in PDF file - Musée d`art contemporain de Lyon

Transcription

Rendez-vous 11
Catalogue
of the
exhibition
Rendez-vous 11
Cover
1 / 128
Entirely digital, the catalogue
of Rendez-vous 11 in French or English
can be downloaded from our website
free of charge.
Full information is available
at www.rendezvous11.fr
Rendez-vous 11
Instructions
2 / 128
Introduction
Created in 2002,
Rendez‑vous,
an international platform dedicated to young creative artists,
is handled in an original manner by three French institutions:
the Musée d’art contemporain, Lyon, the Institut d’art contemporain, Villeurbanne / Rhône-Alpes and the École nationale
supérieure des beaux-arts, Lyon.
The involvement of curators and directors of Biennials
makes Rendez‑vous a unique project with an exhibition
in Rhône-Alpes in parallel with the Lyon Biennial and, the following year, an event abroad consisting of exhibitions and
residences.
Rendez‑vous 07 was thus shown at Shanghai Art Museum.
Rendez‑vous 08 was the occasion for organising residences
in Moscow, Beijing, Miami and Buenos Aires.
In 2010, Shanghai Biennial hosted four French artists from
Rendez‑vous (Delphine Balley, Vincent Olinet,
Marlène Mocquet, Chourouk Hriech).
In 2011, as in 2009, Rendez‑vous is held at the Institut d’art
contemporain, Villeurbanne / Rhône-Alpes in parallel with
the 11th Biennale de Lyon.
An international platform, Rendez‑vous 11 has been
set up with the collaboration of 10 curators of 9 Biennials
(Istanbul, São Paulo, New Orleans, Dakar, Liverpool, Sydney,
Gwangju, Kochi Muziris and Moscow) and of a Triennial
(Yokohama).
This year’s event features 20 artists from 5 continents
(10 of them live in France) with the exhibiting of new projects
in painting, sculpture, video, installations, etc.
Rendez‑vous 11, whose visual identity has been entrusted
to the graphic designers Thomas Leblond and
Clément Le Tulle-Neyret, is accompanied by a website and
a digital publication.
Exhibition curatorship
Thierry Raspail, Director et Isabelle Bertolotti, Curator,
Musée d’art contemporain, Lyon
Nathalie Ergino, Director, Institut d’art contemporain,
Villeurbanne / Rhône-Alpes
Yves Robert, for the École nationale supérieure
des beaux‑arts de Lyon, Director of the Villa Arson, Nice
Rendez-vous 11
Introduction
3 / 128
International
collaboration
Each collaborator
was invited to submit
several artists to the
curators, who then made the final selection.
Akiko Miki, Yokohama Triennial (Japan)
for Soichiro Murata
••
Lewis Biggs & Paul Domela, Liverpool Biennial (Great Britain)
for Richard Proffitt
••
Dan Cameron, New Orleans Biennial (USA)
for Sophie T. Lvoff
••
Moacir Dos Anjos, São Paulo Biennial (Brazil)
for Matheus Rocha Pitta
••
David Elliot, Sydney Biennial (Australia)
for Newell Harry
••
Massimiliano Gioni, Gwangju Biennial (South Korea)
for Sasa[44]
••
Bose Krishnamachari, Kochi-Muziris Biennial (India)
for Rohini Devasher
••
Adriano Pedrosa & Jens Hoffmann, Istanbul Biennial (Turkey)
for Zarouhie Abdalian
••
Daria Pyrkina, Moscow Biennial (Russia)
for Anya Zholud
••
N’Goné Fall, freelance curator for Dakar Biennial (Senegal)
for Mohamed Konaté
Rendez-vous 11
International collaboration
4 / 128
Artists
Zarouhie Abdalian........................6-11
Fouad Bouchoucha......................12-17
Viriya Chotpanyavisut................ 18-23
Julia Cottin..................................24-29
François Daillant........................30-35
Rohini Devasher......................... 36-41
Newell Harry............................... 42-47
Mohamed Konaté....................... 48-53
Thomas Léon............................... 54-59
Camille Llobet.............................60-65
Sandra Lorenzi............................ 66-71
Soichiro Murata.......................... 72-77
Émilie Peythieu........................... 78-83
Richard Pro∞tt...........................84-89
Matheus Rocha Pitta..................90-95
Sasa[44]...................................... 96-101
Anne-Lise Seusse...................... 102-105
Sophie T. Lvo≠............................106-111
Antony Ward.............................. 112-115
Anya Zholud...............................116-123
Graphistes, Thomas Jaurès
and Clément le Tulle-Neyret........ 126
Rendez-vous 11
Artists
5 / 128
Zarouhie Abdalian
Born in 1982 in New Orleans (USA)
Lives and works in Oakland (USA)
Education
2010
MFA, California College of the Arts, San Francisco (USA)
2003 BA in Printmaking and Painting, Tulane University,
New Orleans (USA)
Solo exhibitions
2011
Untitled, 12th Istanbul Biennial, Istanbul (TR)
2008 Aliasings, Philadelphia Cathedral, Philadelphia (USA)
2007 Approximations, Dillard University Art Gallery, New Orleans (USA)
2004 Who You Callin’ Gutter Punk, The Ozanam Inn, New Orleans (USA)
For Rendez‑vous 11,
Zarouhie Abdalian
presents:
Shock Response Spectra,
2009
Fuzzy Logic, 2011
Selected group exhibitions
2011
Alumni Exhibition, NOCCA|Riverfront, New Orleans (USA)
A Floorless Room Without Walls, The Lab, San Francisco (USA)
Zarouhie Abdalian, AIDS 3-D, Matt Sheridan Smith, Altman Siegel
Gallery, San Francisco (USA)
Eb/N0, MacArthur B Arthur, Oakland (USA)
2010
Painted Over/Under, Los Angeles Contemporary Exhibitions,
Los Angeles (USA)
SC13, San Francisco Antiques and Design Mall, San Francisco (USA)
Bay Area Currents 2010, ProArts Gallery, Oakland (USA)
MFA Thesis Exhibition, California College of the Arts,
San Francisco (USA)
2009 Super Pop-Up Shop, Alameda Towne Centre, Alameda (USA)
2005 Mini Print Internacional de Cadaqués, Cadaqués (E)
Lithographs, Irma Stern Museum, Cape Town (ZA)
Third International Mini Print de Sarajevo, City Hall, Sarajevo (BIH)
Parkside National Small Print Exhibition, University of WisconsinParkside, Kenosha (USA)
2004 A-R-T, Art Industry’s Art Stream Trailer, New Orleans (USA)
Re:Union, NOCCA|Riverfront, New Orleans (USA)
Rendez-vous 11
Zarouhie Abdalian
6 / 128
↑↗
↑↗
↑↗
↑↗ Shock Response Spectra, 2009 | Video projection, 10'27", colour,
sound | Courtesy of the artist © Zarouhie Abdalian
Rendez-vous 11
Zarouhie Abdalian
7 / 128
Zarouhie Abdalian
Shock Response Spectra’s
visual track is a random
concatenation of 267 unedited digital photographs, each randomly assigned
a duration from a predetermined range. Each photo is an attempt to document
the turbulent surface of a river illuminated only by the lights along its banks
and thus exhibits the flaws inherent to the camera’s apparatus; a reproduction
of the material conditions of a “reality”, a landscape, is made to fail. Insofar
as it exposes the conditions of production and deploys procedure to “decenter”
the author, Shock Response Spectra recalls the project of Structural Film.
Though not without its polemics, Peter Gidal’s theorization is apt 1. Citing
Althusser, Gidal argued for a film practice configured to engage the viewer
as a producer, rather than its addressee. Being randomized, Abdalian’s image
sequence is fittingly non-hierarchical.
But a reductively structuralist reading of the work buckles. For as long
as the viewer beholds the disjunctive succession of images, he hears
an unedited recording of a fireworks display. In the momentary reprieves from
the barrage, one hears in its echoes and in the attendant cries of awe and
terror how each blast registers within the space of a city. The recorded events
are brutally affective—confoundingly so. Moreover, the disorientation
of the affective response is due to unqualified spectacle.
Between the rapid flashing of frames and the popping of fireworks,
an uncanny correspondence emerges, coalescing around each track’s transients—those claps and flashes of infinitesimal duration baring the abysmal
gap of an impulse. This impulse, or shock, to which the title refers, is meaningless, a mathematical idealization, a function read only in its repercussions.
It might be regarded as the incursion of the Real into the Symbolic Order that
Lacan signals in the traumatic event.
A certain distanciation is at work in Shock Response Spectra: the operations on its components are minimal apart from their pairing. But the subject’s
“completion” of the work oversteps mere discursion; little remains of Structural
Film’s customary coolness. In this sense, the terms of “participation”
are expanded, as are its problematics. The structure is evident but susceptible
to an exogenous factor, something from an unassimilable “outside” known only
by its reverberations in the subject, by its symptoms. The viewer enters
the work not merely to form meaning; he is foisted with the implications
of an unruly apperceptive process no less “productive” than discursion but all
the more fraught with the perils of authority.
Fuzzy Logic further engages the terms of participation. In resin along
the gallery wall, a text is formed, reading as a syllogism in which the conclusion remains to be derived. Yet the incessant strobe that lights the text complicates matters. Notably, the strobe flashes nearly 24 times a second, near
the threshold at which the visual system accepts in a series of images the illusion of continuity. Of course, cinema’s routine exploitation of this phenomenon
was not lost on many of the artists associated with Structural Film for whom
the appearance of flicker became an aegis against illusionism. Indeed, the pulsating light of Fuzzy Logic, like the cherished flicker of Structural Film,
functions to foreground the material contingencies to which the aesthetic
system is exposed. As the distance between them and their shadows blur,
the letters acquire a strange presence belying their mere signification. But
it is only by unwitting interpolation, a filling-in, that this uncanny materiality
is effected; the viewer brings to the work an artifact that undermines, however
slightly, his compliance with its ostensible terms—namely, to read and reason.
The viewer, bound up in the rigging of the work, might consider the possibility
that its very operation follows from the insinuation of an error into its apparatus. From whence this contagion originates, at what point, say, a false premise
goes unchecked, remains, like the reading, undetermined.
Characterized by a peripatetic engagement with diverse materials and
processes, Abdalian’s work can be read as variously situational, proposing
“aesthetic systems … capable of generating objects, rather than individual
objects themselves 2.” To enlist a term otherwise associated with empirical
measurement, her work concerns the boundary conditions under which
these systems maintain integrity or not.
•• Joseph Rosenzweig
1 Peter Gidal,
Structural Film
Anthology, London:
British Film Institute,
1976.
2 Victor Burgin,
“Situational Aesthetics”,
Studio International,
vol. 178, no. 915, October
1969.
Rendez-vous 11
Zarouhie Abdalian
8 / 128
↑ Fuzzy Logic, 2011 | Acrylic resin, strobe light | Courtesy of the artist
View of the exhibition Rendez-vous 11
Rendez-vous 11
Zarouhie Abdalian
9 / 128
↑ Impulse Response 4, 2010 | Graphite on paper | Courtesy of the artist © Zarouhie Abdalian
↑ Set for the Outside, 2010 | Frosted privacy window film and
graphite on 24 windows | Courtesy of the artist © Zarouhie Abdalian
↑ Island Rill, Rift, 2009 | Aluminum foil tape on site-specific
concrete floor in situ | Courtesy of the artist © Zarouhie Abdalian
Rendez-vous 11
Zarouhie Abdalian
10 / 128
↑ Draft, 2011 | Projector, mylar, thread | Courtesy of the artist
© Zarouhie Abdalian
↑ Drift, 2010 | Video, 6'19" | Courtesy of the artist © Zarouhie Abdalian
Rendez-vous 11
Zarouhie Abdalian
11 / 128
Fouad Bouchoucha
Born in 1981 in Marseille (F)
Lives and works in Marseille (F)
Education
2010
Post-diplôme, École nationale supérieure des beaux-arts de Lyon (F)
2007 DNSEP, École supérieure des beaux-arts de Marseille (F)
2011
To Hug a Snake, Résonance Biennale de Lyon, Les Subsistances,
Lyon (F)
Au fil de la bave, galerie Alain Gutharc, Paris (F)
Galerie Éric Dupont, Paris (F)
2010
How not to Make an Exhibition, Le Magasin, Grenoble (F)
Le Printemps de l’Art Contemporain, Marseille (F)
Réalités Confondues, BF15, Lyon (F)
2009 Artissima, Palais de la Bourse CCI, Marseille (F)
Mauvaises Résolutions, Sextant et plus, Marseille (F)
Fouad Bouchoucha
presents:
Dromosphère, 2010
Goodbye Horses, 2011
Goodbye Horses 2, 2011
Rendez-vous 11
Fouad Bouchoucha
12 / 128
↑ Goodbye Horses, 2011 | Glass fibre, 3M carbon fibre, Bugatti Veyron | Co-production with
Rendez‑vous 11 | Courtesy of the artist and Galerie Éric Dupont, Paris (F)
Rendez-vous 11
Fouad Bouchoucha
13 / 128
Fouad Bouchoucha
Goodbye Horses
Goodbye Horses: The reference to horses is a philosophical concept , which is encapsulated by transcending a level of consciousness, represented by horses that symbolize the five
senses. Once you’ve reached that understanding, the horses are behind you.
•• Leïla Quillacq
Fascinated by the idea of excess incarnated in the forms and signs resulting
from practices related to performance (sound, technology, motor cars, etc.),
Fouad Bouchoucha performs creative work centred on the Bugatti Veyron,
a new car by the pioneer company that is part of the avant-garde of the highlevel automobile industry. Through the ‘performance’ leitmotivs that drive
his work and questioning the reserves of projection and suggestion contained
in the forms and that hold promises of the ‘power’ of an object always maintained in the state of hypothesis, the artist operates using another exploit—
that of inviting the manufacturer of ‘the fastest car in the world’ to produce
an object that goes beyond its own potential and thereby cancel out the conditions of its ‘real’ advent.
Using its technical language, aesthetics and communication aspect
to generate the idea of a potential that is stronger than one is, the machine
would become the foundation of an ultimate projection of fantasy. In concrete
terms, power forced to the absolute would be materialised by the invention
of a customised ‘speed kit’ that would be both prosthetic extreme amplification
and a clearly sculptural module, a prototype that personalises and optimises
the machine to the point of its own aberration.
More precisely, the specification drawn up by the artist invites the maker
to produce a drawing of the module whose form would carry the idea.
This process would lead to an aesthetic and aerodynamic form that would
enhance the performance of the machine, and at the same time block all
means of visibility (headlights and windscreen), thus removing any possibility
of driving it and hence removing the function of the car while displaying
in a static manner its condition of strength and optimum speed.
This is a way in which the artist can affix a technical label to the object,
thus concentrating all the technical capability of current high-performance
industries involved in going even further, even to the point of exceeding
the very possibility of testing at the scale of the human body.
Forced to the limit of its pretentions, the Bugatti modelled in this way
is made a prisoner of its own abstraction.
The work is thus anchored to the nodes of declassification and questions
again the very conditions of the ‘artistic’ advent of a form with regard
to its close relations with the context of production, dissemination and display.
Fouad Bouchoucha works on avoiding standard territory protocols while
playing with exits and connections by the common taking of a risk to really
make art.
The video Dromosphère, whose title is taken from the work of the philosopher
and town planner Paul Virilio, alternates a series of sequences filmed
on the premises of a telephone company in Marseilles and a monologue
by a technician. While the images seem to make the immateriality of communication tangible, the technician’s abstruse language forms an opposing
movement, making it more abstract and complex.
Rendez-vous 11
Fouad Bouchoucha
14 / 128
↑ Dromosphère, 2010 | Video projection, 13', colour, sound | Courtesy of the artist and Galerie
Éric Dupont, Paris (F) © Fouad Bouchoucha
Rendez-vous 11
Fouad Bouchoucha
15 / 128
↑ Goodbye Horses 2, 2011 | Bugatti model, wood,
resin | Courtesy Galerie Éric Dupont, Paris (F)
© Fouad Bouchoucha
↑ Squelette, 2009 | In collaboration with Stéphanie Raimondi | Layer
scaffolding, bass boxes | Courtesy Galerie Éric Dupont, Paris (F)
© Fouad Bouchoucha
Rendez-vous 11
Fouad Bouchoucha
16 / 128
↑ Schenker/Chomsky, 2010 | Rotring on paper |
Courtesy Galerie Éric Dupont, Paris (F)
© Fouad Bouchoucha
↑ Pression acoustique, essai n°1, 2008 | Car, cement | Courtesy Galerie Éric Dupont, Paris (F)
© Fouad Bouchoucha
Rendez-vous 11
Fouad Bouchoucha
17 / 128
Viriya Chotpanyavisut
Born in 1982 in Bangkok (T)
Lives and works in Paris (F)
Education
2010
DNSEP, École Nationale Supérieure d’Arts de Paris-Cergy, Cergy (F)
2004 Rangsit University, Bangkok (T)
presents:
Boule, 2011
Satellite, 2011
Solo exhibitions
2010
Black Protocole, Galerie Artenact, Paris (F)
2007 Street Photography, Café d’artiste, Toulouse (F)
2011
Légère éclaircie, galerie White Projects, Paris (F)
56ème Salon de Montrouge, Montrouge (F)
Jiw Jaew Jor Lok, Kadist Art Foundation, Paris (F)
Fenêtre sur rue, Galerie Martainville-Aître Saint-Maclou, Rouen (F)
2010
Voies Off, Arles (F)
Dé-Synchronisation, Espace des Arts Sans Frontière, Paris (F)
2008 Soirée de la performance, Palais des Arts, Toulouse (F)
2007 Exposition d’arts plastiques, Le Claouzet, Moncrabeau (F)
2004 Language of Shadows, Silom Galeria, Bangkok (T)
2003 4143, Pranakorn Gallery, Bangkok (T)
Caramind, Passeport librairie, Bangkok (T)
2002 My Life&My Creative, Museum of Rangsit University, Bangkok (T)
Sophomore, Museum of Rangsit University, Bangkok (T)
Jean-Emile Carroz Foundation, Chulalongkorn University,
Bangkok (T)
Rendez-vous 11
18 / 128
↑
↑ Satellite, 2011 | 8 photographs on aluminium | Courtesy of the artist © Viriya Chotpanyavisut
Rendez-vous 11
19 / 128
I have used photography
for several years. I like
using it to observe little things—the breathing of light, details of the human
scale. Little things are like a delicate murmur, a sound at prayer time
in the temple or space for relaxation, stability, in contrast with situations
in which people are active.
When I work, I try to feel the vulnerability of time, its irreversibility.
I often photograph transparent surfaces, thus giving new scope to photography thanks to surface details.
My work has a concrete dimension; I seek to conserve a fragment of reality in a fragile state by transposing it to another medium. It is like an experiment in search of profound solitude.
I wait for decisive meetings with chance. I want to be completely open
at that moment so that I can notice all these things and absorb them.
That’s how it happens, open and closed. When I prepare each photo I feel calm,
quieter and peaceful. This form of meditation is necessary for me.
I confer awareness to things that come from the void. They are imprints
of softness, of silence within, of astonishment felt when meeting forms of life.
Satellite is a very slow construction work that captures the invisible
in the visible. Not the mystical invisibility of beyond but rather the thoughts
in form or the immaterial in matter.
Rendez-vous 11
20 / 128
↑↗
↑↗ Boule, 2011 | Video projection, 10'57", colour | Courtesy of the artist © Viriya Chotpanyavisut
Rendez-vous 11
21 / 128
↑↗
↑↗
↑ Satellite, 2011 | 8 photographs on aluminium | Courtesy of the artist © Viriya Chotpanyavisut
Rendez-vous 11
22 / 128
←↖↑ Souffle, 2011 | Photographs on aluminium |
Courtesy of the artist © Viriya Chotpanyavisut
Rendez-vous 11
23 / 128
Julia Cottin
Born in 1981 in Chalon-sur-Saône (F)
Education
2006 DNSEP, École Supérieure d’Art et Design, Saint-Étienne (F)
2005 Art Institut, Chicago (USA)
Julia Cottin presents:
Forêt de Juma, 2010
Motifs, 2010
Solo exhibitions
2012
École Nationale Supérieure d’Architecture de Paris La Villette,
Paris (F)
2011
Galerie Eva Hober, Paris (F)
2010
Forh-Ist, Galeries Nomades—Institut d’art contemporain,
Villeurbanne/Rhône-Alpes, Centre d’Art Contemporain
de Lacoux, Hauteville-Lompnès (F)
2009 Plan d’évasion, Le (9)Bis, Saint-Étienne (F)
2011
State of the Union, Freies Museum, Berlin (D)
Spiel mir das Lied vom Tod, Galerie Nosbaum&Reding,
Luxembourg (L)
Fais gaffe aux biches, Maison Pieuvre, Saint-Étienne (F)
2010
Humeurs (with Yannick Vey), galerie Philippe Durand,
Saint-Étienne (F)
Kit, Palais de Tokyo, Paris (F)
2009 Prospérité, La Générale en Manufacture, Sèvres (F)
2007 Ferrero Roger (with Souche), L’atelier, Bruxelles (B)
Mulhouse 007, Parc des expositions, Mulhouse (F)
Printemps français en Lettonie, Centre culturel français de Riga (LV)
SpaceInvasion, Vienne (F)
En attrapant les mouches (with Patrice Ferrari), Le Lieu-Dit,
Bonnay (F)
2006 Travaux en cours, Musée d’Art Moderne de Saint-Étienne,
Saint‑Étienne (F)
Rendez-vous 11
Julia Cottin
24 / 128
↑ Forêt de Juma, 2010 | Oak, walnut, hornbeam, alder, cherry, pear, yew, Douglas fir and aspen woods,
13 columns | Production Galeries Nomades 2010 — Institut d’art contemporain,
Villeurbanne / Rhône‑Alpes | Courtesy of the artist
Rendez-vous 11
Julia Cottin
25 / 128
Julia Cottin
At first sight, Julia Cottin’s
work seems dominated
by a certain technical classicism. This is because many of the works that
she admits preferring to draw in space are in the supposedly obsolete sculptural tradition of wood carving. Mixing motifs and genres, both Romanesque
and Muslim influences, the arrangement of the ‘trees’ in the work Forêt
de Juma is a replica of a real piece of forest. Yew, hornbeam, cherry and pear
engraved in this falsely pillared room—as the columns are held by wedges and
hold thanks to the ceiling and not the opposite—deconsecrate the power
of religious architecture by the neutralisation of their function.
Julia Cottin uses forest both for its physical aspect and, more prosaically
for the timber that it gives, and alsofor its meaning as an environment outside
civilisation, against any large construction and beyond any urban planning.
‘There are thus countries without places and stories without chronology’ 1
as Michel Foucault seemed to delight in telling us in the 1960s. Invoking
Foucault style heteropies and their principle, inherited from the mirror, a place
that is both here and there, real and other, the young artist seems to make
sliding between these two poles her leitmotiv. Making all her pieces after
photographs, she never seeks to enter the orthonormal and prefers to rely
on what she feels. Even her architectural study drawings are made from found
images. Ceaselessly seeking and classifying new images, generally found
on the internet, Julia Cottin amasses archives from which she draws her models. Perhaps because she founds her work on the notions of history and memory, whether in the interest she showed in the question of the monument or
through the intrinsic historicity of architecture. But then everything becomes
blurred and physical or temporal references no longer have as much importance. The transition from image to object takes place with no strict relations
of scale. ‘I am not doing monumental work, I work at my scale’ she says.
•• Aude Launay
1 Michel Foucault
in a radio interview
in 1966.
Rendez-vous 11
Julia Cottin
26 / 128
↑ Motifs, 2010 | Charcoal drawings on paper | Courtesy of the artist
Rendez-vous 11
Julia Cottin
27 / 128
↑ Forêt de Juma, 2010 | Courtesy of the artist
↑ Dessins d’étude, 2010 | Wash drawing and pigment on paper | Courtesy of the artist
Rendez-vous 11
Julia Cottin
28 / 128
↑ À la renverse, 2010 | Engraved and vitrified MDF | Courtesy of the artist
↑ Sans titre (Carottages), 2010 | Limestone drilling cores, wood | Courtesy of the artist
Rendez-vous 11
Julia Cottin
29 / 128
François Daillant
Born in 1983 in Valence (F)
Lives and works in Lille (F) and London (GB)
Education
2008 DNSEP, École régionale des beaux-arts de Valence (F)
Solo exhibitions
2010
Signal Sourd, Galeries Nomades—Institut d’art contemporain,
Villeurbanne/Rhône-Alpes, Angle art Contemporain,
Saint‑Paul‑Trois-Châteaux (F)
2009 Shaltered, Foundry, London (GB)
François Daillant
presents:
Black Blocks, 2010
Building Bending, 2011
2011
Courtoisie, Toulouse (F)
2010
Itinérance des poissons rouges, Salle des Clercs et appartements
privés, Valence (F)
Mulhouse 2010, Parc des expositions, Mulhouse (F)
Autour du dessin, Galerie Rezeda, Lille (F)
La Mutable, Galerie AS, Lille (F)
2009 Transfert (Parade et activités dérisoires), Musée des moulages,
Campus de Bron, Lyon (F)
La Mutable, Installation/performance collective audio-vidéo, Cinéma
l’Hybride, Lille (F)
Festival Visionsonic, Centre Madeleine Rebérioux, Créteil (F)
Fête de l’image, Valence (F)
2008 The Plot Thickens 2, Le Carrosse, Paris (F); Mixart Mirys,
Toulouse (F); Centro sociale Milano, Milano (I); Forte Prenestino,
Rome (I); Rampart; London, (GB)
Panorama de la jeune création, Biennale d’art contemporain
de Bourges, Parc des expositions, Bourges (F)
Rendez-vous 11
François Daillant
30 / 128
↑ Black Blocks, 2010 | MDF, acrylic paint, bumper, marine grease, sound composition 12'40" looped |
Production Galeries Nomades 2010 — Institut d’art contemporain, Villeurbanne / Rhône-Alpes | Courtesy
of the artist
Rendez-vous 11
François Daillant
31 / 128
François Daillant
François Daillant’s work
involves drawing, the construction of volumes and experiments with sound in research that uses
combinations of several temporal, geographic and material realities.
His graphic work (drawings in felt tip pen and used engine oil), sculpture and
sound works play on movement and energy, both in their visual aspects and
in the use of found materials assembled in a delicate balance.
•• Corinne Guerci
Black Blocks is a sound installation consisting of wooden boards that have
been cut out, painted black and then heaped together with loudspeakers fixed
to them. The shapes of the boards are drawn from images of broken windows
recorded by the artist in different places, as for example an estate agent’s
bungalow in a new town being built. The artist focused on the random pattern
of the broken glass and the ‘void’ produced by the explosion of a smooth,
transparent surface, by the break in the continuity of a flat space.
He materialises these unlikely forms and puts them in tension by stacking
them and by reaction to the ‘Bumper’ speakers (commonly used to make seats
vibrate in home cinema set-ups) that provide a sound track consisting of vibration alone.
With an accent on the process of creation and found features and incorporating a critical dimension (the industrialisation context and social control
technologies: sound weapons, etc.) François Daillant’s work seeks to give
a physical appearance to what initially had no substance. Moving from flat
sheets to 3-D, from empty to solid, from an inaudible sound to perceptible
sound material, his sculpture accomplishes true changes at several levels.
Rendez-vous 11
François Daillant
32 / 128
↑ Black Blocks, 2010 | Courtesy of the artist
↑ Building Bending, 2011 | Wall drawing, waste oil, felt-tip pen | Courtesy of the artist
Rendez-vous 11
François Daillant
33 / 128
↑ Traversée, 2010 | Wood, paint, rubber, loudspeakers, sound composition 52' looped | Courtesy
of the artist
Rendez-vous 11
François Daillant
34 / 128
↑ Building Bending, 2010 | Drawings on paper, felt-tip pen, ink pens
| Courtesy of the artist
↑ Canyon, 2010 | Wall drawing, waste oil, felt-tip pen | Courtesy
of the artist
↑ Canyon, 2010 | Wall drawing, waste oil, felt-tip pen | Courtesy
of the artist
Rendez-vous 11
François Daillant
35 / 128
Rohini Devasher
Born in 1978, New Delhi (IND)
Lives and works in New Delhi (IND)
Education
2004 MA Fine Art Printmaking, Winchester School of Art,
Winchester (GB)
2001
BFA Painting, College of Art, New Delhi (IND)
Solo exhibitions
2011
Nature morte, New Delhi (IND)
2009 BREED, Project 88, Mumbai (IND)
Rohini Devasher
presents:
Ghosts in the Machine,
2006
Arboreal, 2011
2011
Frieze Art Fair, London (GB)
Generation in Transition. New Art From India, Zacheta National
Gallery of Art, Warsaw (PL); Contemporary Art Centre,
Vilnius (LT)
Connect: In India and Beyond, ifa Galerie, Stuttgart (D)
What Rules?, Nature Morte, Berlin (D)
2010
Finding India, Museum of Contemporary Art, Taipei (RC)
SCRATCH, Lalit Kala Akademi, Delhi (IND)
Light Drifts, Matthieu Foss Gallery, Mumbai (IND)
Sarai City as Studio EXH 4, Centre for Study of Developing Societies,
Delhi (IND)
Bloodlines, Hong Kong Art Fair, Wanchai (HK)
2009 Living Off the Grid, Anant Art Centre, Noida (IND)
Failed Plot, Korean International Art Fair, Seoul (ROK)
Analytic Engine, Bose Pacia Gallery, Kolkata (IND)
2008 FILAMENT, Vadhera Art Gallery, Delhi (IND)
Drawn from Life: Part I, Green Cardamom, London (GB)
By All Means, Scope Art Fair, Basel (CH)
2007 Open Studio, KHOJ Studios, New Delhi (IND)
First Look, Project 88, Mumbai (IND)
2006 Ghosts-in-the-Machine & Other Fables, Apeejay Media Gallery,
New Delhi (IND)
As Others See Us, Royal Scottish Academy, Edinburgh (GB)
2005 The Nature of Patterns Exhibition, British Library, London (GB)
2004 New Contemporaries, Fairfield’s Art Centre, Basingstoke (GB)
PRINTMAKING, Southampton City Art Gallery, Southampton (GB)
The Road Is as Wide as It Is Long, Burren School of Art,
County Clare (IRL)
Rendez-vous 11
Rohini Devasher
36 / 128
↑↗
↑↗
↑↗ Ghosts in the Machine, 2006 | Video projection, 6', colour | Courtesy of the artist and project 88,
Bombay (IND) © Rohini Devasher
Rendez-vous 11
Rohini Devasher
37 / 128
Rohini Devasher
My practice is rooted
in science, driven
by an exploration of morphology and processes of emergence where an increasing complexity is built through layers and recursion. My work aims to engage
art, science and fiction in a systematic dialogue. All three works in this exhibition look at forwarding this dialogue.
Archetypes are explorations in plant morphology, inspired
by J. W. Goethe’s search for “that which was common to all plants without
distinction”, which led him to evolve a purely mental concept of the archetypal
plant or the ‘Urpflanze’. The ‘Urpflanze’ described ‘one basic form that manifests in the multitude of single plant individuals; and within this basic form,
there lies the potential for endless transformation, by which manifoldness
is created out of oneness.” These ideas were developed and enlarged upon
by plant morphologist Agnes Arber, who argued that a classification based
on similarities of form could be more instructive than one based on evolutionary relationships.
Archetypes were made during the KHOJ Arts & Science Residency
in 2007. My interest with these two pieces was to draw upon the potential
of contemporary botanical science to create images that lie somewhere
between science and symbolism. I was fortunate to be able to work with Prof.
Mohan Ram and Dr. Rajesh Tandon at the Dept of Botany in Delhi University.
Conversations with them led me to compare plant structural similarities
at a macro and microscopic level. With their collaboration, I was able to use
complex images of plant surface features as viewed under a scanning electron
microscope, including hair like trichomes, highly ornamental pollen structure;
and stomata with mouth like apertures. These images were then restructured
with photographs of parts of diverse plant species to create hybrid organics
that float in a twilight world halfway between imagined and observed reality,
strange denizens of a science fiction botanical garden, specimens in a bizarre
cabinet of curiosity or portents of a distant future. In the scientific realm,
as the rate of genetic modification accelerates, and plants are modified with
plant, animal and human genes, the boundary of form and function blurs and
these strange hybrid organics become more of a possibility of what could be.
Chimera takes forward the ideas explored in the Archetypes. Flesh, plant,
machine, animal, organic and inorganic come together to fashion a hybrid
with even more obscure antecedents. The result is somewhat unclassifiable,
a category unto itself. Something tugs at your subconscious but you can’t quite
put your finger on it. It isn’t quite plant, it isn’t animal, it isn’t quite human, not
exactly machine, but something else entirely; something of all those, but none
of them.
Ghosts-in-the-Machine takes this exploration of morphology further
by employing the generative qualities of video-feedback, to investigate selfreflexivity, especially when understood in the context of something that
constantly recreates itself.
Phytoplankton seen through a microscope. A creature that drifts across
the window on a submersible deep under the ocean. Except that this creature
is artificial, a digital construct charting a journey of artificial evolution.
An intricate skeletal structure that is the result of the gradual structuring
of 165 individual manually placed layers of video. Video feedback, the optical
equivalent of acoustic feedback, occurs when a loop exists between a video
camera and a television screen or monitor. In other words, when a camera
(connected to the TV) is pointed at the TV it faces an infinite number of reflections of itself, like two mirrors facing each other. The image is doubled and
the image interferes with itself. With patience and certain amount of trial and
error it becomes possible to explore a vast arena of spontaneous pattern
generation by varying the available controls (brightness, contrast, hue, focus,
camera angle etc). The result is an astonishing array of spatio-temporal
patterns, mimicking those exhibited by physical, chemical, and biological
systems, i.e. plant structures, cells, tree forms, bacteria, snowflakes …
They are not imposed from the outside in any way and are thus Ghosts within
the Machine.
Rendez-vous 11
Rohini Devasher
38 / 128
↑↗↗
↑↗↗
↑↗↗
↑↗↗ Arboreal, 2011 | 20 digital prints | Production Rendez‑vous 11 | Courtesy of the artist and project
88, Bombay (IND) © Rohini Devasher
Rendez-vous 11
Rohini Devasher
39 / 128
↑ Archetype II, 2007 | Digital print & drawing
on archival paper | Courtesy of the artist and
project 88, Bombay (IND) © Rohini Devasher
↑ Archetype I, 2007 | Digital print & drawing
Rendez-vous 11
Rohini Devasher
40 / 128
↑ Chimera I, 2007 | Digital print & drawing
↑ Chimera II, 2007 | Digital print & drawing
Rendez-vous 11
Rohini Devasher
41 / 128
Newell Harry
Born in 1972, Sydney (AUS)
Lives and works in Sydney (AUS)
Newell Harry presents:
Education
2004 MFA, COFA—University of New South Wales, Sydney (AUS)
2000 BFA (Hons I)—COFA—University of New South Wales, Sydney (AUS)
1995
DipFA, National Art School, Sydney (AUS)
Jungle Boy Action Rider,
1970-1980
Solo exhibitions
2009 Alms & Psalms: The Unspoken Requiems of Henry Waller, Gertrude
Contemporary Art Spaces, Melbourne (AUS)
Lloyd Triestino, Fremantle Arts Centre, Fremantle (AUS)
2008 Fish or Cut Bait?, Roslyn Oxley9 Gallery, Sydney (AUS)
2007 Views from the Couch, Roslyn Oxley9 Gallery, Sydney (AUS)
2006 I Would Have a Lot to Do but I Don’t Do Much …, MOP Projects,
Sydney (AUS)
2011
Untitled, 12th Istanbul Biennial, Istanbul (TR)
Tell Me Tell Me: Australian and Korean Art 1976-2011, National
Museum of Contemporary Art, Seoul (ROK); Museum
of Contemporary Art, Sydney (AUS)
Citizen Collectors, Newcastle Region Art Gallery, Newcastle (AUS)
Edge of Elsewhere 2011, Campbelltown Arts Centre,
Campbelltown, (AUS)
2010
True Story, Roslyn Oxley9 Gallery, Sydney (AUS)
Some Recent Australian Drawing, Heide Museum of Modern Art,
Bulleen (AUS)
No-Name Station 2010, Iberia Contemporary Art Centre, Beijing (PRC)
Art Forum Berlin, Berlin (D)
THE BEAUTY OF DISTANCE: Songs of Survival in a Precarious Age,
17th Biennale of Sydney, Sydney (AUS)
We Call Them Pirates Out Here, Museum of Contemporary Art,
Sydney (AUS)
Are You Looking at Me? Laneway Art, Temperance Lane, Sydney (AUS)
Melbourne Art Fair, Melbourne (AUS)
Synapse, Deloittes, Sydney (AUS)
Before & After Science, Adelaide Biennial of Australian Art,
Adelaide (AUS)
Edge of Elsewhere, Campbelltown Arts Centre, Campbelltown (AUS)
2009 6th Asia Pacific Triennial, Queensland Art Gallery, GOMA,
Brisbane (AUS)
MCA New Acquisitions 2009, Museum of Contemporary Art,
Sydney (AUS)
Light Sensitive Material: Works from the Verghis Collection, Bathurst
Art Gallery, Bathurst (AUS)
Quirky: from the Collection, Newcastle Region Art Gallery,
Newcastle (AUS)
Victory Over the Sun, Utopian Slumps, Melbourne (AUS)
2008 Westpac Redlands Artprize, Mosman Art Gallery, Mosman (AUS)
2007 Summer ‘07 ‘08, Roslyn Oxley9 Gallery, Sydney (AUS)
The Year in Art: 2007, National Trust SH Ervin Gallery, Sydney (AUS)
News from Islands, Campbelltown Arts Centre, Campbelltown (AUS)
Other News / Other Places, Starkwhite, Auckland (NZ)
Art and About (Open Gallery), Sydney (AUS)
ABN Amro Emerging Artist Award, ABN Amro Building,
Sydney (AUS)
Reverse Missionary
(anagram) : As Venereal
Theists Rest / The Native
Are Restless, 2009
Reverse Missionary
(Easy Rider), 2010
Reverse Missionary
(Nerveless Rat
Hesitates / As Venereal
Theists Rest), 2010
Rendez-vous 11
Newell Harry
42 / 128
↑ Jungle Boy Action Rider, 1970-1980 | Shield from Papua-New Guinea, enamelled metal sheet |
Courtesy of the artist
Rendez-vous 11
Newell Harry
43 / 128
Newell Harry
An Un-Kindness
of Ravens
•• Ruark Lewis
“Anything that is too stupid to be spoken is sung.” Voltaire
These exhibition notes are derived from many conversations, artist’s notebooks,
word lists, shared ideas, a common love of language and the mischievous ways
words can be deployed. Meaning can only be counted as a fragment
of the whole. It describes not a complete map of Harry’s journeys to Cape
Town and Vanuatu and through the streets of the port-city of Sydney, but
rather the words inscribe just a few cues for misadventure. The exhibition itself
is not precisely linear either. That’s something the association of forms does,
cast newspaper vessels, engraved and burnished bottles rested on armatures
and the night lit neon anagram, “AS VENEREAL THEISTS REST / THE
NATIVES ARE RESTLESS” to resist the linear God of logic.
The anagrammatic form is derived from the internal working structure
of words like Ginger-Nigger, Oh My-Omai, White-Whine. They are either
perfect or imperfect. Other parts of Harry’s “dope tropes” form plays on place
names like Cape Malays-Cape Malaise, Mount Yasur Arafat, Kape Koon
Karnival, or King Shit of Turd Island and Ngunese Serenade.
Word-plays are based on the architecture of language. Socially these aberrant
types operate as social deviants alongside the established linguistic platform—
offering itself as a subnormal construction. Harry’s use of this atypical form
produces a language-art that joins the output of a group of Australian experimental writers such as Alex Selenitsch, Javant Biarujia, Chris Mann and Ania
Walwicz. Artists such as Marcel Duchamp, Marcel Broodthaers or the concrete tendencies of Fluxus such as Jackson Mac Low or Jean Dupay and John
Cage used language in a similar sort of subversive way.
In this form of disguised language the assemblies made by punsters, anagrammistes and creolisers create a fortress of codes. They are multi-layered and
often sub-coded. Many of the constructions are set-up in serial form as a labyrinth of deceptive miscalculations, paradigmatic & paradoxical inter-plays for
secrecy and puzzlement. It’s the dissident voice—that spells out a matter
of small consequence or the action or habit of estimating something as worthless. Or does it announce an internal politiks of things?
These strategies of atypical writing populated with usual / unusual characters
and blocks of compositional linguistics force a visual writer like Harry to apply
his crafts on this sculptural armature of ideas. Harry’s installations of recast
vessels, recycled newspaper, words in cold neon lights, around engraved bottles
on plinth-like benches are a form that recognizes found objects. Sometimes
his interpretation of ‘things’ cast-away is intentional and allows the artistic outcome to be devised by chance. In a humble way this accretive ensemble signals
an alternative surface to publish on. On to his collection of ‘things’ are records
of slang and Creole names. These are spoken in the ‘coloured’ township
dwellings of Cape Town and observed on his many visits to parts of Vanuatu.
In other works he melts down the fibrous membrane of the new world.
That word here is a form of play-naming, a metathesis (transposition of letters
and / or sounds) that musicalises their original form. Worth noting that
the verlanization of urban Paris comes from the radical distortions of an official dominant language.
Such blending of the word-forms is a hip-hop discourse of youth culture. Jive
talk and various forms of ghetto slang is a linguistic phenomenon almost fifty
years old. But generations ago a similar Creolisation was developing
in an organic fashion as a multi-cultural sub-language of the enslaved
in places like Mauritius where Harry’s father’s family comes from.
For Harry language is a subversive form. His visual writing is often case
insensitive. As hybrid text it manages to be outside while being on the inside
of the established structure of society. While these works are positioned
as mementos of the outcast and outsider, on the inside it subscribes to a different set of values in terms of the black & white and coloured.
Rendez-vous 11
Newell Harry
44 / 128
↑
↑ Reverse Missionary (Nerveless Rat Hesitates / As Venereal Theists
Rest), 2010 | Neon, aluminium armature | Reverse Missionary (Easy
Rider), 2010 | Bicycle, color photographs, MP3 player | Reverse
Missionary (anagram): As Venereal Theists Rest / The Natives Are
Restless, 2009 | 8 carpets made in collaboration with the Tongan
“Lihaona” women’s collective, 7 ceramic pots | Courtesy Galerie
Roslyn Oxley9, Sydney (AUS)
Views of the exhibition Rendez-vous 11
Rendez-vous 11
Newell Harry
45 / 128
←
↙
↙
↙ Untitled (Cape Malays / Cape
Malaise), 2007 ; Untitled (Cape
Flat / Kape Shack), 2007 ;
Untitled (Adonis Said / No),
2007 ; Untitled (The
Drummie / Mummies), 2007 |
Dyed, bandanas| Courtesy
Galerie Roslyn Oxley9,
Sydney (AUS) © Newell Harry
Rendez-vous 11
Newell Harry
46 / 128
↑↗
↑↗ Artists documentation: Ohlen-Mataso and Nguna (Vanuatu), 2011 | Photograph black and white,
contextual documentation | Courtesy Galerie Roslyn Oxley9, Sydney (AUS) © Newell Harry
↑↗
↑↗ (Untitled) Circle/s in the Round: NEVER ODD OR EVEN, 2010 |
(Untitled) Circle/s in the Round: OVID / VOID, 2010 | (Untitled)
Circle/s in the Round: MALAYALAM RACECAR, 2010 | (Untitled)
Circle/s in the Round: LEVEL ROTOR, 2010 | Neons | Courtesy
Galerie Roslyn Oxley9, Sydney (AUS) © Ivan Buljan
Rendez-vous 11
Newell Harry
47 / 128
Mohamed Konaté
Born in 1978 in Bamako (RMM)
Lives and works in Bamako (RMM)
Education
2010
Conservatoire des arts et métiers multimédia BALLA FASSEKE
KOUYATE, Bamako (RMM)
2001
Institut national des arts de Bamako (RMM)
Mohamed Konaté
presents:
Djé (L’Union), 2008
Another Africa, 2011
2011
África. Objetos y Sujetos, Teatro Fernán Gómez, Madrid (E)
2010
África. Objetos y Sujetos, Centro Cultural Cajastur Palacio
Revillagigedo, Gijon (E)
Africa.es, Círculo de Bellas Artes, Madrid
Singularidades: jóvenes creadores de Malí, Tenerife Espacio de las
Artes, Tenerife (E)
8es rencontres de Bamako, touring exhibition at Rencontres internationales de la photographie de Fès, Fès (MA); Johannesburg Art
Gallery, Johannesburg (ZA); African National Gallery, Cape
Town (ZA); Regard Bénin 1.0, Cotonou (BJ); Dromos Festival,
Regio Emilia (I)
2009 8es rencontres de Bamako, Musée national du Mali, Bamako (RMM)
Spot on Dak’art, ifa-Galerie, Berlin (D)
16◊ Festival International d’Art Vidéo de Casablanca,
Casablanca (MA)
Visions pour l’Afrique, Le Griot, Aachen (D)
2008 Biennale de Dakar, Musée IFAN, Dakar (SN)
2006 3◊ édition du marché National des Arts plastiques du Mali, palais
de la culture de Bamako, Bamako (RMM)
2001
Salon des jeunes peintres, Centre culturel français, Bamako (RMM)
Rendez-vous 11
Mohamed Konaté
48 / 128
↑
↑ Another Africa, 2011 | Hessian, candles, candleholders, calabash, sand, video | Production
Rendez‑vous 11 | Courtesy of the artist
Rendez-vous 11
Mohamed Konaté
49 / 128
Mohamed Konaté
Another Africa Another Africa is inspired
by the United States of Africa project put forward in 1924 by the Jamaican
writer Marcus Garvey, who dreamed of a strong, prosperous Africa that
displayed solidarity.
This vision was the origin of the creation of the Pan-African movements
of 1945. The use of the term United States of Africa at the 5th Pan-African
Congress held in the same year in Manchester by W.E.B. Du Bois, Patrice
Lumumba, Georges Padmore, Jomo Kenyatta and Kwamé Nkrumah was
a decisive step in the movement towards its creation. From then on, the name
described the creation of a possible federal Africa. The Organization of African
Unity was founded with this in mind on 25 May 1963.
At the fifth summit meeting held from 9 to 11 July 2001 in Lusaka, Zambia,
Africa took a new direction with the official founding of the African Union.
The AU is aimed at political and economic integration to open the way
to a better life for all Africans. 'The beauty of a carpet lies in the variety
of its colours' said the wise writer Amadou Hampâté Bâ. Africa has varied
cultural potential that can enable it to be the happiest continent and well-positioned in the fight against globalisation.
‘We all want a United Africa, united not only in our concept of what connotes
unity, but united in our common desire to move forward together in dealing
with all the problems that can best be solved only on a continental basis.’
Kwame Nkrumah
Another Africa develops an assembly of components that builds an idea
of unity, solidarity, cohesion and cooperation between the peoples of Africa
with the aim that African problems should be addressed by Africans
in accordance with the reality of the African continent.
We consider it important to enable the African people to understand
the effect that the Union can have on Africa. An Africa in which there will
be no more talk of genocides, wars, famines, corruption or misery etc.
We must erase all the African frontiers inherited from European colonisation and establish a single African passport for all Africans with a system
of a single African embassy in all the countries of the world.
Africans must be aware that they alone are responsible for the fate
of Africa.
Rendez-vous 11
Mohamed Konaté
50 / 128
↑↗
↑↗
↑↗ Djé (L’Union), 2008 | Video, 1'08", colour, sound | Courtesy of the artist © Mohamed Konaté
Rendez-vous 11
Mohamed Konaté
51 / 128
↖↑
↖↑
← Entre toi et moi, 2009 | Photographs black and
white | Courtesy of the artist © Mohamed Konaté
Rendez-vous 11
Mohamed Konaté
52 / 128
↑
↑ Attraction, 2007 | Video, 2'30", colour, sound | Courtesy of the artist © Mohamed Konaté
Rendez-vous 11
Mohamed Konaté
53 / 128
Thomas Léon
Born in 1981, Dijon (F)
Thomas Léon presents:
Education
2005 DNSEP, École nationale supérieure des beaux–arts de Lyon (F)
Living in the Ice Age,
2010
Solo exhibitions
2010
Le ciel au-dessus du port était couleur télévision calée sur un émetteur hors-service, Galerie municipale, Vitry-sur-Seine (F)
Concrete Islands, Espace culturel, Beauvais (F)
2009 Light Incident, Galerie Isabelle Gounod, Paris (F)
2010
AA Acteurs Autonomes, CIUP, Paris (F)
Ville en images devenues, Théâtre municipal, Pantin (F)
Réalités confondues, BF15, Lyon (F)
Ce qui suit dévoile des moments clés de l’intrigue, Aperto,
Montpellier (F)
Concours de monuments II, la tournée mondiale, École Nationale
Supérieure d’Architecture Paris-Malaquais, Paris (F)
Si la nuit tombe, 65 boulevard Sébastopol, Paris (F)
2009 L’espace d’un instant, La mire, Orléans (F)
Uchronies, part. II: Changer le cours de l’histoire, Ars Longa, Paris (F)
Después del fin, Edificio de Tabacalera, Madrid (E)
2008 Super #5 Chronopolis, Super, Paris (F)
Première vue, Passage de Retz, Paris (F)
Science et Fiction, La Générale, Sèvres (F)
2007 Exposition de Noël, Le Magasin, Grenoble (F)
Le syndrome de Broadway, Centre d’art contemporain du parc
Saint-Léger, Pougues-les-Eaux (F)
2006 Cosa Nostra, Glassbox, Paris (F)
Filterbox, Glassbox, Paris (F)
Multipolaire, Halle 14, Leipzig (D)
Les enfants du sabbat 7, le Creux de l’enfer, Centre d’art contemporain,
Thiers (F)
Rendez-vous 11
Thomas Léon
54 / 128
↑
↑ Living in the Ice Age, 2010 | Video projection, 20'16", looped, colour, sound | Co-production General
Council of Seine-Saint-Denis, Ville de Pantin, Le LABO | Courtesy of the artist © Thomas Léon
Rendez-vous 11
Thomas Léon
55 / 128
Thomas Léon
Thomas Léon’s artwork
is based on computer tools,
and more specifically, computer generated imagery. It takes shape in different
mediums, from video art to digital prints, not to mention sound work or
computer designed shapes.
Thomas Léon finds inspiration in Literature (Science Fiction novels and
utopian literature) or Avant-Garde projects, which provide some of the problems haunting his artwork : complex relations between a project, its picturing
and implementation (architecture, urbanism, ideal society models); links
between questions of form and power issues.
These problems connect to questions that are more specifically aesthetic
(relation between art and reality; valuation of modernism’s inputs and of formal values inherent in each medium; the mode and time of a piece of art’s first
appearance; the viewer’s action) in order to question models’ and archetypes’
persistence, and to produce new forms.
Living in the Ice Age is an invitation to go across an idea. An abandoned
utilitarian building, ghostly memory of flows of goods which passed through,
coexists with a glass and steel vertical architecture evoking the present
management of financial flows, just as invisible.
The video is in two parts. During the first 10 minutes, the shot
is static. The light of the sun (which completes a full cycle during the whole
video) and meteorological phenomena produce the only perceptible move.
Then the camera slowly comes alive and tracks in toward the building.
Meanwhile, in the background, contemporary constructions emerge, barely
take shape, then collapse.
Rendez-vous 11
Thomas Léon
56 / 128
↑ Living in the Ice Age, 2010 | Courtesy of the artist
Rendez-vous 11
Thomas Léon
57 / 128
↑ Désert portatif, 2009 | Polyurethane resin, wood, loudspeaker | Courtesy of the artist © Thomas Léon
↑↗ Escape from Abstraction Island, 2009 | Video, 11'30" looped, colour, sound | Courtesy of the artist
© Thomas Léon
Rendez-vous 11
Thomas Léon
58 / 128
←↖↑ High Latency, 2007 | Video, 12' looped,
colour, sound | Courtesy of the artist
© Thomas Léon
↑
↑ Ghost Tower, 2009 | Video, 7'28" looped, colour, sound |
Courtesy of the artist © Thomas Léon
Rendez-vous 11
Thomas Léon
59 / 128
Camille Llobet
Born in 1982 in Bonneville (F)
Lives and works in Villeurbanne (F)
Camille Llobet presents:
Education
2007 DNSEP, École Supérieure d’Art de l’Agglomération d’Annecy,
Annecy (F)
Décrochements,
2006-2010
Solo exhibition
2010
Après coup, Galeries Nomades de l’Institut d’art contemporain,
Villeurbanne/Rhône-Alpes, Attrape couleurs, Lyon (F)
2010
L’esprit des lois, MORT&VIF, Bruxelles (B)
2007 À tâtons, Forum expo Bonlieu, Annecy (F)
Travaux en cours, Musée d’art Moderne de Saint-Étienne Métropole,
Saint-Étienne (F)
2003 Bilder Büro, Kunstverein, Stuttgart (D)
Gra≠iti, 2008-2010
Thessalonique, 5◊ arrondissement, 2010
Squelettes de listes, 2011
Rendez-vous 11
Camille Llobet
60 / 128
↑ Gra≠iti, 2008-2010 | 9 readings from a listening post | Tolex, engraved aluminium, jack outlets,
headset | Various playing times | Courtesy of the artist © Thomas Morel
Rendez-vous 11
Camille Llobet
61 / 128
Camille Llobet
U2 2T(slash) 8(slash)1 PD
servis auto (arrow pointed
to the right) LSI PDS milo volomi saligrad welcom to saligrad 50 cents eminem
weidim mos parko mateo milan P 102 36 family business iserg IR 103 261
Graffiti collected in nine cities (Bucharest, Budapest, Buenos Aires,
Istanbul, Paris, Santiago, Sarajevo, Thessalonica and Tirana). These words
are read and broadcasted in a ‘listening post’.
At first this is like a code, a kind of HTML code, a series of words and
letters structured by the description of graphic punctuation that is specific
to graffiti. Then fragmentsof meaning appear as you continue to listen:
through the recognition of a word, a known expression, something is identified
for a brief moment. At other moments the string of words turns into noise, like
onomatopoeia. Matter that is both strange and familiar and always positioned
between sound and sense.
The listening post was constructed specially for the room. Inspired
by both military objects and the history of sound and interpreting equipment.
They are transportable objects whose design goes no further than function
(telegraph office, teleprinters, amplifier, radios, etc).
Thessalonique, 5◊ arrondissement is a photographic record of a specific urban
phenomenon. Faliro is a working class district of Thessalonica built
in the early 1970s (during the dictatorship by the Colonels) and consisting
of blocks of flats of the same kind and the same height—slightly lower than
those of the surrounding districts. Thirty years of accumulation of architectural details added in a haphazard way by the occupants can be seen
on the flat roofs.
The image is from a hill three kilometres from the start of the zone that
was photographed, that is one kilometre wide and five kilometres long.
At a precise moment of the day, around 5.15 pm, in mid-June, cloudless sky, hot
day, just before the angle of the light changes in the town. To the naked eye,
these special conditions give an impression of ‘urban pixellisation’.
The photographic record accentuates the phenomenon and gives a macro
view of the distance. The image first seems blurred and almost shaky with no
clear separation between vertical and horizontal lines, as if the eye were lost
in a clump of details, shifting forwards and backwards without being able
to focus. Going nearer reveals a multitude of details and shows the complexity
of a dense urban situation.
A collection of lists of things to be done of an architect, a biologist,
an artist, a grandmother, a mountain guide, a CEO, etc. A train timetable,
something not to be forgotten, preparation for a meeting, reading notes,
something to be planned or something planned, the plan for a project, calculations, accounts, records: listed, classified, ranked, organised on pieces of paper,
structured in layers—every day.
Lists collected and then transposed into drawing. The original list
is enlarged (≈ 12) and then its structure (marks, punctuation, things crossed
out, etc.) is traced with graphite to give these pocket-sized diagrams
the dimension of an exhibited image.
This is the careful point by point reproduction of lines made in a hurry.
A protocol that lifts the structure from its support by revealing the micro
details of the mark: stains, excess ink or badly formed lines are reproduced
extremely accurately.
These are skeletons of lists, like the matrix of typography, the lines
of construction of a technical drawing. A record of forms of organisation
of thinking.
Décrochements is a video collection assembled over a period of time and shown
on a small digital photo frame generally used for family slideshows.
Immobile characters start to move and leave the image. Tourists photograph each other in famous places. They freeze for a moment and then cease
the pose and start moving again.
The aim is to record the precise moment at which they cease the pose,
the moment of change. This is a very short movement made up of contradictory micro-movements initiated by different parts of the body: recovery,
growing movement and the differential of immobility and movement.
Rendez-vous 11
Camille Llobet
62 / 128
↑ Thessalonique, 5◊ arrondissement (detail), 2010 | Black and white photograph on Dibond aluminium |
Courtesy of the artist © Camille Llobet
Rendez-vous 11
Camille Llobet
63 / 128
←
↙
↙ Décrochements, 2006-2010 |
Video on digital media frame,
46 sequences, work in progress |
Rendez-vous 11
Camille Llobet
64 / 128
↑ Squelettes de listes, 2011 | Drawing, graphite on paper, from
a serie | Courtesy of the artist
↑ Dallas, le 22 novembre 1963, 2007-2010 | Sound volume work—
13 description zones 8 speakers, laptop computer and sound card,
cables | Courtesy of the artist © Thomas Morel
Rendez-vous 11
Camille Llobet
65 / 128
Sandra Lorenzi
Born in 1983 in Nice
Lives and works in Paris and Nice (F)
Education
2009 DNSEP, Villa Arson, Nice (F)
2003 Khâgne, Hypokhâgne lettres modernes spécialisées, option philosophie, Lycée Masséna, Nice (F)
Sandra Lorenzi
presents:
Antichambre, 2011
Solo exhibitions
2011
Garden Party, Galerie Sintitulo, Mougins (F)
La Nébuleuse de l’homoncule, Palais de Tokyo, Paris (F)
2010
Holy Holes, Galerie Visite ma Tente, Berlin (D)
2011
Biennale des jeunes créateurs d’Europe et de Méditerrannée,
Thessalonique (GR)
Art-o-Rama, Salon international d’art contemporain, Marseille (F)
Collectionneurs en situation, l’Espace de l’Art Concret,
Mouans‑Sartoux (F)
Hic, l’exposition de la forme des idées, Villa Arson, Nice (F)
2009 Santé !, Galerie de la Marine, Nice (F)
54◊ Salon de Montrouge, Montrouge (F)
2008 Une Exposition de mémoires, une discothèque silencieuse, Galerie
Le Dojo, Nice (F)
Rendez-vous 11
Sandra Lorenzi
66 / 128
↑ Antichambre, 2011 | With the collaboration of François-Xavier
Poudroux | Wood, dibond, paint , René Char quotation on mirror
writing on the external wall: “OH LA TOUJOURS PLUS RASE
SOLITUDE DES LARMES QUI MONTENT AUX CIMES” |
Co-production Rendez‑vous 11 | Courtesy of the artist
Rendez-vous 11
Sandra Lorenzi
67 / 128
Sandra Lorenzi
The Human Comedy
Comic books—look closely
at her bronze Jizo gisants, figurines of mindless Japanese monks …—and
drawing led Sandra Lorenzi to contemporary art (‘a breath of liberty’) and
philosophy (‘a mother’). Her need for expression and creation in art led
her to new areas: ‘What I do is conceptual but not part of the field of conceptual art. I work using the hybridisation of notions and concepts in relation
with the images that I see and with what I read …’.
In addition to philosophy, science and anthropology, Sandra Lorenzi
is interested in ‘primitive’ art and Georges Batailles’ concept of ‘l’informe’
(formless), constructing a hermeneutic vision of art. The foundation of her
approach lies in Greek and pre-Socratic culture, in oriental philosophy and
this feeds an ‘ample ‘ work that is meaningful beyond her work on forms and
matter … As Sandra Lorenzi refuses to accept irremediable character in art
and all that is frozen, she reinvents scenography for each exhibition.
Her recent exhibition La Nébuleuse de l’homoncule at Palais de Tokyo in Paris
consisted of a set of ‘new and existing anthromorphic works in some cases and
spatial in others’. A strange composite universe … At l’Espace de l’Art Concret
in Mouans-Sartoux, she handles objects as places and uses the vocabulary
of the construction industry linked to her own problematics: the destabilisation of the spectator, the loss of spatial references, the indiscernible frontier
between the real and the fictitious. The installation named Soli sol soli doubles
existing space and lures the eye by a play of perspective, echoing the history
of the place and the historic context of the Château. Sandra Lorenzi reinvents
in Magritte style. For the Rendez-vous exhibition at the Institut d’Art
Contemporain in Villeurbanne, her work called Antichambre is set in a bare
cubic room that the visitor enters before losing his bearings with a circular
platform, a staircase and reflecting surfaces from floor to ceiling. The antechamber thus recovers its initial function. Through a mise en abyme, it creates
imagery, fantastic ellipses.
Her production might seem enormous, given the youth of the artist, but
she works incessantly (‘I need to create a lot because my thinking involves
doing) and applies a vital renaissance to objects: creation is not enough,
the work must be recreated, reinvented; a new dramaturgy must be written …
This is a daring way of doing the opposite in sculpture by new narration and
redescription of her works: Sub rosa, bunkers for a kind of domestic use,
L’édifice persistant, Spy fruits, Shell, whose horn of plenty shape brings
to mind legends and myths as well as a ‘post-industrial fossil’ … And many
other ‘actants’ (operators) as she calls them, with which she converses and that
are actors in a fascinating play in which the prologue is all we know.
•• Marie
Godfrin-Guidicelli
Introduced by a phrase on the wall in mirror writing, her set-up Antichambre
shown at Rendez-vous 11 makes the visitor lose his bearings in a bare cubic
room. The antechamber thus recovers its initial function: through the mise
en abyme of the place, it generates imaginary, fantasised ellipses.
Rendez-vous 11
Sandra Lorenzi
68 / 128
↑ Antichambre, 2011 | Courtesy of the artist
Rendez-vous 11
Sandra Lorenzi
69 / 128
↑ Jizo gisants, 2009 | Bronze | Courtesy
of the artist © Sandra Lorenzi
↑ Le rêve des gens heureux, 2011 | Metal, mirror, umbrella, silk
screen print | Courtesy of the artist © Sandra Lorenzi
Rendez-vous 11
Sandra Lorenzi
70 / 128
↑ Spy fruits, principe de précaution, 2010 | Fruits,
peephole, wood | Courtesy of the artist
© Sandra Lorenzi
↑ View of the exhibition:
Sub rosa, principe de précaution, 2010
Concrete, steel, paint | Spy fruits, principe de précaution, 2010 | Courtesy of the artist
© Sandra Lorenzi
↑ Soli Sol Soli, 2011 | Installation | Courtesy of the artist © Sandra Lorenzi
Rendez-vous 11
Sandra Lorenzi
71 / 128
Soichiro Murata
Born in 1985 in Knagawa (J)
Lives and works in Kyoto (J)
Education
2008 Tokyo University of the Arts, Tokyo (J)
2011
ART dosue, Hidari Zingaro,Tokyo (J)
Happy Mind—my view—, MISAKO&ROSEN, Tokyo (J)
2009 Art award Tokyo Marunochi 2009, Gyo-ko dori Underground Gallery,
Tokyo (J)
Geba Geba summer show—Geba Geba 4 weeks, MISAKO&ROSEN,
Tokyo (J)
NEW DIRECTION #1 exp., Tokyo Wonder Site Hongo, Tokyo (J)
NEW DIRECTION #1.5 exp., Art project room ARTZONE, Kyoto (J)
Soichiro Murata
presents:
Untitled (Various
materials), 2011
Untitled (Photographs),
2011
Untitled (Lamp), 2011
Untitled (Rugby ball),
2011
Drawing
on “Constructing”, 2011
Untitled, 2011
Drawing
on “Deconstructing”,
2011
A Structure, 2011
Untitled, 2011
In the Rough, 2011
Rendez-vous 11
Soichiro Murata
72 / 128
↑
↑ Drawing on “Deconstructing”, 2011 | Paint, various material | Drawing on “Constructing”, 2011 |
Photographs, cardboard | Untitled, 2011 | Various materials | Untitled, 2011 | Photographs | Untitled,
2011 | Lamp | Untitled, 2011 | Rugby ball | Courtesy of the artist
Rendez-vous 11
Soichiro Murata
73 / 128
Soichiro Murata
The verb ‘to happen’
confronts the noun
‘emotion.’ I imagine ‘happen’ as a rugby ball and ‘emotion’ as architecture—
architecture from within.
Things that occur outside us are ‘happenings,’ and things that flow and float
inside us are ‘emotions.’ I imagine emotion as architecture in our inner world.
Architecture involves space. One might be strongly airtight and people may
settle down for decades. Another might be like an arbour in a park and
passersby may sit for a while. But now, I imagine those architectures as being abandoned. It is important that the abandoned ones last in time. The field of our mind is like an endless plain, and we do not need to cram buildings together. There is no need
to be abstemious and worry about taking them down after use.
There are unlimited resources in the world, so one can wander aimlessly like
a nomad and build architectures here and there. When one is done with,
it is just left. Someone else might visit the abandoned architecture one day.
Memory involves space too.
On the other hand, a rugby ball rolls on the surface of the outside world.
The ball itself is always outside us. The ball involves space as well but space
never involves us. We only observe from a distance that the ball, confining
a small amount of space in itself, bounces and rolls irregularly. Outside
us there is another time flow for the external world, and this always transcends
the principles of our inner world. But the inner world, which we always feel
in the sense of possession, depends on the transcendence of reality.
Our dreams depend on reality indefinitely. In ‘external time’, I visited and examined abandoned barns in farm villages
in Japan. I also went to see strange arbours in Paris, France. Barns are first
seen from train windows. Every time I look for barns, I find them through
the window glass. They dot the rural landscape like small architectural models.
I would then go and find them in fields, take pictures and measure the size.
I visit the red garden follies of Paris, small pleasure constructions, with
a rugby ball in my arms. I jog there. It connects my inner world to the external
in this foreign land. These arbours are abandoned too. Or they have lost their
function from the beginning. That is why they are odd. But unlike barns, I can
go inside. Several arbours. One of them is like a watchtower and I can see
a whole grass field from the top. I would then toss the rugby ball
on to the grass, take out my camera and set off a flashbulb at the moment
the ball touched the ground and started bouncing irregularly.
Using the rugby ball, I built an architecture on my new internal land.
The rugby ball rolls differently in our dreams.
Rendez-vous 11
Soichiro Murata
74 / 128
↑ Untitled, 2011 | Courtesy of the artist © Soichiro Murata
Rendez-vous 11
Soichiro Murata
75 / 128
↑ Drawing on « Deconstructing », 2011 | Paint, various material |
Courtesy of the artist © Soichiro Murata
↑ In the Rough, 2011 | Painting | Courtesy of the artist
© Soichiro Murata
Rendez-vous 11
Soichiro Murata
76 / 128
↑ Considering a Park, 2008-2009 | Installation,
various materials | Courtesy of the artist
© Soichiro Murata
↑ Untitled, 2007 | Installation, various materials |
Courtesy of the artist © Soichiro Murata
↑ Drawing on “Constructing”, 2011 | Photographs,
cardboard | Courtesy of the artist
© Soichiro Murata
←↖↑ A Structure, 2011 | Paintings | Courtesy
of the artist © Soichiro Murata
Rendez-vous 11
Soichiro Murata
77 / 128
Émilie Peythieu
Born in 1982 in Bordeaux (F)
Lives and works in Lyon (F)
Education
2007 DNSEP, École nationale supérieure des beaux-arts de Lyon (F)
2005 DNAP, École nationale supérieure d’arts de Rueil-Malmaison,
Rueil-Malmaison (F)
Emilie Peythieu
presents:
Aimant, 2011
Encombrant, 2011
Solo exhibition
2011
Institut National des Sciences Appliquées (F)
2011
Moly Sabata, Sablons (F)
2004 Caserne des Sapeurs Pompiers, Rueil Malmaison (F)
Château de Malmaison, Rueil Malmaison (F)
Rendez-vous 11
Émilie Peythieu
78 / 128
↑ Aimant, 2011 | Painting | Courtesy of the artist
Rendez-vous 11
Émilie Peythieu
79 / 128
Émilie Peythieu
Rubbish in which mounds
of detritus with equivocal
forms provides a profuse, proliferating reality for a painter.
Disgusting, they bear a negative image: dirt and pestilence, pollution and
danger, shadow and emptiness, death and putrefaction. However, it is related
to life itself, to creation and the use of tools. It indicates human presence and
reflects human technologies. Rubbish is frozen at a moment of its movement
in the cycle of production of objects.
Before any figuration, the break-up, fractures and fissures observed
in the accumulation of rubbish negates the balance of the proportions and
homogeneity of forms. Wastes, residues, abandoned and broken objects allow
a break in gesture, a heterogeneous touch in depiction by drawing or painting.
One fragment calls up other fragments. The plural, multiple aspect contrasts
with unbroken unity, a whole without parts. The eye must lose the object
to reach an impression of variety, replacing the more conventional variation.
In representation, the rules of planes in which a distant object should not
be as sharp as a nearby object are not followed. Details or inaccuracies
are expressed beyond any logic of representation. Speed rubs shoulders with
duration. Realism is lost in the first gestures of construction. In the drawings,
the ground breaks up into irregular patches. Underlying colours emerge
in the paintings, as if from a defective matrix.
Taking these objects, depicting and exhibiting them means that was
masked is seen again. They thus resist, surviving in relation to spectacular
imagery that favours forgetting. The act of figuration is like a break in the production chain at the moment when the object is stored in a transitory manner
while awaiting reactivation. Fished from an incessant flow these broken things
have a future. Dumps are great for seekers of bits and pieces or for collectors
and are full of objects that can potentially mutate.
Rendez-vous 11
Émilie Peythieu
80 / 128
↑ Encombrant, 2011 | 9 framed drawings, charcoal on paper | Courtesy of the artist
Rendez-vous 11
Émilie Peythieu
81 / 128
↑ Câbles et batteries, 2011 | Painting | Courtesy of the artist © Émilie Peythieu
Rendez-vous 11
Émilie Peythieu
82 / 128
↑ Fils à béton torsadés, 2010 | Graphite and lead
pencil on paper | Fonds d’Art Contemporain
de l’INSA Lyon, Villeurbanne © Émilie Peythieu
↑ Bennes bonbonnes, 2011 | Graphite and lead
pencil on paper | Courtesy of the artist
© Émilie Peythieu
↑ Agrégat, 2010 | Graphite and lead pencil on paper | Private collection © Émilie Peythieu
Rendez-vous 11
Émilie Peythieu
83 / 128
Richard Pro∞tt
Born in 1985 in Liverpool (GB)
Lives and works in Liverpool (GB)
Education
2008 MA Fine Art, Manchester School of Art, Manchester (GB)
2007 BA Visual Arts, University of Salford, Salford (GB)
Richard Proffitt
presents:
Hash Knife Outfit /
Sunset Spirit (Wild Code
Revisited), 2011
Solo exhibitions
2011
Saguaro, Wolstenholme Creative Space, Liverpool (GB)
2008 Sundowner, Vault Gallery, Lancaster (GB)
2011
Shooting The Breeze II, 4 Piccadilly Place, Manchester (GB)
Parts Unknown, Embassy Gallery, Edinburgh (GB)
Liverpool Art Prize, Metal at Edge Hill, Liverpool (GB)
2010
Krimskrams, Cartel Gallery, London (GB)
Shooting The Breeze, The Cooperative, Liverpool (GB)
Dream Machine, Metal at Edge Hill, Liverpool (GB)
Global Studio, The Bluecoat, Liverpool (GB)
All Change, Rogue Project Space, Manchester (GB)
2009 Fear and Optimism, Bloc Projects / Workstation, Sheffield (GB)
4 Artists, FAFA Galleria, Helsinki (FIN)
2008 Next Up, The Bluecoat, Liverpool (GB)
Rendez-vous 11
Richard Proffitt
84 / 128
↑ Hash Knife Outfit/ Sunset Spirit, (Wild Code Revisited) 2011 | Various materials | Courtesy of the artist
Rendez-vous 11
Richard Proffitt
85 / 128
Richard Pro∞tt
Richard Proffitt’s work
is inspired by and references spaghetti westerns, ghost towns, American sub-culture, anthropology,
•• Jenny Porter, Project
ancient civilizations, travellers, den-making, folklore and urban myth.
Manager at Metal,
These inspirations become intertwined and their origins re-imagined in sculp- Liverpool
tures, wall-hangings, and installations, sometimes with accompanying music,
that create absurd, funny, dark and mysterious places. These magical, fictional
creations and make-shift ceremonial relics appear to be the disturbances left
after a mystical gathering, a teenage bonfire or following a primal dance from
an unknown tribe that has occurred.
‘Hash Knife Outfit / Sunset Spirit (Wild Code Revisited)’ is an allegorical
look at the past and how it collides with our future. A collection of detritus
from a consumerist Babylon, with objects such as; petrol cans, biker memorabilia and ephemera, burning rituals, Cuban, French, British, and American
iconography, collected together like flotsam, washed up on shore, following
a wave of over-production. The work explores the corners and edges
of our mass produced cultural landscape, a collision of mixed-up references
and mystical auras, that can’t really be explained. There is a pull towards
these objects that makes us feel wanted, ugly enough for us to feel comfortable,
familiar enough for us to connect to; charmed by the haunting feeling
of the uncanny and the sublime. Like the point where the edge of the Wild
West meets the Indian settlers, Richard’s installations seem to originate from
the terrain of the ‘outlaw’, in places like remote roadside shrines, or city
rubbish bins. The accompanying music made from ‘ethnic’ instruments bought
from flea markets suggests the life of nomadic storytellers, travelling bands,
troubadours, or wandering minstrels, reaching new un-discovered territory,
telling stories of their unique civilization from an, as yet, un-imagined future.
The work creates a symphony out of the noise of an accelerated cultural
production of national identity, spirituality, urbanism and choice.
The ancient meets the modern in Richard’s work and the homemade meets
the mass-produced. The timeless and lo-fi quality is reminiscent of the teenage
fanzine; uniting an identity driven global mass and transcending market value,
time and distance. The aura from these curated scenes provokes memories
of an apocalyptic dream or a careless anthropological museum exhibit.
The burning, ripping, sacrificial destruction of the objects suggests a dark
ritual, making us aware of destructive natures. This awareness of the slow
eradication of our collective memory is mirrored again in the way the installations are only ever created once, revisited and re-imagined for each new
presentation. Richard’s work acts as a kind of flickering electric light that
briefly illuminates the charred embers of our own passions, identities, and
treasured possessions that are slowly, and inevitably, disappearing into dust.
Rendez-vous 11
Richard Proffitt
86 / 128
↑
↑ Hash Knife Outfit/ Sunset Spirit (Wild Code Revisited), 2011
Rendez-vous 11
Richard Proffitt
87 / 128
↑↗
↑↗ Safe Place (Temple 3), 2010 | Various materials | Views of the installation at Metal, Liverpool (UK) |
Courtesy of the artist © Richard Pro≠itt
Rendez-vous 11
Richard Proffitt
88 / 128
←
↙
↙ Spirit (Temple 1), 2010 |
Various materials | Views
of the installation at Wrong Love,
A Foundation, Liverpool (UK) |
© Richard Pro≠itt
Rendez-vous 11
Richard Proffitt
89 / 128
Matheus Rocha Pitta
Born in 1980 in Tiradentes (BR)
Lives and works in Rio de Janeiro (BR)
Education
2004 Philosophy, Universidade do Estado do Rio de Janeiro,
Rio de Janeiro (BR)
2000 History, Universidade Federal Fluminense, Rio de Janeiro (BR)
Solo exhibitions
2011
Provisional Heritage, Sprovieri, London (GB)
2010
FF#2, Progetti, Rio de Janeiro (BR)
Galeria de Valores, Centro Cultural Banco do Brasil,
Rio de Janeiro (BR)
FF, Galeria Vermelho, São Paulo (BR)
Olho de Peixe, Oi Futuro Flamengo, Rio de Janeiro (BR)
2009 Drive Thru # 2, Galeria Vermelho, São Paulo (BR)
Project Room, ARCO9, Madrid (E)
2008 Drive Thru # 1, Sprovieri Progetti, London (GB)
2007 Jazida, Galeria Millan, São Paulo (BR)
2006 (dado)x, Centro Cultural São Paulo(BR)
Drive-in, Novembro Arte Contemporânea, Rio de Janeiro (BR)
2004 Bolsa Pampulha, Museu de Arte da Pampulha, Belo Horizonte (BR)
2002 Três páginas da topografia facial, Projeto Castelinho 2002,
Castelinho do Flamengo, Rio de Janeiro (BR)
2001
Projeto para uma nova iluminação do Paço Imperial, Pça XV e Paço
Imperial, Rio de Janeiro (BR)
2011
Um outro lugar, Museu de Arte Moderna de São Paulo,
São Paulo (BR)
2010
Convivências, Fundação Iberê Camargo, Porto Alegre (BR)
Primeira e Última, Galeria Luisa Strina, São Paulo (BR)
29ª Bienal de São Paulo, São Paulo (BR)
After Utopia, Museo Pecci, Milano (I)
2008 Nova Arte Nova, Centro Cultural Banco do Brasil, Rio de Janeiro (BR)
Passagens Secretas, Centro Cultural São Paulo, São Paulo (BR)
É claro que você sabe do que eu estou falando?, Galeria Vermelho,
São Paulo (BR)
Seja Marginal Seja Herói, Galerie Vallois, Paris (F)
Turistas Volver!, Galeria Carminha Macedo, Belo Horizonte (BR)
Panorama de Arte Brasileira, Alcalá 31, Madrid (E)
2007 Ligações Cruzadas, Dragão do Mar, Fortaleza (BR)
Panorama de Arte Brasileira, Museu de Arte Moderna de São Paulo,
São Paulo (BR)
Jogos Visuais, Centro Cultural da Caixa, Rio de Janeiro (BR)
2006 Um século de arte brasileira—Coleção Gilberto Chateaubriand,
Pinacoteca do Estado, São Paulo; Museu de Arte Moderna
de Rio de Janeiro, Rio de Janeiro (BR)
Paradoxos Brasil, Itaú Cultural, São Paulo; Paço Imperial,
Rio de Janeiro; Centro Cultural Dragão do Mar, Fortaleza (BR)
Março, Novembro Arte Contemporânea, Rio de Janeiro (BR)
2005 Além da Imagem, Centro Cultural Telemar, Rio de Janeiro (BR)
2004 Posição 2004, Parque Lage, Rio de Janeiro (BR)
2003 Novas Aquisições, coleção Gilberto Chateaubriand, Museu de Arte
Moderna de Rio de Janeiro, Rio de Janeiro (BR)
2002 ArteFoto, Centro Cultural Banco do Brasil, Rio de Janeiro (BR)
2o Salão Nacional de Arte de Goiás, Flamboyant Shopping Center,
Goiânia (BR)
2001
Uma Geração em Trânsito, Centro Cultural Banco do Brasil,
Rio de Janeiro (BR)
Matheus Rocha Pitta
presents:
Carnet d’o≠res, 2011
Figures of Conversion,
2011
Rendez-vous 11
Matheus Rocha Pitta
90 / 128
↑ Figure of Conversion #4 (bob / monoprix), 2011 | 3 photographs, carpets, clothes, plastic bags |
Production Rendez-vous 11 | Courtesy of the artist and Galerie Sprovieri, Londres (GB)
Rendez-vous 11
Matheus Rocha Pitta
91 / 128
Matheus Rocha Pitta
Notes for a new political
economy
Over a short period of time and through a number of different projects,
Matheus Rocha Pitta established interests and strategies which allow
us to identify the critical enunciation of the exchange mechanisms that rule
ordinary life. The artist is driven in particular by a wish to explore and exhibit
commodities—anything produced by human labour and towards which there
is an unswerving desire to possess—as an indication of the paradoxes that
such interchanges contain or engender. Without recurring to the discursive
enunciations of disciplines that consider commodity as a frequent object
of investigation (economy, philosophy, politics), he articulates objects and
images he invents to generate knowledge that does not fit in those fields
of study. The two works presented in the exhibition Rendez-vous are based
on this ongoing programme.
In B.O. (Boletim de Ofertas [Bulletin of Offers]), consumer products
are stripped of their value for everyday use by means of incisions from where
he removes matter, opening in it free spaces that are prepared to potentially
receive and hide anything that is worthwhile transporting without being
noticed (the reference to methods of smuggling drugs into territories or places
where they are forbidden is stated very clearly here). The fact that the exchange
value of the material carried illegally is greater than the value of the commodities which may now transport it suggests that the annulment of the usefulness
of something can produce, as a counterpart, the creation of wealth which
is not, however, socially acknowledged.
By photographing these objects and inserting their images into the field
of art, Rocha Pitta nevertheless creates the means to grant them this greater
exchange value. However, when distributing these images for free (assembled
in printed folders like discount goods offered in supermarkets), once again
he annuls the worth of the modified products, thus demonstrating the arbitrary nature of traded values in society, dependent on shared conventions and,
simultaneously, the power that some have to change them.
In the second work presented in the exhibition—part of the series Figuras
de Conversão (Conversion Figures)—the artist shifts the focus from the commodity itself to the fact that it is constantly moving from physical and symbolic places. In the series, groups of photographs on the wall and objects set
on the floor combine to organize narratives of exchange of positions and
meanings, subverting the order in which one expects things in the world to be
visually presented. In each set of three images, one depicts a person carrying
plastic bags full of products that are bought and consumed in everyday life and
another captures the moment in which the bags are placed on the floor.
In the third, the bags which were previously full of things are now empty,
connected to each other by adhesive tape and thus forming a huge vessel.
Inside this, the person who carried the bags is now upside down and naked.
The positioning of the first two images in each group already suggests
a distance from the norm for visually representing an event; the way in which
they are displayed fissures the chronological order of the banal and absurd
action they form with the third photograph. The course of the disappearance
of the clothes worn by the persons and the merchandise that was in the bags
is not, furthermore, subject of any reference, forming a gap in the narrative
that is never explained. Neither is there any clarification of how persons can
occupy the place of the goods that they once transported.
The relation of the images on the wall with the objects on the floor in front
of them only enhances the artist’s intention to extract, from the examination
of a circuit he invents, knowledge of the nature of exchanges whose purpose
is to generate and distribute wealth. Placed on the floor, each piece of clothing
used by the persons in the photographs is filled, where before there were
bodies, by goods that in the first images of each set that were inside the bags
they carried. When extending the photographed narratives to the objects that
were their models, Rocha Pitta converts the image into a thing and makes
people from products, exhibiting, without desiring to explain it, the idea
of the indifferentiation of difference that is central to the establishment
of a general exchange value between commodities—making notes for a new
political economy.
•• Moacir dos Anjos,
researcher at Fundação
Joaquim Nabuco
(Recife, Brazil) and chief
curator of the 29th
São Paulo Biennial
(2010).
Rendez-vous 11
Matheus Rocha Pitta
92 / 128
↑↗
↑↗
← Carnet d’o≠res, 2011 | Folder, print on paper | Production
Rendez‑vous 11 | Courtesy of the artist and Galerie Sprovieri,
Londres (GB) © Matheus Rocha Pitta
Rendez-vous 11
Matheus Rocha Pitta
93 / 128
↑ Figures of Conversion, 2011 | Courtesy of the artist and Galerie Sprovieri, Londres (GB)
↑ False Bottom #2, 2010 | Excavated fridge, wood, white paint, variable dimensions | Courtesy of Galerie
Progetti, Rio de Janeiro (BR) © Matheus Rocha Pitta
Rendez-vous 11
Matheus Rocha Pitta
94 / 128
↑ First Disarrange Diagram, 2009 | Photograph | Courtesy
of the artist © Matheus Rocha Pitta
↑ Second Disarrange Diagram, 2009 | Photograph | Courtesy
of the artist © Matheus Rocha Pitta
Rendez-vous 11
Matheus Rocha Pitta
95 / 128
Sasa[44]
Born in 1973 in Seoul (ROK)
Lives and works in Seoul (ROK)
Sasa[44] presents:
Solo exhibitions
2008 Auto-Melancholia, Alternative Space Pool, Seoul (ROK)
2006 Our Spot, Kim Jinhye Gallery, Seoul (ROK)
2005 Show Show Show: Recycling of “The Show Must Go On”, The KCAF
Arts Theater-Main Hall, Seoul (ROK)
One Piece Three, 2011
2011
Design is Design is Not Design, Gwangju Design Biennale, Gwangju
(ROK)
Countdown, Culture Station Seoul 284, Seoul (ROK)
Space Study, Plateau, Samsung Museum of Art, Samsung Museum
of Art, Seoul (ROK)
Text as Art, Leeahn Gallery, Daegu (ROK)
2010
Memories of the Future, Samsung Museum of Art, Seoul (ROK)
Oblique Strategies, Kukje Gallery, Seoul (ROK)
A Bridge Too Far, Space Hamilton, Seoul (ROK)
Remind-Remember the Place, Youngeun Museum of Contemporary
Art, Gyeonggi-do (ROK)
You Are Here (In the Form of Dance), Festival Bo:m, Seoul (ROK)
Monument to Transformation, Centro Cultural Montehermoso,
Vitoria-Gasteiz (E)
2009 The Power of Color, Gyeonggi Museum of Modern Art & Ansan
Danwon Health Center, Gyeonggi-do (ROK)
From Here, Gyeonggi Creation Center, Gyeonggi-do (ROK)
Monument to Transformation, City Gallery Prague Municipal
Library, Prague (CZ)
100 Daehangro, Arko Art Center of Arts Council, Seoul (ROK)
Leisure, A Disguised Labor?, Hanover Messe 2009, Former Sinn
Leffers Department Store, Hanover (D)
The Antagonistic Link, Casco, Office for Art, Design and Theory,
Utrecht (NL)
2008 Nam Jun Paik Festival: Now Jump, Nam June Paik Art Center,
Gyeonggi-do (ROK)
SSamzie Space’s 10th Anniversary, SSamzie Space, Seoul (ROK)
B Side, doArt , Seoul (ROK)
Heavy Metal (News Break) Around the World, Festival Bo:m, Korean
National University of Arts Theater, Seoul (ROK)
MeeNa & Sasa[44] Kukje 080307-080406, Kukje Gallery, Seoul
(ROK)
SSamzie Art Collection 1998-2008, SSamzie Art Warehouse,
Gyeonggi-do (ROK)
2007 Hermès Korea Missulsang, Atelier Hermès, Seoul (ROK)
Recycling Inc., Arko Art Center of Arts Council Korea, Seoul (ROK)
The Horns of a Dilemma, Ilmin Museum of Art, Seoul (ROK)
Zain-Story of Marie, Museum of Coreana, Space C, Seoul (ROK)
2006 Curating Degree Zero, Insa Art Space of Arts Council Korea, Seoul
(ROK)
Khaos: Before the Creation of the World- Contemporary Arts from
Korea & France, Gana Art Center, Seoul (ROK)
2005 AniMate, Sungkok Art Museum, Seoul (ROK)
AniMate, Fukuoka Asian Art Museum, Fukuoka (J)
2004 Seoul-Brisbane Artists Exchange Exhibition, SSamzie Space, Seoul
(ROK)
IMA International Exchange/SSamzie Space, IMA (Institute
of Modern Art), Brisbane (AUS)
Sasa[44] Featuring Jackson Hong: Deejay Sasa[44], Kukje Gallery,
Seoul (ROK)
TM4T, 2010
Daijobu Daijobu, 2011
Rendez-vous 11
Sasa[44]
96 / 128
↑ TM4T, 2010 | ABS plastic, wood | Courtesy Galerie Kukje, Séoul (ROK)
Rendez-vous 11
Sasa[44]
97 / 128
Sasa[44]
Sasa[44]’s recent works
observe current society
by reflecting on individual histories. Here, “individual histories”
are approached through personal anecdotes of different individuals as well
as being based on the collections of various moments in our everyday life.
For the project in Rendez-vous 2011 Sasa[44] applies his One Piece One
rule: a previous work re-appears in a new production, so that they organically
construct a certain context or narrative. In the current listing of these connected works quotes and remarks of historic figures and celebrities such
as Leslie Cheung, Marilyn Monroe, Kurt Cobain, Jinsil Choi, Yukio Mishima
and Adolf Hitler are conveyed. These statements are neither proverbs nor
pearls of wisdom but more personal statements from their private lives.
Following the algorithmic concept of the project, the lengths of these boxes
are designed to correspond to the actual height of each historic figure. The cultural sentiment that these works suggest reflects on 90s Korean society
in which the artist grew up and revives some nostalgic memories for those who
are familiar with these icons of the period. These “documents” of the era
are created through the artist’s subjective studies and collections of the personal experiences, which can be seen as a symbolic monument from his own
“history”. TM4T; Text Monument for Tiger is a rather obviously monumental
sculpture piece. Its title in Korean can be translated as “What a tiger leaves
behind is its fur”, meaning that a significant existence also leaves behind
something valuable after all. TM4T signifies the paradox and non-sense that
Sasa[44] characteristically deals with in his works, based on his genuine belief
in them. He articulates his “rules” to categorize his non-analytic sentiments
and traces of past experiences. The incalculable is re-structured and given
forms similar to mass producible commodities. During the procedure
he draws on other fields to “feature” his projects, to finally render the whole
into a readable format as an installative exhibition, including the publications
that contain the entire timeline and footsteps of the project. The complex
process in itself could be seen as another “individual history”. The distinctive
sense of time and history in Sasa[44]’s work is pursued in an obsessive way,
through infinite research and the collection of different personal artifacts.
This attitude is welcome support for those who were forgotten during
the course of time and then re-discovered through questions on past and
current realities in South Korea. The humanitarian approach to these efforts
would be not very helpful for untangling the clarity of the concepts behind it.
I think that the most significant part of these practices lies in their philosophical conviction delivered through their artistic choices, rendering the texts
as images and presenting a certain interactivity in an installation.
There is a choice to indicate the tensions and discrepancies between the artist,
the viewer and the reader, rather than sublimate the voice of a single author.
Furthermore, the perceptual clarity suggests further investigation
of the history of some contexts, and not to analyze an absolute meaning
contained in their works. The scattered moments of individual histories create
a kind of sympathy to be shared between the artist and the viewers, as members of various contemporary communities. This reciprocal sensibility is based
on the past experiences which are clearly personal but at the same time
historical. For Sasa[44], to suggest these possibly to-be-shared moments
of rediscoveries is one of the responsibilities and roles that an artist should
exercise in a society. His suggestions of these moments could extend our relations to the realities evolving around our individual histories.
•• Zoe Chun is assistant
director at Kukje Gallery
in Seoul, South Korea,
where she curates
exhibitions and represents artists.
Also as an independent
writer, she frequently
writes for art journals
and magazines.
Rendez-vous 11
Sasa[44]
98 / 128
↑ One Piece Three, 2011 | ABS plastic, wood | Courtesy Galerie Kukje, Séoul (ROK) | Daijobu Daijobu,
2011 | Paint, adhesive | Production Rendez-vous 11 | Courtesy Galerie Kukje, Séoul (ROK)
Rendez-vous 11
Sasa[44]
99 / 128
↑ One Piece Three, 2011 | ABS plastic, wood | Pre-production: Jackson Hong, Typography: Sulki & Min
Rendez-vous 11
Sasa[44]
100 / 128
↑ Auto Melancholia, 2008 | In collaboration with Jackson Hong | Various materials | Courtesy Galerie
Kukje, Séoul (ROK) © Sang Tae Kim
↑ 860427, 2008 | C-print | Courtesy Galerie Kukje,
Séoul (ROK) © SASA [44]
↑ 861250, 2008 | C-print | Courtesy Galerie Kukje,
Séoul (ROK) © SASA [44]
Rendez-vous 11
Sasa[44]
101 / 128
Anne-Lise Seusse
Born in 1980 in Lyon (F)
Lives and works between Lyon and Paris (F)
Education
2007 DNSEP, École nationale supérieure des beaux–arts de Lyon (F)
2000 DEUG Philosophy, Université Lyon 3, Lyon (F)
Anne-Lise Seusse
presents:
Le Mont Royal, 2011
Solo exhibitions
2011
Le Mont Analogue, Centre de production et de résidence pour la photographie VU, Québec (QC)
2009 Esplanade du Dauphiné, Attrape couleurs, Lyon (F)
2010
Nulle part est un endroit, Centre photographique d’Ile-de-France (F)
2009 Reconstructing Time Again, Galerie les Territoires, Le Belgo,
Montreal (CDN)
2008 Exposition de Noël, Le Magasin, Grenoble (F)
Mulhouse 008, Mulhouse (F)
Les Enfants du Sabbat 09, Le Creux de l’Enfer, Thiers (F)
2007 Grammaire de la Ville, Goethe Institut, Lyon (F)
2006 Spécial chantier, Les Subsistances, Lyon (F)
Rendez-vous 11
Anne-Lise Seusse
102 / 128
↑ Le Mont Royal, 2011 | Double video projection, 15'16", colour, sound | With the participation of Myriam
Jackson-Lambert, Vincent Cousineau, Yann Loisel and Étienne | Made in partnership with ART3,
Valence, and Optica contemporary art centre, Montreal | Courtesy of the artist
Rendez-vous 11
Anne-Lise Seusse
103 / 128
Anne-Lise Seusse
Anthropology
of Marginal Spaces
Anne-Lise Seusse observes the world from above. On her laptop she has a precise view of her territory thanks to Google Earth—the omniscient eye
in the sky. Her curiosity and intuition draws her to strange no-man’s-lands
on the outskirts of towns and cities, between the forests and the roads
in the twilight zones that urban planners call ‘Edge Cities’. Sometimes
the planners have left their mark: highways, dwellings and the flags of shopping malls can be made out but we are already in another territory.
I n a land of adventure, clearly sign-posted, a land of leisure thrown up
by Western society in its pursuit of quality time. We are in an enterprise
zone—a working space, the place were the territory is mapped out. In her role
as artist-anthropologist, explorer of borderlands and investigator into the lives
of model citizens, Anne-Lise Seusse uses the photographic medium to appropriate, analyse and describe areas redefined by human activity. Her progressive approach to her work allows her to establish contact with the people
occupying the places she has chosen. She singles out an emblematic figure and
concentrates her attention on the most salient details of the redefined area.
A few miles out of town she comes across dirt track riders, clay pigeon shoots,
four-wheel cruisers and free riders. The areas they occupy are given a new
visual identity—the result of their inter-weaving pass-times.
The studio she uses allows her to establish a relationship with the subjects
of her portraits. The result images are the fruit of a symbiotic and progressive
integration of the groups she photographs. These new tribes, founded
on a common activity, develop ceremonies and rituals that reconcile the areas
they inhabit with their former spirituality. They carve out the earth to make
mountain bike tracks and erect ramps from wooden planks. Their constructions take on a sculptural aspect when photographed out of context.
There is a resemblance with Robert Smithson’s Passaic Monuments—a similar
ethic of describing a space as defined by the scars / traces left by human
activity: a redefinition of an intrinsic territorial reality that enables the artist
to make an analytic and poetic interpretation.
The photographic collections which portray each of these spaces are carefully organised into polyptychs with no pretension to offer a complete description but a musical composition of rhythms and tones—a series of echoes
presenting an alternative scale, a different way of seeing. Apparently anonymous areas are transformed into imaginary kingdoms by their new inhabitants. The clay pigeon shoot is transformed by the fragments of red clay and
takes on a new aesthetic dimension. In Anne-Lise Seusse’s photographs
it becomes a visual symphony of coloured vibrations: the portrait of the entropic landscape shaped by human activity.
•• Pascal Beausse
Rendez-vous 11
Anne-Lise Seusse
104 / 128
↑↗
↑↗
↑↗
↑↗ Le Mont Royal, 2011 | Courtesy of the artist © Anne-Lise Seusse
Rendez-vous 11
Anne-Lise Seusse
105 / 128
↑ Mont Verdun, Terrain de 4 ≈ 4, La course, 2010 | Silver photograph, digital printing | Courtesy
of the artist © Anne-Lise Seusse
↑ Mont Verdun, Ball-Trap, Le terrain, 2010 | Silver photograph,
digital printing | Courtesy of the artist © Anne‑Lise Seusse
Rendez-vous 11
Anne-Lise Seusse
106 / 128
↑ Mont Verdun, Ball-Trap, La conversation, 2010 | Silver photograph, digital printing | Courtesy
of the artist © Anne-Lise Seusse
↑ Bicolline, La structure, 2010 | Silver photograph, digital printing |
Courtesy of the artist © Anne-Lise Seusse
Rendez-vous 11
Anne-Lise Seusse
107 / 128
Sophie T. Lvo≠
Born in 1986 in New York (USA)
Lives and works in New Orleans (USA)
Sophie T. Lvoff presents:
Education
2013
MFA Studio Arts, Tulane University, New Orleans (USA)
2008 BFA Photography & Imaging, Philosophy, Tisch School of the Arts,
New York University, New York (USA)
For Don DeLillo,
2007-2008
2011
Hit Refresh, Good Children Gallery, New Orleans (USA)
Common Ground, Arthur Roger Gallery, New Orleans (USA)
Grant vs. Lee (curator), Good Children Gallery, New Orleans, (USA)
Prospect 1.5 Throwdown, Second Line Stages, New Orleans (USA)
ReGeneration2: Tomorrow’s Photograhers Today, Aperture, New
York (USA)
2010
Art Miami, Art Basel Miami Beach, Miami (USA)
Catapult, T-Lot, New Orleans (USA)
Sailing to Byzantium, Good Children Gallery, New Orleans (USA)
North of the City, Grand Central Station, New York (USA)
Gorgamon, Good Children Gallery, New Orleans (USA)
ReGeneration2: Tomorrow’s Photographers Today, Musée de l’Elysée,
Lausanne (CH)
2009 SACROSANCT (curator), St. John’s Church, New York (USA)
2008 The Troposphere (curator), The Hampshire House, New York (USA)
To Die in an Apartment (curator), A WOLF, New York (USA)
For Don DeLillo, Gulf and Western Gallery, Tisch School of the Arts,
New York (USA)
Transitory 2.0,
2007‑2011
Heeresversuchsanstalt
Peenemünde,
Deutschland (Army
Research Center), 2008
Rendez-vous 11
Sophie T. Lvoff
108 / 128
←↑ Heeresversuchsanstalt
Peenemünde, Deutschland (Army
Research Center), 2008 | 4 photographs, digital printing |
Production Rendez‑vous 11 |
© Sophie T. Lvo≠
Rendez-vous 11
Sophie T. Lvoff
109 / 128
Sophie T. Lvo≠
I use large and medium
format color film to photograph romance in the sky, in the landscape, and in science. I also rely on literature and the narrative arc of history as cues for photographs. Illustrating my
own landscapes through composition and color is how I have focused a preoccupation with the fragility of history and emotional chronology. I’m in agreement with Raymond Carver: “most of my stories, it seems to me, could take
place anywhere. So I suppose it’s an emotional landscape I’m most interested
in.” The space race, aviation, the fragility of family history, man-made and
natural structures, and light are themes and narratives I have studied for their
transitory nature.
Rendez-vous 11
Sophie T. Lvoff
110 / 128
↑↗ Heeresversuchsanstalt (Army Research Center) Peenemünde, 2008 | Photographs, digital printing |
Courtesy of the artist © Sophie T. Lvo≠
↑↗ Transitory 2.0, 2007-2011 | 2 photographs, digital printing | Production Rendez‑vous 11 | Courtesy
of the artist © Sophie T. Lvo≠
Rendez-vous 11
Sophie T. Lvoff
111 / 128
↖↑
↖↑
← For Don DeLillo, 2007-2008 | 4 photographs,
digital printing | Production Rendez‑vous 11 |
Courtesy of the artist © Sophie T. Lvo≠
Rendez-vous 11
Sophie T. Lvoff
112 / 128
↑↗
↑↗ Nothing is Stirring, 2011 | Photographs, digital printing | Courtesy of the artist © Sophie T. Lvoff
Rendez-vous 11
Sophie T. Lvoff
113 / 128
Antony Ward
Born in 1985 in Béziers (F)
Lives and works in London (GB)
Antony Ward presents:
Education
2009 Postgraduate, Central Saint Martins College of Art and Design,
London (GB)
2008 DNSEP, École nationale supérieure des beaux-arts de Lyon (F)
2007 Bezalel Academy of Art and Design, Jerusalem (IL)
Contorsionniste, 2009
Solo exhibitions
2010
Together or Apart—I Sold You & You Sold Me, Torun (PL)
Our Shop (en collaboration avec / in collaboration with Ben Nathan),
London (GB)
2009 Checkers in and out, Agnès b. shop, London (GB)
Stripey Hangers, 2010
Mêlée, 2009
Bethnal Green, 2010
Tattoo, 2011
Work, Work, my Fingers
to the Bone, 2011
2010
Atmosphere in the Spectrum, Crypt Gallery, St Pancras, London (GB)
2009 Les Enfants du Sabbat X, Creux de l’Enfer, Thiers (F)
2007 Mobile Gallery Project Nablus, Nablus (Palestine)
Rendez-vous 11
Anthony Ward
114 / 128
←↑ Work, Work, my Fingers to the Bone, 2011 |
Adhesive | Production Rendez-vous 11 | in partnership with the ATC Lyon, Rillieux-La-Pape |
Rendez-vous 11
Anthony Ward
115 / 128
Antony Ward
“A painting is a material
object: measurable,
readable, knowable.” Kerry James Marshall
The paintings confront a background with a figure. The background is shaped
by a complex combination of pictorial elements and the figure is an indi-vidual
or a group of individuals taken in an action.
The canvas surface is worked on in layers and juxtapositions. Usually
the first layer of paint is composed by one or two colors producing a colored
horizon, onto which a structure is juxtaposed. This structure is established
on the pictorial plane to organise the composition, it works like a foundation
on the painting’s surface. Once this foundation is on the canvas juxtaposed
onto it are soft, dripping, swollen, angulated pictorial elements which resemble heads, torsos, arms, legs. These pictorial masses present themselves almost
like abstract elements going towards a stylised figuration.
Contortionist is happening in a forest. The painting’s horizontal format
acts like a film frame to the narration, that is taking place at the cen-ter
of the canvas. A body is declining from the right to the left in a forest, but
it can also reveal itself as a derelict car. The figure is literally lying on a green
“rectangle of grass” situated at the bottom of the canvas. This “rectangle
of grass” acts as the foundation for the narration in the painting, in which
a figure is emerging from the green brushstroke paint sticks.
Work, work, my fingers to the bone was created specifically for Rendez-vous 11.
Painting here is adhesive, spreading over the whole of the glass roof at the IAC,
breaking the square alignments. The colours of the French flag and their
complementary colours are appropriate for this former public building.
The project also moves outside in the form of tattoo transfers.
“Sometimes, there’s no difference in my paintings between what can happen
to a woman, an object, a landscape, or an abstraction. A face could be treated
like a very abstract passage in a landscape.” George Condo in disscusion with
Anney Bonney, BOMB 40, Summer 1992.
Rendez-vous 11
Anthony Ward
116 / 128
↑ Mêlée, 2009 | Painting | Courtesy of the artist © Antony Ward
Rendez-vous 11
Anthony Ward
117 / 128
↑ Contorsionniste, 2009 | Painting | Courtesy of the artist © Antony Ward
↑ Bethnal Green, 2010 | Painting | Stripey hangers, 2010 | Painting | Courtesy of the artist
Rendez-vous 11
Anthony Ward
118 / 128
↑ Tattoo, 2011 | Temporary tattoos | Production
Rendez-vous 11 | Courtesy of the artist
↑ I Sold You & You Sold Me, 2010 | Advertising poster in Torun (PL) | Courtesy Galeria Rusz (PL)
© Anthony Ward
Rendez-vous 11
Anthony Ward
119 / 128
Anya Zholud
Born in 1981 in Leningrad (URSS)
Lives and works in Moscow (RUS)
Anya Zholud presents:
Education
Saint-Petersbourg State Academy of Applied Art and Design,
Saint Petersburg (RUS)
Dessins, 2011
Photographies, 2011
Solo exhibitions
2009 Anya Zholud in the Russian Museum, State Russian Museum,
Saint Petersburg (RUS)
Indoor Plant, Object in a district, Saint Petersburg (RUS)
Not the Same Artist, Art&Science Space, Moscow (RUS)
2008 People’s Project, Luda Gallery, Saint Petersburg (RUS)
Iron Wedding, Aidan Gallery, Moscow (RUS)
2007 Museum of Me, ArtStrelka, Moscow (RUS)
Things for Love, Moscow Museum of Modern Art, Moscow (RUS)
2006 Monument to Virginity, S. ART gallery, Moscow (RUS)
2005 Creative Crisis, Culture Centre at 10 Pushkinskaya st.,
Saint Petersburg(RUS)
Inventory, Expo-88 gallery, Moscow (RUS)
Bitches and Women, Central House of Artist, Moscow (RUS)
Crisis of Presence, A-3 gallery, Moscow (RUS)
2009 Fare Mundi, 53rd Venice Biennale, Venice (I)
Nord-Art, Reisenburg (D)
20, 30, 40. Step of the Generations (Anya Zholud Exhibition Plan),
Red Bridge Gallery, Vologda (RUS)
Woman in Contemporary Art. About Time and Herself, Museum
of Urban sculpture, Saint Petersburg (RUS)
2008 Russian Povera, Perm (RUS)
Territory of Feeling, Galllery Globus, Saint Petersburg (RUS)
Stop! Who is Going?!, Moscow (RUS)
2007 New Angelary, Museum of Modern Art, Moscow (RUS)
DIALOGUES, Saint Petersburg (RUS)
Workshop, Moscow Museum of Modern Art, Moscow (RUS)
Festival Pandus, Project Invisible I, Moscow (RUS)
Rendez-vous 11
Anya Zholud
120 / 128
↖↖↑
↖↖↑
←← Photographs, 2011 |
Slideshow | Courtesy of the artist
© Anya Zholud
Rendez-vous 11
Anya Zholud
121 / 128
Anya Zholud
The razor’s edge
Anya Zholoud traces lines
on canvas, on paper and in space. She wants her sculptures, installations,
videos, photographs and drawings to reveal the underground links that unite
art and life.
•• Adeline Lépine
The artist first made herself known by her use of metal rods and electrical
wire—a reference to the distribution of energy—to schematise the contours
of everyday objects. Sketched harmoniously in a white cube exhibition space or
shop windows, the forms made are noteworthy for their lightness and
transparency.
Her installations give a stereotyped image of consumer society;
Anya Zholud wishes to retranscribe the essence of banal situations and
the ‘system of modern values’ to set out what she calls ‘an anatomy of life’.
In general, in her work she addresses emptiness, disorder and the absence or
crowding of places for meetings and interaction. Her works require the visitor
to mentally weave or undo the forms that he observes, to generate junction and
‘communication’ nodes with her energy and close view of the world.
At Rendez-vous 11, forty-five of Anya Zholoud’s drawings and collages are
shown for the first time. They are in pen and watercolour on squared paper
from a school exercise book. She adds a slide show of photographs to this set
of works.
Accounts of Anya Zholud’s daily life in a clinic, minimalist and sometimes
naive drawings mix representations of objects, human figures, geometrical
forms and chaotic visions of hospital architecture. To these are added ‘cold’
photos of everyday objects and a slideshow depicting, step by step, the handling of pieces of coloured plasticine by the artist.
The visitor sees the principle of the artist’s work from one image to the next:
links become established between the components through a play of recurrences (object, form and colour) and variations (solid and empty, figurative and
abstract).
These sketches are intended to be stuck or pinned to the wall, unframed,
like original layouts for books. They are close to a set of quick sketches and
hanging conserves the spontaneity of the studies and the poetic dimension
of a mental universe of links and wires depicted on paper.
Rendez-vous 11
Anya Zholud
122 / 128
↑ Drawings, 2011 | Drawings | Courtesy of the artist
Rendez-vous 11
Anya Zholud
123 / 128
↑ Drawings, 2011 | Photographs, 2011 | Courtesy of the artist
↑ Detail of the installation Exhibition Map (Pictures designated by convention, Scribbling), 2009 |
Objects, welded steel rod | Courtesy of the artist © Anya Zholud
Rendez-vous 11
Anya Zholud
124 / 128
↑ Grand Piano, 2008 | Fragment of the installation “Iron Wedding” | Object, welded steel rod | Courtesy
of the artist © Anya Zholud
↑ Fibres, Part of the installation Not the artist you
think, 2009 | Object, welded steel rod | Courtesy
of the artist © Anya Zholud
↑ The Golden Fleece, 2010 | Object, welded steel
rod | Courtesy of the artist © Anya Zholud
Rendez-vous 11
Anya Zholud
125 / 128
Graphic designers
Thomas Jaurès
Graduate of ENSA, Nancy and ENSBA, Lyons; freelance graphic designer.
Clément Le Tulle-Neyret
Graduate of ENSBA, Lyons, DNAT, DNSEP; freelance graphic designer.
www.clement-ltn.com
Miller Text
Matthew Carter
1997—2000
Bureau Grotesque
David Berlow
1989—1993
Rendez-vous 11
Graphic designers
126 / 128
Colophon
Digital edition
published
on the occasion of the exhibition Rendez-vous 11 at the Institut
d’art contemporain, Villeurbanne / Rhône-Alpes, from 15 september to 13 november 2011, in parallel with the 11th Lyons
Biennial of Contemporary Art.
Editors
Thierry Raspail, Director and Isabelle Bertolotti,
Curator, Musée d’art contemporain de Lyon
Nathalie Ergino, Director, Institut d’art contemporain,
Yves Robert, for the École nationale supérieure des beaux‑arts
de Lyon, Director of Villa Arson, Nice
Coordination
Paul Bernard, Publishing Assistant, and Anne Stenne,
Exhibitions Assistant, Institut d’art contemporain,
Design
Thomas Jaurès & Clément Le Tulle-Neyret
Photo credits
Except opposite mentions © Blaise Adilon
Translation
Simon Barnard
Acknowledgements
The Institut d’art contemporain thanks the Rhône-Alpes
Region, international associates, the artists and persons
who have loaned works.
Rendez-vous 11
Colophon
127 / 128
Rendez-vous 11
Back cover
128 / 128

in PDF file - Musée d`art contemporain de Lyon

Transcription

Similar documents

— SEATING CHART — — GROUP DISCOUNT - IRVINE

group discount - portland 2016

May 28, 2014 - The Bronx Museum of the Arts

Class Handout in PDF

jamil naqsh - Albemarle Gallery

Narrative Art

Untitled - Jeremy Lipking

Study Guide - L`Aubergine

a mood board - David Lewis

Surveying the Shifting Climate of Painting in South Florida