Mathieu Kleyebe Abonnenc né en 1977 à Paris

Transcription

Mathieu Kleyebe Abonnenc
né en 1977 à Paris (Guyane-Française), vit à Metz.
Représenté par la galerie Marcelle Alix, Paris.
http://www.marcellealix.com/
Mathieu Kleyebe Abonnenc s’attache à interroger les formes d’hégémonie culturelle
sur lesquelles s’est appuyée l’évolution de nos sociétés contemporaines. Qu’il s’agisse
de vidéos, de photographies, d’installations, de dessins ou de projets d’exposition,
Mathieu Kleyebe Abonnenc explore les principes de représentation dominants en
s’appropriant des éléments et des événements préexistants, principalement liés aux
histoires impériales et coloniales des pays dits développés. Autant d’objets
appartenant à une mémoire collective dont l’universalisme de principe est mis à
l’épreuve depuis plus d’un siècle. Chacun de ces éléments nécessite d’être
constamment renégocié afin d’en dégager des problématiques contemporaines, en
termes de construction d’une identité, d’une communauté, d’une nation, et ainsi
permettre par moment de réinventer l’action artistique et politique.
Formation
2006/2008
Programme de recherche LaSeine, Ecole Nationale Supérieure des Beaux-Arts de
Paris.
2002
D.N.S.E.P., Ecole Supérieure des Beaux-Arts de Marseille.
2000
D.N.A.P., Ecole Supérieure des Beaux-Arts de Marseille.
Expositions personnelles
2013
Songs for a Mad King, Kunsthalle-Basel, Bâle, Suisse (cur. Adam Szymczyk)
Kannibalen, Kunstverein-Bielefeld, Bielefeld, Allemagne (cur.Thomas Thiel)
2012
Tricontinental, une étude graphique, E.N.S.B.A. de Lyon (cur. Émilie Renard)
An Italian film (Africa Addio !), Pavilion, Leeds, Royaume-Uni (cur. Gill Park)
To Whom who Keeps a Record, Fondation Serralves, Porto, Portugal (cur.
Ricardo Nicolau)
2011
Orphelins de Fanon, La Ferme du Buisson, Noisiel (cur. Julie Pellegrin)
A minor sense of didacticism, Galerie Marcelle Alix, Paris
Foreword to Guns for Banta, Gasworks, Londres, Royaume-Uni (cur. Anna
Colin)
2008
Le monde connu, Galerie Ghislaine Hussenot, Paris
A prey made of space and shadow, Galerie De Expeditie, Amsterdam, Pays-Bas
2006
Ce lieu, qui nous maintient, Tripode, Rezé
To repel ghosts, Galerie du Tableau, Marseille
Expositions de groupe
2013
Révolte Logique, part II : Slave to art, Galerie Marcelle Alix, Paris (cur. Emilie
Bujès)
At the outset, Circus, Berlin (cur. Katarin Zdjelar)
The things we know, galerie Henningsen, Copenhague (cur. Tim Saltarelli)
Cet endroit n'est pas la maison de Descartes, Institut Français des Paysbas, Amsterdam, Pays-bas (cur. Karima Boudou)
Le Pont, MAC, Marseille
L’image-papillon, Mudam, Luxembourg (cur. Christophe Gallois)
What Do You Do With Your Revolution Once You've Got It, Cornerhouse,
Manchester, Royaume-Uni (cur. Sarah Perks & Declan Clarke)
Nouvelles impressions de Raymond Roussel, Palais de Tokyo, Paris (cur.
François Piron)
2012
Evocateur, 14ème Prix Fondation d'Entreprise Ricard, Paris (cur. Elena Filipovic)
The gate towards the invisible must be visible, de-sitio, Mexico,
Mexique (cur. Catalina Lozano)
The Hidden Mother , Atelier Rouart, Paris (cur. Estelle Bénazet & Sinziana Ravini)
The mystery spot, Fondation d'Entreprise Ricard, Paris (cur. Marc Bembekoff)
Liquidity, Vladivostok Film Festival, Vladivostok, Russie (cur.Karina Karaeva)
Intense Proximité/La Triennale, Palais de Tokyo, Paris (cur. Okwui Enwezor)
Living document/Naked Reality, Toward an archival cinema, ICAInstitute of contemporary art, University of Pennsylvania, Philadelphie, Etats-Unis
(cur. Jennifer Buris)
Les prairies/Biennale de Rennes, Rennes (cur. Anne Bonnin)
2011
2001-2011 Soudain, Déjà, Ecole Nationale Supérieure des Beaux Arts de Paris,
(cur. Guillaume Désanges)
The Best Society, Castillo/ Corrales, Paris
Microstoria, Talbot Rice Gallery, Edimbourg, Royaume-Uni
Hidrarquia, Maritime Museum, Barcelone, Espagne (cur. Anna Colin)
Terra de Nadie, Montehermoso, Vittoria-Gasteiz, Espagne (cur. Catalina Lozano)
Nothing Personal, Galerie Marcelle Alix, Paris
An extended exhibition for a transition function, Hilary Crisp gallery,
Londres, Royaume-Uni
2010
Manifesta 8, Murcia, Espagne (cur. Tranzit)
Maronnage Biennal, Matoury, Guyane Française
Erudition concrète III, Le Plateau - FRAC Ile-de-France, Paris (cur. Guillaume
Désanges)
Hydrarchy, Gasworks, Londres, Royaume-Uni (cur. Anna Colin)
Seconde Main, Musée d’Art Moderne de la Ville de Paris, Paris (cur. Anne Dressen)
2009
A contre-corps, œuvre de dévoration, FRAC Lorraine, Metz
Kréyol Factory, Grande Halle de la Villette, Paris
2008
La dégelée Rabelais, FRAC Languedoc-Roussillon, Montpellier (cur. Emmanuel
Latreille)
Where the lions are, Sheung Wan Civic Center, Hong-Kong, Chine (cur. François
Piron)
Nostalgie, l'istante e la durata del tempo, Musée d’Art Moderne, Croce, Italie
(cur. Angela Madesani
2007
Printemps de Septembre, Toulouse
Double Take, Korean National University of Art, Seoul, Corée du Sud (cur. Tony
Brown)
Expéditions, La Galerie, Noisy-le-Sec (cur. Marianne Lanavère)
Commissariat d’exposition
2010
Self as disappearance, centre d’art contemporain – la synagogue de Delme,
Delme
A travers un cercle de regards, Cité Internationale des Arts, Paris
Conférences / performances/projection
2013
Waterside Contemporary, Londres, UK, (projection)
Ruser l’image?, Ecole des beaux-arts de Nantes, France (conception du séminaireconférence)
2012
Leeds metropolitan university, UK (conférence)
E.N.S.B.A. de Lyon, France (conférence)
Fondation Ricard, France (conférence et projection)
Paris photo, Grand Palais, France, (conférence)
Pavillon, Leeds Art Gallery, UK. (conférence)
ICA, Institute of Contemporary Art, University of Pennsylvania, USA (projection)
FRAC Champagne –ardenne, Reims, France (conférence)
Fondation Serralves, Portugal, (conférence)
Contrechamp, Nantes, France (conférence et projection)
Orphelins de Fanon, La ferme du Buisson, Noisiel, France (conception du séminaire et conférence)
2011
Fondation Ricard, France (performance avec Frédéric Cherboeuf)
Les voies de la révolte : cinéma, images et révolutions dans les années 1960-1970
Musée du Quai Branly, Paris, dans le cadre du séminaire Sous le ciel libre de
l'histoire, organisé par Bétonsalon, (conférence)
Gasworks, Londres, Royaume-Uni, conférence avec André Guedes et Umesh Kumar
(conférence)
Montehermoso, Vitoria, Terra de Nadie, Dialogue avec la réalisatrice Sarah Maldoror
2010
MUD Orchestra, de Charlie Jeffery, Palais de Tokyo, Paris, (performance)
MUD Orchestra, de Charlie Jeffery, Centre d’art La Ferme du Buisson, Noisiel,
(performance)
2009
MUD Orchestra, de Charlie Jeffery, Galerie Edouard Manet de Genevilliers
(performance)
The Reflecting Skin, centre d’art contemporain – la synagogue de Delme, Delme
(performance)
The Pugilist, avec Alexandre et Florentine Lamarche-Ovize, Centre d'art du Parc
Saint-Léger, Pougues-les-Eaux (performance)
Résidences / workshops
2012
Résidence de trois mois à la Fondation Serralves, Porto, Portugal
2011
Résidence de deux mois à Saint-Laurent du Maroni, Guyane Française
Résidence de deux mois à Gasworks, Londres, Royaume-Uni
The Middle Passage, workshop en collaboration avec Albert Potrony et Howard
Matthew, Gasworks, Londres, Royaume-Uni
2009/2010
Cite Internationale des Arts, Paris
2009
Résidence de Lindre-Basse, centre d’art contemporain – la synagogue de Delme,
Delme
2008
workshop d’un mois, Institut National du Design, Ahmedabad, Inde
Résidence d’un mois à l’école de photographie Le 75, Bruxelles, Belgique
Résidence de trois mois, Muntztrasse 10, Berlin, Allemagne
2007
Workshop d’un mois à la K.N.U.A, Séoul, Corée du Sud
Résidence d’un mois, Muntztrasse 10, Berlin, Allemagne
2006
Résidence d’un mois, Synapse, Ecole de beaux-Arts de Rueil-Malmaison
Presse
2012
Mouvement
Beaux arts magazine, janvier
2011
Les Inrockuptibles, décembre
02 n°60, décembre
Beaux arts magazine, décembre
Flash Art, octobre
Frieze, n°139, mai
Bidoun, n°24, été
Art Monthly, avril
Art Forum, février
Frieze, n°136, janvier - février
2010
Art 21, n°27, été
Bidoun, n°23, hiver
Artpress, n°373, décembre
MAY Revue n°4, Conversation avec Thomas Boutoux, François Piron, Benjamin,
Thorel
2007
BS n°1, I'm aware of what you have done, avec l'Ambassade (Cécilia Becanovic et
Maxime Thieffine)
Vacarme n°39, Voyage dans l’intérieur des Guyanes, avec Luc Jeand'heur
Bourse / Prix
2011
Prix Le Meurice, Paris
2010
Bourse de recherche du CNAP, Paris
2009
Aide Individuelle à la Création, Drac Ile de France
Collections publiques
FNAC, Paris
FRAC Languedoc-Roussillon, Montpellier
SONGS FOR A MAD KING
2013
EVIL NIGGER, GAY GUERILLA, CRAZY NIGGER. FOR JULIUS EASTMAN, 2010/2013.
Live performance of Julius Eastman’s Nigger Serie. Four Pianos, variable dimensions.
view of the exhbition SONGS FOR A MAD KING, Kunsthalle-Basel, 2013.
view of the exhibition SONGS FOR A MAD KING, Kunsthalle-Basel, 2013.
UNTITLED (BODIES IN A P LE), 2012. 5 of 11 copper rods made of 5Okg of Katanga crosses, 180cmx1,5cmx1,5cm.
view of the exhbition SONGS FOR A MAD KING, Kunsthalle-Basel, 2013.
SEVEN CONTRACTS. FOR M.A. 2013. Three bronze and silver sculptures, seven contracts. Variable dimensions.
SEVEN CONTRACTS. FOR M.A. 2013. Three bronze and silver sculptures, seven contracts. Variable dimensions.
KANNIBALEN
2013
view of the exhibition KANNIBALEN, Kunstverein-Bielefeld, 2013.
AN ITALIAN F LM (AFRICA ADDIO). 1: COPPER, 2012. HD fillm, 27mn34s, colour, sound.
INVENTORY OF THE AFRICAN OBJECTS FROM THE COLLECTION EMILE ABONNENC. MOYEN-OGOUE, GABON 1931-1933. 2013.
Lambda print, 16,9cmx23,6cm.
stills from the film KANNIBALEN, 2013. HD film, 12mn, colour, silent.
L’IMAGE -PAPILLON
2013
view of the exhibition L’IMAGE-PAPILLON, MUDAM, Luxembourg, 2013.
WHEREVER YOU TURN IT’S DESOLATION, BUT YOU KEEP TURNING, 2011/20.. Drawings, pencil on paper, 108cm x 78cm each (framed).
KANNIBALEN, 2013. Silver ring, 3cm x 1cm.
KANNIBALEN, 2013. Silver ring, 3cm x 1cm.
TO WHOM WHO KEEPS A RECORD
2012
View of the exhibition TO WHOM WHO KEEPS THE RECORD, Foundation Serralves, Porto, 2012.
Selection of pedagogical books published by the P.A.I.G.C., Guinea-Bissau, 1964-1974, C.I.D.A.C. archives.
P.A.I.G.C.’s political commissar with women militia, around 1963, photograph, Foundation Mario Soarres’s archives.
P.A.I.G.C.’s political commissar with women militia, around 1963, photograph, Foundation Mario Soarres’s archives.
still extract from the movie ÇA VA, ÇA VA, ON CONTINUE, synchronized double projection, HD, 28mn40s, 2012.
Stills from the movie ÇA VA, ÇA VA, ON CONTINUE, , HD, synchronised double projection, sound. 28mn40s, 2012.
Stills from the movie ÇA VA, ÇA VA, ON CONTINUE, , HD, synchronised double projection, sound. 28mn40s, 2012.
ORPHANS OF FANON
2011
View of the exhibition THE ORPHANS OF FANON, La Ferme du Buisson, Noisiel, 2011.
RE-MEMBERING FANON, 40 translations in different languages of Frantz Fanon’s writings, variable size, 2011.
RE-MEMBERING FANON, 40 translations in different languages of Frantz Fanon’s writings, variable size, 2011.
A MINOR SENSE OF DIDACTICISM
2011
view of the exhibition A MINOR SENSE OF DIDACTICISM, Marcelle Alix Gallery, Paris, 2011.
View of the exhibition A MINOR SENSE OF DIDACTICISM, Marcelle Alix Gallery, Paris, 2011.
CONT NENTAL DRIFT, YEAR ‘69 ( GUINEA, AFRICA AND SOCIALISM BY AHMED SEKOU TOURÉ ).
Silkscreen on glass and paper, 28x20,5cm, 2011.
CONTINENTAL DRIFT, YEAR ‘69 ( USA: LA AL ENACION DE LA CULTURE BY IRWIN SILBER ).
CONTINENTAL DR FT, YEAR ‘69 ( COLONIALISM, CULTURE AND REVOLUTION BY MARIO DE ANDRADE ).
CONTINENTAL DRIFT, YEAR ‘69 ( ANGOLA: PEOPLE IN REVOLUTION BY AGOST NHO NETO ).
CONTINENTAL DR FT, YEAR ‘69 ( VIETNAM: LAS MANIOBRAS DE NIXON BY NGUYEN TI BINH ).
Silkscreen on glass and paper, dyptich, each 28x20,5cm, 2011.
view of the exhibition A MINOR SENSE OF DIDACTICISM, Marcelle Alix Gallery, Paris, 2011.
UNTITLED ( FOREWORD TO GUNS FOR BANTA ), silkscreen on paper, 120x160cm, graphic design deValence, 2011.
View of the exhibition A MINOR SENSE OF DIDACTICISM, Marcelle Alix Gallery, Paris, 2011.
Still from the slideshow FOREWORD TO GUNS FOR BANTA, synchronised double projection, sound. 25mn40s, 2011.
IMAGES FANON ‘87, found screening program, 1987/2011.
on screen THE DAWN OF THE DAMNED directed by AHMED RACHEDI, 1963/1965.
IMAGES FANON ‘87, found screening program, 1987/2011.
on screen SUGAR CANE ALLEY directed by EUZHAN PALCY, 1983.
FOREWORD TO GUNS FOR BANTA
2011
view of the exhibition FOREWORD TO GUNS FOR BANTA, Gasworks, London, 2011.
view of the exhibition FOREWORD TO GUNS FOR BANTA, Gasworks, London, 2011.
Stills from the slideshow FOREWORD TO GUNS FOR BANTA, synchronised double projection, sound. 25mn40s, 2011.
detail of the exhibition FOREWORD TO GUNS FOR BANTA, Gasworks, London , 2011.
view of the exhibition FOREWORD TO GUNS FOR BANTA, Gasworks, London , 2011.
JOURNEY THROUGH SENEGAMBIA AND PORTUGUESE GUINEA (interior of Dandoum), pencil on paper,100x70cm , 2011.
JOURNEY THROUGH SENEGAMBIA AND PORTUGUESE GUINEA ( interior of the factory Maurel&Prom in Boulam ), pencil on paper,100x70cm , 2011.
FOREWORD TO GUNS FOR BANTA, Poster, 120x160cm , 2011.
view of the exhibition FOREWORD TO GUNS FOR BANTA, Gasworks, London , 2011.
FOR SARAH MALDOROR, ( MONANGAMBEEE )
TRICONTINENTAL, A GRAPHIC SURVEY
2010
View of the exhibition MANIFESTA 8, Murcia, 2010.
FOR SARAH MALDOROR (MONANGAMBEEE) & TRICONTINENTAL, A GRAPHIC SURVEY, Installation, posters, photographs, film, variable size, 2010.
FOR SARAH MALDOROR ( MONANGAMBEEE ), Installation, posters, photographs, film, variable size, 2010.
detail from FOR SARAH MALDOROR ( MONANGAMBEEE ), Installation, posters, photographs, film, variable size, 2010.
SARAH MALDOROR’S SLEEP NG, photograph by Suzanne Lipinska, 10x15cm (without frame), 1972.
still extract from the movie MONANGAMBEEE, by Sarah Maldoror, 16mm transfered to DVD, 14mn, 1969.
TRICONTINENTAL, A GRAPHIC SURVEY, Installation, posters, books, archives, showcase, variable size, 2010.
detail from TRICONTINENTAL, A GRAPHIC SURVEY, Installation, posters, books, archives, showcase, variable size, 2010.
detail from TRICONTINENTAL, A GRAPHIC SURVEY, Installation, posters, books, archives, showcase, variable size, 2010.
FOR JULIUS EASTMAN ( CRAZY NIGGER )
2010
FOR JULIUS EASTMAN ( CRAZY NIGGER ), Installation, posters, books, archives, showcase, variable size, 2010.
View of the exhibition WATCHMEN, LIARS, DREAMERS, Le Plateau/Frac Ile-de-France, 2010.
FOR ADRIAN PIPER ( 10 DRAWINGS OF PONTUS HULTEN AT 10000$/HOUR )
2010
FOR ADRIAN P PER ( 10 DRAWINGS OF PONTUS HULTEN AT 10000$/HOUR), serie of 9 framed drawings, 2010.
View of the exhibition SECOND HAND, Museum of Modern Art, Paris, 2010.
View of the exhibition SECOND HAND, Museum of Modern Art, Paris, 2010.
COUNANI ( I WILL HOLD BY REASON OR BY STRENGTH )
2009
COUNANI (I WILL HOLD BY REASON OR BY STRENGTH ), silver ring, variable diameter, 2009.
COUNANI (I WILL HOLD BY REASON OR BY STRENGTH ), silver ring, variable diameter, 2009.
THE KNOWN WORLD
2008
view of the exhibition THE KNOWN WORLD, Hussenot gallery, Paris, 2008.
AN OUTPOST OF PROGRESS, installation, burned plywood, 1000x850 cm., 2008.
IN SEARCH OF THE REMAINS OF THE CREVAUX MISSION (PROLOGUE), alcohol felt-tip on aluminium
295x196x2 cm., 2008.
START AT DUSK (interior view), lambda print, 50x45cm, 2007.
START AT DUSK (interior view), lambda print, 10x15cm , 2007.
UNTITLED (SIMBI THE GODDESS), steel, 30x20x1cm, 2008.
TO REPEL GHOSTS, modified vcr, 30x40x10 cm., 2006.
TERRA NULLIUS
2007
TERRA NULLIUS#15&17, in collaboration with Marion MAHU, print on aluminium, 83x50cm, 2007.
View of the exhibition A PREY MADE OF SPACE AND SHADOW, in collaboration with Marion MAHU
De expeditie Gallery, Amsterdam, 2008.
TERRA NULLIUS#16, in collaboration with Marion MAHU, print on aluminium, 80x53cm, 2007.
SLAVETRADE LANSCAPES
2004/2007
SLAVETRADE LANDSCAPE#3, wall-drawing, alcohol felt-tip, 420x800cm , 2004.
SLAVETRADE LANDSCAPE#3, wall-drawing, alcohol felt-tip, 420x800cm , 2004.
SLAVETRADE LANDSCAPE#3, graphite on paper, project for wall-drawing, 42x29,7cm , 2005.
START AT DUSK (exterior view), graphite on paper, project for wall-drawing, 42x29,7cm , 2007.
D‘iCi
2003/2006
View of the ehibition HYDRARCHY, Gasworks, 2010.
still extract from the video THE MIDDLE PASSAGE, 10mn, DVD, 2006.
Still extract from the video THE MIDDLE PASSAGE, 10mn, DVD , 2006.
Still extract from the video THE MIDDLE PASSAGE, 10mn, DVD , 2006.
CURATORIAL PROJECT
SELF AS DISAPPERANCE
2010
SELF AS DISAPPEARANCE
with
Adam Pendleton - Renzo Martens - Peggy Buth - Joe Scanlan - William Pope L. - Haegue Yang - Adrian Piper Coco Fusco
Self as Disappearance is part of an ongoing dialogue generated over the past ten years or so by several
major exhibitions, ranging from the second Johannesburg Bienniale in 1997 to Afro Modern: Journey through the
Black Atlantic currently at Tate Liverpool. These shows have shed light on the transformations effected on modern
ideals and presuppositions once such concepts are rewritten by people who were formerly considered marginal
and/or subordinate subjects. The exhibitions have moreover underscored the existence of a hybrid transatlantic
culture born of an "intercultural and transnational" condition that Paul Gilroy calls "The Black Atlantic."(1)
Along these lines, Self as Disappearance attempts to tease out pictures of a subject "in translation" one
having traversed all the historical terrors that constantly drove him or her further from home.The works on show here
by Renzo Martens, Coco Fusco, and Peggy Buth range from private account of the paroxysm of civil and ethnic war,
to a localized rewriting of the history of the United States, to a record of museumized documentation of former colonial undertakings. They insinuate themselves into accounts of conflicts past or recent (Chechnya when it comes to
Martens, the Philippine struggle for independence in the case of Fusco, and the colonization of the Congo for Buth),
the better to dislocate them, to expose them to a new light just when we thought those conflicts had forever
consigned to the outer fringes of the media realm. Although war is indeed one of the horizons of this exhibition, it
appears less as a subject than as a distant sound, an alarming threat, a "pressure" that may soon force us to create
a community "outside all understanding."(2)
When Renzo Martens enters forbidden territories armed with a small camera and fragile questions, he is not
seeking "the Other" but rather an image of himself. This issue of self-image and self narrative runs throughout the
exhibition. By the yardstick of globalization and of what Edouard Glissant has called the "archipelagization" of the
State beyond national borders"(3) what are we to make of an individual"s identity when that identity has been forged
from place to place, from migration to migration? What can we make of this individual with his or her fragmented
narrative composed of dislocations, of multiple and multifarious "I"? He or she is not without roots, but is always
forged in the gap between place of roots and place of arrival or transit.
The range of effects produced by displacement - incomprehensible language, phony identity, unfulfilled
desires - are as physical as they are semantic, which Adam Pendleton, Joe Scanlan and Haegue Yang allow us to
experience by drawing us a little closer to the total stripping of people we might call "naked migrants, that is to say
the people forcibly shipped to the continent, constituting the basis of the population of a fundamental circularity that
we call the Caribbean."(4) But the Caribbean itself has now been displaced, and our own European, African and
Asian shores can also serve as examples.With the works of William Pope L. and Adrian Piper we get closer to the
"naked migrant" for they exhibit that very moment when nothing else remains, transforming the tragedy of dispossession into an ultimate strategy of survival.(5)
The artists on show here all share a similar angle of view, a similar take on the beholder. When it is impossible
to look something straight in the face - right in the eyes - you have to look aslant, from an angle, from the side, or
from below. This is what visitors to Self as Disappearance will more or less be expected to do when confronted with
works whose makers are inscribed merely as traces. The beholder will have to concentrate on grasping these works
from an angle. This show, which thoroughly rejects the affirmative mode, is constructed like a sphere of negotiation
riddled with various desires and identifications, indeed with contradictory yet resolutely open identities.
Mathieu K. Abonnenc
Translation Deke Dusinbere
(1) Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness (London: Verso, 1993), p. 29.
(2) Maurice Blanchot, The Unavowable Community, translated by Pierre Joris (Barrytown, NY: Station Hill Press,
1988).
(3) Édouard Glissant, Introduction à une poétique du divers (Paris: Gallimard, 1996).
(4) Ibid.
(5) "Pope. L has given various names to the principles from which he works, but "lack-worth-having" and "havenot-ness" distill particularly well - the former being a way he describes blackness, and the latter his term for the destitute condition of many of the city-dwelling family members with whom Pope. L maintains close but sporadic contact
from his base in Maine, where he now teaches - since his actions are really meditations on impermanence, indeed
on dispossession, as a kind of general condition." Darby English, How to See a Work of Art in Total Darkness
(Cambridge, Mass..: MIT Press, 2007), p. 259.
View of the exhibition SELF AS DISAPPEARANCE, contemporary art center-la synagogue de Delme, 2010.
on the ground: Wiliiam Pope L., Dust eater, forefront: Haegue Yang, What i’d like to have at home, background: Adam Pendleton, Black Dada L/A.
forefront: Haegue Yang, What i’d like to have at home, background: Haegue Yang, Untitled (back), on the plinth: William Pope L., Props.
on the plinth: William Pope L., Props, background: Adam Pendleton, Black Dada AK/AA.
Adam Pendleton, Black Dada AK/AA.
View of the ehibition SELF AS DISAPPEARANCE, contemporary art center-la synagogue de Delme, 2010.
left: Joe Scanlan, Avatar, right: Coco Fusco, aka Ms George Gilbert.
Coco Fusco: Buried pigs with moros.
Coco Fusco: Buried pigs with moros.
forefront: Coco Fusco: Buried pigs with moros, background: Peggy Buth, Travelling through Musée Royal.
Joe Scanlan, Wanderers in the expanded field.
William Pope L., Failure drawings.
Adrian Piper, portrait of Pontus Hulten at 10.000$/hour.
left: Peggy Buth, Travelling through Musée Royal, background: Renzo Martens, Episode I.
http://recherche.beauxartsnantes.fr
22
Mathieu K. Abonnenc
Biographie
Né en 1977 en Guyane (France), vit et travaille à Paris
(France).
Mathieu K. Abonnenc explore le passé colonial,
travaillant sur des figures et des événements refoulés
par une histoire officielle. Avec Des corps entassés,
premier volet d’un projet au long cours, l’artiste
poursuit ses recherches, toujours étayées par l’étude
approfondie de situations précises, en se concentrant
sur un matériau : le cuivre (la malachite), qui fut l’une
des causes de la guerre de Sécession au Katanga, et,
auparavant, la raison de l’intérêt des Occidentaux pour
la République Démocratique du Congo. Le film réalisé
par Mathieu K. Abonnenc montre la fonte d’une
dizaine de croix du Katanga dans une fonderie en
écosse, puis leur transformation en une série d’objets.
Ces croix furent pendant des siècles (du xe siècle
jusqu’à la colonisation belge au xixe siècle) une
monnaie en usage en Afrique centrale. Cette
appropriation, brutale dans son geste, fait écho à
l’appropriation par les Belges de toutes les réserves
de croix du Katanga. Ce film est accompagné de
commentaires, relatant plusieurs histoires. Les unes
traitent de phénomènes d’appropriation culturelle et de
la violence qu’ils induisent, les autres narrent des faits
esthétiques qui font apparaître les connotations des
choix des matériaux ou des modes de production,
donc leurs significations politiques et éthiques. Un
matériau n’est jamais neutre, il implique et raconte des
vies humaines. À travers l’histoire d’un minerai,
l’artiste reconstitue un épisode de l’histoire du
capitalisme et de ses mécanismes, montrant les effets
de l’industrialisation par des nations européennes sur
des pays et des populations colonisés. La
scénographie, dans laquelle sont présentés le film et
les différents objets en cuivre, met en scène des
contraintes spatiales dénotant l’autorité.
Anne Bonin
Biennale d’art Les Prairies,
Ateliers de Rennes, 2012
http://recherche.beauxartsnantes.fr
23

Mathieu Kleyebe Abonnenc né en 1977 à Paris

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