Jousse Entreprise, Pariz
Kaj pa to?, kustos Raimundas Malasauskas, Galerija Andreasa Huberja, Dunaj
2011
Run Comrade, the Old World is Behind You, curator Will Bradley, Kunsthalle Oslo
A Terrible Beauty is Born, curator Victoria Noorthoorn, 11th Lyon Biennial
Basket not Basket, curator Elfi Turpin, Jousse Entreprise Gallery, Paris
What About This?, curator Raimundas Malasauskas, Andreas Huber Gallery, Vienna
2010
Razstava Clifforda Irvinga, kustos Raimundas Malasauskas, Objectif Exhibitions, Antwerpen
Sogovorniki, kustosinja Mathilde Villeneuve, Printemps de Septembre, Toulouse
Otok repeticije, kustos Raimundas Malasauskas, Center Pompidou, Pariz
La Moitiée deschoses, kustosa Mélanie Bouteloup in Nicolas Fourgeaud, Bétonsalon, Pariz
2010
The Clifford Irving Show, curator Raimundas Malasauskas, Objectif Exhibitions, Antwerp
Les Interlocuteurs, curator Mathilde Villeneuve, Printemps de Septembre, Toulouse
Repetition Island, curator Raimundas Malasauskas, Centre Pompidou, Paris
La Moitiée des choses, curators Mélanie Bouteloup and Nicolas Fourgeaud, Bétonsalon, Paris
2009
Četudi beseda avto ni omenjena, gre očitno za glavno temo, OUI, Grenoble
Playtime, kustosa Mélanie Bouteloup in Grégory Castéra, Bétonsalon, Pariz
Razstava Clifforda Irvinga, kustos Raimundas Malasauskas, Fondation Kadist/Ciné 13, Pariz
25% Melancholy, kustosa Solenn Morel in Elfi Turpin, La Box, Bourges
Retournez la chaussette! ou la chaussette retournée, kustosa Kristina Solomoukha in Elfi Turpin, Live in Your HEAD, Ženeva
2009
Even if the Word Car is Not Mentioned, It’s Obviously the Main Subject, OUI, Grenoble
Playtime, curators Mélanie Bouteloup and Grégory Castéra, Bétonsalon, Paris
The Clifford Irving Show, curator Raimundas Malasauskas, Fondation Kadist/Ciné 13, Paris
25% Melancholy, curators Solenn Morel and Elfi Turpin, La Box, Bourges
Retournez la chaussette! ou la chaussette retournée, curators Kristina Solomoukha and Elfi Turpin, Live in Your HEAD, Geneva
2008
Material zvočnega časa, kustos Bernhard Rüdiger, Château des Adhémar, Montélimar
15% junaštvo, kustosinji Solenn Morel in Elfi Turpin, La Box, Bourges
2008
Sound Time Material, curator Bernhard Rüdiger, Château des Adhémar, Montélimar
15% Heroism, curators Solenn Morel and Elfi Turpin, La Box, Bourges
Projekt: Spomin zelo sodobnega človeka – Noč v baru Tiki, 2012
The project: Memory of a Very Modern Man – A Night at the Tiki Bar, 2012
Benjamin Seror proučuje zametek, podajanje in tok pripovedi: kako deluje spomin, kako se razvija, kako dejstvo preseže lasten okvir in postane fikcija. V tem postopku
pripoved deluje kot vmesna ploskev spomina. Najsi zavzame obliko instalacije, odrske predstave ali glasbenega dogodka, vedno predstavlja stvari, ki se nam nikoli niso
zgodile, izpostavljajoč duhove literature, filma ali umetnostne zgodovine, in način, s katerim naše pripovedi slikajo spektre teh spominov v sedanjosti.
Benjamin Seror se dejansko pogosto znajde pred občinstvom, pripoveduje zgodbe o pogubnih srečanjih na vratih pekla, vročičnem plesu na skladbo The Perfect Kiss
zasedbe New Order ali dolgih večerih v barih dvomljivega slovesa, prežetih s cigaretnim dimom. Ko ne gre za javne pripovedi, zgodbe prevzamejo obliko modela ali
instalacije v poustvaritvi možnih okoliščin za vznik podobe in spomina, ki si ga delimo.
Noč v baru Tiki obuja spomin na večer v ženevskem baru, kamor se je umetnik po predavanju odločil oditi v kostumu Oskarja Schlemmerja iz dvajsetih let prejšnjega
stoletja in izvesti »ples z letvami«. Kostum iz podolgovatih lesenih palic, pritrjenih na plesalčeve okončine, ustvarja silhueto trikrat povečanega telesa. Večkrat se porodi
vprašanje, ali je kostum metafora ali orodje, ki bi lahko bilo uporabno tudi v resničnosti.
Benjamin Seror studies the conception, transmission and drift of a story: how a memory acts, how it evolves, how fact migrates and becomes fiction. In this process,
the narrative acts as the interface of this memory. Whether it takes the form of an installation, a performance or sometimes music, it always links together things which
never happened to us, ghosts of literature, cinema or art history, and the way in which our narratives paint the spectres of these memories in reality.
De facto, Benjamin Seror often finds himself in front of an audience to tell stories about bad encounters at the Gates of Hell, furious dances to New Order’s The Perfect
Kiss or long evenings spent in dubious smoke-filled bars. When these narratives don’t take place in public, they take the form of a model or installation recreating the
possible conditions for the emergence of an image and the sharing of a memory.
A Night at the Tiki Bar evokes the memory of an evening spent in a bar in Geneva where, after a lecture, the artist decided to go dressed in a costume designed that
Oskar Schlemmer designed in the 1920’s to perform the “Slat Dance.” Consisting of wooden extensions attached to the dancer’s limbs, it creates the silhouette of a
body three times larger than normal. The question of whether this costume was a metaphor or a tool that could be used in reality was evoked several times.
Christophe Lemaître
www.postdocument.net
www.athousandleaves.org
www.bonjoursuper.fr
Od diplome na Akademiji za lepe umetnosti v Parizu leta 2007 Christophe Lemaitre deluje kot neodvisni kustos, izpostaviti je treba predvsem razstavo Super, hkrati pa
se posveča umetniškemu raziskovanju tematik ustvarjanja in ponarejanja podob ter scenarijev izginotja.
V letih 2010–2011 je kot kustos zasnoval razstave Repeticija v epilogu (Galerija Lucile Corty), Bords (Maison flottante, Nacionalni center izdaj in tiska) in Albers
Lewitt Cointet (Cneai). Svoje delo razstavlja tudi na prizoriščih, kot so Center sodobne umetnosti Parc Saint Léger (Hors-les-murs), Zoo galerie (Nantes) in Shanaynay
(Pariz). Christophe Lemaitre je avtor publikacije Frrfrr, la Mode et son destindans l’œuvre de Marcel Duchamp, in sourednik (z Aurélien Mole in Rémi Parcollet) revije
Postdocument, periodične publikacije o fotografiji umetniških del v razstavnem kontekstu. Od januarja do decembra 2012 je na Akademiji Jana van Eycka (Nizozemska)
razvil in situ projekt Jan van Eyck Go Club, klub estetike, ki si je prizadeval za lastno dematerializacijo.
Since he graduated from the École nationale supérieure des Beaux-Arts in Paris in 2007, Christophe Lemaitre has divided his time between his activity as an independent
exhibition curator, notably with the exhibition Super team, and his slow development of works questioning image fabrication and disappearance scenarios.
In 2010 and 2011, he curated the Repetition in the Epilogue exhibition (Galerie Lucile Corty), the Bords disperses exhibition (Maison flottante, Centre national de l’édition et
de l’art imprimé) and the Albers Lewitt Cointet exhibition (Cneai). His work has also been shown by the Centre d’art contemporain du Parc Saint Léger (Hors-les-murs), Zoo
galerie (Nantes) and Shanaynay (Paris). Christophe Lemaitre is also the author of Frrfrr, la Mode et son destin dans l’œuvre de Marcel Duchamp, and co-editor with Aurélien
Mole and Rémi Parcollet of the review Postdocument, a periodical publication focussing on the photography of artworks in exhibition situations. From January to December
2012, at the Jan van Eyck Academy (The Netherlands) he developed an in situ project, The Jan van Eyck Go Club, an aesthetics club working on its own dematerialisation.
Izobrazba
Training
2012
rezidenca, Oddelek za lepe umetnosti, Akademija Jana van Eycka, Maastricht
2012
Residency, Fine Art Department, Jan van Eyck Academie, Maastricht
2010
Maison flottante, Nacionalni center izdaj in tiska (Cneai), Chatou
drugo rezidenčno ustvarjanje, Center sodobne umetnosti Parc Saint Léger, Pougues-les-Eaux
2010
Maison flottante, Centre national de l’éditionet de l’art imprimé (Cneai), Chatou
Secondary residency, Centre d’art contemporain du Parc Saint Léger, Pougues-les-Eaux
2007
diploma iz upodabljočih umetnosti – kiparstva, École nationale supérieure des Beaux-Arts/Akademija za lepe umetnosti, Pariz
2007
Superior national diploma of plastic arts, École nationale supérieure des Beaux-Arts, Paris
2002
diploma iz uporabnih umetnosti, École supérieure d’arts appliqués Duperré/Akademija za uporabne umetnosti Duperré, Pariz
2002
Superior national diploma of applied arts, École supérieure d’arts appliqués Duperré, Paris
Samostojne razstave
Solo exhibitions
2012
La Connaissance des formes, Nacionalni center izdaj in tiska (Cneai), Chatou
De l’Importance des chaises dans une exposition, Shanaynay, Pariz
Jan van Eyck Go Club, Akademija Jana van Eycka, Maastricht
2012
La Connaissance des formes, Centre national de l’édition et de l’art imprimé (Cneai), Chatou
De l’Importance des chaises dans une exposition, Shanaynay, Paris
The Jan van Eyck Go Club, Jan van Eyck Academie, Maastricht
2010
Là où va l’eau de mer à marée basse, kustos Étienne Bernard, Galerija Zoo, Nantes
La Forme de l’épée, Center sodobne umetnosti Parc Saint Léger (Hors-les-murs), Cosne-sur-Loire
La Perspective du congrès, Center sodobne umetnosti Parc Saint Léger (Hors-les-murs), Cosne-sur-Loire
2010
Là où val’eau de mer à mare basse, curateur Étienne Bernard, Zoo Gallery, Nantes
La Forme de l’épée, Art Center of Parc Saint Léger, (Hors-les-murs), Cosne-sur-Loire
La Perspective du congrès, Art Center of Parc Saint Léger (Hors-les-murs), Cosne-sur-Loire
Skupinske razstave
Group exhibitions
2015
2015
2014
2014
2012
Gledališče misli, Muzej Bonnefanten, Maastricht
Décollages no. 2, kustosinja Solenn Morel, Galerija Florence Loewy, Pariz
Le Doubleetson modèle, kustosa Catherine Guiral in Brice Domingues (Office abc), Galerija Arko, Nevers
2012
Theatre of Thoughts, Bonnefanten Museum, Maastricht
Décollages no. 2, curator Solenn Morel, Florence Loewy Gallery, Paris
Le Double et son modèle, curator Office ABC (Catherine Guiral and Brice Domingues), Arko Gallery, Nevers
2011
Le Bal des débutantes, kustos Le Bureau, Klemm’s, Berlin
Kakšna risba, kustos Hans-Christian Dany, Wild West Active Space, Maastricht
Razstava prvega tedna, Akademija Jana van Eycka, Maastricht
2011
Le Bal des débutantes, curator Le Bureau, Klemm’s, Berlin
What a Drawing, curator Hans-Christian Dany, Wild West Active Space, Maastricht
Opening week exhibition, Jan van Eyck Academy, Maastricht
2010
55. salon v Montrougeu, kustosa Stéphane Corréard in Daria de Beauvais, La Fabrique, Montrouge
Codex, kustosinji Charlotte Cheetham in Béatrice Méline, Voltex, Toulouse
2010
55th Salon de Montrouge, curators Stéphane Corréard and Daria de Beauvais, La Fabrique, Montrouge
Codex, curators Charlotte Cheetham and Béatrice Méline, Voltex, Toulouse
Projekt: Repeticija v epilogu, 2010
The Project: Repetition in the Epilogue, 2010
Delo je ponovitev razstave Repeticija v epilogu, dvakrat prepognjenih in nato razrezanih tiskanih del, nameščenih na štirih ploščah dvostranskega oltarja. Med transportom
se oltar zloži kot španska stena, postavimo pa ga lahko kamor koli v razstavni prostor, glede na lege in sorazmerja, ki jih želimo vzpostaviti. Z vsako postavitvijo se tako
ustvarja novo poigravanje s presevanjem drugačne kompleksne podobe.
Repeticija v epilogu je razstava tiskovin iz leta 2010, organizirana v Galeriji Lucile Corty (Pariz). Vsebovala je 211 izvirnih tiskanih izdaj umetnikov Juliena Audeberta,
Stuarta Baileyja, Érica Baudelaira, Ryana Gandera, Marka Geffriauda, Mauricia Guilléna, Auréliena Moleja in Bernarda Piffarettija.
Projekt je zasnovan tako, da naj bi razstavljene eksponate obiskovalci odnesli, s čimer razstava počasi izgineva, dokler na koncu ne ostanejo samo še naslovi del in
imena umetnikov, izpisani na zadnji strani galeristove mize.
The project proposed here is a repeat of the printed Repetition in the Epilogue exhibition, folded twice then cut up to constitute a four-panel recto-verso altarpiece. Folded
like a fan when it is transported, the object can be positioned anywhere in the exhibition space, according to different orientations and balances, each time creating new
interplays of transparency in a new complex image.
Repetition in the Epilogue is a printed exhibition created in 2010 and shown at Galerie Lucile Corty (Paris). Produced in 211 different editions, the exhibition contained
original proposals by Julien Audebert, Stuart Bailey, Éric Baudelaire, Ryan Gander, Mark Geffriaud, Mauricio Guillén, Aurélien Mole and Bernard Piffaretti.
Intended to be taken away by visitors, the exhibition disappears and only the works’ titles and the artists’ names remain, inscribed on the back of the gallery owner’s
desk.
Farah Atassi
Rojena leta 1981 v Bruslju. Živi in dela v Parizu.
Od leta 2007 se ukvarja s poslikavanjem interjerjev, navadno javnih prostorov (menze, tovarne, pisarne, študentski domovi, tržne stojnice itd.), da bi obudila
industrijski svet med tridesetimi in zgodnjimi sedemdesetimi leti prejšnjega stoletja.
Umetničine interjerje naseljujejo objekti z dvoumnim statusom, z umetniškimi referencami na življenje delovnega ljudstva. Lahko gre za instalacije ali pa samo za
kupe opuščenih pripomočkov, ki ne izpolnjujejo več svojega namena.
Born in 1981 in Brussels. Lives and works in Paris.
Since 2007, I have painted interiors, usually communal spaces (canteens, factories, offices, dormitory towns, stalls, etc.) evoking the industrial world from the 1930’s
until the early 1970’s.
My interiors are inhabited by objects whose status is equivocal, between artistic references and evocations of working-class life. They can be installations, like
displays, or merely heaps or abandoned implements, no longer fulfilling their use.
Izobrazba
Training
2005
diploma iz upodabljajočih umetnosti – kiparstva, École nationale supérieure des Beaux-Arts/Akademija za lepe umetnosti, Pariz
2005
Samostojne razstave
Solo exhibitions
2015
Extra City Kunsthal, Antwerpen
Galerija Michela Reina, Bruselj
2015
Extra City Kunsthal, Antwerp
Michel Rein Gallery, Brussels
2014
Le Portique, Center sodobne umetnosti, Le Havre
Le Grand Café, Center sodobne umetnosti, Saint-Nazaire
2014
Le Portique, Center of Contemporary Art, Le Havre
Le Grand Café, Center of Contemporary Art, Saint-Nazaire
2013
Galerija Xippas, Pariz
2013
Xippas Gallery, Paris
2012
Farah Atassi & Stéphanie Cherpin, Galerija Édouarda Maneta, Gennevilliers
2012
Farah Atassi & StéphanieCherpin, Édouard Manet Gallery, Gennevilliers
2011
Galerija Xippas, Pariz
Farah Atassi & Élodie Lesourd, Les Églises, Center sodobne umetnosti, Chelles
2011
Xippas Gallery, Paris
Farah Atassi & Élodie Lesourd, Les Églises, Center of Contemporary Art, Chelles
2010
La Vitrine, Galerija Jeana Brollyja, Pariz
2010
La Vitrine, Jean Brolly Gallery, Paris
Skupinske razstave
Group exhibitions
2015
It Rained Again, New York
2015
It Rained Again, New York
2014–2015
Avec et sans peinture, dela iz zbirke, MAC/VAL – Muzej sodobne umetnosti, Val-de-Marne
2014/15
Avec et sans peinture, works from the collection, MAC/VAL – Museum of Contemporary Art, Val-de-Marne
2014
Beyond the Grid, Galerija Michela Reina, Bruselj
Fruits de la passion: zbirka Nacionalnega muzeja sodobne umetnosti, Centra Pompidou, Pariz, Hyogo, Umetnostni muzej, Kobe
2014
Beyond the Grid, Michel Rein Gallery, Brussels
Fruits de la passion: collection from the National Museum of Modern Art, Center Pompidou, Paris, Hyogo, Prefecturam Museum of Art, Kobe
2013
After, Galerija JGM, Pariz
nagrada Marcel Duchamp 2013, Umetnostni muzej, Libourne
Entredeux, Pokrajinski muzej sodobne umetnosti Languedoc-Roussillon, Sérignan
2013
After, JGM Gallery, Paris, France
Prize Marcel Duchamp 2013, Museum of Fine Arts, Libourne
Entre deux, Regional Museum of Contemporary Art Languedoc-Roussillon, Sérignan
2012–2013
Fruits de la passion, Nacionalni muzej sodobne umetnosti, Center Pompidou, Pariz
2012–2013
Fruits de la passion, National Museum of Modern Art, Centre Pompidou, Paris
2012
L’Art contemporain s’invite à Saint-Germain, 10. Parcours Saint-Germain, Pariz
2012
L’Art contemporain s’invite à Saint-Germain, 10th edition of Parcours Saint-Germain, Paris
2011
2001–2011: Soudain, déjà, Akademija za lepe umetnosti, Pariz
Biseri severa, Palais d’Iéna, Pariz
Onkraj krize, Bienale v Curitibi, Curitiba
Pogled, inavguralna razstava, Xippas art contemporain, Ženeva
Medalja ima dve plati, prav tako tvoj obraz, Galerija Xippas, Pariz
Si l’espace n’était qu’une dimension intérieure, Abbaye Sanit-André, Meymac
2011
2000–2011: Soudain, déjà, École nationale supérieure des Beaux-Arts, Paris
Pearls of the North, Palais d’Iéna, Paris
Beyond the Crisis, Biennial de Curitiba, Curitiba
Look, inaugural exhibition, Xippas Contemporary Arts, Geneva
There Are Two Sides to Every Coin, and Two Sides to Your Face, Xippas Gallery, Paris
Si l’espace n’était qu’une dimension intérieure, Abbaye Sanit-André, Meymac
2010
Festival, Novi festival Centra Pompidou, Muzej Ermitaž, Sankt Peterburg
Dinastija, Muzej moderne umetnosti mesta Pariz, Tokijska palača, Pariz
55. salon v Montrougeu, Montrouge
2010
Festival, New Festival of the Pompidou Center, Hermitage Museum, Saint Petersburg
Dynasty, Musée d’art moderne de la Ville de Paris, Palais de Tokyo, Paris
55th Salon de Montrouge, Montrouge
Projekt: Slika, olje na platnu, 2012
The Project: Painting, oil on canvas, 2012
Za projekt Škatla v kovčku je umetnica izbrala olje na platnu malega formata (40 × 50 cm).
Slika prikazuje modele tovarniških dimnikov iz tridesetih let, nameščenih neposredno na s ploščicami prekrita tla industrijskega objekta. Te modele, kot tudi tiste na
umetničinih predhodnih slikah Delavnica I, II in III, je oblikoval Ladislav Sutnar. Modele industrijskih pokrajin izpostavlja, ker so povezani z modernistično utopijo in
utelešajo čaščenje funkcionalnosti in novega, značilnega za začetek množične proizvodnje in modernistično ideologijo.
For the Boîte en valise project the artist chose a small format (40 × 50 cm) oil on canvas.
The picture shows models of factory chimneys from the 1930’s, placed directly on the tiled floor of an industrial space. They were designed by Ladislav Sutnar, as
were the models in her previous pictures, Workshop I, II and III. The artist works on these models of industrial landscapes because they refer to a modernist Utopia
and embody the worship of functionality and the new, characteristic of the beginning of mass-production and celebrating modernist ideology.
Élisa Pône
www.michelrein.com
Rojena leta 1979. Živi in ustvarja v Parizu.
Élisa Pône v svojih delih uporablja pirotehniko, filmske posnetke, podobe, risbe in instalacije za preizpraševanje koncepta trajanja. To je namerno raztegnjeno ali
mimobežno, iskanje kristaliziranega, včasih upadlega trenutka, ki prikliče časovne razmike in izklope naše sedanjosti. Med njenimi zadnjimi deli je V enaki razdalji od
sedanjosti, instalacija prekrivajočih se steklenih plošč različnih formatov, nameščenih na zid in prepletenih s črnimi vžigalnimi vrvicami. Vrvice pogorijo le do polovice,
zaradi česar pride do soobstoja surovega in uporabljenega materiala. Tako preoblikovana instalacija izraža neizrečeno, a zaznavno gesto, nadomestek njene aktivacije,
in izpostavlja krhkost prekinjenega trenutka. Diptih Strontium se dotika izginevanja barve. Z izgorevanjem rdečega bengalskega smodnika se izrišejo navzkrižne prečnice,
razmejene z mrežnim vzorcem eksperimenta. À la fuite, niz filmskih posnetkov v treh delih, vzbuja občutek omahovanja. Njegove tematike so izrisane v minimalističnih
pripovedih in obarvane z nenavadnim vzdušjem samote. Glasbena kulisa se dozdevno razteza in kot kinematografski paralelogram vektorjev krepi filmske podobe. Dela
Élise Pône se poglabljajo v človeški odnos do časa in minljivo naravo dogodkov. Umetnica od hipnega srčnega utripa do izkušnje dolgotrajnosti zakriva svoje sledi in
izpostavlja izražanje umetniškega dela z večkratnimi ponovitvami.
(Guillaume Hervier-Lanot)
In her work, Élisa Pône uses pyrotechnics, films, images, drawings and installations to question the notion of duration. This is intentionally stretched or fleeting, a quest
for a crystallised, sometimes fallen instant evoking the temporal disjunctions of our contemporaneity. Her most recent productions include At an Equal Distance from
the Present, an installation composed of superimposed glass plaques of different formats fixed to the wall and entangled with black fuses. The artist only partly burns
the fuses, enabling the raw and consumed material to coexist. Thus transformed, the installation delivers the furtive, perceptible gesture, substitute of its activation,
and traces the fragility of the suspended instant. The Strontium diptych questions the evanescence of colour. Conflicting trajectories are drawn by the combustion of
red Bengal light powder and are divided up by a grid sampling the experiment. À la fuite, the series of films in three parts, induces a sense of hesitation. Its subjects are
set in minimal narratives and tinged with a strange feeling of solitude. The soundtracks of these films seem to extend and reinforce the image like cinematic vectors.
Élisa’s works confront us with our attitude to time and the fleeting nature of the event. From the instant of the heartbeat to the experience of duration, the artist covers
her tracks and proposes the gestures of a work with multiple occurrences.
Izobrazba
Training
2005 diploma iz upodabljajočih umetnosti – kiparstva, umetnostna akademija, École nationale supérieure d’arts Paris-Cergy
2005
Superior national diploma of plastic arts, École nationale supérieure d’arts de Paris-Cergy
2003 diploma iz upodabljajočih umetnosti – kiparstva, ENSAPC
2003
National diploma of plastic arts, ENSAPC
1999 diploma iz umetnostne zgodovine in arheologije, Univerza X, Nanterre, Pariz
1999
DEUG in Art History and Archeology, Paris X, Nanterre
Samostojne razstave
Solo exhibitions
2015
Rocking Spectrum, 12Mail – Red Bull Space, Pariz 2015
Rocking Spectrum, 12Mail – Red Bull Space, Paris
2014
Obliques Ashes, Galerija Michela Reina, Bruselj 2014
Obliques Ashes, Michel Rein Gallery, Brussels
2013 L'aplomb de sombres, Espace Vortex, Dijon 2013 L'aplomb de sombres, EspaceVortex, Dijon
2012 Le Goût du mercure, Galerija Michela Reina, Pariz Mauvaise fièvre, Umetnostni center Bastille, Grenoble 2012
Le goût du mercure, Michel Rein Gallery, Paris
Mauvaise fièvre, Center of Art Bastille, Grenoble
2008 Fermer les yeux. Sauver sa peau, Galerija Michela Reina, Pariz
2008
Fermer les yeux. Sauver sa peau, Michel Rein Gallery, Paris
Skupinske razstave
Group exhibitions
2015
FOMO, Sextant et plus – Véronique Collard Bovy in Léo Guy Denarcy, Friche Belle de Mai, Marseille
Les rituels du dessin, kustosi J. Carrier, J. Neves, M. Pagès and D. Pimentao, Regionalni muzej sodobne umetnosti, Languedoc-Roussillon, Sérignan
Hors Pistes, Center Pompidou, Pariz
2015
FOMO, Sextant et plus – Véronique Collard Bovy and Léo Guy Denarcy, Friche Belle de Mai, Marseille
Les rituels du dessin, curators: J. Carrier, J. Neves, M. Pagès and D. Pimentao, Museum of Contemporary Art Languedoc-Roussillon, Sérignan
Hors Pistes, Centre Pompidou, Paris
2014
Le corps invisible, Galerija Edouarda Maneta, Gennevilliers
Boîte-en-valise #3, kustos Lučezar Bojadžijev, Galerija sodobne umetnosti Enča Pironkova, Plovdiv
Made by Brazilians, kustos Marc Pottier, Sao Paulo
Boîte-en-valise #2, kustos Denis Zahaopulos, Benaki Museum, Solun
2014
Le corps invisible, Galerie Edouard Manet, Gennevilliers
Made by Brazilians, curator Marc Pottier, Sao Paulo
Boîte-en-valise #2, curator Denys Zachaopoulos, Benaki Museum, Thessaloniki
2013 Nuit blanche, 11. okrožje, Pariz
2013
Nuit blanche, 11th arrondissement, Paris
2012 Supervues, Vaison-la-Romaine Autres, être sauvage de Rousseau à nos jours, kustos Stéphane Sauzede, muzej Gradu v Annecyju Papirni zamašek št. 2, kustosa Charlotte Seidel in Émile Ouroumov, potujoča razstava
Oči duše, zbirka Lemaître, kustosinja Nathalie Viot, Fundacija Godia, Barcelona Cœur de silex, kustosinja Pauline Curnier Jardin, La Galerie, Center sodobne umetnosti, Noisy-le-Sec
10 ans de Mains d’Œuvres, razstava dražba, Mains d’Œuvres, Saint-Ouen
2012
Supervues, Vaison-la-Romaine
Autres, être sauvage de Rousseau à nos jours, curator Stéphane Sauzede, Chateau-Musée d’Annecy
Paper Jam No. 2, curators Charlotte Seidel and Émile Ouroumov, itinerant event
The Eyes of the Soul, collection Lemaître, curator Nathalie Viot, Fondacion Godia, Barcelone
Cœur de silex, curator Pauline Curnier Jardin, La Galerie, Center of Contemporary Art, Noisy-le-Sec
10 ans de Mains d’Œuvres, exhibition-auction, Mains d’Œuvres, Saint-Ouen
2011 Infiltration, le privilège des chemins, kustos M. Derrien, Platforma Revolver, Lizbona, Festival City Sonics št. 8, Mons
Lotosova semena si pozabil na avtobusu, kustosinji Julia Trotta in Glynnis McDarris, Galerija Blackston, New York Flash Bang, skupaj s Katie Davis, kustos Bruce Abestos, Galerija Trade, Nottingham
Musique plastique, kustos J.-F. Sanz, Galerija Agnès B., Pariz
Effervescences, un état de la scène française, kustos Michel Nuridsany, Francoski inštitut, Hanoj
2011
Infiltration, le privilège des chemins, curator M. Derrien, Festival City Sonics no. 8, Mons, Lisbon
You Have Left Your Lotus Pods on the Bus, curators Julia Trotta and Glynnis McDarris, Blackston Gallery, New York
Flash Bang, avec Katie Davis, curator Bruce Abestos, Trade Gallery, Nottingham
Musique plastique, curator J.-F.Sanz, Galerie du jour Agnès B., Paris
Effervescences, unétat de la scène française, curator Michel Nuridsany, French Institute of Hanoï, Hanoï
2010 Ils chantent et ils jouent, les gens entrent, kustosa J. Bena in S. Nicaise, MDA Grand-Quevilly Panorama, Galerija Michela Reina, Pariz
Zaplešiva!, MAC/VAL, Vitry-sur-Seine
Dekadenca in razkroj, kustosi K. Orkisz, M. Branchflower in P. Monier, Mol’s Place, London Nalagam …, kustosinja Judith Lavagna, Galerija PM, Berlin
Berlin-Pariz, Galerija Michela Reina in Carlier/Gebauer, Galerija Michela Reina, Pariz
2010
Ils chantent et ils jouent, les gens entrent, curators J. Bena and S. Nicaise, MDA Grand-Quevilly
Panorama, Michel Rein Gallery, Paris
Let’s dance, MAC/VAL, Vitry-sur-Seine
Decadance and Decay, curators K. Orkisz, M. Branchflower and P. Monier, Mol’s Place, London
Loading…, curator Judith Lavagna, PM Gallery, Berlin
Berlin-Paris, Gallery Michel Rein & Carlier/Gebauer, Michel Rein Gallery, Paris
2009 Vsa velika in mala bitja, Narodna galerija Zacheta, Varšava
Privlačnost, FRAC Poitou, Linazay
Animiran, Umetnostni center Bastille, Grenoble
Kit Invit, Pariz
Opération Tonnerre, Mains d’Œuvres, Saint-Ouen
2009
All Creatures Great and Small, Zacheta National Gallery of Art, Warsaw
Attraction, FRAC Poitou, Linazay
Animated, Centre d’art Bastille, Grenoble
Kit Invit, Paris
Opération Tonnerre, Mains d’Œuvres, Saint-Ouen
2008 Zahvaljujemo se kustosom, ki želijo ostati anonimni, Galerija Seventeen, London
Milo za drago, 13Bis, Clermont-Ferrand
L’Amorce ou la partition des possibles, Umetnostni center Bastille, Grenoble 2008
We Would Like to Thank the Curators Who Would Like to Remain Anonymous, Seventeen Gallery, London
Tit for Tat, 13Bis, Clermont-Ferrand
L’Amorce ou la partition des possibles, Centre d’art Bastille, Grenoble
2007 Mulhouse 2007, Mulhouse
Nuit Blanche, Mayenne
2007
Mulhouse 2007, Mulhouse
Nuit Blanche, Mayenne
2006 Temps 0 + 4, la position du tireur couché, kustosinja Émilie Renard, La Vitrine, Pariz
Premier jour, IrmaVepLab, kustosa Laurent Montaron in Claire Jacquet, Châtillon-sur-Marne
2006
Temps 0 + 4, la position du tireur couché, curator Émilie Renard, La Vitrine, Paris
Premier jour, IrmaVepLab, curators Laurent Montaron and Claire Jacquet, Châtillon-sur-Marne
Performansi in filmski posnetki
Performances and film shows
2015
Alliance Caustique, l'écho des spectres, v sodelovanju z Ericom Arllettijem, La Friche Belle de Mai, Marseille & Center Pompidou, Pariz
Hors Pistes, filmski posnetek, Center Pompidou, Pariz
2015
Alliance Caustique, l'écho des spectres, in collaboration with Eric Arletti, La Friche Belle de Mai, Marseille & Center Pompidou, Paris
Hors Pistes, screening, Center Pompidou, Paris
2014
Summer Rising Festival, (kustos V. Claffey) Irish Musem of Modern Art, Dublin
2014
Summer Rising Festival, (curator V. Claffey) Irish Musem of Modern Art, Dublin
2013
Dumm, z Alexis Cailleton, kustos Vincent Verlé, Centre d'Art Bastille, Grenoble
2013
Dumm, with Alexis Cailleton, curator Vincent Verlé, Centre d'Art Bastille, Grenoble
2012 Promessa, Teatro Valle, Rim
2012
Promessa, curator TAMM COAT Teatro Valle, Rome
2011 Agora não/Not yet, kustosa Antonio Contador in Filipa Ramos, The Barber Shop, Lizbona
Ping pong video št. 20, Chapelle des réparatrices, Pau
Playtime, Nuit Blanche, Metz
13. bostonski festival francoskega filma, projekcija na Muzej lepih umetnosti v Bostonu
Point de fuite, Module Fondation Pierre Bergé-Yves Saint Laurent, kustosa Julien Fransacq in Marc Bembekoff, Pariz 2011
Agora não/Not Yet, curators Antonio Contador and Filipa Ramos, The Barber Shop, Lisbon
Ping pong vidéo no. 20, Chapelle des réparatrices, Pau
Playtime, Nuit Blanche, Metz
13th edition of Boston French Film Festival, projection at the Museum of Fine Arts of Boston
Point de fuite, Module Fondation Pierre Bergé-Yves Saint Laurent, curators Julien Fransacq and Marc Bembekoff, programmatic on vidéo du Palais de Tokyo, Paris
2009 Zasebna poslovilna zabava za Jean-Conrada in Isabelle Lemaître, Artprojx, Umetniški filmski klub, London
2009
A Private Screening Farewell Party for Jean-Conrad and Isabelle Lemaître, Artprojx, Artists Film Club, London
2008 Gracelands, Dromahair, Irska Almost Cinema, Vooruit, Gand, Belgija Le Lac, le mensonge, ne spominjam se hitrosti udarca, skupaj z Davidom Balulo, Le Confort Moderne, Poitiers
2008
Gracelands, Dromahair
Almost Cinema, Vooruit, Gand
Le Lac, le mensonge, Can’t Remember the Speed of the Blast, avec Davide Balula, Le Confort Moderne, Poitiers
Projekt: Kaj je novega, potniki?, 2012
The Project: What’s Up Boarders?, 2012
Za projekt Škatla v kovčku je Élisa Pône ustvarila akustično delo. Škatla je sistem ozvočenja in vsebuje ojačevalec, zvočnike s tremi izenačevalniki zvoka (bas, medium,
treble) in mp3-predvajalnik. Ima odprtine za zvočnike in ohlajanje sistema. Potrebuje eno samo električno vtičnico. Tematika umetniškega dela osvetljuje zakonodajo,
ki ureja transport blaga. Škatla je dostavljena brez zvočnega gradiva, ta se doda na vsakem razstavnem prostoru. Ob transportu bo naslovnikom škatle poslano tudi
zvočno gradivo, ki ga galerist vnese v mp3-predvajalnik. Delo si s spojem vznemirljive glasbe in pravnih besedil posameznih držav v njihovih jezikih prizadeva ponuditi
jedek komentar in presunljiv umetniški premislek.
For the Boîte en valise project, Elisa decided to produce an acoustic piece. The box itself is a sound system, containing an amplifier, three-channel loudspeakers (bass,
medium, treble) and an mp3 player. It has openings for the loudspeakers and to allow heat to escape. The system requires only one electrical socket. The subject of this
piece is the legislation regulating the transport of goods. The box is initially delivered without a soundtrack, which is added at each of the exhibition’s destinations. Every
time the work is transported, the persons to whom the box is sent will also be sent a soundtrack to be added to the mp3 player’s listening list. A mix of virulent music
and legal texts from the countries concerned and in the language of each country, the work seeks to be both incisive and unusual.
Gaëlle Boucand
www.gaelleboucand.com
Rojena 1980 v Parizu. Živi in ustvarja v Berlinu.
»Ne zanima me toliko zastarevanje samo na sebi, ampak predvsem odkloni in zablode, nelinearno minevanje tehnološke zgodovine. Odnos do popačenega spomina, ki
vodi v produkcijo objektov z eksponentno hitrostjo. Zdi se mi, da je ta specifični spomin o vsesplošnem razvoju, spomin, ki zahteva vedno večjo prožnost, poglede nazaj
in prehitevanje v prihodnost, značilen za našo dobo. Na primer, prvi smo, ki eksperimentiramo z mp3-predvajalniki v žepih in se obenem natanko spominjamo zvoka,
ki ga ustvarja vokman, ko previja kasetni trak: nekakšne tehnološke shizofrenije. Obenem me navdušujejo tudi prostori: če danes obstajajo takšne urbane skrajnosti
(osamljeni otok samo deset minut z Manhattna), je to nedvomno zato, ker gradnja in mestni razvoj v zadnjem stoletju nikoli nista bila hitrejša. Občutek imam, da sem
del procesa, ki je ušel izpod nadzora in neizogibno ustvarja drobne napake v delovanju. Te drobne okvare, stvari, ki ne delujejo, ki se niso razvile z enako hitrostjo kot
njihovo urbano ali tehnološko okolje, uporabljam za ustvarjanje določene oblike elastičnega spomina v svojih delih.«
(Iz intervjuja s Claro Schulmann v Particules št. 20)
Born in 1980 in Paris. Lives and works in Berlin.
It isn’t obsolescence in itself that interests me but the errors, the non-linear passages of technological history. The relationship to the distorted memory that now induces
an exponential speed into the production of objects. It seems to me that this specific memory that we are all developing, which demands more and more flexibility and
flashbacks and fast forwards is specific to our time. For example, we are the first to experiment with having mp3 players in our pockets and being able to precisely recall
the sound a Walkman makes when it winds back a tape: a form of technological schizophrenia. This stems from the same type of interest that I have in spaces: if there
are such urban extremes today (a deserted island only ten minutes from Manhattan), this is undoubtedly because the speed of construction and urban development
has never been as fast as during the last century. I have the feeling of being part of a process that is getting carried away and inevitably producing glitches. I use these
glitches, things that didn’t work, which didn’t develop at the same speed as their urban or technological surroundings, to develop a form of elastic memory in my pieces.
From the interview with Clara Schulmann in Particules no. 20.
Izobrazba
Training
2005
diploma iz upodabljajočih umetnosti – kiparstva, École nationale supérieure des Beaux-Arts/Akademija lepih umetnosti, Pariz (mentor Jean-Marc Bustamante)
2000
Diplôme national supérieur d’arts plastiques, École nationale supérieure des Beaux-Arts, Paris (Jean-Marc Bustamante’s studio)
2004
Cooper Union School, študentska izmenjava, New York
2004
Cooper Union School, exchange, New York
Festivali
Festivals
2014
51ZERO festival, Rochester
Live art week, Cineteca & MAMbo Muzej sodobne umetnosti, Bologna
2014
51ZERO festival, Rochester
Live Art Week, Cineteca & MAMbo Museum of Modern Art, Bologna
2013
Côté Court, Pantin (velika nagrada – grand prix)
Hors Pistes, Centre Pompidou, Pariz (nagrada za kreativno umetnost – Prix Art Creative)
Rencontres Internationales, Haus der Kulturen der Welt, Berlin & Palais de Tokyo, Pariz
Ciné-Scènes, Evreux
Les Hivernales du documentaire, Saint-Antonin-Noble-Val
Nos Yeux Grand Ouverts, Pariz
2013
Côté Court, Pantin, FR (Grand Prix)
Hors Pistes, Centre Pompidou, Paris, FR (Prize Creative Art – Prix Art Creative)
Rencontres Internationales, Haus der Kulturen der Welt, Berlin, DE & Palais de Tokyo, Paris
Ciné-Scènes, Evreux
Les Hivernales du documentaire, Saint-Antonin-Noble-Val
Nos Yeux Grand Ouverts, Paris
2012
FID Marseille (posebna omemba velike nagrade v franoski konkurenci)
2012
FID Marseille (Special Mention of the Grand Prix, French Competition)
Projekcije v kinematografih, umetniških centrih in galerijah
Screenings in cinemas, art centres and galleries
2014
WallRriss Kunstraum, Fribourg
Kunstvlaai, Amsterdam
Beaux-Arts Museum, Angers
Lungomare, Bolzano
Moving Image, Gaité Lyrique, Pariz
Cruise & Callas, Berlin
2014
WallRriss Kunstraum, Fribourg
Kunstvlaai, Amsterdam
Beaux-Arts Museum, Angers
Lungomare, Bolzano
Moving Image, Gaité Lyrique, Paris
Cruise & Callas, Berlin
2013
Center sodobne umetnosti, Vilna
Zumzeig, Barcelona
Gran Lux, Saint Etienne
Trafic, Lozana
Le Cratère, Toulouse
Doc’Ouest, 13èmes rencontres documentaires, Pléneuf-Val-André
Résistances et Création, Ženeva
2013
Contemporary Art Center, Vilnius
Zumzeig, Barcelone
Gran Lux, Saint Etienne
Trafic, Lausanne
Le Cratère, Toulouse
Doc’Ouest, 13èmes rencontres documentaires, Pléneuf-Val-André
Résistances et Création, Genève
2012
Silencio, Pariz
Gaumont Parnasse, Pariz
Prirodoslovni muzej, Pariz
Xavierlaboulbenne, Berlin
2012
Silencio, Paris
Gaumont Parnasse, Paris
Museum of Natural History, Paris
Xavierlaboulbenne, Berlin
Samostojne razstave
Solo exhibitions
2013
LOOP, Barcelona
2013
Loop, Barcelone
2011
Sprech kontakt mit Müggelturm, projekt in situ, skupaj s Clémentine Roy, Müggelturm, Berlin
2011
Sprechkontakt mit Müggelturm, in situ project, Müggelturm, Berlin
2010
Največji diamant na svetu, SOX, Berlin
2010
World’s Biggest Diamond, SOX, Berlin
Skupinske razstave
Selected group exhibitions
2015
Fotofestival, Mannheim Ludwigshafen Heidelberg
2015
Fotofestival Mannheim Ludwigshafen Heidelberg
2014
Seven propositions on space, Galerija Rottwand, Zürich
2014
Seven Proposition on Space, Rotwand Gallery, Zürich
Boîte-en-valise #3, Encho Pironkov’s Gallery for Contemporary Art, Plovdiv
2013
LOOP, Barcelona
Med prisvojitvijo in intervencijo, kustos Harald Theiss, Kunstraum Kreuzberg/Bethanien, Berlin
2013
Between Appropriation and Interventions, Bethanien, Berlin
Take Positions, Temporary Home, Kassel
2012
Ci-dessous, Umetnostni center Bastille, Grenoble
Desformes de vie, Laboratoires d’Aubervilliers in Galerija Agnès B., Pariz
To & tam, Espace Paul Ricard in Librairie des Alpes, Pariz
IBG 2011, Galerie de Multiples, Pariz
2012
Ci-dessous, Centre d’Art Bastille, Grenoble
This&There, Espace Paul Ricard & Librairie des Alpes, Paris
Des formes de vie, Laboratoires d’Aubervilliers & Galerie du jour Agnès B, Paris
IBG 2011, Galerie de Multiples, Paris
2011
Agora, kustosinja Olga Rozenblum, Treize, Pariz
Promesse, v organizaciji Jean-Baptista Bouveta, Oranienstrasse 189, Berlin
Kaj je to?, Monte Crisco Studio, Pariz
Piano Piano, kustosinja Rebecca Lamarche-Vadel, Bienale Kreuzberg, Berlin
Naravnost v neznano, kustosinja Rebecca Lamarche-Vadel, Forgotten Bar, Berlin
2011
Agora, Treize, Paris
Promesse, Studio J-B Bouvet, Berlin
Piano Piano, Kreuzberg Biennale, Berlin
Straight to the Unknown, Forgotten Bar, Berlin
2010
Éclats, kustosinja Bettina Klein, CEAAC in Mineral Museum, Strasbourg
Dinastija, kustosinji Anne Dressen in Daria de Beauvais, Muzej moderne umetnosti, Tokijska palača, Pariz
Ins Blickfeld Gerückt, v sodelovanju s Francisco Würz, Francoski inštitut, Berlin
2010
Dynasty, Museum of Modern Art, Paris
Eclats, CEAAC, Strasbourg
World’s Biggest Diamond, SOX, Berlin (solo)
Ins Blickfeld gerückt, French Institute, Berlin, DE (conception & realisation of the project in collaboration with Francisca Würz)
2009
Want, Galerija Arratia Beer, Berlin
Un plan simple (Ecran), Maison Populaire de Montreuil, Montreuil
2009
Want, Arratia Beer Gallery, Berlin
Un plan simple (Ecran), Maison Populaire de Montreuil, Montreuil
2008
Pavillon 7, Palais de Tokyo, Pariz
((())), Le Transpalette, Bourges
Bass Diffusion Model, Galerija Fieldgate, London
2008
Pavillon 7, Palais de Tokyo, Paris
((())), Le Transpalette, Bourges
Bass Diffusion Model, Fieldgate Gallery, London
2007
1972, Kadist Art Foundation, Pariz
Flurry, Rien à voir, Les Instants Chavirés, Montreuil
2007
1972, Kadist Art Foundation, Paris
Flurry, Rien à voir, Les Instants Chavirés, Montreuil
2006
Attentifs ensemble, Attitudes, Ženeva
N7-S11, dogodek Ø, Bétonsalon, Pariz
2006
Attentifs ensemble, Attitudes, Geneva
N7-S11, événement Ø, Bétonsalon, Paris
Projekt: Previjanje naprej [delovni naslov], 2012
The Project: Fast Forward [working title], 2012
Zasnova umetniškega dela se prilagaja potujoči in spreminjajoči se razsežnosti projekta Škatla v kovčku. Film je obogaten z novim »poglavjem« vsakič, ko novo
razstavno prizorišče odpre svojo škatlo. Film sledi zgodovini projekta Škatla v kovčku s posnetim arhivom njegovih zaporednih razstav.
Delo bo zatorej vseskozi projekt v »nastajanju« in se bo zaključilo šele ob njegovem koncu. Prvo poglavje bo posneto s super8 kamero in bo predstavilo škatlo s
štirimi kamerama pred prvo razstavo. Naslednja štiri poglavja bodo prikazovala galerije, ki so se odločile odpreti to škatlo, vsako poglavje pa bo posneto z drugačno
tehnologijo. Dokončani film bo razkril potopis del, ki sestavljajo projekt Škatla v kovčku, z vpogledi v štiri različne razstave, posnetimi v petih različnih ljubiteljskih
filmskih formatih: super8 (1965), VHS (1975), HI8 (1985), DV (1995) in HD (2005). Film se bo torej poigraval s formalnimi vidiki tehnoloških pomanjkljivosti in
povzemal estetske lastnosti vsakega formata, s poudarkom predvsem na njegovih napakah.
Zadnja razstava projekta, in torej tista najbolj oddaljena od sedanjega trenutka, bo posneta z najsodobnejšo tehnologijo. To razmerje se bo ob koncu projekta obrnilo:
najsodobnejša tehnologija bo dokumentirala razstave, ki so nam v času najbližje.
This proposition is designed to adapt to the itinerant and evolving dimension of the Boîte en valise project. The film is enriched with a new “chapter” every time a new
exhibition venue decides to open its box. The film retraces the history of the Boîte en valise project, by proposing a filmed archive of the successive exhibitions comprising it.
This work will therefore be “in progress” throughout the project’s duration, and will not be finished until the project is over. The film’s first chapter will be shot in Super8,
in which we will see a box containing four cameras before the first exhibition. The four following chapters will show the exhibitions having chosen to open this box, and
each chapter will be filmed with a different technology. The result will be a film showing the itinerary of the works in the Boîte en valise project, with views of four different
exhibitions recorded in five different amateur film formats: Super8 (1965), VHS (1975), HI8 (1985), DV (1995) and HD (2005). The film will therefore play on the formal
qualities of the technological error and recall each format’s aesthetic characteristics, consisting primarily of their defects.
The last exhibitions in the project’s itinerary, and therefore the most distant from the present, will be recorded with increasingly recent technology. This relationship will
invert when the project comes to an end: the most recent technologies will then seem to record the exhibitions closest to us in time.
Émilie Pitoiset
www.emiliepitoiset.net
Rojena leta 1980. Živi in ustvarja v Parizu.
Émilie Pitoiset časovne razsežnosti, povezane z živim odrskim nastopom, in besednjak »didaskalij« prevaja v zamrznjeni kontekst razstave, v katerem je čas zaustavljen.
Ta časovna sprememba sodeluje pri uresničevanju fikcije. Zajema iz plesnega in filmskega gestualnega repertoarja, ki ga pojmuje kot sestavno prvino scenskega dejanja.
Njeni prostori ujetih dejanj se materializirajo v objektih, ki vsebujejo sledi preteklih ali prihodnjih dejanj, izvršenih onkraj »pogleda kamere«.
Émilie Pitoiset uses a time linked to live performance and the vocabulary of “stage direction”, which she transcribes into the frozen context of the exhibition, in which time is
suspended. This temporal change participates in the implementation of fiction. She draws on the gestural repertoires of dance and cinema to use them as the constitutive
elements of the action. Her spaces of contained actions materialise in objects, each of which contains the vestiges of a past or future action produced “off camera.”
Izobrazba
Training
2005
diploma iz upodabljajočih umetnosti – kiparstva, École nationale supérieure des Beaux-Arts/Akademija za lepe umetnosti, Pariz
2005
2003–2002
podiplomski študij Interactive Research, École nationale supérieure des Arts Décoratifs/Akademija za dekorativne umetnosti, Pariz
2003–2002
Post-graduate Interactive Research, École nationale supérieure des Arts Décoratifs, Paris
2002
magisterij iz upodabljajočih umetnosti – kiparstva, smer novi mediji, Univerza VIII v Parizu
2002
Master of plastic arts, option Nouveaux médias, mention très bien, Université Paris VIII
Samostojne razstave
Solo exhibitions
2013
FRAC Champagne-Ardenne, Reims 2013
FRAC Champagne-Ardenne, Reims
2012
Umetnostni sejem ABC, Berlin
Giselle, Galerija Klemm, Berlin
Vous arrivez trop tard, Cérémonie, Les Églises, Chelles
2012
ABC Art Fair, Berlin
Giselle, Klemm’s Gallery, Berlin
Vous arrivez trop tard, Cérémonie, Les Églises, Chelles
2011
Razstava prejemnikov nagrade audi za talent, FIAC, Grand Palais, Pariz
Zalepi si veke, Galerija Klemm, Berlin
Davon Loch, Galerija Zoo, Nantes
LOOP, Umetnostni sejem videa, Madrid
La Hantise, Galerija Lucile Corty, Pariz
La Vitrine, Le Plateau, FRAC Île-de-France, Pariz
2011
Audi Talents Awards Booth FIAC, Grand Palais, Paris
Glue Your Eyelids Together, Klemm’s Gallery, Berlin
Davon Loch, Zoo Galery, Nantes
LOOP, Video Art Fair, Madrid
La Hantise, Lucile Corty Gallery, Paris
La Vitrine, Le Plateau, FRAC Île-de-France Paris
2010 Comme on fait disparaître les miroirs, Module, Tokijska palača, Pariz
2010
Comme on fait disparaître les miroirs, Module, Palais de Tokyo, Paris
Skupinske razstave
Group exhibitions
2015
2015
2014
Boîte-en-valise #3, Galerija sodobne umetnosti Encha Pironkova, Plovdiv
2014
2012
Évocateur, razstava v okviru 14. podelitve nagrad Fundacije Ricard, Pariz
To & tam, Fundacija Ricard, Pariz
Tolsti ptiči ne letijo, Netwerk, Center sodobne umetnosti, Aalst
2012
Évocateur, exhibitions for the 14th Price Fondation d’entreprise Ricard, Paris
This & There, Fondation d’entreprise Ricard, Paris
Fat Birds Don’t Fly, Netwerk, Centrum voor Hedendaagse Kunst, Aalst
2011 2001 - 2011: Soudain, déjà, Akademija za lepe umetnosti, Pariz
La Fabrique du sonore, Domaine Pommery, Reims
Les Films sont des rideaux de fer, Buenos Aires
Initiation au mystère, Soirée Nomade, Fundacija za sodobno umetnost Cartier, Pariz
De B à P, Confort moderne, Poitiers
So Schön …, Nassausko umetnostno združenje, Wiesbaden
Collection 25 ans et 1 printemps, Regionalni muzej sodobne umetnosti Rochechouart
Chambres sourdes, Château de Rentilly
Shoot! La Photo existentielle, C/o Berlin
2011
2001–2011: Soudain, déjà, École nationale supérieure des Beaux-Arts, Paris
La Fabrique du sonore, Domaine Pommery, Reims
Les Films sont des rideaux de fer, Buenos Aires
Initiation au mystère, Soirée Nomade, Fondation Cartier pour l’art contemporain, Paris
De B à P, Confort moderne, Poitiers
So Schön…, Nassauischer Kunstverein, Wiesbaden
Collection 25 ans et 1 printemps, Museum of Contemporary Art, Rochechouart
Chambres sourdes, Château de Rentilly
Shoot! La Photo existentielle, C/o Berlin
2010
Prospectives XXIe siècle, Le Plateau, FRAC Île-de-France, Pariz
Von A nach B, Umetnostno združenje v Bielefeldu
Bild für Bild, zbirka Centra Pompidou, Museum Ostwall, Dortmund
Shoot! Fotos schießen, Muzej fotografije, Braunschweig
FIAC, umetnostni sejem, Galerija Lucile Corty, Pariz
Shoot!, Fotografska srečanja v Arlesu
Razstava brez imena, Galerija Jette Rudoph, Berlin
La Musique du hasard, zbirka FRAC Champagne Ardennes, Palais de Tau, Reims
Liste, Umetnostni sejem v Baslu, Galerija Lucile Corty, Bâle
Ins Blickfeld Gerückt, Francoski inštitut, Berlin
2010
Prospectives XXIe siècle, Le Plateau, FRAC Île-de-France, Paris
Von A nach B, Bielefeld Kunstverein
Bild für Bild Collection of Centre Pompidou, Museum Ostwall, Dortmund
Shoot! Fotos schießen, Museum of Photography, Braunschweig
FIAC, Art Fair, Lucile Corty Gallery, Paris
Shoot!, Rencontres Photographiques d’Arles
The Show With no Name, Jette Rudoph Gallery, Berlin
La Musique du hasard, Collection of FRAC Champagne Ardennes, Palais de Tau, Reims
Liste, Basel Art Fair, Lucile Corty Gallery, Bâle
Ins Blickfeld Gerückt, French Institute, Berlin
Projekt: Vrhunec, 2012
The Project: Acme, 2012
Vrhunec je klimaks, višek intrige, ki se ga običajno zavemo naknadno. Zastor iz sešitih kosov tkanine ustreza modelu dela Vrhunec, katerega mere so 4 × 3 m. Gre za
scensko likovno opremo, ki spremlja nastop kostumirane ženske. Dogodek ni napovedan, zgodi se v presledkih, brez določenega razporeda. Vrhunec že samo v svoji
formi postane statičen igralec, »namestnik igralca«, ki vskoči po potrebi.
The acme is the highpoint, the climax of an intrigue, which one usually only realises in retrospect. This sewn textile backdrop corresponds to the model of the Acme piece,
whose real dimensions are 4 × 3 m. The decor takes part in an action carried out by a costumed woman. The event isn’t announced, it happens intermittently, with no
fixed rendez-vous. Solely in its form, the acme becomes a static actor, a “reserve piece” in waiting.
Florian Pugnaire in David Raffini
www.florianpugnaire.com
www.raffini.net
Rojena leta 1980 in 1982. Živita in ustvarjata v Nici.
Born in 1980 and 1982, respectively. Live and work in Nice.
Izobrazba
Training
Florian Pugnaire
Florian Pugnaire
2006–2007
diploma iz upodabljajočih umetnosti – kiparstva, Villa Arson, Nica
2006–2007
Superior national diploma of plastic arts, Villa Arson, Nice
2006–2008
Le Fresnoy, Nacionalni studio za sodobne umetnosti
2006–2008
Le Fresnoy, National Studio of Contemporary Art
David Raffini
David Raffini
2007 diploma iz upodabljajočih umetnosti, Villa Arson, Nica
2007 Superior national diploma of plastic arts, Villa Arson, Nice
2004
magister uporabnih umetnosti, Univerza na Korziki, Corté
2004
Masters degree in applied arts, University of Corsica, Corté
Samostojne razstave
Solo exhibitions
2013
Chjami rispondi, Torri, Pariz, Énergie Sombre, Picassov muzej, Antibes
Matières temps, Center sodobne umetnosti Les Églises, Chelles
2013
Chjami rispondi, Torri, Paris, Énergie Sombre, Musée Picasso, Antibes
Matières temps, Centre d’art contemporain Les Églises, Chelles
2012
Florian Pugnaire in David Raffini, Kulturni center Una Volta, Bastia
2012
Florian Pugnaire and David Raffini, Cultural Center Una Volta, Bastia
2011
Amnesia, Center sodobne umetnosti Domaine Orenga, Patrimonio
Glissements, kustos Jean Marc Avrilla, Le Dojo, Nica
Berlin Paris 2011, Carlier I gebauer, Berlin
2011
Amnesia, Espace contemporain Domaine Orenga, Patrimonio
Glissements, curator Jean Marc Avrilla, Le Dojo, Nice
Berlin Paris 2011, Carlier I gebauer, Berlin
2010
Hors Gabarit, Torri, Paris In Fine, Tokijska palača, Pariz
E Figura si l’isula, Fantasy Island, FRAC Korzika
2010
Hors Gabarit, Torri, Paris In Fine, Friche du Palais de Tokyo, Paris
E Figurasi l’isula, Fantasy Island, FRAC Corse
Skupinske razstave
Group exhibitions
2015
2015
2014
2014
2013
Skupinska razstava, Mendes Wood, Sao Paolo
Fondre, battre, briser, Beli paviljon, Umetnostni center Colomiers, Colomiers
2013
Group Show, Mendes Wood, Sao Paolo
Fondre, battre, briser, Le Pavillon blanc, Art Center of Colomiers, Colomiers
2012
1. šanghajski projekt plastike, Šanghajski umetnostni inštitut, Šanghaj
Sonce in padavine, Catalyst Arts, Belfast
Texture/Material (Berlin, Pariz 2012), Galerija Klemm, Berlin
Les Feux de l’amour, FRAC Akvitanija, Bordeaux
Papir, MAMAC, Nica
Nova abstraktna generacija, Le Box, Fonds M-ARCO, Marseille
2012
First Shanghai Sculpture Project, Shanghai Art Institute, Shanghai
Sunshine and Precipitation, Catalyst Arts, Belfast
Texture/Material (Berlin Paris 2012), Klemm’s Gallery, Berlin
Les Feux de l’amour, FRAC Aquitaine, Bordeaux
Paper, MAMAC, Nice
New Abstract Generation, Le Box, Fonds M-ARCO, Marseille
2011
La Fabrique sonore, Domaine Pommery, Reims
Art-o-rama, Friche Belle de mai, Marseille
Fokus, v sodelovanju z Lyonskim bienalom, Dunaj
2011
La Fabrique sonore, Domaine Pommery, Reims
Art-o-rama, Friche Belle de mai, Marseille
Focus, in association with the Lyon Biennal, Vienne
Projekt: Temna energija, 2012
The project: Dark Energy, 2012
Temna energija je video in skulpturna instalacija. Brutalno uničen kombi Volkswagen Transporter (zmečkan, eksplodiran in zažgan) zapuščen stoji sredi polja, poleg
ponavljajočega se 15-minutnega videa. Poškodbe na izmaličenem kombiju je skorajda nemogoče določiti, ugotoviti pa se da, da je bil izpostavljen stiskanju in tudi
eksploziji. V ozračju posnetkov ceste, vesternov, B-filmov in znanstvenofantastičnih del spremljajoči videoposnetek prikazuje fiktivno preobrazbo kombija v skulpturo in
zaporedne stopnje njegove metamorfoze.
Kombi je rumen, njegova zatemnjena stekla popolnoma preprečijo vpogled v notranjost. Med uničenjem ga skorajda popolnoma prekrije gosta vegetacija, njegovo
karoserijo pohabi pojav, ki dozdevno izhaja iz skulpture same. Na barvi se naredijo mehurji, barva začne odtekati, kombi je obrizgan z blatom in barvo, zaradi česar dobi
popolnoma drugačno podobo. Ko je uničena kombijeva lupina, se začne preoblikovati tudi njegova notranjost: zaradi sile hidravličnega sistema, nameščenega v njegovi
notranjosti, se začne krčiti in grbančiti. Kovina se naguba, vozilo se upogne vase in vožnja je kmalu onemogočena. Film se konča z eksplozijo njegovega skrčenega
ogrodja, zapuščenega sredi polja.
Kombi je glavni junak filma: njegovega voznika ne uzremo, okna kombija so zastrta. Prizor prikliče vzdušje Spielbergovega Dvoboja (1971), Cronenbergovega Trka (po
romanu J. G. Ballarda, 1996) in Carpenterjeve Christine (po romanu Stephena Kinga, 1983). Personifikacija objekta je potrebna za filmsko pripovedno napetost, saj
kombi, prikazan kot žival v agoniji, navda z metaforično in eksistencialno razsežnostjo.
Preobrazba kombija zastavlja tudi vprašanja, povezana s slikarstvom (sprememba njegove lupine, površine, povrhnjice itd.) in kiparstvom. Začnemo se spraševati o
njegovi notranjosti (je polna, prazna, kakšne so njene človeške razsežnosti, je grobnica itd.), kar aludira na nekatere vidike minimalistične skulpture, kot je delo Die Tonyja
Smitha (1962). Kombi je prikazan kot hermetična prostornina, ki skriva uganko svoje mobilnosti. Kot pri delu Umetnikovo blato Piera Manzonija (1961) je vprašanje
njegove vsebine tako prvinsko kot tudi sekundarno: personifikacija kombija je obenem filmsko fiktivno srce in pretveza za razširitev filmskega prostora na obširnejše
estetske tematike.
Skrivna nedostopnost, hermenevtična zaprtost objekta spominja tudi na Schrödingerjev eksperiment z mačko (1935), ki se, brez pretresanja paradoksov kvantne
mehanike, dotakne ključnega vprašanja: mačka, ki sedi v zapečateni škatli s smrtonosno pripravo, je obenem mrtva in živa, vse dokler škatla ostane zaprta in mačkine
smrti nismo zabeležili. Podoben pojav animira kombi iz dela Temna energija: paradoks, potencialni soobstoj prisotnosti in odsotnosti. Krčenje in eksplozija kombijaskulpture tudi neposredno prikliče koncepta iz umetnosti skulpture (stiskanje/raztezanje). Zaporedno pojavljanje teh dveh konceptov v filmu tudi metaforično prikliče
uničenje in stvaritev vesolja (veliko krčenje/veliki pok). Predmet, izpostavljen različnim stanjem, je obenem nezanesljiv, fiktiven in metafizičen. Navsezadnje instalacija,
ki zajema tako skulpturo kot film, upodobi enotnost vseh teh možnosti.
Dark Energy is a video and sculpture installation project. A Volkswagen Transporter van, violently destroyed (compacted, exploded and burnt), stands abandoned in
the middle of a field next to a 15-minute video running in a loop. The van carcass seems to have undergone damage impossible to analyse, to have been subjected
to compression but also an explosion. In an atmosphere encompassing road movies, westerns, B movies and science fiction, the film shown next to the van carcass
displays its fictional transformation into sculpture and the successive stages of this metamorphosis.
The van is yellow and its tinted windows completely conceal its interior. As it advances and disappears into dense vegetation, its bodywork is distorted by a phenomenon
that seems to emanate from the object itself. The paint blisters, erodes and is spattered with mud and paint, finally giving the van an entirely different appearance. Once
its envelope has been destroyed, the van’s mass itself metamorphoses: powered by a hydraulic system installed inside it, it contracts and compacts. The metal crumples,
the vehicle buckles and folds and soon can no longer move forward. The film ends with the explosion of the van’s compacted carcass, abandoned in the middle of a field.
The van is the film’s main character: its driver is never seen and its windows are tinted. One is reminded of Spielberg’s Duel (1971), Cronenberg’s Crash (based on the
novel by J. G. Ballard, 1996) and Carpenter’s Christine (based on the novel by Stephen King, 1983). The personification of the object is necessary for the film’s narrative
tension, and imbues this van, filmed like an animal in agony, with a metaphoric and existential dimension.
The van’s metamorphosis also poses questions related to painting (alteration of its envelope, surface, skin, etc.) and sculpture. One inevitably wonders what it contains
(full, empty, human proportions, tomb, etc.), and this is reminiscent of certain aspects of minimal sculpture such as Tony Smith’s Die (1962). The van is filmed like
a hermetic volume concealing the enigma of its mobility. As with Manzoni’s Artist’s Shit (1961), the question of its contents is both primordial and secondary: the
personification of the van is both the film’s fictional heart and a pretext to open the film’s space up to broader aesthetic considerations.
The object’s hermeticism is also reminiscent of Schrödinger’s cat experiment (1935), which, without discussing the paradoxes of quantum mechanics, raises a key point:
a cat, placed in a box containing a lethal device, is simultaneously dead and alive as long as the box remains closed and the cat’s death has not been observed. What
animates the van in Dark Energy could be similar: a paradox, a potential superimposition of presence and absence. The van-object’s contraction and explosion also refer
directly to notions in sculpture (compression/expansion). The successive occurrences of these two notions in the film even metaphorically evoke the destruction and
creation of the universe (Big Crunch/ Big Bang). The object going through different states is at once anecdotic, fictional and metaphysical. In the end, the installation,
comprising the sculpture and the film, shows the unity of all these possibilities.
Pierre Labat
www.pierrelabat.net
Rojen leta 1977. Živi in ustvarja v Bordeauxu.
Dela Pierra Labata raziskujejo podrobnosti delovanja določenega prostora, vendar obstajajo neodvisno od njega in ustvarjajo lasten prostor. Gledalec je umeščen nekje
med obema, ni ne pasiven opazovalec ne aktivni udeleženec. Je bistvena prvina dela, ki ga sooblikuje s svojim gibanjem v njem in okoli njega. Preprosti gib roke sproži
prelom Vmesnega prostora (2006). Naše oči potujejo po tem arhitekturnem elementu, belemu stebru, odsekanemu pod kotom, arhitekturni plastiki, ki posledično
izgubi svojo uporabno vlogo podpore. Ta praznina prikliče gibanje in prisotnost telesa v negativu, kot ustvarjalnega procesa umetnika, ki nenehno izvablja »človečnost v
njeni odsotnosti«. Navzočnost gledalca aktivira razmerje med umetnino in njeno okolico. Skulpture Pierra Labata so same po sebi nedokončani, statični objekti, katerih
delovanje vendarle vsebuje aktiven izraz.
(Albane Duvillier in Karen Tanguy (Foldedpsace))
Born in 1977. Lives and works in Bordeaux.
Pierre Labat conceives his works in function of the particularities of a given space. Nevertheless, they exist autonomously and generate their own space. The viewer
is somewhere between the two, neither a passive spectator nor an active participant. He is a constitutive element of the work, participating in it with his movements
around and within it. A mere gesture of the hand occupies the break of Space Between (2006). Our eyes traverse this architectural element, a white column cut off at
an angle, which has therefore lost any use as a support. This void suggests movement and the presence of a body in negative, like the creative process of the artist, who
constantly elicits a “humanity by default.” The viewer’s presence activates the work’s relationship with its environment. Pierre Labat’s sculptures are not finished, static
objects in themselves but include an active time in their functioning.
Albane Duvillier& Karen Tanguy (Folded Space)
Izobrazba
Training
2011
rezidenca, Vila Kudžojama, Kjoto 2011
Residency, Villa Kujoyama, Kyoto
2009
rezidenca, Synagogue de Delme, Lindre-Basse 2009
Residency, Synagogue de Delme, Lindre-Basse
2006
rezidenca, Astérides, Marseille 2006
Residency, Astérides, Marseille
2000
diploma iz upodabljajočih umetnosti, École supérieure des arts décoratifs de Strasbourg/Akademija dekorativnih umetnosti v Strasbourgu
2000
Superior national diploma of plastic arts, École supérieure des arts décoratifs de Strasbourg
1998
diploma iz upodabljajočih umetnosti – kiparstva, École supérieure des Beaux-Arts de Quimper/Akademija lepih umetnosti, Quimper
1998
National diploma of plastic arts, École supérieure des Beaux-Arts de Quimper
Samostojne razstave
Solo exhibitions
2014
Le mélange des eaux, blockhaus du hub studio, Nantes
2014
Le mélange des eaux, blockhaus du hub studio, Nantes
2013
Charleston, Artothèque, Pessac
Le réel capital, Galerija Cortex Athletico, Bordeaux
2013
Charleston, Artothèque, Pessac
Le réel capital, Galerie Cortex Athletico, Bordeaux
2012
() )(, Galerija Jeune Création, Pariz
Gladka galerija, Galerija ACDC, Bordeaux 2012
() )(, Galerie Jeune Création, Paris
Smooth Gallery, Galerie ACDC, Bordeaux
2011 Abre-Vira, Maison d’édition Analogues, Espace pour l’art, Arles
Ruru-Kita, Galerija ACDC, Bordeaux
2011
Abre-Vira, Maison d’édition Analogues, Espace pour l’art, Arles
Ruru-Kita, Galerie ACDC, Bordeaux
2010
Intersection avec le modèle, Galerija ACDC, Bordeaux
2010
Intersection avec le modèle, ACDC Gallery, Bordeaux
Skupinske razstave
Group exhibitions
2015
Effective Spaces, Makedonski muzej sodobne umetnosti, Solun
Intertidal, Galerija Eve Meyer, Pariz
2015
Effective Spaces, Macedonian Museum of Contemporary Art, Thessaloniki
Intertidal, Eva Meyer Gallery, Paris
2014
Magic Numbers, Takasaki – Le palais de Paris
Le cercle parfait de la lune ne dure qu’une nuit, Château Guiraud, Sauternes
Seuil, 1 Rue des étables, Bordeaux
L’effacement des cartes (ou les index caches), Les Instants Chavirés, Montreuil
Les Dérivés de la photographie – L’eclipse de la figure, Arthotèque de Pessac
2014
Magic Numbers, Takasaki – Le palais de Paris
Le cercle parfait de la lune ne dure qu’une nuit, Château Guiraud, Sauternes
Seuil, 1 Rue des étables, Bordeaux
L’effacement des cartes (ou les index caches), Les Instants Chavirés, Montreuil
Les Dérivés de la photographie – L’eclipse de la figure, Arthotèque de Pessac
2013
Bienale sodobne umetnosti, Anglet
L’art dans le chapelles, Chapelle de Silfiac
Sur impression, IAE, Bordeaux
2013
Biennial of Contemporary Art, Anglet
L’art dans le chapelles, Chapelle de Silfiac
Sur impression, IAE, Bordeaux
2012
Poseben prostor, L’Atelier, Nantes
Armez les toboggans, Center sodobne umetnosti Le Quartier, Quimper
Les Analogies aléatoires, Maison des arts, Grand-Quévilly
2012
Specific Space, L’Atelier, Nantes
Armez les toboggans, Centre d’art contemporain Le Quartier, Quimper
Les Analogies aléatoires, Maison des arts, Grand-Quévilly
2011
Tout ce que vous avez toujours voulu savoir sur le blanc, FRAC Aquitaine, Bordeaux
Infiltration, le privilège des chemins, Plataforma Revolver, Lizbona
Pierre Labat/Tomas Martisauskis, Galerija Vartai, Vilna
Derrière les panneaux, il y a des hommes, La Tôlerie, Clermont Ferrand
2011
Tout ce que vous avez toujours voulu savoir sur le blanc, FRAC Aquitaine, Bordeaux
Infiltration, le privilège des chemins, Plataforma Revolver Lisbonne, Lisbon
Pierre Labat/Tomas Martisauskis, Vartai Gallery, Vilnius
Derrière les panneaux, il y a des hommes, La Tôlerie, Clermont Ferrand
2010
La Clarté du labyrinthe, Art-Cade, Marseille
2010
La Clarté du labyrinthe, Art-Cade, Marseille
Projekt: Brez naslova, 2012
The Project: Untitled, 2012
»Arhitektura je najboljša turistična destinacija: vsa mesta jo imajo in ogled je brezplačen.« (Bernard P., Basel, 1999)
Arhitektura je večinoma vseprisotna, obdaja nas vsepovsod, od našega doma do ceste, podnevi in ponoči, kjerkoli, v vseh krajih in mestih. Druga od njenih posebnosti
je, da se meša in staplja, se povezuje in si celo nasprotuje. Če je Vsak človek umetnik (Joseph Beuys), potem je po mojem mnenju vse arhitektura. Kako to prikazati,
kako iz tega umetniško izhajati? Za projekt Škatla v kovčku sem prosil ljudi, ki živijo v arhitekturnem objektu (v katerem bodo, v širšem pomenu besede, prikazane tudi
naše umetnine), da izpostavijo njeno posebnost. To je lahko prostor zgodovinskega pomena (kot kavarna Slavia v Pragi) ali osupljiva gradnja (kot Factory 555 v Vilni).
Kustosom razstave prepuščam odločitev, kaj želijo postaviti na ogled, vendar sledeč mojim načelom, bodisi ikonografskim ali v obliki modela. Postavitev razstave bo
vsakič drugačna, bodisi glede forme ali izbire razstavnih eksponatov.
“Architecture is the best thing to visit: all cities have it and it’s free.” (Bernard P., Basel, 1999)
Architecture is largely ubiquitous in that it is almost always visible, from one’s home or the street, day and night, everywhere, in all towns and cities. Another of its
particularities is that it intermixes, joins together and even contradicts itself. “If Jeder Mensch ist ein Künstler” (Joseph Beuys), I think everything is architecture. How to
show this, how to work with this? For the Boîte en valise project, I am asking those who live in an architecture (in which our work will be shown, in the broadest sense) to
indicate it. It can be a remarkable place (like Café Slavia in Prague) or a place to notice (like Factory 555 at Vilnius). I give the responsibility to those who will install my
work to choose what they want to reveal, following a principle that is mine, either in an iconographical way or in the form of a model. All this project’s occurrences will be
different, in their forms and their objects.
Laëtitia Badaut-Haussmann
Rojena leta 1980. Živi in dela v Parizu.
Umetnost Laëtitie Badaut-Haussmann je refleksija preteklosti ter pristop k razumevanju in strukturiranju resničnosti. Če čas obravnavamo konceptualno in kontekstualno,
ta postane motiv, s katerim se ustvarja učinek zgodovinskega odslikavanja (mise en abyme). Čas, predstavljen brez jasnih referenčnih točk ali kronologije, zavzame
obliko pripovedi v novi luči, sposojajoč si nekatere prvine iz literature, filma in občasno celo oblikovanja. Takšna razdrobljena časovnost vedno temelji na pretvezi, ki je v
filmski umetnosti znana kot »macguffin«. Gre za osnovni mehanizem, ki umetnika spodbuja k snovanju novih scenarijev. V delu Laëtitie Badaut-Haussmann je ta filmska
govorica vseprisotna, četudi njena umetnost ni omejena izključno na video ali instalacijo. Dela Oster boj, Bi lahko bil moj, Okenska barva in Sopralluoghi (studio) se
poglobljeno ukvarjajo z raziskovanjem polja podob z uporabo filtrov in vmesnih zaslonov, ki na novo opredeljujejo zgodovinske, fotografske in scenografske* razsežnosti
videnega.
*In znova in znova in znova, zadnji film Laëtitie Badaut-Haussmann, posnet v plesnem studiu, uporablja neprekinjeni filmski kader, s kamero, ki se vrti okoli umetnika
in med oblikovanjem posnetka zajame tudi snemalni postopek. (Arlène Berceliot Courtin)
Laëtitia Badaut-Haussmann’s work is a reflection on the past but also a method of apprehending and constructing reality. When approached in a conceptual and
contextual manner, time becomes a motif with which to create historiographic mises en abyme. Proposed without apparent reference points or chronology, it takes the
form of a narrative in a new light, borrowing certain elements representative of literature, film and sometimes even design. This fragmented temporality is always based
on a pretext known in the cinema as a “MacGuffin.” It is the elemental device that regularly prompts the artist to establish new scenarios. This cinematic vocabulary is
omnipresent in Laëtitia Badaut-Haussmann’s work and even if her production is not limited to video or installation it is nonetheless the foundation. Tiebreaker, Could
You Be Mine, Window Color and Sopralluoghi (studio) all propose a study on the image field using filters and intermediary screens that redefine the historic, photographic
and more recently scenographic* dimension of what we are seeing.
*And Again and Again and Again, Laëtitia Badaut-Haussmann’s latest film, shot in a dance practice room, uses a travelling shot revolving around the actor to include
the cinematographic apparatus in the actual construction of the work itself. (Arlène Berceliot Courtin)
Izobrazba
Training
2013
postprodukcija, CPIF, Pontault-Combault
2013
Post-production, CPIF, Pontault-Combault
2012
Studiolab, Ménagerie de verre, Pariz
2012
Studiolab, Ménagerie de verre, Paris
2011–2012
Le Pavillon program, ustvarjalni laboratorij, Tokijska palača, Pariz
2011–2012
Le Pavillon programme, Laboratoire de création, Palais de Tokyo, Paris
2006
diploma na umetnostni akademiji iz upodabljajočih umetnosti – kiparstva, École nationale supérieure d'art de Paris-Cergy
2006
Superior national diploma of plastic arts, École nationale supérieure d'art de Paris-Cergy
Samostojne razstave
Solo exhibitions
2015
Passerelle, Center sodobne umetnosti, Brest
Galerija Zoo, Nantes
2015
Passerelle Center of Contemporary Art, Brest
Zoo Gallery, Nantes
2014
Galerija Allen, Pariz
2014
Allen Gallery, Paris
2012
Ne celo celo, In Extenso, Clermont-Ferrand
Draga Charlotte & Maurice, Module, Tokijska palača, Pariz
2012
Not Even Even, In Extenso, Clermont-Ferrand
Dear Charlotte & Maurice, Module, Palais de Tokyo, Paris
2010
Vzvratni tek, Galerija Dohyang Lee, Pariz
2010
Working Backwards, Dohyang Lee Gallery, Paris
Skupinske razstave
Group exhibitions
2015
Piano Pieces, Salzburg Museum, Salzburg
Printed Matters, Gesso Art Space, Dunaj
Boîte-en-Valise #5, Muzej moderne in sodobne umetnosti, Reka
Boîte-en-Valise #4, Cankarjev dom, Ljubljana
2015
Piano Pieces, Salzburg Museum, Salzburg
Printed Matters, Gesso Art Space, Vienna
Boîte-en-Valise #5, Museum of Modern and Contemporary Art, Rijeka
Boîte-en-Valise #4, Cankarjev dom, Ljubljana
2014
Black Coffee, kustosinja: Camila Oliveira Fairclough, Pariz
La Piste de Apaches, 3. bienale v Bellevilleu, Pariz
Boîte-en-Valise #3, Galerija sodobne umetnosti Enča Pitonkova, Plovdiv
Le Gestedes Matériaux, CAB, Grenoble
Vernacular Alchemists, Passerelle, Center sodobne umetnosti, kustosa Etienne Bernard in Antoine Marchand, Brest
Boîte-en-Valise #2, Muzej Benaki, Solun
Boîte-en-Valise #1, Muzej Alex Mylonas, Atene
2014
Black Coffee, curator Camila Oliveira Fairclough, Paris
La Piste de Apaches, 3rd Biennial of Belleville, Paris
Boîte-en-Valise #3, Encho Pironkov’s Gallery of Contemporary Art, Plovdiv
Le Geste des Matériaux, CAB, Grenoble
Vernacular Alchemists, Passerelle Center of Contemporary Art, curators: Etienne Bernard & Antoine Marchand, Brest
Boîte-en-Valise #2, Museum Benaki, Thessaloniki
Boîte-en-Valise #1, Museum Alex Mylonas, Athens
2013
Artists using Photography, Gesso Art space, Dunaj
VISIO show, Villa Romana, Firence
21/12, kustosi Audrey Illouz, Brevet & Rochette, la Ruche, Pariz
Turns - Possibilities of Performance, Galerija Allen, Pariz
Nuitblanche, 11. okrožje, Pariz
Dézoné – Tram Hospitalités, Mestna galerija v Vitryju in MAC/VAL
La Ligne d'ombre, Espace croisé Roubaix
Quel Travail?! Manières de faire, manières de voir, CPIF, Pontault-Combault
Mélodies en sous-sol, Maison Populaire, Montreuil
2013
Artists Using Photography, Gesso Art Space, Vienna
VISIO Show, Villa Romana, Florence
21/12, curators Audrey Illouz, Brevet & Rochette, la Ruche, Paris
Turns – Possibilities of Performance, Allen Gallery, Paris
Nuit blanche, 11th arrondissement, Paris
Dézoné – Tram Hospitalités, Municipal Gallery of Vitry and MAC/VAL Blue Monday, Moins Un, Paris
La Ligne d'ombre, Espace croisé Roubaix
Quel Travail?! Manières de faire, manières de voir, CPIF, Pontault-Combault
Mélodies en sous-sol, Maison Populaire, Montreuil
2012
Le Chat est dans la forêt, Ivry-sur-Seine
Brezsnovno & ponujeno, II. del, X-TRA in Castillo/Corales, Pariz
Tout Contre, Illegal Cinéma, Laboratoires d'Aubervilliers
La Ligne d'ombre, video sezona
Zahodni otok, FRAC Corse, Korzika
V gozd, La Galerie des Galeries, Pariz
Pièce pour le Pavillon, Ménagerie de Verre, Pariz in Hebel Theatre, Berlin
2012
Le Chat est dans la forêt, Ivry-sur-Seine
Immaterials & Proposals, part. II, X-TRA and Castillo/Corales, Paris
Tout Contre, Illegal Cinéma, Laboratoires d'Aubervilliers
La Ligne d'ombre, video season
Western Island, FRAC Corse, Corsica
Into the Woods, La Galerie des Galeries, Paris
Pièce pour le Pavillon, Ménagerie de Verre, Paris, and Hebel Theatre, Berlin
2011
Agora Não, Ne še, The Barber Shop, Lizbona
C'est ainsi que finit le monde, pas sur un bang, sur un murmure, Transpalette, Bourges
To mora biti tisti prostor, Pariz-Berlin, Galerija Dohyang Lee, Galerija PSM, Berlin
2011
Agora Não, Not Yet, The Barber Shop, Lisbon
C'est ainsi que finit le monde, pas sur un bang, sur un murmure, Transpalette, Bourges
This Must Be the Place, Paris-Berlin, Dohyang Lee Gallery, PSM Gallery, Berlin
2010
Dinastija, Muzej moderne umetnosti mesta Pariz in Tokijska palača, Pariz
Sogovorniki, École des Beaux-Arts, Toulouse
Oddaljen spomin, z Jorgejem Pedrom Nunezom, Kunstmuseum, Solothurn
Cadavre Exquis, videoprojekt, Project Room, Arte Actual, Quito
EX, Labyrint 09, Botkyrka Konsthall, Stockholm
2010
Dynasty, Museum of Modern Art of the City of Paris and Palais de Tokyo, Paris
Les Interlocuteurs, École des Beaux-Arts, Toulouse
Distant Memory, with Jorge Pedro Nunez, Kunstmuseum, Solothurn
Cadavre Exquis Video Project, Project Room, Arte Actual, Quito
EX, Labyrint 09, Botkyrka Konsthall, Stockholm
Projekt: Proizvedeno, transportirano, razdrto, dokumentirano, razstavljeno, vrnjeno, 2012
The Project: Manufactured, Transported, Dismantled, Recorded, Displayed, Returned, 2012
Za razstavo Francoskega inštituta Škatla v kovčku Laëtitia Badaut-Haussmann prenosno identiteto tega potujočega projekta osvetli iz sveže perspektive s
predstavljanjem objekta-zaboja kot objekta-vsebine. Prenosni zaboj-umetniški objekt je prikazan razstavljen, s čimer se razveljavi bistvo njegove kompozicije. Umetniškemu
delu so priložena izčrpna navodila za sestavljanje, ki so njegov sestavni del. Postopek namestitve objekta v višini 62 cm zahteva njegovo popolno razstavljanje in ponovno
sestavljanje na začetku in koncu vsake razstave. Za zadovoljitev teh zahtev Laëtitia Badaut-Haussmann od tehnika, zadolženega za namestitev umetnin, zahteva, da
si roke premaže z barvilom. Za vsako razstavljanje/sestavljanje v nizu petih predstavitev se uporabi drugačna barva. Vsaka od njih – titanovo bela, kadmijevo rumena,
vijoličasta, žgana umbra in cinober – zabeleži točno določen trenutek: z odkrivanjem sledi njegove zgodovine se umetniško delo z vsako novo predstavitvijo postopoma
razodeva. S preigravanjem misli iz naslova Proizvedeno, transportirano, razdrto, dokumentirano, razstavljeno, vrnjeno umetnica uporablja barvo v njeni najbolj brezsnovni
obliki za vpogled v čas, ko umetnina ni na ogled, v razsežnost »skritosti pred pogledom«, ki avtorico v tem primeru najbolj zanima.
(Arlène Berceliot Courtin)
For the Boîte en valise exhibition organised by the Institut Français, Laëtitia Badaut-Haussmann is proposing to divert the portable identity of this itinerant project
by presenting the object-container as object-content. The transportation crate-artwork is shown disassembled, thereby annulling the facts of its composition. It is
accompanied with precise printed instructions, presented as an integral part of the proposition. Installed at a fixed height of 62 cm, the process prescribes the box’s
complete disassembly and re-assembly at the beginning and end of each showing of the exhibition. In order to materialise these manipulations, Laëtitia BadautHaussmann instructs the technician in charge of each installation to cover his or her hands with pigment. A different colour is used for each disassembly/assembly
over a cycle of five presentations. Each colour – titanium white, cadmium yellow, violet, burnt umber and vermilion – records a precise moment, progressively revealing
the work with each new presentation by showing the traces of its own history. By diverting the initial statement, Manufactured, Transported, Dismantled, Recorded,
Displayed, Returned uses paint in its most immaterial form to give visibility to this non-exhibition time, the “out-of-view” dimension that most interests the artist here.
(Arlène Berceliot Courtin)
Jonathan Binet
www.gaudeldestampa.fr
»Kje se rojeva slika? Kako jo dokončati? Kakšen format izbrati?
Bolj kot končna forma me zanima proces, ki vodi v njeno realizacijo, bolje rečeno, možnosti variacij med tema dvema točkama.
Lahko bi rekli, da je to moje umetniško snovanje. Ta 'vmesni' prostor, ki včasih nastane.
Pogled na sliko kot sredstvo za dosego forme, kot igrišče, na katerem so pravila ves čas vprašljiva. Potreba po utemeljevanju vsega je predmet
slike.«
“Where does a painting begin? How does one finish it? What format to choose?
More than the finite form, it is the process leading to its realisation that interests me, or rather the possible play between these two times.
This is what could constitute my work. It is in this ’in between‘ space that something happens.
Treating painting as a means of obtaining a form: playgrounds in which rules are constantly put into question. The need to justify everything is a subject
to paint.”
Izobrazba
Training
2010
diploma iz upodabljajočih umetnosti – kiparstva, École nationale supérieure des Beaux-Arts/ Akademija za lepe umetnosti, Pariz
2010
2005
diploma iz kiparstva, École des Beaux-Arts/Akademija za lepe umetnosti, Saint-Étienne
2005
National diploma of plastic arts, École des Beaux-Arts, Saint-Étienne
Samostojne razstave
Solo exhibitions
2012
La Petite moitié, CAPC, Muzej sodobne umetnosti, Bordeaux
Plesišče, Tokijska palača, Module, Pariz
2012
La Petite moitié, CAPC, Museum of Contemporary Art, Bordeaux
Dance Floor, Palais de Tokyo, Module, Paris
2011
Les Mains dans les poches, pleines, Gaudel de Stampa, Pariz
2011
Les Mains dans les poches, pleines, Gaudel de Stampa, Paris Untitled, Trieze, Paris
Skupinske razstave
Group exhibitions
2015
2015
2014
2014
2012
Intervencija, Galerija Emanuela Layra, Dunaj
Površina v volumnu, Galerija Luce, Torino
Jonathan Binet, Lydia Gifford in David Ostrowski, Boite Lang, Zürich
2012
Intervention, Galerie Emanuel Layr, Vienna
Surface in Volume, Luce Gallery, Turin
Jonathan Binet, Lydia Gifford and David Ostrowski, Boite Lang, Zurich
2011
Le Vent d’après, razstava odličnih diplomantov umetnostne akademije École nationale supérieure des Beaux-Arts, Pariz
Kar nas ne ubije, je pogosto narejeno iz pene, Chert, Berlin
Livret II, Galerija Art: Concept, Pariz
Še postati naslov, Pariz-Berlin, Chert at Gaudel de Stampa, Pariz
2011
Le Vent d’après, exhibition of graduates with full honours, École nationale supérieure des Beaux-Arts, Paris
That Which Doesn’t Kill Us Is Often Made of Foam, Chert, Berlin
Livret II, Gallery Art: Concept, Paris
Yet to Be Title, Paris-Berlin, Chert at Gaudel de Stampa, Paris
2010
prejemniki nagrade prix des amis des beaux-arts, Espace Lohmond, Pariz
2010
Laureates of the Prix des Amis des Beaux-Arts, Espace Lohmond, Paris
Projekt: Najvišje mogoče, 2010
The Project: The Furthest Possible, 2010
Za projekt Škatla v kovčku je Jonathan Binet ustvaril stensko poslikavo z naslovom Najvišje mogoče. Ustvari jo tako, da proti steni teče s pločevinko
črne barve v razpršilu. Tik preden bi se z glavo zaletel v zid, umetnik skoči in kar se da visoko razprši barvo! S ponavljanjem postopka ustvari dve
ali več vzporednih vodoravnih linij, eno s svojimi nožnimi odtisi in drugo s črno barvo v razpršilu. V delu je umetnik realiziral umetniški format, ki je
kombinacija omejitev njegovega telesa (višina) in kraja realizacije (širina).
For Boîte en valise, I am proposing a mural painting entitled The Furthest Possible. Its creation consists in running towards the wall with a can of black
aerosol paint in one hand. Just before colliding head-on with the wall, I jump up to spray paint the highest possible! This is repeated several times to
make two, more or less parallel, horizontal lines, one with my footprints, the other with the black spray paint. I found in this piece a format with the
combined limits of my body (height) and the place of execution (width).
Renaud Jerez
Rojen leta 1982. Živi in ustvarja v Bruslju.
Ustvarjalnost Renauda Jereza zajema iz razkrajanja snovi in tekočega raztapljanja podob.
Taktilni učinki teksture, ki zaznamujejo Jerezova slikarstvo in kiparstvo, pogosto prevzamejo epidermalno podobo v igri plastenja tkiv, od povrhnjice do usnjice virtualne
resničnosti, umetnikovega poglavitnega ustvarjalnega polja.
Fizične in mehanske značilnosti jekla so enake tistim, ki jih lahko uporabimo za razjasnitev avtorjevega ustvarjalnega procesa: umetniška dela Renauda Jereza se
deformirajo prožno in snovno, se celo prelomijo, vsakokrat v enakih razmerah, ne glede na mikrostrukturno opredeljenost.
V tem kontekstu je treba razumeti izražanje umetnikove ustvarjalnosti, ki se uveljavlja z njegovim pretehtano in jasno izrečenim kritičnim odnosom do globalne
neobčutljivosti za pomen videnih in prepoznanih podob. (Marie de Gaulejac)
Born in 1982. Lives and works in Brussels.
Renaud Jerez's work stems from the dissolution of matter and liquid leakage of images he uses.
The perceptible texture effects he constantly uses in his painting and sculpture often take on an epidermal aspect, a game of layers ranging from the dermis to the
hypodermis of virtual reality, his principal field of action.
The physical and mechanical characteristics of steel are the same as those one can use to explain the artist’s creative process: Renaud Jerez's work distorts itself
elastically and physically, and even breaks, always in the same conditions, irrespective of the microstructure's orientation.
It is in these words that it is important to regard the contemporary inscription of his creative process, conveyed by the artist’s well and truly announced alienation vis-àvis the global anaesthesia of the meaning of the seen and recognised images. (Marie de Gaulejac)
Izobrazba
Training
2011
raziskovalni program La Seine, École nationale supérieure des Beaux-Arts/Akademija za lepe umetnosti, Pariz
2011
La Seine research programme, École nationale supérieure des Beaux-Arts, Paris
2007
diploma iz upodabljajočih umetnosti – kiparstva, École nationale des Beaux-Arts/Akademija za lepe umetnosti, Lyon
2007
Superior national diploma of plastic arts, École nationale des Beaux-Arts, Lyon
Samostojne razstave
Solo exhibitions
2013
HD-Bančništvo sperme, Mot International, London
Hipnotična drama, kustosinja Wivine de Traux, Maison Grégoire, Art Brussels, Bruselj
2013
HD Banking Sperm, Mot International, London
Hypnose Drama, curator Wivine de Traux, Maison Grégoire, Art Brussels, Brussels
2012
Standardna hudičeva krila, The Woodmill, London
Dlan na tvojem srcu, Galerija Vidal Cuglietta, Bruselj
2012
Standard Devil Wingz, The Woodmill, London
A Hand on Your Heart, Galerie Vidal Cuglietta, Brussels
Skupinske razstave
Group exhibitions
2015
2015
2014
2014
2013
Nič od tega se ne bi smelo zgoditi, kustosa Michele d'Aurizio in Giangiacomo Rossetti, Viafarini Milano, , Milano
Splošna zgodovina labirinta, Galerija Crèvecœur, Pariz
00.00€, Triangle France, La Gad, Marseille, kustos Jean-Alain Corre
Muza, poglavje 7, najdena v prevodu, kustosa Emmanuel Lambion, Nathalie Guiot, Bruselj
2013
None of This Was Supposed To Happen, curators Michele d'Aurizio and Giangiacomo Rossetti, Viafarini Milan, Milan
General History of Labyrinth, Galerie Crèvecœur, Paris
00.00€, Triangle France, La Gad, Marseille, curator Jean-Alain Corre
Muse Chapter: 7 Found In Translation, curators Emmanuel Lambion, Nathalie Guiot, Brussels
2012
Domino učinek, Catherine Bastide, Bruselj
Teža življenja, Mot International, London
Skypy Gang Archange, Le Commissariat, Pariz
N¬∞1, Bunk Club, Bruselj
Ravines, Les instants chavirés, Montreuil
2012
Domino Effect, Catherine Bastide, Brussels
The Weight of Living, Mot International, London
Skypy Gang Archange, Le Commissariat, Paris
N¬∞1, Bunk Club, Brussels
Ravines, Les instants chavirés, Montreuil
2011
Najboljša družba, Castillo/Corrales, Pariz
Mécanique populaire, David Douard in Renaud Jerez, Galerija Chez Valentin, Pariz
2011
The Best Society, Castillo/Corrales, Paris
Mécanique populaire, David Douard and Renaud Jerez, Galerie Chez Valentin, Paris
2010
Za videnje ne potrebuješ oči, Galerija Chez Valentin, Pariz
Srhljivka, Rigaerstrasse 69, Berlin
Ins Blickfeld Geruckt, Francoski inštitut, Berlin
David Douard/Renaud Jerez, Rozo, Aubervilliers
2010
You Don't Need Eyes to See, Galerie Chez Valentin, Paris
Thriller, Rigaerstrasse 69, Berlin
Ins Blickfeld Geruckt, Institut Français, Berlin
David Douard/Renaud Jerez, Rozo, Aubervilliers
Projekt: Bionoša, 2012
The Project: Bioware, 2012
Delo Bionoša sestavljajo tri slike in večplastni digitalni odtis. Slike so prekrite z maskirno tkanino, kamuflažnim oblačilom, ki ga ostrostrelci in lovci uporabljajo v barvi,
ki se zlije z okoljem, in katerega sintetični material uduši zvok blaga med akcijo. Tkanino je umetnik potiskal z liki iz videoigric, različnimi podobami oči, zatem pa na
površino slik kot pajčevino nanesel razmrežene niti prosojnega silikona.
Delo bi lahko poimenovali tudi »potuhnjeni pop«, saj ga lahko razumemo kot 3D-hologram, ki izpostavlja tako nasilje dnevno zaužitih podob kot tudi virtualno resničnost,
v kateri so posredovane, in pomeni obsodbo naše neodzivnosti nanje.
Bioware is composed of three paintings and a multilayered digital print. The surfaces of the paintings are covered with ghillie suit, a camouflage fabric used by snipers and
hunters to blend into their surroundings, and whose synthetic materials reduce the noise made by chafing during operations. Images from video games, all representing
eyes, were transferred onto this garment, whereupon jets of transparent silicone were applied to the surface of the paintings like a spider’s web.
This work could be described as “furtive pop” in that it can be seen as a 3D hologram highlighting both the violence of the images we consume daily, but also the artificial
reality in which they are set and function, like a denunciation of the image’s anaesthetic aspect. (Marie de Gaulejac)
Louise Hervé in Chloé Maillet
Rojeni 1981. Živita in ustvarjata v Parizu.
Od leta 2001, ko sta diplomantka upodabljajočih umetnosti Louise Hervé in diplomantka srednjeveške zgodovine Chloé Maillet začeli sodelovati, umetnici razvijata
raznotere postopke raziskovanja, ki vključujejo analitične in inventurne metode na skrajnih mejah znanstvene racionalnosti in fikcije. Njune eklektične teme so vselej
evokativne: od babilonske arheologije do B-filmov, od zgodovine Svetovne razstave do upodobitve potovanja v času in prostoru, od Horacea Walpola do Philipa K. Dicka
prek Souvestra & Allaina ter Ernesta Renana. Louise Hervé in Chloé Maillet z enako resnim pristopom h kulturni zgodovini, fantastični literaturi ali anekdotam pleteta
vrtoglavo kompleksne pripovedi, ki s silovitostjo prevzamejo tako poslušalca kot gledalca.
(Benjamin Thorel, iz kataloga razstave Dinastija, Paris Musées, 2010)
Born in 1981. Live and work in Paris.
Since they began working together in 2001, Louise Hervé & Chloé Maillet, the former an art school graduate, the latter a university graduate and researcher in medieval
history, have developed a variety of investigation procedures involving analysis and inventory methods on the fringes of scientific rationality and fiction. The subjects they
have investigated are as eclectic as they are evocative: from Babylonian archaeology to B movies, from the history of the Universal Exhibitions to the representation of
time-space travel, from Horace Walpole to Philip K. Dick via Souvestre & Allain and Ernest Renan. By treating cultural history, fantastic literature and anecdote with equal
seriousness, Louise Hervé and Chloé Maillet weave dizzyingly complex narratives that are veritable traps for the viewer and listener.
Benjamin Thorel in the Dynasty exhibition catalogue, Paris Musées, 2010
Izobrazba
Training
Louise Hervé
Louise Hervé
2005
diploma na umetnostni akademiji iz upodabljajočih umetnosti – kiparstva, École nationale d’arts de Cergy
2005
Superior national diploma of plastic arts, École nationale d’arts de Cergy, Cergy
2003
diploma iz umetnostne zgodovine, Univerza v Parizu X
2003
Bachelor’s degree in Art History, Université Paris X
Chloé Maillet
Chloé Maillet
2010
doktorat iz zgodovinske antropologije, EHESS, Pariz
2010
PhD in Historic Anthropology, EHESS, Paris
2004
DEA, EHESS, Pariz
2004
DEA, EHESS, Paris
2003
magisterij iz zgodovine in umetnostne zgodovine, Univerza v Parizu I
2003
Master’s degree in History and Art History, Université Paris I
2008–2009
program Le Pavillon, Laboratoire de création, Tokijska palača
2008–2009
Le Pavillon programme, Laboratoire de création, Palais de Tokyo
Samostojne razstave
Solo exhibitions
2014
La passerelle, The Waterway, Brest
Galerija Marcelle Alix, Nadine, Michel & Michel
2014
La passerelle, The Waterway, Brest
Gallery Marcelle Alix, Nadine, Michel & Michel
2013
Galerija sodobne umetnosti, Vancouver
2013
Vancouver Contemporary Art Gallery
2012 Eksoterični zid, Kunsthaus Glarus, Glarus
Pitagora in pošasti, Umetnostno združenje v Braunschweigu, Braunschweig
Attraction étrange, CAC La Synagogue de Delme, Lindre-Basse
2012
The Exoteric Wall, Kunsthaus Glarus, Glarus
Pythagoras and the Monsters, Kunstverein Braunschweig, Braunschweig
Attraction étrange, CAC La Synagogue de Delme, Lindre-Basse
2011
Où l’on incendie de diorama, FRAC Champagne-Ardenne, Reims
2011
Où l’on incendie de diorama, FRAC Champagne-Ardenne, Reims
2010
La Caverne du dragon ou l’enfouissement, Galerija Marcell Alix, Pariz
2010
La Caverne du dragon ou l’enfouissement, Galerie Marcelle Alix, Paris
Skupinske razstave
Group exhibitions
2015
2015
2014
The Response, Galerija Whitechapel
L’ingénieure qui transportait des pierres, Le Grand Café, Saint-Nazaire
Traucum, Parc Saint-Leger Hors les Murs
Bienale Liverpool
Test Run, Oxford Modern Art
A Fête in Dallas, Dallas Contemporary
Nouvelles de la Kula, CAP Saint-Fons
2014
The Response, Whitechapel Gallery
L’ingénieure qui transportait des pierres, Le Grand Café, Saint-Nazaire
Traucum, Parc Saint-Leger Hors les Murs
Liverpool Biennial
Test Run, Oxford Modern Art
A Fête in Dallas, Dallas Contemporary
Nouvelles de la Kula, CAP Saint-Fons
2013
Le tamis et le sable 3/3, Maison populaire, Montreuil
Entre temps… Brusquement, et ensuite, Bienale v Lyonu, Lyon
Archéologia, 40m3, Rennes
Vers une hypothèse, Fort du Bruissin, Lyon
“The Pier”, Parc Jean-Jacques Rousseau
Performances. Empreintes et passage à l’acte, Asterides, Marseille
Le ranch de la liberté, Les Capucins, Embrun
“Le passeur”, Musée de l’abbaye sainte Croix, Les Sables d’Olonne
Version Control, Arnolfini, Bristol
An ever Changing meaning, Galerija Walterja Phillipsa, Banff Centre
2013
Le tamis et le sable 3/3, Maison populaire, Montreuil
Entre temps… Brusquement, et ensuite, Biennial of Lyon
Archéologia, 40m3, Rennes
Vers une hypothèse, Fort du Bruissin, Lyon
“The Pier”, Parc Jean-Jacques Rousseau, France
Performances. Empreintes et passage à l’acte, Asterides, Marseille
Le ranch de la liberté, Les Capucins, Embrun
“Le passeur”, Musée de l’abbaye sainte Croix, Les Sables d’Olonne
Version Control, Arnolfini, Bristol
An Ever Changing Meaning, Walter Phillips Gallery, Banff Centre
2012
Evocateur, Fondation Ricard, Pariz
L’Homme de Vitruve, Crédac, Ivry-sur-Seine
Archéologies, Muzej v Montbéliardu, Montbéliard
Intense proximité, Tokijska palača, Pariški trienale
2012
Evocateur, Fondation Ricard, Paris
L’Homme de Vitruve, Crédac, Ivry-sur-Seine
Archéologies, Museum of Montbéliard, Montbéliard
Intense proximité, Palais de Tokyo, Triennial of Paris
2011
Les Marques aveugles, Center sodobne umetnosti v Ženevi, Ženeva
Les Mille rêves de Stellavista, Synagogue de Delme, Lindre-Basse
FRAC Nord Pas-de-Calais
Vračanje v čas, Francoski kulturni center v Milanu, Odprta scena, Milano
Eldoradio, Bétonsalon, Pariz
2011
Les Marques aveugles, Center of Contemporary Art, Geneva
Les Mille rêves de Stellavista, Synagogue de Delme, Lindre-Basse
FRAC Nord Pas-de-Calais, catalogue
Revisiting Time, French Cultural Center of Milan, Open Scene, Milan
Eldoradio, Bétonsalon, Paris
2010
Derrière les panneaux il y a des hommes, La Tôlerie, Clermont-Ferrand
Dinastija, Muzej sodobne umetnosti, Tokijska palača, Pariz
Chemin faisant, Sprehod po naselju, La Ferme du Buisson, Marne-la-Vallée
Ne živimo zunaj zemeljske oble, Galerija Croy-Nielsen, Berlin
2010
Derrière les panneaux il y a des hommes, La Tôlerie, Clermont-Ferrand
Dynasty, Museum of Modern Art, Palais de Tokyo, Paris
Chemin faisant, A Walk Around the Block, La Ferme du Buisson, Marne-la-Vallée
We Do Not Live on the Outside of the Globe, Croy-Nielsen Gallery, Berlin
Projekt: Vila Graps, 2012
The Project: Villa Graps, 2012
Vila Graps je performans za igralca in scenografijo trompe-l'œil. Trompe-l'œil kulise je navdihnila stenska podoba vile Farnesina v Rimu. V prvem nadstropju te vile, ki jo
je v 16. stoletju zasnoval Baldassarre Peruzzi, je sala delle prospettive, soba, katerih iluzionistične poslikave trompe-l'œil ustvarjajo vtis pogleda onkraj sten na vedute
mesta Rim, kakršno je bilo v času nastanka poslikav. Kulise trompe-l'œil , ki sta jih ustvarila filmski ustvarjalec Mario Bava in njegov umetniški direktor za film Kill Baby,
Kill (1966), so grozljiva priprava, ki odpira časovna vrata v stenah uročene vile. Performans Vila Graps je diskurz, vodeni sprehod skozi te zgodovinske, filmske in časovne
prostore, med italijanskimi grozljivkami, švicarskimi sojenji čarovnicam in poslikavami trompel'œil . Ogled nadgrajujejo posebni učinki. Delo Vila Graps vsebuje scenarij
za izvedbo in navodila za postavitev kulis.
Villa Graps is a performance for an actor and a trompe-l'œil decor. The trompe-l'œil is inspired by one of the columns of the Villa Farnesina in Rome. On the first floor of
this villa built by Baldassarre Peruzzi in the 16th century, there is a “sala delle prospettive”, a room whose illusionist, trompe-l'œil paintings give the viewer the impression
that they are looking through the walls at the views of the city of Rome at the time when they were painted. The trompe-l'œil created by the filmmaker Mario Bava and his
artistic director in Kill Baby, Kill (1966) is a terrifying apparatus that opens temporal doors in the walls of a bewitched villa. The Villa Graps performance is a discourse,
a guided tour through these historic, cinematographic and temporal spaces, between Italian horror films, Swiss witchcraft trials and trompe-l'œil painting. This tour is
punctuated with special effects. Villa Graps comprises a performance script to be performed and a decor to be installed.
Shingo Yoshida
www.shingoyoshida.com
Rojen v Tokiu leta 1974. Živi v Berlinu in Jokohami.
Shingo Yoshida potuje po vsem svetu, ima ga za svoj atelje in umetniško udejstvovanje vedno prilagaja trenutnemu prizorišču. Na tem svetu številne stvari pozabimo,
vendar se nas druge izredno silovito dotaknejo in nas celo globoko presunejo. Yoshida raziskuje čustva, ki v nas vzbujajo močan odziv. Umetnik se kot ponižno človeško
bitje postavlja v položaje, ki ga prevzamejo s silovitostjo in veličastnostjo (kot npr. narava ali arhitektura), da bi začutil malosrčnost, strah in globoka občutja. Kako se
človek počuti med izgubljanjem pameti, ko izkusi absolutno nemoč? Med iskanjem dokazov za svoj obstoj na tem svetu Yoshida najde spregledane ali pozabljene mite,
legende, ljudi in kraje in jim s svojo umetnostjo najde ustreznice v svojem mikrosvetu.
Yoshida analizira svoje izkušnje in nepredvidljiva naključja, s tem uvidom izpopolnjuje svoje razumevanje, posega po intervenciji za izražanje svojega položaja in s tem
filtrom potrjuje resnico. Umetnik deluje, kot bi se s svetom igral skrivalnice čisto sam, med skrivanjem pa išče skrito.
Born in Tokyo in 1974. Lives in Berlin and Yokohama.
Shingo Yoshida travels throughout the world, which he considers as his studio, adapting his practice to wherever he is. Many things in this world we forget, but others
touch us tremendously or may shock us just as deeply. Yoshida expresses emotions that overwhelm us. Understanding himself as a humble human being, he places
himself in overwhelming and majestic situations (such as in nature or architecture) in order to feel despondency, fear, but also deep emotion.
How does a human being feel as he is losing his senses, as he experiences absolute helplessness? While revealing proof of his existence within the world, Yoshida finds
myths, legends, people and places that are overlooked or have almost been forgotten and matches them to his micro world within his creative work.
Yoshida analyses his experiences and unforeseen accidents, advancing his understanding through this insight, and approaches intervention to express his existing state
and reaffirmation of the truth through his filter. He enacts as if he was playing hide and seek in the world alone. While hiding himself he seeks the hidden.
Izobrazba
Training
2013
rezidenca, Villa Arson, Nica
mednarodni študijski program za umetnike, Agencija za kulturne zadeve, japonska vlada
2013
Residency, Villa Arson, Nice
Overseas Study Programme for Artists, Agency for Cultural Affairs, Japanese Government
2009
LKV (umetnostna delavnica Lademoen), Trondheim
2009
LKV (Lademoen Artists Workshop), Trondheim
2007
raziskovalni program La Seine, École nationale supérieure des Beaux-Arts/Akademija za lepe umetnosti, Pariz
2007
La Seine research programme, École nationale supérieure des Beaux-Arts, Paris
2005
podiplomski študij, École nationale supérieure des Beaux-Arts/Akademija za lepe umetnosti, Lyon
2005
Post-graduate diploma, École nationale des Beaux-Arts de Lyon, Lyon
2004
diploma iz upodabljajočih umetnosti – kiparstva, École nationale supérieure des Beaux-Arts/Akademija za lepe umetnosti, Nica
2004
Superior national diploma of plastic arts, École nationale supérieure d'art, Villa Arson, Nice
Samostojne razstave
Solo exhibitions
2012
Bil sem tu in vsi so tu, Muzej sodobne umetnosti, Santiago de Chile
Napaka, LEAP, Berlin
2012
I Was Here and Everyone Is Here, Museo de arte contemporáneo, Santiago de Chile
Error, LEAP, Berlin
2010
Nikjersedaj, Void+, Tokio
2010
Nowherenow, Void+, Tokyo
Skupinske razstave
Group exhibitions
2015
2015
2014
60. mednarodni festival kratkometražnega filma, Oberhausen
2014
60th International Short Film Festival, Oberhausen
2013
Nacionalni center sodobne umetnosti, Villa Arson, Nica
Arte tv Creative, Francija-Nemčija
Filmski festival v Cannesu (kratki filmi), Cannes
Je že dobro, Galerija On The Move, Bogota
Videoumetnost ob polnoči, Kino Babylon, Berlin
2013
National Center of Contemporary Art, Villa Arson, Nice
Arte tv Creative, France-Germany
Cannes Film Festival (short films), Cannes
There There, Gallery On The Move, Bogota
Videoart at Midnight, Babylon Kino, Berlin
2012
Filmski festival v Cannesu (kratki filmi), Cannes
Muzej sodobne umetnosti MAC, Santiago de Chile
À la vie délibérée! Une histoire de la performance sur la Côte d'Azur de 1951 à 2011, Villa Arson, Nica
Odmev, Kunstraum Kreuzberg/Bethanien, Berlin
TADAEX, Teheran
Mednarodni festival dokumentarnega filma, Marseille
Voyage voyage, Hiša Latinske Amerike, Pariz
Ai Weiwei je na Kitajskem, Fichtebunker (Gasometer Fichtestraße), Berlin
Družinska sramota št. 2, ReMap 3, Galerija Utopia, Atene
Tokijska palača, Pariz
2012
66th Cannes Film Festival (Short Film)
Museum of Contemporary Art MAC, Santiago de Chile
À la vie délibérée! Une histoire de la performance sur la Côte d'Azur de 1951 à 2011, Villa Arson, Nice
The Echo, Kunstraum Kreuzberg / Bethanien, Berlin
TADAEX, Tehran
Festival international du documentaire, Marseille
Voyage voyage, Maison de l'Amérique latine, Paris
Ai Weiwei is in China, Fichtebunker (Gasometer Fichtestraße), Berlin
A Skeleton in the Closet no. 2, ReMap 3, Galerie Utopia, Athens
Palais de Tokyo, Paris
2011
Družinska sramota, Heidelberško umetnostno združenje, Heidelberg
Sveta slava, Sectant Plus-Friche Belle de mai, Marseille
2011
A Skeleton in the Closet, Heidelberger Kunstverein, Heidelberg
Holy Glory, Sectant Plus-Friche Belle de mai, Marseille
2010
Rencontres internationales Pariz/Berlin/Madrid, Center Pompidou, Pariz
Ajustement géostrophique, Prostor Kugler, Ženeva
Razstava, The Forgotten Bar, Berlin
Kasting, Visite ma tente, Berlin
Vasica Nikjernekjenekam, Lyonski bienale, Festival Résonances, Lyon
2010
Rencontres internationales Paris/Berlin/Madrid, Centre Pompidou, Paris
Ajustement géostrophique, Espace Kugler, Geneva
The Show, The Forgotten Bar, Berlin
Casting, Visite ma tente, Berlin
Village Nowherenowsomewhere-nowhere, Lyon Biennal, Résonances Festival, Lyon
2009
Nikogaršnja zemlja, francosko veleposlaništvo v Tokiu
2009
No Man’s Land, French Embassy, Tokyo
2007
Tokijska palača, Pariz
2007
Palais de Tokyo, Paris
Projekt: Vidim nenajdeno, 2012
The Project: I See What We Can’t Find, 2012
Škatla predstavlja delček umetnikovega ateljeja, umeščenega v različne razstavne prostore, instalacijo v neznanem prostoru, katerega arhitekturna in zgodovinska
razsežnost je popolnoma drugačna od tiste umetnikovega ateljeja in njegovega vsakdana.
Koncept: umetnik odreže kos preproge iz ateljeja in ga postavi v škatlo. Namestitev preproge se prilagodi vsakemu novemu razstavnemu prostoru, ki artefakt »posvoji«.
Spremlja jo televizijski sprejemnik, ki prikazuje prizore iz umetnikovega sveta, predvsem zbirko njegovih videoposnetkov. Kustos razstave omenjena eksponata namesti
v prostor po natančno opredeljenih navodilih ter doda »lokalne« elemente, kot sta ogledalo in naslanjač.
The Box is a piece of the artist’s studio incorporated into different exhibition spaces, an installation in an unknown space with an architecture and history totally different
to that of the artist’s studio and his daily life.
The principal is as follows: a piece of carpet from the artist’s studio is cut up and put in the box. This piece of carpet is installed in each new host space and “adopted”
by it. It is accompanied by a TV whose role is to show the artist’s world, particularly a library of his videos. The exhibition’s curator is encharged with installing these two
elements following a precise procedure involving “local” elements such as a mirror and an armchair.
Clément Rodzielski
Rojen leta 1979, prebiva in ustvarja v Parizu.
Izobrazba
Training
2005
diploma iz upodobljajočih umetnosti/kiparstva, akademija lepih umetnosti École nationale superieure des Beaux-Arts, Pariz
2005
Superior national diploma of plastic arts, École nationale superieure des Beaux-Arts, Paris
Samostojne razstave
Solo exhibitions
2013
Clément Rodzielski, Galerija Chantal Crousel, Pariz
2013
Clément Rodzielski, Chantal Crousel Gallery, Paris
2012
Clément Rodzielski, FRAC Champagne-Ardenne, la Chapelle, Reims
Et se je voi oe et demie, Galerija Zoo, Nantes
Julie et sa cousine, Umetnostna akademija École supérieure d’art de Clermont Métropole, Clermont Ferrand
2012
Clément Rodzielski, FRAC Champagne-Ardenne, la Chapelle, Reims
Et se je voi oe et demie, Zoo Gallery, Nantes
Julie et sa cousine, École supérieure d’art de Clermont Métropole, Clermont Ferrand
2011
Monnaie de nécessité, La Douane, Galerija Chantal Crousel, Pariz
2011
Monnaie de nécessité, La Douane, Chantal Crousel Gallery, Paris
2010
Prinesi domov pomaranče, Sutton Lane, London
Trop Peu de Santé, Trop Peu de Preuves, Galerija Carlosa Cardenasa, Pariz
Die Menschen Finden Sich in Dieser Welt zum Leben, Galerija Chert, Berlin
2010
Bring Home the Oranges, Sutton Lane, London
Trop Peu de Santé, Trop Peu de Preuves, Galerie Carlos Cardenas, Paris
Die Menschen Finden Sich in Dieser Welt zum Leben, Chert Gallery, Berlin
Skupinske razstave
Group exhibitions
2015
2015
2014
Boîte-en-valise #3, Hiša Enčo Pironkov, Plovdiv
Boîte-en-valise #1, Muzej Mylanos, Atene
2014
Boîte-en-valise #3, Encho Pironkov’s House, Plovdiv
Boîte-en-valise #1, Museum Mylanos, Athens
2012
Telesni argument, Galerija Emanuela Layra, Dunaj
Bolšji trg Roba Pruitta, Monnaie de Paris, Pariz
Les Images vieillissent autrement que ceux qui les font, CNEAI – Muzej Fournaise, Chatou
2012
The Body Argument, Emanuel Layr Gallery, Vienna
Rob Pruitt’s Flea Market, Monnaie de Paris, Paris
Les Images vieillissent autrement que ceux qui les font, CNEAI – La Maison Fournaise, Chatou
2011
Vzpon in padec materije, Collective, London
Obstajati mora prava pot, Mosquito Coast Factory, Campbon
2001–11: Soudain déjà, razstavna galerija akademije lepih umetnosti Ecole nationale supérieure des Beaux-Arts, Pariz
Najboljša družba, Castillo/Corrales, Pariz
Začasna zbirka, začasna zbirka, Pariz
Onkraj prahu – dokumenti umetnikov danes, Fundacija Ricard, Pariz Od A do B, od B do P, Le Confort Moderne, Poitiers
2011
The Rise and Fall of Matter, Collective, London
There Must Be a Right Way, Mosquito Coast Factory, Campbon
2001–2011: Soudain déjà, galerie d’exposition de l’Ecole nationale supérieure des Beaux-Arts, Paris
The Best Society, Castillo/Corrales, Paris
Temporary Collection, Temporary Collection, Paris
Beyond the Dust – Artists’ Documents Today, Fondation d’entreprise Ricard, Paris
From A to B, from B to P, Le Confort Moderne, Poitiers
2010
Od A do B, od B do P, Umetnostno združenje v Bielefeldu, Bielefeld
Luxe, calme et volupté, studio Jean-Baptista Bouveta, Berlin
Les Vagues, FRAC departmaja Loire, Carquefou
Teatrino Palermo, Galerija Renwick, New York
Onkraj prahu – dokumenti umetnikov danes, De Kabinetten van de Vleeshal, Nizozemska; La Fabbrica del Vapore, Milano, Italija; Fundacija Ricard, Pariz
Die Blumen, Coco, Dunaj
Almeria, Galerija Chantal Crousel, Pariz
Antiantianti, Galerija Log, Bergamo
Kristalna hipoteza, GAMeC, Bergamo
Seconde Main, Muzej sodobne umetnosti mesta Pariz, Pariz
Isti prizor drugo prizorišče, Renwick, New York
Miroirs Noirs, Fundacija Ricard, Pariz
Infinite Fold, Galerija Thaddaeusa Ropaca, Pariz
La Suite, Galerija Air de Paris, Pariz
2010
From A to B, from B to P, Bielefelder Kunstverein, Bielefeld
Luxe, calme et volupté, studio Jean-Baptiste Bouvet, Berlin
Les Vagues, FRAC des Pays de la Loire, Carquefou
Teatrino Palermo, Renwick Gallery, New York
Beyond the Dust – Artists’ Documents Today, De Kabinetten van de Vleeshal; La Fabbrica del Vapore, Milan, Italy; Fondation d’entreprise Ricard, Paris
Die Blumen, Coco, Vienna
Almeria, Galerie Chantal Crousel, Paris
Antiantianti, Galerie Log, Bergamo
The Crystal Hypothesis, GAMeC, Bergamo
Seconde Main, Museum of Modern Art of the City of Paris
The Same Sight Slighter, Renwick, New York
Miroirs Noirs, Fondation d’entreprise Ricard, Paris
Infinite Fold, Thaddaeus Ropac Gallery, Paris
La Suite, Air de Paris Gallery, Paris
Projekt: Brez naslova, 2009
The Project: Untitled, 2009
Zelo diskretna barvna linija, začrtana z razpršilom okoli robov filmskega plakata: pravzaprav je umetnik barvo razpršil po hrbtni strani plakata; tega je preganil, pregubal
in zatem med nanašanjem barve postopoma razpiral – še en postopek za poudarjanje gub, ki prehajajo to, kar je obenem objekt in podoba. Cikel je umetnik začel z
dvema plakatoma za film Zasledovan, pri katerem zelena črta, ki obkroža Tereso Wright in Roberta Mitchuma, daje vtis nanosa z razpršilcem: povabilo k nadaljevanju.
A very discreet spray-painted line around the edges of a film poster: in fact, the paint was sprayed on the back of the poster, which was folded then gradually opened as
the paint was applied – another way of again showing the folds traversing what is both an object and an image. The series began with two posters of Pursued, in which
a green line surrounding Teresa Wright and Robert Mitchum seems to have been spray painted: an invitation to continue.

Biografije - Cankarjev Dom

Transcription

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