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Friday, 13 September 2013
Thursday, 5 September 2013
Under The Volcano
Under the Volcano
On the occasion of Hanarart festival | Nara, Japan
curated by Anissa Touati
From September the 2nd to the 15th | everyday from 10 am to 5 pm | in the old post office of Nagara Gose
Wilfrid Almendra, Maria-Thereza Alves, Matthias Bitzer, Kolkoz, Marie Maillard, Theo Michael, Nico- las Milhé, Bruno Persat, Iris Touliatou, Lucille Uhlrich.
Under the Volcano will take place in an abandoned and empty traditional Japanese house where there is still traces of former inhabitants. The artists will interact with the backbone of this deserted place playing with the concept of reality, the way we perceive it, and the various readings we can do of it. They also set up a dialogue with the past, and take an interest in the notions of myth and history.
Maria-Theresa Alves video, Bruce Lee in the Land of Balzac, takes the image of a mountainous landscape and insert on it the sound-track of a scene of a Bruce Lee fight, suggesting a movement through this sound even though it is a still shot. The two Kolkoz will film at the same time some every day life places in Nara (Nara Dreamland, a tea ceremony, the baths), but place them in a tangent world by introducing a distortion by the way they capture them. Matthias Bitzer, with his neon, I used my skin as your skin, introduces a duality in time, between masks and parallel identities and inserts into it a little poetry.
Some of the artists also take over well-known objects and forms, but make a slight shift to transfer them in a tangent world, a kind of mental reality, giving them new forms. Marie Maillard takes a picture of a french cup of tea and will send it by email so that it will be produced in Nara. This sending process deform its image and the spectator will be seeing with this work, Black tea, an imbricated object, almost petrified. The artist here interrogates the point of view that we have of an uncertain world with unsuspected dimensions and contours. With her piece Wall 1309, she singles out an element of the old post-office of Nagara-Gose and stretches it to reveal its essence; with this extension, she implements a virtual image in the real.
Iris Touliatou’s work, Three sins of my Past, plays with forms to lose the spectators, and uses the silk almost as an extension of the house’s architecture. This smooth material participates in evoking this tangent world by showing or hiding the architecture depending on the moment.
Bruno Persat, with Meter, tips his hat to the Japanese culture by creating inside this traditional house sheets of paper where the writing has completely disappear, leaving holes in the paper, reminding us of the house’s deteriorated Shoji.
Wilfrid Almendra’s work, as for it, leads to instantly recognizable shapes but unrelated to their original function. His sculpture, not far from a stained-glass windows, brings out a dimension both decorative and sacred; giving to these discarded materials a new value between fragility and nostalgia of a bygone era.
Then, this Japanese abandoned house is also becoming a pedestal, a sanctuary, enabling the artist to play with historical references and to base their works upon the past to reinvent the future. Lucille Uhlrich’s Tip of the tongue, questions this phenomena, as it is a moment where our spirit is in no place, where the word is as present as it is absent and where the images we picture in our mind are drifting towards an elsewhere. Theo Michael, with The Splendour Of The Heavens uses video, and by mixing incompatible and anachronistic elements, he makes up false chronologies in order to make the spectators lose their temporal guidelines.
At last, Nicolas Milhé, with his piece Locus Pyramidus, wonders on the symbolic of the pyramid: he will project a series of slides showing these structures, playing with their meaning, and their historic and mythological strength. By doing this archiving work, he insists on the fact that the polyhedron is universal. The pyramid has indeed be the first and purest form of the sanctuaries since the dawn of time, and here this form embraces the Japanese house, acting like a shrine for this already mystical place.
On the occasion of Hanarart festival | Nara, Japan
curated by Anissa Touati
From September the 2nd to the 15th | everyday from 10 am to 5 pm | in the old post office of Nagara Gose
Wilfrid Almendra, Maria-Thereza Alves, Matthias Bitzer, Kolkoz, Marie Maillard, Theo Michael, Nico- las Milhé, Bruno Persat, Iris Touliatou, Lucille Uhlrich.
Under the Volcano will take place in an abandoned and empty traditional Japanese house where there is still traces of former inhabitants. The artists will interact with the backbone of this deserted place playing with the concept of reality, the way we perceive it, and the various readings we can do of it. They also set up a dialogue with the past, and take an interest in the notions of myth and history.
Maria-Theresa Alves video, Bruce Lee in the Land of Balzac, takes the image of a mountainous landscape and insert on it the sound-track of a scene of a Bruce Lee fight, suggesting a movement through this sound even though it is a still shot. The two Kolkoz will film at the same time some every day life places in Nara (Nara Dreamland, a tea ceremony, the baths), but place them in a tangent world by introducing a distortion by the way they capture them. Matthias Bitzer, with his neon, I used my skin as your skin, introduces a duality in time, between masks and parallel identities and inserts into it a little poetry.
Some of the artists also take over well-known objects and forms, but make a slight shift to transfer them in a tangent world, a kind of mental reality, giving them new forms. Marie Maillard takes a picture of a french cup of tea and will send it by email so that it will be produced in Nara. This sending process deform its image and the spectator will be seeing with this work, Black tea, an imbricated object, almost petrified. The artist here interrogates the point of view that we have of an uncertain world with unsuspected dimensions and contours. With her piece Wall 1309, she singles out an element of the old post-office of Nagara-Gose and stretches it to reveal its essence; with this extension, she implements a virtual image in the real.
Iris Touliatou’s work, Three sins of my Past, plays with forms to lose the spectators, and uses the silk almost as an extension of the house’s architecture. This smooth material participates in evoking this tangent world by showing or hiding the architecture depending on the moment.
Bruno Persat, with Meter, tips his hat to the Japanese culture by creating inside this traditional house sheets of paper where the writing has completely disappear, leaving holes in the paper, reminding us of the house’s deteriorated Shoji.
Wilfrid Almendra’s work, as for it, leads to instantly recognizable shapes but unrelated to their original function. His sculpture, not far from a stained-glass windows, brings out a dimension both decorative and sacred; giving to these discarded materials a new value between fragility and nostalgia of a bygone era.
Then, this Japanese abandoned house is also becoming a pedestal, a sanctuary, enabling the artist to play with historical references and to base their works upon the past to reinvent the future. Lucille Uhlrich’s Tip of the tongue, questions this phenomena, as it is a moment where our spirit is in no place, where the word is as present as it is absent and where the images we picture in our mind are drifting towards an elsewhere. Theo Michael, with The Splendour Of The Heavens uses video, and by mixing incompatible and anachronistic elements, he makes up false chronologies in order to make the spectators lose their temporal guidelines.
At last, Nicolas Milhé, with his piece Locus Pyramidus, wonders on the symbolic of the pyramid: he will project a series of slides showing these structures, playing with their meaning, and their historic and mythological strength. By doing this archiving work, he insists on the fact that the polyhedron is universal. The pyramid has indeed be the first and purest form of the sanctuaries since the dawn of time, and here this form embraces the Japanese house, acting like a shrine for this already mystical place.
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