nov 15, 2005 0
oct 12, 2005 0
MULTIPISTES
13 OCT | 22 OCT | 2005
works | Seven Minutes Before (2004) – version monitor | opening OCT.12 2005
curated by | Jean-Christophe Royoux
Once again this edition of the argosfestival provides a free port for a wide range of audiovisual art forms, offering a broad domain in constant evolution, open to thematic, formal principles and technological variations and developments. The festival programme reflects this variability, going beyond the traditional delineations between disciplines and media, and offering a valuable perspective on numerous in-between spaces – in cinema, television, media art and visual art. Film, video, audio, installation and means of performance nestle together in a wide variety of both Belgian and international work.
Historical and new work, the products of several generations and movements, all complement each other, creating breathing space for a multitude of trajectories. Beyond the origin, language and context in which they were realized, clear connections can be made in regards to form and content.
The search for new narrative environments and relations between (the experience of) space and time; a resistance to conventional audiovisual forms and (mass) media and the immaterial stream of images that overrun us on both television and industrial cinema; a craving for adventure in expression and perception, learning how to see and hear (all over again): these are just some of the lines of flight which the programme traverses.
Curated Programs
Four themed programmes form the backbone of the festival. In the exhibition Multipistes Jean-Christophe Royoux focuses on a generation of young French artists who propose post-cinematographic forms, deconstructions or alterations of the familiar notions of projection and identification. The works in the programme Black & White Outs, curated by Paul Willemsen, also question the basic conditions of cinema, by making radical choices for monochrome images and exploring the physiological relationship between hearing and seeing. Challenging and destabilizing the dominant position of the image constitutes a directional guideline in the film and video programme of Tanya Leighton, In The Poem About Love You Don’t Write The Word Love , as well as in Inner & Outer Worlds curated by Herman Asselberghs, which offers a selection of Belgian audiovisual essays.
argosfestival 2005
13-10-2005 – 22-10-2005
PALAIS DES BEAUX-ARTS,
BRUXELLES
23 Rue Ravenstein
1000 Bruxelles
Tickets 02 507 82 00
sept 09, 2005 0
LECON ZERO
10 SEP | 29 OCT | 2005
works | Hit (1997) | opening SEP.09 2005
curated by | Chantal Crousel
Chantal Crousel a le grand plaisir de vous convier à une double célébration :
-25 ans d’activité de galeriste,
-l’inauguration de son nouveau lieu, situé au 10 rue Charlot, dans le 3ème arrondissement de Paris.
L’exposition proposée à cette occasion ne saurait être exhaustive par rapport à l’histoire de la galerie. Le choix des œuvres est donc déterminé en fonction de toute une génération d’artistes, dont Chantal Crousel a été la première à organiser une exposition personnelle en France (excepté Jean-Luc Moulène).
Ainsi, des œuvres désormais historiques de Tony Cragg, Sophie Calle, Alighiero Boetti, Martin Disler, Jenny Holzer, Cindy Sherman, Matt Mullican, Moshe Ninio, Wolfgang Laib, Absalon, Marie-Ange Guilleminot, Mona Hatoum, Jana Sterbak, Sean Snyder dialoguent avec des œuvres réalisées pour cette exposition, ou toutes récentes, de Darren Almond, Jennifer Allora & Guillermo Calzadilla, Fabrice Gygi, Thomas Hirschhorn, Jean-Luc Moulène, Melik Ohanian,, Gabriel Orozco, Anri Sala, José Maria Sicilia, Sean Snyder et Rirkrit Tiravanija.
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Artists : Tony Cragg, Sophie Calle, Alighiero Boetti, Martin Disler, Jenny Holzer, Cindy Sherman, Matt Mullican, Moshe Ninio, Wolfgang Laib, Absalon, Marie-Ange Guilleminot, Mona Hatoum, Jana Sterbak, Sean Snyder, Darren Almond, Jennifer Allora & Guillermo Calzadilla, Fabrice Gygi, Thomas Hirschhorn, Jean-Luc Moulène, Melik Ohanian,, Gabriel Orozco, Anri Sala, José Maria Sicilia, Sean Snyder et Rirkrit Tiravanija.
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Gallerie Chantal Crousel
10 rue Charlot 75003 Paris
T +33 1 42 77 38 87 . F +33 1 42 77 59 00
juin 17, 2005 0
REMAGINE, COLLECTION DU FNAC
18 JUN | 31JUL | 2005
works | Freezin Film (2002) | opening JUL. 17 2005
curated by | Thierry Raspail
Le Musée d’Art Contemporain de Lyon présente une sélection d’oeuvres du Fonds National d’Art Contemporain.
Dans un parcours dynamique se conjuguent des oeuvres qui relèvent essentiellement des arts du temps : cinéma ou vidéo, danse et musique. Image mobile, corps et son nourrissent l’essentiel de cette exposition dont le titre, Remagine, est emprunté à Olafur Eliasson. Cette oeuvre éponyme est presque centrale dans le périple du visiteur. Elle construit par le moyen de projections lumineuses un espace perceptif qui engendre une fiction de perspective.
A quelques pas de là, Antipure de Bruno Peinado communique avec Flash Forward de Boris Achour. L’un retourne le sens des objets et des signes contre eux-mêmes, l’autre tente de donner forme au chaos des idées sans prendre partie entre exposition et dessin animé. Tous deux, dans leur décalage même, rendent compte de nouvelles façons d’aborder le monde : par le détourage ou le renversement des significations.
Catherine Sullivan, dans Big Hunt, met en scène de multiples façons les fragments de cinq films pour reconstruire différentes hypothèses d’un drame social. Ces oeuvres pourraient, exemples choisis parmi plus de 200 acquisitions récentes du FNAC, donner l’étendue des directions couvertes aujourd’hui par la création contemporaine. La posture de l’artiste, le fonctionnement des signes, la structure du récit, la place du corps, ou celle de la nature, font désormais partie des sujets de l’oeuvre.
Catherine Sullivan, Melik Ohanian, Pierre Bismuth, Pierre Joseph et Boris Achour réfèrent tous au film et aux procédés de son montage : qu’il s’agisse d’en reconstruire le synopsis par collage, de contrecarrer la fluidité du récit, de questionner l’expressivité de l’acteur, de douter de la véracité des images, d’interroger la narration, d’utiliser l’image de synthèse, d’analyser les modes économiques de production d’un film ou d’emprunter à la technique la possibilité de n’aboutir à aucune synthèse formelle.
Jan Kopp, Christian Marclay, Henrik Hakansson et Stephen Vitiello font quant à eux usage du son, chacun à leur manière. Chez Kopp, le spectateur déambulant génère le son ready-made de l’urbain tandis que le cri d’une guitare traînée sur des kilomètres nous submerge dans Guitar Drag de Christian Marclay. Mais tout aussi bien le silence de Big Hunt et celui d’une autre oeuvre de Marclay Mixed Reviews (American Sign Language), 1999/2000, dans laquelle un critique rend compte de concerts en langage des signes, a-t-il fonction de rendre plus dramatique les situations mises en scène.
Les gestes y prennent une intensité renouvelée. Chez Sullivan, l’expression corporelle, devenue quasi chorégraphique, confère des qualités pathétiques au récit. Dans Mixed Reviews de Marclay, le geste dans son statut de signe montre la réduction aporétique à laquelle aboutit le langage sans le lien aux sensations. C’est précisément à la physicalité du son que Stephen Vitiello nous renvoie avec WTC, une oeuvre dont l’intérêt est peut-être plus grand après le 11 septembre. C’est aussi la présence physique du son qui installe l’inversion d’une nature importée dans The Blackbird. Song for a new Breed d’Hakansson. Ici la forme musicale supposée est engendrée par la nature. Le corps, celui du spectateur, prend également de l’importance chez Kopp.
Dans Trafic, 2002 de Daniel Firman, c’est le corps de l’artiste qui est la mesure de l’espace où il est exposé par l’intermédiaire de clones sculptés qui sont autant de façons de se démultiplier.
Chez Olafur Eliasson, le corps tout entier est sollicité par les projections lumineuses qui démultiplient les potentialités spatiales du mur éclairé. Ces quelques oeuvres acquises récemment offrent la possibilité d’approfondir l’expérience de la création contemporaine.
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Artists : Catherine Sullivan ,Stephen Vitiello,Jan Kopp,Pierre Joseph,Christian Marclay,Pierre Bismuth,Henrik Hakansson,Boris Achour,Bruno Peinado, Mélik Ohanian,Daniel Firman,Martin Creed,Olafur Eliasson
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Cité Internationale
81 Quai Charles de Gaulle, 69006 Lyon
France
Tél: +33(0)4.72691717
avr 09, 2005 0
LAND MARKS
09 APR | 18 JUN | 2005
works | Hit (1998) | opening APR. 08 2005
curated by | Chantal Crousel
This at first sight a confusing scene was shot during a traditional feast that takes places once a year in the region of Batman, Turkey, by the Iraqi border. It stages a well know popular tale, mimed by the local population. As in his preceding videos, the artist’s primary strategy consists in encoding the reality, rather than in trying to reveal it in a straightforward transparent way. The combination of an intriguing backdrop – hills in the South-East of Anatolia - and the nature of the action – a folkloric scene – are mysterious at first; but the contents of the tale become clear soon enough. As implied by the title of the video, Any Time Prime Time , neither the time nor space in which this scene is happening interferes on the spectacle.
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Artists : Jennifer Allora & Guillermo Calzadilla, Darren Almond, Fikret Atay, Alberto Garcia-Alix, Thomas Hirschhorn, Hassan Khan, Jean-Luc Moulène, Moshe Ninio, Melik Ohanian, Anri Sala, Yorgos Sapountzis, Sean Snyder
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Galerie Chantal Crousel
10, rue Charlot
75003 Paris
France (plan de ville)
tel +33-(0)1-42 77 38 87
fév 25, 2005 0
DOCUMENTARY CREATIONS
26 FEB | 29 MAY 2005
works | Your Are My DestinY – Comment | opening FEB.25 2005
curated by | Susanne Neubauer
Our awareness of the manipulability of television and digital images has bred caution and triggered widespread discussion of contexts and origins both in public and in the art context. Today we talk of reality as being relational, constructed, and different for each individual point of view. The exhibition Documentary Creations addresses such relational realities. It is not just what images are around us but how they are “sited” and what contexts they are embedded in. As early as the sixties, artists began taking an interest in how images are made, especially photographic images, as well as in the contexts within which such images occur. But for a long time art historians and theorists were not too interested in the documentary image in art. Its frequent use in video art over the past decade, however, has led to the mounting of exhibitions that explore the phenomenon (especially the moving documentary image), e.g. documenta 11 (Kassel 2002), It’s Hard to Touch the Real (Munich 2002), [based upon] TRUE STORIES (Rotterdam/São Paulo 2003), or ‘Ficcions’ documentals (Barcelona 2004).
Documentary Creations makes its own contribution to the debate on the documentary in contemporary art. The dichotomy in its title is not just a matter of polar opposites, a dilemma: it also refers to the idea touched on above of relational, constructed reality. Far from being narrow illustrations of a hypothesis, the works exhibited open up complex fields of experience and stimulate the discussion of current documentary-essayistic strategies. Yet despite their sometimes stringently conceptual approaches, a magic power inheres in these works. This poetic aspect, to be distinguished from a more socially oriented political or educational aspect, unsettles, and, in doing so, challenges and taps perception to the full. At the heart of the videos of Adam Chodzko, Manon de Boer and Marine Hugonnier, which all unite different levels of authenticity, lie narrative strategies, “reading instructions,” and their significance. This kind of self-reflexive approach is not confined to film: it also occurs in Hayley Newman’s real/“forged” performance photographs, in Marine Hugonnier’s photographic work Leader and in the interventions Mathew Sawyer records in photocopies. Other, more text-related works, such as Adam Chodzko’s posters and photos, or Douglas Gordon’s enigmatic/uncanny instructions, open mental spaces of their own, their authorial directives leading us onto uncertain ground and making us ask: “Is he serious? Or is the artist perhaps out to fool us?” Matthew Buckingham’s slide projection deals with research strategies and the issue and/or durability of historical documents. The historical/real and the fictive also mingle in projects by Melik Ohanian and Charlotte Cullinan + Jeanine Richards artlab. Works by Tacita Dean explore the significance of image and sound as authentic documents of memory, and Charles Sandison’s digital projection shows how the concept of the document can be made to appear in a completely new light.
Documentary Creations does not explicitly address current discourse concerning the dangers of or fascination with artificially created realities. It seeks to examine different mechanisms of authentication and to enable us to grasp the construct “reality” as a subsuming, sense-conferring dispositive. Starting with the complex process of the creation, mediation and experience of truth, the exhibition explores the paradox of documentary authenticity and the artistic creation of myth, at the same time illustrating the complexity and ambivalence of a range of documentary-essayistic works by younger artists.
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Artists : Matthew Buckingham, Adam Chodzko, Artlab – Charlotte Cullinan & Jeanine Richards, Tacita Dean, Manon de Boer , Marine Hugonnier, Hayley Newman, Charles Sandison, Mathew Sawyer, Melik Ohanian, Douglas Gordon
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Kunstmuseum Luzern
Europaplatz 1, 6002 Luzern
Suisse
Tél: 041.2267800
