Commissariat fr - Marie Auvity

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Marie Auvity
commissariat d’expositions
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window 42
1999 - 2001
Espace de projets (organisation indépendante à but non lucratif) situé au 42 New Oxford Street à Londres.
Ce projet a été possible grâce aux collaborations succéssives de Uwe Middel (artiste), Johnatan Viner (curator) et Charlie Birch (artiste).
Créé en 1999, window 42 était un espace de projet indépendant qui a offert aux artistes l’opportunité de produire et de montrer
des projets spécifiquement imaginés pour un lieu, un contexte. Jusqu’en 2001, window 42 a occupé la vitrine commerciale d’un
restaurant au centre d’un des quartiers les plus animés de Londres. Cet espace, ouvert 7 jours sur 7 de midi à minuit, a permis de
confronter les projets des artistes avec un public non averti, souvent incrédule et parfois hostile.
En constante évolution, l’espace s’est réinventé et régénéré à chaque nouvelle contribution. Pendant deux ans, jusqu’à octobre
2001, window 42, libre de toutes obligations commerciales ou institutionnelles, opéra comme un espace d’expérimentation, un
laboratoire de recherches pour les artistes plasticiens.
Des collaborations se sont également développées avec d’autres commissaires d’exposition notamment avec Sébastien Pecques
et sa galerie nomade A48 et Marc-Olivier Wahler pour l’exposition «Transfer».
Pour plus d’informations : www.window42.org
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Programmation 1999 - 2001
Marie Auvity, Someday..., installation vidéo
27 septembre - 03 octobre
Nigel Grimmer, No place left to go, installation
04 octobre - 10 octobre
Uwe Middel, Head, peinture
18 octobre - 24 octobre
Anna Adahl, Palais Royal, photographie
11 novembre - 17 novembre
Julien Prévieux, Crash test, installation vidéo
25 novembre - 31 novembre
Armèle Portelli, Sans apparence, installation
15 novembre 1999 - 01 décembre 2000
Sébastien Pecques, The players,
photographies numériques
02 - 14 décembre 2000
Gérald Petit, Funny not much, photographie
15 décembre 1999 - 04 janvier 2000
Urban Danzig, Instructions for Dreaming Sweet,
installation, 28 février - 31 mars 2000
Ian Whittlesea, wall painting, 06 mai - 12 juin 2000
Transfer : Art in the city space (London)
Posters de Simone Decker, Peter Garfield, Peter Land et Erwin
Wurm,
partenaire de l’exposition «Transfer», Bienne (CH)
15 juin - 31 août 2000
Christoph Büchel, For sale, installation sonore,
partenaire de l’exposition «Transfer», Bienne (CH)
15 juin - 31 août 2000
Elizabeth Price, Hearse, installation photo
17 novembre - 15 décembre 2000
Gianni Motti, The big Crunch Clock , sculpture
21 décembre 2000 - 30 janvier 2001
Catherine Harper, Queenie knits one, purls one,
performance
14 juin - 17 juin 2001
Margot Montigny, Untitled (postmodern), photographie
27 juin - 26 juillet 2001
Anna Adahl, Elmo, installation vidéo
12 août - 06 septembre 2001
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Nigel Grimmer, No place left to go, installation
04 October - 10 October 1999
Grimmer often uses an installative approach to photogaphy and video, cleverly incorporating some major and less well known
icons of popular culture. No place left to go continues his series of installations of english pop cultural artefacts.
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Elizabeth Price, Hearse, photographie, 30x40 cm
17 November - 15 December 2000
Hearse at window 42 is the latest in an ongoing series of photographs by the artist and follows Hearse at 3 Month Gallery - Liverpool (1997), Hearse at Cambridge Dark Rooms (1998) and Hearse at Arthur. R. Rose - London (1999).
Price’s practice centres on the mundane and commonplace, through actions and events she reveals the unpredictable potential
of the quotidian. Setting precise criteria and parameters at the outset of her various projects Price then allows the work it’s own
trajectory the outcome of which is impossible to anticipate. Indeed the artist often “ups the ante” by creating works that continually defer their own and ultimate conclusion: consider Price’s work Trophy, a cup that does no more than commemorate it’s own
exhibition with a new inscription each time it is shown. Be it a 24 hour drawing or a year long archival project like Dot, a recent
project involving the setting up of an archive of artist’s work, Price’s precipitive practice hightens our perception of the incremental
and renders the prosaic peculiarity fascinating.
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Catherine Harper, Queenie knits one, purls one, performance
14 June - 17 June 2001
Queenie knits one, purls one is the latest in an ongoing series of perfomances in which Harper stars as her alter ego, Queenie. For
window 42, Harper as Queenie will sit in residence for a week long ‘drag knitting’ performance from 4pm to 10pm each day.
As with most of her performances, Harper engages Queenie in traditional feminine crafts and repetitive labours in the epitome of
exagerated glamour. Harper has developed Queenie from a long term engagement with textiles and her previous work includes
a series of ‘gender-variant’ undergarments such as her ‘Antler Bra’, a horned corset titled ‘My Desire has Horns’, and a series of
‘hermaphrodite Y-fronts’. If Freud wrote that women invented weaving to make up for their lack of phallus, then Harper as Queenie
inverts that glorification to rest on her own labour and enterprise.
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Urban Danzig, Instructions for Dreaming Sweet, installation
28 February - 31 March 2000
After graduating from universitet nauki imeni Lenina where he studied mechanical engineering industries and psychology, Danzig
became involved in artists activities in the late 1960s. Using his knowledge, he started to build automated objects to approach an
audience directly on a psychological level. Instructions for dreaming sweet features a replic of Danzig`s legendary «psychoelastic
arrangement». This hypnotic machine was banned by the authorities for it`s subversive effect on the audience, when it was first
publicly shown in Leningrad in 1976. Danzig went into exile in West Germany in 1979, where he carried on working as an artist.
In 1983 he formed the experimental Rockband «Achterbahn».
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Ian Whittlesea, wall painting
06 May - 12 June 2000
As in previous work Whittlesea has taken fragments of a published text as his subject. In this new work he presents the viewer with
a series of quotes adapted from William Jamesí book The Varieties of Religious Experience (1902) which describe the four qualities
of a mystical experience. Whittlesea produces the text using a hand cut stencil. By employing the commonplace typeface Helvetica
Bold and a limited palette of black and white he brings an acute formal consistency to his text works and in doing so heightens
our awareness of the formal qualities of the text, destabilising the hierarchical relationship between word and image.
Although Whittleseaís work exhibits a high degree of precision both formally and conceptually this does not limit possible interpretations . His careful consideration of the relationship of this new piece to itís immediate environment opens up a particularly
rich and expansive set of dialogues. The work describes a state that is profoundly unpurchasable, providing a counterpoint to
the permanent commercial signage and advertising found along New Oxford Street. The work sets itself aside from the stream of
commercial transactions that take place in this busy district while at the same time heightening our awareness of them. William
James description of mystical experience bears an uncanny similarity to how we might describe our modern day encounter with
a work of art.
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Gianni Motti, The big Crunch Clock , sculpture
21 December 2000 - 30 January 2001
The big crunch clock was launched for the first time the 1st january 1999. With its 20 digital number, the clock is decounting the 5
milliards years before the explosion of the sun.
After claiming responsability for events such as earhquake or total lunar eclipse, Motti confronts us this time with our own millenarian fears.
Gianni Motti, whose art often makes free use of the public domain, loves to play with events. Infiltrating the 53rd session of human
rights conference as the indonesia delegate, campaigning for the american election or inviting the colombian president to psychotherapy seance, Motti’s work may at times ressemble a practical joke, but it campaigns subtly and incessantly against a society that
is reluctantly seeking to effect change or at the very least confronts individuals with unconfortable questions.
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Transfer, Art in the city space (London)
Christoph Büchel, For Sale, sound installation
15 June 2000 - 31 August 2000
As a partner in the exhibition «Transfer» to be held in the city of Bienne, Switzerland, Window 42 is pleased to present a new set of
poster works by artists Peter Land (Denmark), Simone decker (Belgium), Peter Garfield (America), and Erwin Wurm (Austria). Window 42 will act as an agency for the London Distribution of these specially commissioned fly-posters that will be simultaneously
on view in the streets of Basel, Berlin. Bern, Dijon, Geneva, Hamburg, Neuchatel and Paris.
Window 42 will also present an audio work by swiss artist Christoph Buchel. For this project Buchel has had a telephone line
installed into the gallery, the number of which will appear on a series of fictitious sales and letting notices placed on properties
throughout the city of Bienne (these include municipal buildings, churches, cafes, museums and shops). By connecting this telephone line to a public address system, Buchel intends to broadcast directly onto New Oxford Street the responses elicited by the
provocative act of putting the city of Bienne up «For Sale».
Transfer aims to present works that graft themselves onto already existing city infrastructures, thus emphasizing the complex vernacular of the city.
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Timeline
2005
Projet en deux volets organisé en collaboration avec THE STORE entre octobre 2004 et Novembre 2005
www.time-line.tv
exposition en ligne du 22 octobre 2004 au 22 avril 2005
Timeline vol. 2
exposition du 3 au 13 novembre 2005
Bétonsalon-Paris
Timeline est une exposition qui s’est déployée non pas dans l’espace mais dans le temps. Elle se présentait comme un enchevêtrement
de plusieurs narrations: pendant six mois, les artistes construisèrent (ou déconstruisèrent) un récit, adoptant les formes les plus
diverses. Chaque proposition se composait de six pages A4, comme autant d’épisodes. Elles étaient diffusées une par une, à raison
d’une page par mois. Toutes les ˛oeuvres étaient téléchargeables sous forme de fichier pdf. Le spectateur, partie prenante de ces
oeuvres en devenir, se transformait ainsi en «utilisateur» et pouvait imprimer les pages sur le papier de son choix, les découper,
les assembler, les afficher, les distribuer...
En 2004, Timeline fut également présenté lors des évènements suivants :
- Occupation #1, MAC/VAL, Vitry-Sur-Seine
- Salon des éditeurs lights, point éphémère, Paris, sur une invitation du CNEAI
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Rémy Bosquère, dispositif de consultation du projet, vue de l’exposition Occupations #1, MAC/VAL , Vitry-Sur-Seine
Projets des artistes :
Marie Auvity, The Blue Hour Case, installation
Sylvie Barré, La Rencontre, textes
Isabelle Cornaro, About Mysterioso, six short stories in a chronological order, photographies
DHS, De Hors Série, documents
Guillaume Dufresne, This is That, ardoises
Latifa Echakhch, Espace, documents
Elise Florenty, Because all the dreams I had stopped at the sixth picture, dessins
Ryan Gander, Before this Reckoning, photographies
Jean-François Guillon, avant dire, textes
John Isaacs, Impossible Dreams, affiches
Audrey Marlhens, Télé féérie, photographies
Shiro Masuyama, Diary at Künstlerhaus Bethanien, journal
Uwe Middel, wallpaper, 6 motifs de papier peint
Fleur Noguera, L’univers parallèle de l’éléphant, dessins
Karol Pichler, Dum Calet (Tant qu’il est chaud), objets
Julien Prévieux, Gestion des stocks, dessins
Elizabeth Price, In The Absence of Mrs. Petersen, documents
Sal Randolph, RECIPE/RECETTE, recettes
Hector de la Vallée, Les Animaux Morts, dessins
Ian Whittlesea, Thinking about Yves Klein, textes
Virginie Yassef, Scénario fantôme, photographies
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Uwe Middel, wallpaper, vue de l’exposition Timeline vol. 2, Bétonsalon, Paris
vue de l’exposition Timeline vol. 2, Bétonsalon, Paris
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vue de l’exposition Timeline vol. 2, Bétonsalon, Paris
Guillaume Dufresne, This is That, ardoises, vue de l’exposition Timeline vol. 2, Bétonsalon, Paris