Marco Godinho

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Marco Godinho
Marco Godinho
www.marcogodinho.com
[email protected]
Well aware that the age of ground-breaking narratives, manifestos, theoretical constructs, and personal mythologies—in a word, everything whose aim was to uphold new definitions of art—is very much a thing of the past, it is
through the way in which an artist nowadays manages to fashion a language for himself, based on bits and pieces
of legend and the saga of the 1960s and 1970s, that contemporary art, as a praxis, has managed to follow on from
contemporary art, as a historical moment. In the diversity and abundant nature of his output, Marco Godinho thoroughly incarnates the idea that being an artist today consists in defining areas of activity, and working out systems
of logic and programmes which, in return, call for the invention of ways of doing things. The big words—time, space,
work, society—do not define themes but are taken as materials, those which every artist must rub up against, and
which Godinho artfully takes hold of, which is to say by not separating thinking from making.
No guiding principle, be it thematic or formal, links these videos where the eye is ruined in the contemplation of
used objects which move about indefinitely on the water’s surface, or baggage going endlessly round and round on
a conveyor belt, and this series of photos based on a systematic survey of the presence of the infinity sign, in every
place? What relation is there between these works which set forth a process of writing, drawing or the creation of
tension, and these others which are based on simple observation, or a test? Probably nothing, other than one and
the same way of managing to convey one’s astonishment, and test codes and representations. Without trying to
prove anything, but with a desire and a will to suddenly see a buried reality appear, or something that is revealed
without our having been able to imagine it.
Patrick Javault (Translated into English by Simon Pleasance)
Extract text from The Passage of Lines, book ‘‘Endless Time Searching’’ Marco Godinho, 2013
Co-published by ‘‘Analogues’’ publishing house for contemporary art, Arles & Gallery Hervé Bize, Nancy, France
Biography
Born in 1978 in Salvaterra de Magos in Portugal, Marco Godinho shares his life between Paris and Luxembourg. In a
conceptualist spirit, he is interested in subjective perception of time and space through exploration of the notions of
wandering, exile, experience, memory and time as it is lived. From 2000 to 2005, he studied at the École Nationale
Supérieure d’Art de Nancy (France), at the École Cantonale d’Arts de Lausanne (Switzerland) and at the Kunstakademie and Fachhochschule Düsseldorf (Germany). Between 2005 and 2006, he completed a post-graduate at the
Atelier National de Recherche Typographique in Nancy.
Since 2006, he has had several solo exhibitions, including at the Casino Luxembourg – Forum d’art contemporain
(January–April 2013), at Faux Mouvement – Centre d’art contemporain in France (March–May 2013), Neuer
Kunstverein Aschaffenburg in Germany (July–September 2012), at l’Espace pour l’art in Arles, France (2012), at Mois
de la Photo in Montréal, Canada (2011), at l’Instituto de Camões in Luxembourg (2008, 2011), at Centre d’arts plastiques et visuels in Lille, France (2009), at La Chaudronnerie – FRAC Champagne-Ardenne in Reims (2007), and the
Hervé Bize Gallery in Nancy, which represents him (2007, 2009, 2012). His works have been in many group exhibitions, including La force de coriolis at the Museo Universitario Universidad
from Antioquia in Medellin, Colombie, at Banco de la República in Bogota, Colombie, at Museo de Arte Moderno
de Buenos Aires, Argentine and at la Bienal Video y Artes mediales, Santiago du Chili (2013), Les lignes du geste
at Frac Lorraine & Centre Pompidou in Metz, France (2013), Frac Forever, at Centre Pompidou-Metz in France (2012),
Geografie erranti, at Art Verona, Italy (2012), The Material Feat, at Espace Labo in Geneva, Switzerland (2012), Les
mondes nomades et autres variations autour de la ligne d’horizon at Museo Nacional de Artes Visuales (MNAV) in
Montevideo, Uruguay (2011), Au bout du monde at Musée du Quai Branly in Paris (2011), Out-of-Sync. The Paradoxes
of Time at MUDAM – Musée d’Art Moderne Grand-Duc Jean in Luxembourg (2011), Mappamundi at the Fondation
Berardo in Lisbon, Portugal (2011), Marcher-Créer at the Rencontres d’Arles in France (2010), Expérience Pommery #
5 : L’Art en Europe, Domaine Pommery in Reims, France, Transplant Goes Landmark at the Kunsthalle Bergen in
Norway (2008) and Sublimes objets, collections sans frontières VI at National Museum of Contemporary Art
and Institut Culturel Français in Bucarest, Roumanie.
In girum imus nocte et consumimur igni, 2012-2013
Approximately 1000 m of nylon webbing, stainless steel cut to size, ratchet tensioner
Variable dimensions
Exhibition view, Invisible More Visible More Invisible, Faux Mouvement – Centre d’art contemporain, France, 2013
A nylon safety strap wrapped and secured around the two columns of the art centre is connected to a metal plate
maintaining the tension of the site’s architecture. Revolving endlessly around the ensemble in search of a clue, the
plate reveals a message in Latin, a message that – like a palindrome – can be read from either direction. This structure
creates a semi-closed inner space, which can be entered to reveal an intimate territory for meditation.
Endless time searching #3, 2008
White clock amended
Diameter 30 cm
Exhibition view, Invisible More Visible More Invisible, Faux Mouvement – Centre d’art contemporain, France, 2013
A clock 30 cm/12 in. in diameter is altered, leaving visible just the second hand multiplied by twelve. Measurement
of a time in the present, with each second deleting the next. The clock thus becomes a kind of off-kilter, disoriented
wind rose looking for new references.
Forever Immigrant, 2012
Endorsing Ink
Variable presentations and dimensions
Exhibition view, Invisible More Visible More Invisible, Faux Mouvement – Centre d’art contemporain, France, 2013
A stamp marked with the words ‘’Forever Immigrant’’ is printed successively on the walls, to create extended forms
that reminds those of clouds that make appear in the sky an atmosphere of mist. It raises the issue of immigration
and its always uncertainty. Both words emphasize the not belonging to a territory.
(...) is not real, 2013
Seven stacks of (A4) sheets, 500 sheets each, laser print
Variable dimensions
Exhibition view, Invisible More Visible More Invisible, Faux Mouvement – Centre d’art contemporain, France, 2013
the paper with this sentece is not real
the space where we are now is not real
the air we breathe is not real
the geography around us is not real
the humain condition is not real
the past, the present, the future is not real
the whole universe is not real
Seven piles of A4 paper are distributed on the floor throughout the exhibition space. A closer glance reveals various
hand-written phrases that can be read, each questioning our relationship with reality. Along the route, they can
be collected in a bid to remove the doubt they engender. These affirmations of non-reality make us question our
universal understanding of the world.
Something White, 2008
A walk with Tomas Espedal
Colour film, sound, 10’42’, dimensions vary with installation
Exhibition view, Invisible More Visible More Invisible, Faux Mouvement – Centre d’art contemporain, France, 2013
While walking in Norway’s nature with the writer Tomas Espedal, the artist by chance discovered the entrance
to an abandoned tunnel. This is a video narrative in a single shot which bears witness to the two men’s passage
through this stone subterranean structure. Camera in hand, he keeps on filming, even when they are plunged in
the most total darkness.
Endless time searching #2, 2008-2013
Graphite on wall
Variable dimensions
Performance view, Les lignes du geste, 49 Nord 6 Est – Frac Lorraine & Centre Pompidou-Metz, France, 2013
A wall drawing made with pencil, in the form of a spiral. The spiral’s circumference is determined by the limit of
the extension of the artist’s body and ends when the pencil is completely worn down.
The Infinite House (House number), 2012
Stainless steel
9 x 14,5 x 1 cm
Exhibition view, Invisible More Visible More Invisible, Casino Luxembourg – Forum d’art contemporain, 2013
The number on the door of Casino Luxembourg – Forum d’art contemporain has been replaced by the numeral 8,
which is the same as Godinho’s house number. Placed horizontally in both places, the figure 8 suggests the symbol of infinity. This almost imperceptible conversion raises the issue, even before entering the exhibition space,
of the habitat and premises that define one’s home, one’s roots. The act of entering a place that defines itself as
the house of infinity makes it possible to transcend overly simple and overly obvious clichés of identification in
the complex construction of each individual, suggesting a more nomadic, universal realm of identification that
involves learning to live together.
History Revisited (Memory Hole), 2007-2013
Modified encyclopaedias (of various kinds and origins)
Variable dimensions
Exhibition view, Invisible More Visible More Invisible, Casino Luxembourg – Forum d’art contemporain, 2013
A set of encyclopaedias of various kinds and origins, collected by the artist over a number of years, have gradually had
all their pictures stripped out over time. Placed on the floor side by side, they become a kind of carpet of universal
knowledge. This artistic act creates gaps and lapses in our shared memory, even as it questions the linearity of historical archives. It also introduces a feeling of uncertainty conducive to new reinterpretations of what seemed immutable
and established for all time. The subtitle Memory Hole also alludes to the mechanism of deterioration that leads to
the disappearance of all kinds of documents from an Internet site or other archive, giving the impression that an event
never occurred, a concept widely popularised by George Orwell in his dystopic novel, 1984.
History Revisited (Loose Associations), 2007-2013
6 brushed stainless steel frames, 54 stainless steel wires, rotating hinges,
hanging pictures with holes taken from encyclopaedias of various kinds and origins
Variable installation dimensions, frames 310 x 200 cm each
Exhibition view, Invisible More Visible More Invisible, Casino Luxembourg – Forum d’art contemporain, 2013
Metallic frames strung with stainless steel wires have been assembled into giant screens. From the wires there hang
thousands of pictures taken from encyclopaedias of various kinds and origins. The screens form a kind of maze or barrier that can be circumvented or traversed in various ways. Each picture has a hole, and hangs from the cable to create
a subjective, fragmentary narrative of history in motion. The captionless pictures appeal to the beholder’s memory
and summon up personal recollections and experiences.
History Revisited (Knowledge Process), 2013
Cover of Le Grand Larousse Encyclopédique (volume 8) modified, shelf of lacquered aluminium
Dimensions of cover 27 x 21 cm
Exhibition view, Invisible More Visible More Invisible, Casino Luxembourg – Forum d’art contemporain, 2013
The cover of volume eight of Le Grand Larousse Encyclopédique has been removed from the original book in order to
become a kind of autonomous diagram of the way encyclopaedic knowledge of the universe is represented. To reinforce this idea, the number 8 on the cover was meticulously cut out and rotated ninety degrees, becoming the symbol
of infinity. The cover was placed on a thin aluminium shelf, slightly tilted toward the ground, suggesting a viewpoint
indicator or a mental map that might serve as a potential guide to the exhibition.
Untitled (The End), 2012-2013
Charcoal on wall
Variable dimensions
Exhibition view, Invisible More Visible More Invisible, Casino Luxembourg – Forum d’art contemporain, 2013
Exhibition view, Invisible More Visible More Invisible, Neuer Kunstverein Aschaffenburg, Germany, 2012
The entire wall is blackened with charcoal. The phrase “The End” is left visible in the middle, but threatens to
disappear in turn. The installation evokes a movie screen and the closing title of an old film even as it solicits from
the beholder an ongoing mental projection, namely the start of a story to be made up by each individual.
Fortune Balance, 2013
One-cent euro coins
Variable dimensions
Exhibition view, Invisible More Visible More Invisible, Casino Luxembourg – Forum d’art contemporain, 2013
Two stacks of one-cent euro coins have been made, one starting from the floor, the other from the ceiling. The
stacks create a void, a gap, an absence between them. Like a concretion of stalactites and stalagmites, these
stacks assembled from the euro’s smallest monetary unit survive only thanks to a precarious balance – a fragile
existence that threatens to crumble at any moment.
Something Happens, 2009
Black silk, smoke machine, radio, timer
ø 60 cm, height 200 cm
Exhibition view, Invisible More Visible More Invisible, Casino Luxembourg – Forum d’art contemporain, 2013
A construction in the shape of a pillar or column is hidden by a magician’s black silk cape. Once an hour, inside this
hidden space, a radio tuned to a local station automatically goes on. For nearly five minutes, it broadcasts a live news
report. Simultaneously, throughout the news report, an event creates temporal collusion: smoke rises from the cape
and forms a thick, wide cloud that slowly spreads throughout the exhibition space. The fog then disappears in turn,
leaving the object inactive following its moment of experimentation.
Universal Declaration, 2013
Ink on paper
29.7 x 21 cm
The entire Universal Declaration of Human Rights was copied by hand with a fountain pen in the form of a crossed
letter, a system commonly used in the nineteenth century to save on paper and postage, which were costly at the
time. One part of the text was written over another after rotating the paper ninety degrees, a method here repeated
four times. The text gradually disappears, becoming illegible and simultaneously generating a geometric grid that
evokes barbed wire.
Blind Memory (The Eyes of the Tiger), 2012
Hologram photograph
160 x 120 cm
Exhibition view, Invisible More Visible More Invisible, Neuer Kunstverein Aschaffenburg, Germany, 2012
This is a split holographic portrait of the Argentinean poet and writer Jorge Luis Borges, based on a picture taken by
Argentinean photographer Eduardo Comesaña in 1969. It shows the blind Borges with his eyes shut, attending a show.
Through a mirror inversion of two photos (Borges was both fascinated and troubled by mirrors), and depending on the
viewing angle, the beholder sees an elongated shape emerge in the middle, suggesting either a tiger eye (which, for
Borges, was a perfect representation of time) or a “third eye.”
Sideline Situation, 2013
Frosted mirror
200 x 300 cm
Exhibition view, Invisible More Visible More Invisible, Casino Luxembourg – Forum d’art contemporain, 2013
A large mirror is frosted across its entire surface except for a strip around the edge. This tiny part of the mirror thus
retains its original function, raising questions about everything located on the edges, the periphery, the borderline of
what is perceived to be real. The term “sideline” refers to certain sport fields, marking a line that cannot be crossed if
you want to remain in the game. This metaphor constantly crops up in an everyday context, symbolising those lives and
events that cling to the edge of the path in order to avoid stepping over the sideline and tumbling into nothingness.
Invisible More Visible More Invisible, 2011-2013
Sound piece for two speakers stereo loop, 12’
Variable dimensions
Exhibition view, Invisible More Visible More Invisible, Casino Luxembourg – Forum d’art contemporain, 2013
In a hallway through which visitors to the show are obliged to pass, two voices – one male, one female – echo one another
by repeating the words of the title. The looping repetition of the conversation creates an impression of amnesia within the
memorisation and alternation of the words, whose sequencing suggests a (false) palindrome. By injecting this hesitation
into language, the words also explore the idea of increasing distance from a point of origin, a centre, represented here
by the word “visible”. Indeed, the word “visible” is “caught” between the words “more” and “invisible”. The further away
you get, the more the meaning becomes imperceptible and uncertain, thus allowing the imagination to project itself
onto other realities.
Autre chose, 2010
Digital projection, silent, loop, 40’’
Variable dimensions
Exhibition view, Invisible More Visible More Invisible, Casino Luxembourg – Forum d’art contemporain, 2013
This photographic work, exhibited as a digital projection, is based on the closing scene of Safaa Fathy’s film
Derrida Elsewhere. We see philosopher Jacques Derrida walking in a timeless, lunar-like landscape in his native
Algeria. Converted into black-and-white and negative, the pictures reproduce the moiré effect of the computer
screen from which they were shot. Taking up Derrida’s crucial notion of “deconstruction,” the nineteen-second
scene is doubled by the insertion of blanks between each frame; furthermore, instead of using the conventional
twenty-four frames per second, Godinho employed only one frame per second, thus creating a staccato impression of the figure’s progression.
Moment of Intensity, 2013
Lighted globe, old bedside lamp with jade base, period switch, spy mirror set in wall
Showcase 80 x 60 x 60 cm
Exhibition view, Invisible More Visible More Invisible, Casino Luxembourg – Forum d’art contemporain, 2013
A lighted globe of the earth has been set on the jade base of an old bedside lamp and then placed in a showcase set into
the wall. The part of the globe facing the beholder shows China and neighbouring countries, some of which, like China,
are undergoing an economic boom. The United Arab Emirates, for example, are among the world’s largest producers and
exporters of oil. The globe remains lit day and night, even when the art centre is closed. Through the spy mirror, which
creates an ambiguous impression of nearness, the beholder can also see the switch that would make it possible to turn
off – briefly or forever – this earthly globe that never rests. In fact, the base of the lamp and the intimate shrine of the
showcase allude to the private world of the bedroom, of sleep, of rest, and of the life cycle crucial to human existence.
The constantly lit globe, meanwhile, projects the beholder into the reality of a hyper-productive, constantly functioning
world. This reality, even though it may sometimes seem distant or abstract, has a direct impact on everyone’s daily lives.
We now know that whatever happens on the other side of the world concerns us directly. The jade base of the lamp raises the question of the symbolism of the objects used – in the East, for example, jade is thought to have many virtues,
including warding off evil spirits and preventing decay.
A moment out of this time, Gallery Hervé Bize, Nancy, France
22 novembre 2012 – 2 février 2013
Exhibition views
A moment out of this time, Gallery Hervé Bize, Nancy, France
22 novembre 2012 – 2 février 2013
Exhibition views
A moment out of this time, 2012
Colour film, sound, 15’
Variable dimensions
Film dedicated to the observation of a building site on Kirchberg in Luxembourg. The Kirchberg quarter is rapidly expanding as a European hub and is one of the symbols of the European Union’s economic wealth. During the excavation
works, the artist spent a day deciphering the attitudes, rhythm and operation of the building site. The result was a series
of static shots that project a thought of poetic expression, at a given moment, outside the present. The artist endeavours
to open up everybody’s imaginary world by attempting to conceal the overly obvious comparisons with a local or individual context. By adhering to a universal language instead, these mobile idea outlines allow different levels of interpretation that, to a large extent, are a means of resistance towards a society excessively preoccupied with consumption. Here,
waiting becomes an asset for escaping from what is real, starting with the latter.
Summer Dreams (Hidden) #1-12, 2012
Blue BIC pen on calendar (Summer Dreams Art & Image Grid Calendar 2012)
30 x 30 cm each, Variable presentations
The monthly calendar “Summer Dreams Art & Image Grid Calendar 2012” is used as a prop to call into question the
flaws and failed dreams of a contemporary society in search of the Eldorado of its dreams. In the calendar, every month
features an idyllic, perfect place (Seychelles, Jimbaran Bay in Bali, Caribbean, Bahamas, Mauritius...) where everyone
can project themselves in the hope of actually staying there one day. The artist perceives this illusion as a mirage and
underlines this idea by inserting some distance, a filter, through painstakingly blacking out all the images with the use
of a pen (blue biro). The additional layer of varnish reflects other dream options for the imagination.
Navigation Instrument, 2012
Iron bar, tree root, salt
120 x 95 x 95 cm
Like a compass, “Navigation Instrument” defines a temporary territory, a type of base camp, before continuing its
path in a northern direction. Indeed, the metal bar serves as an instrument to mark out the space by tracing a circle
around it (filled with salt in this case). The tip, in turn, is pointed north and operates like a magnetised needle
aligning itself with the earth’s magnetic field. Uprooted from its place of origin, a tree root is wedged by the stem,
precariously staying upright.
Home dislocation, 2012
White spray paint on found gray PVC roller blind
128,5 x 77,5 cm, Variable dimensions
On the blinds of a used rolling shutter, the word “home” is reduced and deconstructed as many times as the artist speaks
languages on a daily basis (five). These blinds, destined to be replaced by new ones, become a surface of experimentation
for a new language. It questions the idea of a place of living, the idea of a nation, cosmopolitanism and the loss of stable
reference points when a person is forced to move and constantly mix several languages and cultures. A creolisation of the
language then appears essential and necessary for the reconstruction process of a new uncertain identity.
Departure (Destiny of rupture), 2012
Found Chair and plumb bob,
ø 42 cm, height according to the room
A builder’s plumb line attached to the ceiling pierces the meshing of the straw base of a chair. The lead remains
suspended above the ground. It suggests that it has not quite reached its destination and is being held back by a
force that stops it from detaching itself completely from its point of departure. These two objects, heirlooms from
the artist’s family, are arranged in such a way that they underline the idea of uprooting and rupture, the inevitable
fate of those people who through necessity leave their place of origin. A perpetual foreign context becomes their
place of refuge.
Survival Act, 2012
Bow saw blade, ligature wire, fake diamonds
ø 24 cm
The two extremities of a rusty manual saw blade are linked by binding mesh wire (used particularly in building foundations to link the metal mesh before the concrete slab is poured). In a henceforth circular configuration, this linking act
gives this object, on the brink of extinction, a new lease of life. By imitating the work of a smith, the blade is transformed
into a crown mounted with sixteen false diamonds. It finally becomes an object of celebration, a fake that alerts to the
true value of objects, of attitudes and of real acts performed by everyone on a daily basis.
Every Day a Revolution, 2012
Wine bottles, red carnations flowers
Diameter varies with the number of bottles
Exhibition view, Invisible More Visible More Invisible, Neuer Kunstverein Aschaffenburg, Deutschland, 2012
58 standard wine bottles are placed on the ground in a circle and receive a daily red carnation. The number 58 refers
to the duration of the exhibition. The work refers to the tireless revolutions conducted by the peoples in the world
that struggle for the right to freedom. The red carnation became the rallying symbol especially in contemporary
insurgencies. The bottle also reminds a Molotov cocktail, a incendiary weapon used mostly by people in protests
against the power in place.
Eckige Schnecke, 2012
Translucent fabric, stack of (A4) sheets
Variable dimensions
Exhibition view, Invisible More Visible More Invisible, Neuer Kunstverein Aschaffenburg, Germany, 2012
A translucent labyrinth (suspended in the air) in the form of a square spiral draws its inspiration from drawings
referring to the Musée à la Croissance Illimitée, a museum project that Le Corbusier was to direct in the region
of Erlenbach near Aschaffenburg during the 1960s. Having been abandoned, the project is relaunched by the NKA
(Neuer Kunstverein Aschaffenburg) to turn it into its visual identity. Upon arrival in the centre of the labyrinth,
a poetic message can be found on the ground (printed in the form of a flyer) inspired by an article published in
German magazine “Der Spiegel” no. 12/1962 tracing the history of the Le Corbusier project.
Related stories #2-8, 2011
7 Books, 7 Hand-blown glass objects
Books and dimensions vary with installation
In collaboration with Glass-Fabrik, Nancy and Cirva, Marseille, France
A series of seven books, selected from the artist’s library for the concepts they convey, are placed on different recycled
stools. Each book is crossed by a blown glass model (always different) akin to the shape of a tree’s branch. These
models are directly inspired and made freehand on the basis of branches which the artist retrieved and used as a
walking stick during different walks. (Books: Giorgio Agamben, “Le temps qui reste, Un commentaire de l’Épître
aux Romains”, Alain Badiou, “Logique des mondes, L’être et l’événement 2”, Zygmunt Bauman, “Le présent liquide,
Peurs sociales et obsession sécuritaire”, Gilles Deleuze and Felix Guattari, “Mille Plateaux, Capitalisme et Schizophénie 2”,
Peter Sloterdijk, “Sphères I, Bulles”, Slavoj Zizek, “La subjectivité à venir”, Jacques Derrida, “La voix et le phenomena”).
Untitled (Transparent Flags), 2007-2011
Flagpoles, flags of transparent organza, each 150 x 255 cm
Variable presentations and dimensions
Quartier du Parc Central, Plateau du Kirchberg, Luxembourg
Domaine Pommery, Reims, France
Château de Malbrouck, Manderen, France
In the first version, made in 2007 for the exhibition “Merveilleux ! D’après nature” and “L’homme merveilleux” at the
Château de Malbrouck in Manderen (France), flags made of transparent organza fabric replace all the conventional
flags present on the spot. A second version was then installed in 2008 around the central avenue of the Domaine
Pommery in Rheims (France) for the exhibition “Expérience Pommery #5 : L’Art en Europe”. Created from scratch with
27 poles and transparent flags, the same number as the 27 member countries of the European Union. A third version,
specially developed in 2011 for the exhibition “Plateaux” at the Plateau de Kirchberg in Luxembourg, made up of 12
poles and transparent flags, borrows, in circle form, the placing of the 12 stars of the European Union flag.
Conversation, 2011
Wood, rope, tape
75 x 1000 x 60 cm
Exhibition view, Prix d’art Robert Schuman, Cercle, Luxembourg, 2011
Two chairs are placed on either side of a table, disproportionately extended and covered with a rope of the same
dimensions. At each end of the rope, a knot and some red and black adhesive tape, the only distinctive sign marking the
difference between the two parts The table was first installed in the entrance hall of one of the buildings of the City of
Luxembourg (Cercle Municipal), where the meeting was held for the first people involved with the accords of the Communauté européenne du charbon et de l’acier (CECA), forerunner of the present-day EU (European Union).
Spiral Nations, 2011
Aluminium and wall
ø 300 cm and 1200 cm high
Collection Fonds Kirchberg, building (CPE3) Centre Polyvalent de l’Enfance (Parlement Européen), Luxembourg
A double metal structure, in the shape of a spiral inspired by the DNA helix, is grafted on and surrounds part of the
architecture of building CPE3 (Centre Polyvalent de l’Enfance) in Luxembourg belonging to the European Commission. The building houses children of different nationalities, who follow their parents in different countries on their
missions and for their work.
Lost Ideas, 2010 (ongoing)
A serie of drawings, blue pen on blue graph paper
Each 29,7 x 42 cm
A series of ideas accumulated in a digital file leaves no sign of dates, titles or places. A selection of these ideas is then
transcribed with a blue felt-tip on graph paper like an illumination.
The Evanescence of Things, 2003 (ongoing)
Films variable durations and presentations
Exhibition view, Out-of-Sync, The Paradoxes Of Time MUDAM, Musée d’Art Moderne Grand-Duc Jean, Luxembourg, 2011
A set of video sequences, lasting a very short time and formally refined, recorded on travels, like so many displacements and strolls made daily by the artist. The videos function like visual poems, perceptive haiku which question
micro-events of reality. For the “Out-Of-Sync, The Paradoxes Of Time” show held in 2011 at the Mudam (Musée d’art
moderne Grand-Duc Jean Luxembourg), a series of seven monitors (Hantarex) of two different sizes was set on the
ground on platforms on castors. The wiring left visible started out from a central point as if to materialize a huge
network of connections.
Le monde 2009 #1-12, 2010
A serie of 12 drawings, graphite on tracing paper
Each 55 x 40 cm, wall approx. 500 x 600 cm
In a way, this is a portrait of the year 2009 reproducing in drawings on tracing paper the headlines of the first day of
each month in the newspaper “Le Monde’’ during the year 2009, the period coming in the wake of the “worldwide
economic crash” of 2008. By the deletion of news, and retaining just the main titles and filling the spaces of pictures
with grey zones, the truthfulness of the past events becomes uncertain.
Le monde 2009 #1-12, 2010
A serie of 12 drawings, graphite on tracing paper
Each 55 x 40 cm, wall approx. 500 x 600 cm
Galerie l’Indépendance, Luxembourg
Ailleurs, ailleurs, ailleurs #3, 2010
Graphite on paper
29,7 x 21 cm
Write the word “ailleurs/elsewhere” on a sheet of paper with a Critérium pencil, as small as possible and as often as
possible. By the repetition of the word ad infinitum, a tireless quest for the representation of this non-place starts. The
sheet of paper is only about one-third filled, and suggests that the search will continue later on. An invisible image
appears, thus revealing a kind of abstract diagram resulting from this physical and mental experience.
In memory of human amnesia, 2008-2009
Triptych, graphite on paper
Each 17,5 x 148 cm
In the form of a triptych, the phrase “In memory of human amnesia” is written in shaded colours with graphite on
paper. The deletion is justified on the left, in the middle and on the right, thus making reference to the propositions
available when a text is laid out and/or paginated.
There are always other possible directions, 2009
Inkjet print on 50 A4 sheets of cut paper
Dimensions vary with installation
Galerie Hervé Bize, Nancy, France
Paper frames are cut out based on some fifty A4 format photographic prints coming from the artist’s book. The title,
date and page numbering, as well as the references and cut lines are printed on the edge of each frame. Some of
these frames are pinned to the ceiling and the others are fitted together to remain balanced, becoming a suspended
grid evolving in time and space.
Du temps perdu à la recherche du temps #1, 2009
Complete edition of À la recheche du temps perdu of Marcel Proust amended
Transparent blue bags with crumpled book pages, approx. 200 x 85 x 70 cm
Galerie Hervé Bize, Nancy, France
To read the complete, seven-volume edition of Marcel Proust’s book “A la recherche du temps perdu”, the artist put
on a daily performance for several months. Each page is torn out after being read and stored in see-through plastic
bags. The action stops at the last volume titled “Le temps retrouvé” which remains intact in its entirety. All the elements are then stored on a shelf unit with seven shelves.
Du temps perdu à la recherche du temps #1, 2009
Complete edition of À la recheche du temps perdu of Marcel Proust amended
Transparent blue bags with crumpled book pages, approx. 200 x 85 x 70 cm
À l’infini, 2007-2009
65 color photographs, 10 x 15 cm and 15 x 10 cm
Dimensions vary with installation
Galerie Hervé Bize, Nancy, France
65 photos (post card format, 10 x 15 cm et 15 x 10 cm) made over several months during daily walks taken by the
artist, emphasize the symbol of infinity, as it can be found in nature and in the urban space. Installed side by side
in the exhibition venue, they draw a skyline at the artist’s eye level.
Temporary Housing, 2009
400 cardboard boxes, gold paint, 24 carat gold, each 25,5 x 30,5 x 22,5 cm
Variable presentations and dimensions
Kunstraum, Vaduz, Liechtenstein
Some 400 cardboard boxes of the same size form the beginning of the construction of a house which remains unfinished. The work may take on different looks, depending on the place and the display space. All the boxes are spray
painted gold, apart from four of them (i.e. 1% of the whole collection) which are covered with 24-carat gold leaf.
Nous, 2009
Neon, paper
Dimensions vary with installation
Kunstraum, Vaduz, Liechtenstein
On a mountain of bank documents cut up with the help of paper shredders, a neon, in a sequence of flashes, shows
the words NOUS, NO US, US NO. NO US in English is the negation of the NOUS in French, and US NO is the acronym
for “United States Naval Observatory”, one of the oldest astronomical observatories in the USA.
Timeless, 2009
Two wood walls, white acrylic paint, 2000 m of black elastic rope
Approx. 250 x 250 x 650 cm
Centre d’arts plastiques et visuels, Lille, France
The word “Timeless” is written by perforation on two walls built facing each other. They trace a frontal viewpoint, the
“pause” symbol in the exhibition venue. Each hole is linked by a black elastic cord which crosses the whole of the two
walls. At each end, the cord is held by a knot which, in some places, does not connect with the other side. It then slides to
the inside of the corridor and forms a tracery of threads which become an obstacle to be got around, both physically and
mentally. The word “Timeless” cannot be completely read, or else only by assimilating the voids and solids of each wall.
For this readability, the spectator must move about continually.
White map #1, 2008
Tempera and acrylic on map
80 x 60 cm
A series of paper maps (of city centres in the world’s metropolises) bought by the artist on his travels, are completely repainted with the same colours based on the original, thus making all the indications helping to get your
bearings and identify the maps disappear.
Shoes for experienced walkers, 2008
Leather, modified soles
Each 21 x 30 x 12 cm and colour film, silent, 2’ loop
Transplant, Dale i Sunnfjord, Norway
Large walking shoes for crossing rough terrain were made from scratch by the artist on a journey in Norway. Standard rubber soles (mountain style) were each cut in the middle and then glued back together, the two front parts together and the same procedure for the two back parts. The stitching, which surrounds the shoes, traces the symbol of infinity which extends to the form of the asymmetrical tongue. This work is situated at the crossroads of the
fields of design, sculpture and performance, because the artist made a film to test the shoes which subsequently
became a fully-fledged sculptural object.
Shoes for experienced walkers, 2008
Leather, modified soles
Each 21 x 30 x 12 cm and colour film, silent, 2’ loop
Endless time searching #4, 2008
White neon
72 x 74 cm
The symbol “update current page”, most often used on the Internet to relaunch a failed search, is here enlarged and
reproduced in white neon based on a sketch drawn by the artist. Through its contextual shift, the work proposes updating the imagination each time the eye passes over the symbol.
Endless time searching #6, 2009
Clock amended
ø 30,5 cm
A clock was vandalized and is thus deprived of its original function.
GR #1-4, 2007
Black, red, blue, green pens (Bic) on Map
Each 140 x 100 cm
Reinterpretation of a map showing the territorial identity of the Grande Région or Greater Region(a term describing
a political agreement between the four regions situated at the heart of Europe, the German Länder of the Saar and
Rhineland-Palatinate, the Lorraine Region in France, in Belgium, the Walloon Region and the French- and Germanspeaking communities of Belgium, as well as the Grand Duchy of Luxembourg) in a shift of context. The artist has
covered four of these maps with the elementary colours of the famous Bic biros (red, green, blue and black).
Tenho em mim todos os sonhos do mundo, 2007
Sentence removed from the poem Tabacaria dated 15-01-1928 from Alvaro de Campos
one of Fernando Pessoa’s heteronyms, ca. 2645 nails, variable dimensions
FRAC Poitou-Charentes, Angoulême, France
The sentence ‘‘Tenho em mim todos os sonhos do mundo/I carry in me all the dreams of the world’’, written on 15
January 1928, is taken from the poem “Tabacaria” by Álvaro de Campos, one of the many heteronyms of Fernando
Pessoa. It is made with about 2,645 steel nails, using “Times New Roman” font, on a wall in the area accommodating
it. “Times New Roman” was created in the same period, in 1931, by Victor Larden, under the supervision of Stanley
Morison (Monotype), for the London daily newspaper “The Times”, which had commissioned him to come up with a
bookwork character that could become universal, and be used for many purposes in printing. The sentence can only
be read from a certain distance, and thus requires the viewer to move about. The sentence is here closely connected
with the utopia of immigration, exile, and peoples thinking about leaving their country of origin to find an Eldorado
where all their dreams might be fulfilled.
Tenho em mim todos os sonhos do mundo, 2007
Sentence removed from the poem Tabacaria dated 15-01-1928 from Alvaro de Campos
one of Fernando Pessoa’s heteronyms, ca. 2645 nails, variable dimensions
Cabo da Roca, 2007
Colour film diptych, sound, 10’
Variable dimensions
La Chaudronnerie - FRAC Champagne-Ardenne, Reims, France
The physical limits, the origin of geographical boundaries are experimented with in the form of a double projection
video, in which the artist films himself walking beside the Atlantic ocean, following the contours and rhythms of
this irregular territory, to its uttermost limit. Located in Portugal, ‘’Cabo da Roca’’ is the westernmost point of the
European continent. Without physical preparation, or adequate equipment, the body is threatened with danger
by the risk of slipping. This feeling, underpinned by the dimension of the projection of the videos in actual size, is
increased during the moments when the empty spaces obtained during the descent of the rock and the climb back
up overlap.
Untitled (Welcome Stranger), 2007
White neon
300 cm x 60 cm
‘’Welcome stranger’’ is the name that was given to the world’s largest gold nugget discovered by John Deason and
Richard Oates at Moliagul (Victoria) in Australia on 5 February 1869. This title, made in white neon, uses the artist’s
handwriting. In a way it is a tribute to immigrants and peoples relentlessly looking for an easier life.
The Saved Shoes #2, 2007
68 cut shoes
ø approx. 400 cm
La Chaudronnerie - FRAC Champagne-Ardenne, Reims, France
This work uses the memory of worn shoes which were offered by people encountered by the artist in the month of
December 2006. After using the shoes as a concrete mould for the piece titled “Trophées/Trophies”, they are here
re-used in a circular configuration on a wall in the exhibition venue.
All around, 2007
Wood, acrylic paint, vinyl marking, engine, 12 rackets with ping-pong balls
Diameter 274 cm and 92 cm high
Inaugural exhibition, Capitale Européenne de la Culture 2007, Luxembourg & Grande Région
‘’All around’’ is a sort of round ping-pong table, divided into twelve parts, like the division of a clock. The net revolves
on its own axis in one minute. Because the table can, in an absolute sense, accommodate up to twelve players, these
latter must revolve at the same speed as the net so as not to be jostled or bumped into by their fellow players and
opponents. So the rules have to be invented by each participant. If nobody plays, the net endlessly counts the time
that passes.
L’horizon retrouvé, 2007
31 adhesive mirror texts, artist book, 13 ink stamps, acrylic paint, orientation table
Variable presentations and dimensions
FRAC Lorraine, Metz, France
HR 03, Unité d’habitation Le Corbusier, Briey
HR 11, Musée d’art contemporain, Épinal
“The Horizon Refound” is a work around the idea of dissemination and horizon. When works belonging to the collection
of the Frac Lorraine were distributed in several venues in the region, the artist drew on the floor of the venue in the
Frac, in Metz (France), an abstract map scattered with dots and letters evoking the image of a constellation. For each
dot, the artist wrote a short poem printed in a book with the format of a passport, and, with the help of silvered adhesives, he dispersed each dot, by sticking them to a feature of the architecture in each venue. So everyone was able to
retain a trace of their own itinerary by having themselves stamped in passing at each stage. The book thus turned into
a personal art object in its own right. Everyone was able to write their own thoughts in it, because there were blank
pages corresponding to unreferenced dots on the map drawn in Metz.
Rythme vital (7 propositions de déambulation quotidienne), 2007
Neon 7 colours, wooden box, acrylic paint, 220 x 160 x 14 cm, 7 couleur films, sound, variable durations,
21 drawings, mixed media on paper, each 29,7 x 40 cm
Galerie Hervé Bize, Nancy, France
For the website of the Galerie Hervé Bize in Nancy (France), the artist came up with a series of seven possible ways
to get to the gallery from the railway station at Nancy. Each trajectory is filmed continuously and projected in
the exhibition venue. All the journeys are then transcribed in a neon maquette and accompanied by 21 drawings
inspired by fragments taken from the videos. The artist was keen to continue this work on the contact page of the
gallery’s website, where the videos would be available to replace the usual details of the address and cartographic
landmarks. Each potential visitor could thus get to the gallery by choosing one of the seven routes and view it so as
to memorize it, once arrived on the spot.
Portugal Agora – À propos des lieux d’origine, Aide-mémoire, système appui idées, 2007
Catalog and artist book, 360 pages, ISBN 978-2-919923-74-8, 24 x 17 cm
Mudam Editions, Luxembourg
A book/catalogue conceived like an atlas, explores, with one aim in mind, an individual, collective and interactive
process. What is actually simultaneously involved is a catalogue for a group show, and personal research for graphic
grids exploring the notion of variability, as well as a note-pad. The images and texts are not directly visible when
the book is opened, you have to cut the double pages for the content to be revealed. The only visible feature is
made up of the grids which helped with the book’s composition. For each of the artists, a different organizational
system was produced.
Portugal Agora – À propos des lieux d’origine, Aide-mémoire, système appui idées, 2007
Catalog and artist book, 360 pages, ISBN 978-2-919923-74-8, 24 x 17 cm
Mudam Editions, Luxembourg
Le monde nomade #1, 2006
Physical or political map, cut in 60 vertical strips
Variable presentations and dimensions
FRAC Lorraine, Metz
A physical (paper) map was cut up into sixty individual vertical strips, tallying with the measurement of time, in
seconds and minutes. The thin strips, which are rolled upon themselves, can be put together as wished, proposing,
from one intervention to the next, ephemeral visions of the world. The strips unroll slowly depending on the temperature of the space; they can also be stored after having elastic bands put round them in a transparent tube,
making the object easy to transport.
Le monde nomade #1, 2006
Physical or political map, cut in 60 vertical strips
Variable presentations and dimensions
Un temps au présent #1 (Calendrier éternel, 12 propositions d’espaces pour expérimenter le temps), 2006
12 note books cut in 372 A4 sheets, box, 62 x 44 x 3 cm
Variable presentations and dimensions
This eternal calendar proposes 12 exercise books of differing shapes and sizes, all completely empty, for experimenting with our time-related subjectivity. A month may thus be offered or lent to someone to share time in common.
These fragments, after use, can thus become sculptural traces of the passage of time, and they can be subsequently
re-updated.
Un temps au présent #1 (Calendrier éternel, 12 propositions d’espaces pour expérimenter le temps), 2006
12 note books cut in 372 A4 sheets, box, 62 x 44 x 3 cm
Variable presentations and dimensions
Mental Type, 2005-2009
Wall painting and digital typography
Variable presentations and dimensions
Museu da Electricidade, Lisboa, Portugal
A coded alphabet explores the notions of centre and periphery. Akin to a labyrinthine representation of language, the
alphabet is used essentially as a wall painting to activate anonymous messages. It may also be used in a digital version
to compose texts. The pink colour is the shade given to the symbols which are not recorded in the page-numbering
programme during the creation of the alphabet. Because the artist only drew the 26 basic symbols of the Roman
alphabet, the other symbols thus appear like an absence, a void. The artist uses this pink colour to evoke a flaw, “an
amnesiac absence” of memory. The phrases visually become complex structures of our thought and unveil directions,
arrows which revolve around the centre without ever reaching it.
Mental Type, 2005-2009
Wall painting and digital typography
Variable presentations and dimensions
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MARCO GODINHO
Born 1978 in Salvaterra de Magos, Portugal
Lives between Paris and Luxembourg
Represented by Galerie Hervé Bize, Nancy, France
www.marcogodinho.com
[email protected]
Education
2005-06 Post-diploma, ANRT (National Atelier for Typographic Research), Nancy, France
2003-05 DNSAP (Higher National Diploma of Visual Arts), School of Fine Arts, Nancy, France
2004 Research, ECAL (Cantonal School of Fine Arts in Lausanne), Switzerland
Research, Kunstakademie & Fachhochschule, Düsseldorf, Germany
2000-03DNAP (National Diploma of Visual Arts), School of Fine Arts, Nancy, France
SOLO exhibitions
2013
- Invisible More Visible More Invisible, Faux Mouvement, Metz, France
- Invisible More Visible More Invisible, Casino Luxembourg – Forum d’art contemporain, Luxembourg
2012
- A moment out of this time, Galerie Hervé Bize Nancy et École des Mines, Nancy, France
- Invisible More Visible More Invisible, Neuer Kunstverein Aschaffenburg, Germany
- Close to the disappearance, Espace pour l’Art (Association Asphodèle), Arles, France
2011
- Marco Godinho, Le Mois de la Photo, Montréal, Canada
- Marco Godinho, One-man-show, Salon du dessin contemporain, Paris, France
2009
- Continual Changes, Galerie Hervé Bize, Nancy, France
- Timeless, Centre d’Arts Plastiques et visuels de la ville de Lille, France
2008
- Shoes for experienced walkers, Transplant, Dale i Sunnfjord, Norway
- Centre d’art contemporain de la ville de Dudelange, Luxembourg (avec Sébastien Gouju)
- Sometimes be here and there at the same place, Instituto de Camões, Luxembourg
2007
- In memory of human amnesia, Galerie d’Art du Théâtre d’Esch, Luxembourg
- À plein temps, Galerie Hervé Bize, Nancy, France
- The saved shoes, La Chaudronnerie/Lycée Val de Murigny, Le Collège/F.R.A.C. Champagne-Ardenne, Reims, France
2006
- Quelques minutes en retard ou un temps en avance, Octave Cowbell, Metz, France
- At this moment I have time. I have time at this moment. Kiosk, Luxembourg,
invited by AICA (International Association of Art Critics)
GROUP exhibitions
2013
- Museo Universitario Universidad de Antioquia, Medellin, Colombia
- Banco de la República, Bogota, Colombia
- Museo de Arte Moderno de Buenos Aires, Argentina
- Bienal Video y Artes mediales, Santiago du Chili, Chile
- Mois européen de la photographie, Luxembourg
- Alt.Macht.Neu, Villa Vauban, Musée d’Art de la Ville de Luxembourg
- Les lignes du geste, 49 Nord 6 Est – Frac Lorraine & Centre Pompidou-Metz, France
2012
- Geografie erranti, Art Verona, Italy
- Frac Forever, Centre Pompidou-Metz, France
- Arpenter la ville, Works of the collection of the FRAC Limousin, Chapelle Saint Libéral, Brive, France
- Sunset, Frac Poitou-Charentes, site de Linazay, Linazay, France
- The Material Feat, Espace Labo, Genève, Switzerland
- Nothing, NaMiMa (Gallery of the School of Fine Arts in Nancy), France
2011
- Les mondes nomades et autres variations autour de la ligne d’horizon,
Museo Nacional de Artes Visuales (MNAV), Montevideo, Uruguay
- Au bout du monde, Musée du Quai Branly, Paris, France
- Realfictions, Galerie l’Indépendance, Dexia BIL, Luxembourg
- Totalité vécue - les collections ergastule, Espace Adagio, Thionville, France
- Unique, Galerie 9, Nancy, France
- Double Fantasy, Galerie Hervé Bize, Nancy, France
- Plateaux, Quartier du Parc Central, Plateau du Kirchberg, Luxembourg
- Prix d’art Robert Schuman, Cercle-Cité, Luxembourg
- Mémoires obliques, Frac Poitou-Charentes – Lycée Émile Combes, Pons, France
- Out-Of-Sync, The Paradoxes Of Time, Mudam, Luxembourg
- Mappamundi, Fondation Berardo, Lisbon, Portugal
2010
- d’Gëlle Fra, Hall 75 Bascharage, Luxembourg
- Collection Ergastule, Galerie 9, Nancy, France
- Marcher-Créer, Les rencontres d’Arles, National School of Photography in Arles, France
- Drawing Now, Salon du dessin contemporain, Carroussel du Louvre, Paris, France
- The great public sale of unrealized but brillant ideas, project by Sarah Vanhee, Centre Pompidou-Metz
2009
- Through the Looking-glass, Kunstraum, Vaduz, Liechtenstein
- Festival Arbres et lumières, installation Focusing Life, Quai du Mont-Blanc, Geneva, Switzerland
- C’est confortable [...] mais ça prendra du temps, the art group Daté at Agent Double, Geneva, Switzerland
- La fête est permanente, F.R.A.C Champagne-Ardenne au Musée de l’Ardenne, Charleville-Mézières, France
- Keep your options open, 1989-2009, Galerie Art Attitude Hervé Bize, Nancy, France
- Quelque chose du temps, F.R.A.C Lorraine au Centre de détention, Toul, France
- Salon du dessin contemporain, Galerie Art Attitude Hervé Bize, Paris, France
- 008. Collection : nouvelles connexions, F.R.A.C Poitou-Charentes, Angoulême, France
- Lá Fora, Museu da Electricidade - Central Tejo, Lisbon, Portugal
2008
- Festival Arbres et lumières, installation Focusing Life, City of Luxembourg
- Transplant goes Landmark, Kunsthall, Bergen
- Blast from the past, Galerie Art Attitude Hervé Bize, Nancy
- Stranger than Paradise, Galerie Presença, Porto, Portugal
- Frontières, Médiathèque, Forbach, France
- 27 Graphistes pour l’Europe, Paris Airports
- Expérience Pommery # 5 : L’Art en Europe, Domaine Pommery, Reims, France
- Lá Fora, Praça da Liberdade (building Fernando Távora), Viana do Castelo, Portugal
- Frontières, La galerie - Espace Georges Brassens, Talant, France
- Greetings from Luxembourg. Musée de l’Histoire de la ville du Luxembourg
- Premier Salon du dessin contemporain, Galerie Art Attitude Hervé Bize, Paris, France
- L’Homme Merveilleux, Château de Malbrouck, Manderen, France
- P2P, Bureau/Casino Luxembourg – Forum d’art contemporain, Luxembourg
2007
- Portugal Agora - À propos des lieux d’origine, MUDAM, Musée d’art moderne Grand-Duc Jean
- Show Off, Espace Pierre Cardin, Paris
- Différences partagées, Former Steelworks, Dudelange, Luxembourg
- Merveilleux ! D’après nature, Château de Malbrouck, Manderen, France
- L’horizon retrouvé dans l’exposition À l’horizon de Shangri-la, Frac Lorraine, Metz
- Sublimes objets, collections sans frontières VI,
National Museum of Contemporary Art and French Cultural Institute, Bucharest
- Cabo da Roca, 24 hours to celebrate contemporary art in France,
January 17, 2007 from 6:20 p.m. to 6:30 p.m., La Chaudronnerie – F.R.A.C. Champagne-Ardenne, Reims
- Roundabout, Rotonde 2, Bonnevoie (Inaugural exhibition, European Capital of Culture 2007), Luxembourg
2006
- Mulhouse 006, Mulhouse
- Antipodes, Frac Lorraine, Metz
(...)
RESIDENCIES
2011
- CIRVA Marseille with Glass-Fabrik, France
- Frac Poitou-Charentes – Lycée Émile Combes, Pons, France
2010
- Dale Sko, Dale i Sunnfjord, Norway
- Ergastule, Nancy, France
2008
- Transplant, Dale i Sunnfjord, Norway
2007
- Cité Internationale des Arts, Paris, France
2006-07 - Frac du Grand Est, FRAC Champagne-Ardenne, Reims, France
Workshops
2013
- Instrumental Architecture, project IN SITU, Lycée classique de Diekirch, Luxembourg
- Sculpture de voyage, project Cap Futur, Lycée technique Bel-Val, Esch-sur-Alzette, Luxembourg
in collaboration with Casino Luxembourg – Forum d’art contemporain
2012
- Creative Process, Instituto de Camões, Luxembourg
2011
- Creative Process, Art Freak Workshops, Mudam, Musée d’art moderne Grand-Duc Jean, Luxembourg
- Creative Process, Frac Poitou-Charentes – Lycée Émile Combes, Pons, France
- Expérience Musée 2011, Mudam, Musée d’art moderne Grand-Duc Jean, Luxembourg
2009 - Île de Bengtsar, in collaboration with Théâtre de personne & Lyse Seguin, Finlande
- Detention Centre in Toul in collaboration with Frac Lorraine, Metz, France
2008
- Transplant, in collaboration with Tomas Espedal, Dale i Sunnfjord, Norway
- Cartographie mentale, Mudam, Musée d’art moderne Grand-Duc Jean, Luxembourg
2007 - Centre d’art contemporain la Synagogue de Delme – École d’Aulnois/Seille, France
Interventions, Collaborations & Video Projections
2012
- Sound work in collaboration with the artist Benjamin Dufour and scenography work around
the body with Fábio Godinho (actor, dancer, musician and stage director) for the exhibition
Invisible More Visible More Invisible, Neuer Kunstverein d’Aschaffenburg, Germany
- Screening of the video Something White in the program Des Territoires,
ÉSAL (École Supérieure d’Art de Lorraine), Metz, France
- Round-table conference, Une résidence d’artiste peut en cacher une autre,
Casino Luxembourg – Forum d’art contemporain, Luxembourg
2011
- Round-table conference, Lucidité. Vues de l’intérieur, with Anne-Marie Ninacs,
curator of the 12th Edition of the Mois de la Photo in Montréal, Canada
- In conversation with Marco Godinho, in the program Art Museums are bad for you at Mudam,
Musée d’art moderne Grand-Duc Jean & University of Luxembourg
- In conversation with Marco Godinho, Frac Poitou-Charentes – Lycée Émile Combes, Pons, France
- Screening of the video Something White in the program Les yeux la nuit, Maison Lillebonne, Nancy
- Projection of the photographic project À l’infini réalisé realized between 2007 and 2009,
Portfolio Night, (CNA) Centre National de l’Audiovisuel, Dudelange, Luxembourg
2009
- Seminar, First Professional Days, École Supérieure d’Art de Lorraine, Metz, France
- Projection of the photographic project Sans Titre (The saved shoes), 2007,
Portfolio Night, (CNA) Centre National de l’Audiovisuel, Dudelange, Luxembourg
2008
- In conversation with Marco Godinho, Transplant, Dale i Sunnfjord, Norway
- Sometimes be here and there at the same place, performance in collaboration with Fábio Godinho,
Instituto de Camões, Luxembourg
2007
- Screening of the video 365 jours, en 7 minutes, 1 par 1, Centre d’Initiative et de Gestion Local d’Esch, Luxembourg
2006
- In conversation with Marco Godinho, FRAC Champagne-Ardenne, Reims, France
2005
- Screening of videos in the program Les yeux la nuit, Maison Lillebonne, Nancy
artist books & catalogs (Selection)
2013
- Endless Time Searching, edited by Galerie Hervé Bize, Nancy & Analogues, Arles, distribution Les presses du réel, Dijon
- Invisible More Visible More Invisible #3, edited by Faux Mouvement – Centre d’art contemporain, Metz, France
- Invisible More Visible More Invisible #2, edited by Casino Luxembourg – Forum d’art contemporain, Luxembourg
2012
- Invisible More Visible More Invisible #1, edited by Casino Luxembourg – Forum d’art contemporain, Luxembourg &
Neuer Kunstverein Aschaffenburg, Germany
2007
- Artist Book & Catalogue for the exhibition Portugal agora - À propos des lieux d’origine at the Mudam, Luxembourg
- Passeport, L’horizon retrouvé, poems in haïku form by Marco Godinho, edited by Frac Lorraine, Metz, France
Curator
2011
- Mémoires obliques, selection of works from the collection of Frac Poitou-Charentes, Lycée Émile Combes, Pons, France
2009
- Curator for the French part of the Prix d´Art Robert Schuman 2009, Metz, France
scholarships, Awards and Nominations
2013
- Project stipend, Œuvre Nationale de Secours Grande-Duchesse Charlotte, Luxembourg
2012
- Project stipend, Ministère de la Culture, Luxembourg
- Project stipend, Fondation Independance, Luxembourg
2011
- Nominated at the Art Price Robert Schuman, Cercle-Cité, Luxembourg, by Marie Cozette (La synagogue de Delme)
2010
- Nominated at Prix Edward Steichen, Luxembourg, by Hélène Guenin (Centre Pompidou-Metz)
- Edition stipend, Ministère de la Culture, Luxembourg
- Edition stipend, Focuna, Luxembourg
2009
- Edition stipend, (CNAP) Centre national des arts plastiques, France
- Nominated at the public art project The outdor Gallery of the city of Gdansk, Pologne, by Enrico Lunghi (Mudam)
2007
- Stipend to produce the first solo exhibition in a gallery in France, (CNAP) Centre national des arts plastiques, Paris
2006
- First Prize, XXII Biennial Esch, Luxembourg
PUBLIC COLLECTIONS
- Loterie Nationale, Luxembourg
- Ministère de la Culture, Luxembourg
- Fonds d’urbanisation et d’aménagement du Plateau de Kirchberg, Luxembourg
- F.R.A.C Poitou-Charentes, Angoulême, France
- F.R.A.C Champagne-Ardenne, Reims, France
- Musée de l’Histoire de la ville du Luxembourg
- F.R.A.C Limousin, Limoges, France
- Centre d’art de la Ville de Dudelange, Luxembourg
- Conseil général de la de la Moselle, France