C¯esis - Agence La Mercerie

Transcription

FRANCE
MONTROUGE
OCT. – NOV. 2015
DENMARK
HJØRRING
APR. – MAY 2016
POLAND
WROCŁAW
JUN. – JUL. 2016
LATVIA
CĒSIS
SEP. – OCT. 2016
ITALY
COMO
FEB. – MAR. 2017
SPAIN
FIGUERES
APR. – MAY 2017
CĒSIS
HJØRRING
PORTUGAL
AMARANTE
JUL. – AUG. 2017
DISTANCE : 7 989 KM
DURATION : 730 DAYS
WROCŁAW
MONTROUGE
COMO
FIGUERES
AMARANTE
2015-2017
The curious gaze of others
Jean-Loup Metton
Founder of the JCE
3
A two-year journey
Andrea Ponsini
Executive curator of the JCE
5
On the horizon of the JCE
2015 / 20176
FRANCE
12
Stéphane Corréard, Curator
DENMARK
Henrik Godsk, Curator
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POLAND
Ewa Sułek, Curator
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Marion Bataillard
Willem Boel
Virginie Gouband
Arthur Lambert
François Malingrëy
Louise Pressager
Tatiana Wolska
Qingmei Yao
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Valérie Collart
Ditte Knus Tønnesen
Amalie Jakobsen
Astrid Myntekaer
Christine Overvad Hansen
Nanna Riis Andersen
Johanne Skovbo Lasgaard
Dan Stockholm
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Miłosz Flis
Michał Frydrych
Marcelina Groń
Kornel Janczy
Berenika Kowalska
Izabela Łe˛ska
Tomasz Poznysz
Magdalena Sawicka
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LATVIA
Alberto Di Gennaro &
Curators
Dāvis Kanepe,
‚
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ITALY
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Francesca Testoni, Curator
SPAIN
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Mario Pasqualotto, Curator
Lauris Aizupietis
Margrieta Dreiblate
Atis Izands
Klāvs Loris
Oskars Pavlovskis
Paula Pelše
Linda Vigdorčika
Lauris Vitolinš
‚
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50
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Giulia Berra
Tania Brassesco & Lazlo Passi Norberto
Juri Ceccotti
Giulia Fumagalli
Matteo Galvano
Giovanni Longo
Federico Scarchilli
Aïda Andrés Rodrigálvarez
Adrian Espinós Ferrero
Anna Ill Albà
Jennifer Owens
Esther Pí Gómez
Mònica Planes Castan
Ignasi Prat Altimira
Ines Schaikowski
PORTUGAL
António Cardoso, Curator
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Basttuz
Inês Henriques
Mariana Mendes Delgado
Pedro Mesquita
Mónica Nogueira
Filipa Silveira
Marlene Teixeira
Fátima Teles
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Credits82
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The curious gaze of others
Le regard curieux de l’autre
The Jeune Création Européenne Biennale is
celebrating its fifteen years of existence. From
the beginning, the project carried the seeds of
an everlasting renewal, an effervescence. Each
generation of artists questions its present and
reinvents it through the crystallization, apparition and emergence of their artworks as material manifestations of the artistic energy set in
motion on the continent.
La Biennale Jeune Création Européenne fête
ses quinze ans d’existence. Dès l’origine, le
projet portait en lui les germes d’un perpétuel
renouvellement, d’une effervescence. Chaque
génération d’artistes interroge son présent et
le réinvente par cristallisation, apparition et
surgissement des œuvres comme manifestation
matérielle de l’énergie artistique mise en branle
sur le continent.
The joint presentation of these works to the various
audiences of the partner cities allows for the
confrontation of artists who would never have
had the opportunity to meet. The JCE Biennial is
an opportunity to contemplate the way artists’
concerns are evolving nowadays. Which forms
do the trends that inevitably arise take in a
globalized artistic expression? Is art still a product
of its social environment? Is there a local art,
a national art, a European art?
La présentation commune de ces œuvres aux
différents publics des villes partenaires permet
la confrontation d’artistes qui n’auraient jamais
eu l’occasion de se rencontrer. La Biennale
JCE est l’occasion de se poser la question de
l’évolution des préoccupations de l’artiste à
notre époque. Comment les inévitables courants
se manifestent-ils dans une expression artistique
mondialisée ? L’art est-il aujourd’hui encore
soumis à son environnement social, existe-il un
art local, un art national, un art européen ?
Discovering the originality of other gazes, whether
they are close to us or far away, is equally important, equally revealing for artists and for visitors;
their gazes are curious about themselves and feed
on all the other gazes gathered in the same place
at the same time.
One of the characters that give the JCE its relevance
is that it allows these artists and audiences to
study, observe and discover each other through
its original support program for young artists:
its travelling exhibition and its residencies.
We wish the cities of the JCE network, the artists,
and the audiences fruitful dialogues and happy
encounters.
Jean-Loup Metton
Mayor of Montrouge
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La découverte de l’originalité du regard de
l’autre, proche ou lointain est tout aussi importante, tout aussi révélatrice pour les artistes
que pour les visiteurs ; ce regard, curieux de
lui-même, se nourrit de tous ces autres regards
réunis au même moment au même endroit.
L’un des intérêts de la JCE est de permettre à
ces artistes et publics de se scruter, de s’observer et de se découvrir grâce à son programme
original de soutien aux jeunes artistes : son
exposition itinérante et ses résidences.
Aux villes du réseau de la Jeune Création, aux
artistes, aux publics, nous souhaitons de riches
échanges et d’heureuses rencontres.
Jean-Loup Metton
Maire de Montrouge
4
A two-year journey
Un voyage de deux ans
Seven cities to go through. Seven curators
opening the doors to their art centres. Fifty-six
artists embarking upon a new JCE adventure
in Montrouge.
Sept villes à traverser. Sept commissaires
qui ouvrent les portes de leurs centres d’art.
Cinquante six artistes qui s’embarquent à
Montrouge pour une nouvelle aventure de la JCE.
Europe as a backdrop and talent as their luggage.
We will see about the destination: the important
thing is to leave.
L’Europe comme toile de fond et le talent comme
bagage. La destination on verra, l’important
c’est de partir.
Languages overlay but the shared language is
that of contemporary art. This is where cultures
confront, where styles and techniques meet,
where new trends interweave.
Les langues se superposent mais le langage
commun est celui de l’art contemporain.
C’est là que les cultures se confrontent, les styles
et les procédés se rencontrent, le lien entre les
nouvelles tendances se tisse.
At the heart of the JCE lies movement. The movement of artists, audiences, professionals, and
ideas. Like a constantly changing living organism, the Biennale is a series of exhibitions
and events which ripens over the course of its
two years of existence. It feeds on the energies
of the places it settles into, it picks up new
perspectives and new vibrations at every step
of its journey.
The debate on the identity and specificity of the
production of young European artists will follow
us throughout this trip. If we haven’t found all
the answers when we arrive, then we will probably
have better questions.
Au cœur de la JCE il y a le mouvement.
Mouvement d’artistes, de publics, de professionnels,
d’idées. Tel un organisme vivant en constante
transformation, la Biennale est une succession
d’expositions et d’évènements qui murit au fil
de ses deux ans d’existence. S’empreignant de
l’énergie des lieux qu’elle investit, elle s’enrichie
de nouvelles perspectives et vibrations à chaque
étape de son parcours.
Le débat sur l’identité et la spécificité de la
jeune création européenne nous accompagnera
au fil du voyage. Si à l’arrivée nous n’aurons
pas trouvé toutes les réponses, alors nous aurons
sûrement de meilleures questions.
Welcome aboard!
Andrea Ponsini
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Bienvenue à bord !
Andrea Ponsini
Commissaire général de la JCE
On the horizon of the JCE 2015 / 2017
À l’horizon de la JCE 2015 / 2017
The concept
Le concept
A collaboration between seven European cities;
a curator for each country who chooses eight
young artists; a large collective travelling exhibition: these are the multiple ingredients that
make up this Biennale unique in Europe.
Since its inception in 2000, the JCE brings together
emerging artistic scenes from the European
Union through a network of cities with a common
desire to support the work of young artists.
The collaborative nature of the Biennial is precisely
what guarantees a free flow of ideas and artistic
research locally as well as internationally.
Une collaboration entre sept villes européennes ;
un commissaire par pays chargé de sélectionner
huit jeunes artistes ; une grande exposition collective et itinérante : voici les multiples ingrédients qui composent cette Biennale unique en
Europe.
Depuis ses débuts en 2000, la JCE réunit des
scènes artistiques émergentes issues de l’Union
Européenne à travers un réseau de villes qui
ont en commun la volonté de soutenir la jeune
création. C’est justement le caractère collaboratif de cette Biennale qui s’impose comme le
garant d’une libre circulation des idées et des
recherches artistiques autant à l’échelle locale
qu’internationale.
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Exhibition view, Le Beffroi,
Biennale JCE 2013-2015,
Montrouge, 2013.
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The new partners
Les nouveaux partenaires
Each edition is an opportunity to expand the
network of partners and thus to discover other
artistic “lands”.
In 2015, Denmark, Poland and Latvia joined the
JCE network. Their participation stems from
specific contexts that the network connects by
allowing for experiences and expertise to be
shared.
In Denmark, The Art Building in Vrå, dedicated
to the work of painter Svend Engelund (1908-2007),
wishes to open up to other countries. The JCE
will be the flagship of this new orientation.
The participation of the Polish city of Wrocław,
European Capital of Culture 2016, is part of the
cultural flurry caused by this historic occasion.
In the Latvian city of Cēsis, the JCE will coincide
with the opening of an exceptional new exhibition
space of 9000 m²: the Brūzi Complex.
The coordination of wills and goals that arise
locally in each city generates an entirely unique
European cultural community.
Chaque édition représente une occasion pour
étendre le réseau des partenaires et découvrir
ainsi d’autres « terrains » artistiques.
L’année 2015 marque l’arrivée du Danemark,
de la Pologne et de la Lettonie dans le réseau
JCE. Leur participation découle de contextes
spécifiques que le réseau permet de mettre en
relation en créant un partage d’expériences et
de savoir-faire.
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Au Danemark, le The Art Building in Vrå dédié
à l’œuvre du peintre Svend Engelund (19082007), souhaite s’ouvrir à l’international et
faire de la JCE le moment phare de cette nouvelle orientation. Parallèlement, la participation de la ville polonaise de Wrocław, Capitale
Européenne de la culture 2016, s’inscrit dans
l’effervescence culturelle liée à ce moment
historique. Quant à la ville lettone de Cēsis,
elle mariera la JCE au lancement d’un nouveau
lieu d’exposition exceptionnel de 9.000 m 2,
le Brūzi Complex.
Cette mise en relation de volontés et d’objectifs
issus de dynamiques propres à chaque lieu
donne vie à une véritable communauté culturelle européenne tout à fait singulière.
The Art Building in Vrå,
2015.
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The opportunities
Les opportunités
The JCE Biennale is an ideal springboard that
can boost young artists’ international visibility
The support given to these emerging artists
first takes the form of their participation in the
large collective exhibition which settles into
one partner city after another. Throughout
these two years, they also become part of a
wide network of opportunities.
In addition, countless tools designed for the
Biennale are made available to them, so as to
allow them to promote their works in broader
and more professional ways: the publication of
a multilingual catalogue, the online publication
of their works on the www.jceforum.eu website,
the awarding of three 2000 euro “Grand Prix JCE
– Bourse Crédit Agricole” by a prestigious jury
and, finally, a program of residencies.
Beyond this material support, the JCE is a
privileged time for encounters and discussions
between artists and professionals of the art
world working in Europe. At the heart of this
sharing of aesthetics, perceptions and creative
processes, the JCE wishes to offer a favourable
context for reflections and new experiences apt
to stimulate young artists.
La Biennale JCE offre un tremplin idéal pour
propulser les jeunes artistes à l’international.
Le soutien à ces acteurs de l’art émergent se
concrétise tout d’abord par leur participation à
la grande exposition collective qui s’installe
à tour de rôle dans chaque ville partenaire.
Ils sont également intégrés tout au long de ces
deux ans à un large réseau d’opportunités.
De plus, d’innombrables outils conçus pour la
Biennale sont mis à leur disposition afin de leur
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permettre une diffusion plus ample et professionnelle de leurs œuvres : la publication d’un
catalogue multilingue, la mise en ligne de leurs
travaux sur le site web www.jceforum.eu, l’attribution de trois « Grands Prix JCE – Bourse
Crédit Agricole » de 2 000 euros remis par un
prestigieux jury et, enfin, un programme de
résidences.
Au-delà de cet accompagnement matériel, la
JCE incarne notamment un moment privilégié
de rencontres et d’échanges entre les artistes et
les professionnels du monde de l’art implantés
en Europe. Au cœur de ce partage d’esthétiques,
de perceptions et de processus créatifs, la JCE
souhaite ouvrir un terrain propice aux questionnements et aux nouvelles expériences nécessaires
à stimuler la jeune création.
The awarded artists of JCE 2013-2015,
Frank Blommestijn & Michiel van der Werf,
with the executive curator Andrea Ponsini,
JCE opening in Montrouge, 2013.
The awarded artist of JCE 2013-2015
Sanne Vaassen during her residency in
Montrouge, 2015
Courtesy of the artist.
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The jury
Le jury
The jury is made up of passionate, highly
involved professionals from the cultural sector.
It will award three winners the “Grand Prix JCE
– Bourse Crédit Agricole”. Whether belonging to
large institutions or working independently, the
jury members will gather their expertise in order
to identify the most promising talents.
By virtue of the quality the jury will find in their
work, the winners will become ambassadors of
the generation put under the spotlight in this
edition of the Biennial.
Professionnels passionnés et investis, les membres
du jury attribueront à trois lauréats le « Grand
Prix JCE – Bourse Crédit Agricole ». Qu’ils
soient liés à de grandes institutions ou indépendants, ils uniront leurs savoirs-faires afin de
décrypter les talents plus prometteurs.
Par la qualité qui sera reconnue à leur travail,
les lauréats deviendront les ambassadeurs de la
génération mise à l’honneur dans cette nouvelle
édition de la Biennale.
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President of the jury:
Alexia Fabre
Director of MAC / VAL
Marie Cécile Burnichon
Project manager for Visual Arts and Architecture
at the Institut Français; Director assistant of
artistic exchanges and cooperations Department
Etienne Comar
Screenwriter, producer
Matthieu Lelièvre
Thaddaeus Ropac Gallery
Angelica Markul
Artist
Vittoria Matarrese
Head of cultural programming and special
projects at Palais de Tokyo
Présidente du jury :
Alexia Fabre
Directrice du MAC / VAL
Marie Cécile Burnichon
Conseillère pour les arts visuels et l’architecture
à l’Institut français ; Directrice adjointe du
Département Échanges et Coopérations Artistiques
Nøne Futbol Club
Artists
Etienne Comar
Christophe Rioux
Writer, scholar and journalist
Matthieu Lelièvre
Pia Viewing
Curator at Jeu de Paume
Angelica Markul
Scénariste, producteur
Galerie Taddaeus Ropac
Artiste
Vittoria Matarrese
Responsable de la programmation culturelle et des
évènements spéciaux au Palais de Tokyo
Nøne Futbol Club
Artistes
Christophe Rioux
Écrivain, universitaire et journaliste
Pia Viewing
Commissaire au Jeu de Paume
The JCE 2013-2015’s jury working on
the Grand Prizes JCE.
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The route
Le parcours
Young European artists are free to move
throughout a borderless Europe and prove to
be a generation that is constantly travelling and
open to the world. The same goes for the JCE
Biennale, which stands out from other European
biennials because of its itinerant nature.
Its journey begins at the Beffroi de Montrouge.
Each spring, it is the venue for the Salon d’art
contemporain dedicated to young French artists,
on the occasion of which the French selection of
the Biennale is made.
In 2016, the JCE will head north, settling in
Hjørring, Denmark, where The Art Building in Vrå
will house its first exhibition dedicated to young
international artists. Wrocław, the European
Capital of Culture 2016, will be next. It will host
the JCE in the majestic convention centre Hala
Stulecia. The city of Cēsis in Latvia will take over
on the occasion of the opening of its new exhibition centre, the Brūzi Complex, an old brewery
as well as a symbol of the city.
After going to the edge of Europe, the Biennale
will go further south in 2017, back to countries
that have partnered with the event for a long
time. It will first settle in Villa Olmo in Como,
Italy, under the aegis of the team of Co. Co. Co –
Como Contemporary Contest, a partner event
to the JCE, responsible for the Italian selection.
It will then stop at the Empordà Museum in
Figueres, a city with a rich artistic past thanks to
Salvador Dalì’s heritage. Finally, it will go to the
Cardoso De Souza Museum in Amarante, known
for its support to young painters thanks to the
“Premio Souza Cardoso”.
Libres de tout mouvement dans l’Europe
sans frontières, les jeunes artistes européens
s’affirment comme une génération en perpétuel
déplacement et ouverte sur le monde. Il en va
de même pour la Biennale JCE qui se distingue
des autres biennales européennes par sa nature
itinérante.
Son périple commence au Beffroi de Montrouge.
Chaque année au printemps s’y déploie le Salon
d’art contemporain dédié aux jeunes artistes
français à l’occasion duquel s’opère la sélection
française de la Biennale.
En 2016, la JCE prendra la direction du Nord
en s’installant à Hjørring au Danemark où
le The Art Building in Vrå présentera pour la
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première fois une exposition dédiée à la jeune
création internationale. Puis, ce sera le tour de
Wrocław qui, en tant que Capitale Européenne
de la Culture 2016, accueillera la JCE au
sein du majestueux centre des congrès Hala
Stulecia. La ville de Cēsis en Lettonie prendra
le relai pour inaugurer le lancement de son
nouveau centre d’exposition, le Br ūzi Complex,
ancienne brasserie et symbole de la ville.
Après ce passage aux frontières de l’Europe,
la Biennale descendra plus au Sud en 2017
pour retrouver les pays partenaires de longue
date. Elle s’installera d’abord à la Villa Olmo
de Côme en Italie sous l’égide des acteurs du
Co. Co. Co – Como Contemporary Contest,
manifestation partenaire de la JCE qui se
trouve à l’origine de la sélection italienne.
Puis elle transitera par le Musée Empordà de
Figueres, ville au riche passé artistique grâce
au patrimoine laissé par Salvador Dalì. Et
aboutira enfin au Musée Cardoso De Souza à
Amarante, connu pour son soutien aux jeunes
peintres grâce au « Premio Souza Cardoso ».
Exhibition view, Le Beffroi,
Biennale JCE 2013-2015,
Montrouge, 2013.
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Yann Tomas, TRANSvision,
video installation,
Montrouge, 2013.
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Montrouge France
Le Beffroi, October – November 2015
www.jceforum.eu
Artists:
Marion Bataillard, Willem Boel, Virginie Gouband, Arthur Lambert, François Malingrëy, Louise Pressager, Tatiana Wolska,
Qingmei Yao.
Coordinator:
Stéphane Corréard
The journalist and art critic Stéphane Corréard has been the artistic curator of the Salon de Montrouge from 2009 to 2015. He is also a collector, and
heads the Department of Contemporary Art of the Cornette de Saint Cyr auction house. He has been a rapporteur for the Villa Médicis (The French
Academy in Rome), for the Prix Marcel Duchamp and for the Institut Français. He regularly organizes exhibitions in both private and public spaces.
Jean-Loup Metton
Mayor of Montrouge
Gabrielle Fleury
Deputy Mayor
Commissioner for Culture
François Benoit
Director of Cultural Department
Andrea Ponsini
Stéphane Corréard
Curator of the French selection
Licia Demuro, Andrea Volpi
Production Managers
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The French selection of the Jeune Création
Européenne Biennale follows a specific principle:
it is made up of the winners of the two previous
Salons de Montrouge. Founded in 1955, the event has
been dedicated to the emergence of new talents
since the seventies. This year’s edition was a special
one. On the occasion of its sixtieth anniversary, under
the leadership of my successor, the show will undergo
new developments in order to keep adapting to the
needs of contemporary artists.
Thus, unlike the other national selections, the
French section of the JCE was not, strictly speaking,
chosen by its curator, or only indirectly. The artists
united here were doubly selected, both in 2014 and
2015. They were first chosen among the six thousand
applications received for both years (by me, with a
help of a new group of art critics, theoreticians and
historians every time), then among the hundred
and thirty exhibitors (by the juries of these editions,
respectively chaired by the collector and patron
Jean-Claude Gandur and the filmmaker and screenwriter Olivier Assayas).
Therefore, this shortened list was determined by
thousands of kind eyes. It gathers five girls and
three boys: Marion Bataillard, Willem Boel, Virginia
Gouband, Arthur Lambert, François Malingreÿ,
Louise Pressager, Tatiana Wolska and Qingmei Yao.
These eight artists embody more than Europe:
a highly globalized creative world, characterized by the
coexistence of mediums, influences and disparate
styles.
Nevertheless, they have something in common,
which allowed them to stand out from the thousands
of initial candidates. For want of a better term,
I would call it “ambition”, but in the deepest sense
of the word: the healthy pride of artists constantly
trying to place their practice at the same level as
their aspirations to create something new, and to push
their ideas into a corner so as to extract the deepest
meanings out of them.
This radicalism, full of vitality, courage and tenacity
forces our admiration, and redefines the way we see
the world. Its starting point is an exploration of the
self which is devoid of complacency: this intimate
dimension of artistic practice is particularly present
in this wonderful selection, whether it focuses on the
material (in Virginia Gouband and Tatiana Wolska’s
works), on physical or mental space (Willem Boel and
Arthur Lambert) or, in a singular way, on personal,
familial or collective history (in the works of Marion
Bataillard, François Malingreÿ, Louise Pressager and
Qingmei Yao).
Some come from France, others from Belgium, China
and Poland. They use drawing, painting, sculpture,
video and performance. The Salon de Montrouge
winners have already had the chance to have their
work shown in personal presentations at the Palais
de Tokyo. Thanks to the JCE, their works are now
going to travel throughout Europe.
Stéphane Corréard
Curator of the Salon de Montrouge, 2009-2015
La sélection française de la Biennale JCE obéit à
une logique particulière. Elle est en effet constituée
par les lauréats des deux Salons de Montrouge précédents. Créée en 1955, cette manifestation dédiée
à l’émergence de nouveaux talents depuis les années
soixante-dix aura connu cette année une édition
particulière. En effet, marqué par son soixantième
anniversaire, le Salon connaîtra bientôt, sous la
houlette de mon successeur, de nouvelles évolutions
en vue de s’adapter toujours plus aux besoins des
créateurs de son temps.
Ainsi, contrairement aux autres sélections nationales, la section française de la JCE n’a pas été à
proprement parler élaborée par son commissaire.
Ou alors indirectement. En effet, les artistes ici réunis
ont été doublement désignés, en 2014 et 2015.
D’abord parmi les six mille candidatures reçues
ces deux années-là (par mes soins, aidé par un
collège de critiques, théoriciens et historiens d’art
chaque fois renouvelé), puis parmi les cent trente
exposants (par les jurys de ces éditions, respectivement présidés par le collectionneur et mécène Jean
Claude Gandur et le réalisateur et scénariste Olivier
Assayas).
Il aura ainsi fallu des milliers de regards bienveillants mais exigeants pour parvenir à cette liste
réduite, qui compte cinq filles pour trois garçons :
Marion Bataillard, Willem Boel, Virginie Gouband,
Arthur Lambert, François Malingrëy, Louise
Pressager, Tatiana Wolska et Qingmei Yao. À eux
huit, ils incarnent, plus encore que l’Europe, cette
création fortement mondialisée, marquée par la
coexistence de médiums, d’influences et de styles
disparates.
Un point commun néanmoins les unit, qui leur a
permis de se détacher parmi ces milliers de candidatures initiales. Faute de mieux, je le nommerai
« ambition », mais au sens le plus profond du terme,
à chercher du côté de ce saint orgueil de l’artiste
qui cherche en permanence à placer sa pratique à la
hauteur de ses aspirations novatrices, et à pousser
ses idées dans leurs ultimes retranchements pour en
extraire le sens le plus profond.
Cette radicalité pleine de vitalité, de courage et de
ténacité force notre admiration, et bouleverse notre
regard sur le monde. Son point de départ est l’exploration sans complaisance du moi : cette dimension
intime de la pratique de l’art est particulièrement
présente dans cette belle sélection, qu’elle s’attache
à la matière (chez Virginie Gouband ou Tatiana
Wolska), à l’espace physique ou mental (avec Willem
Boel ou Arthur Lambert), ou, singulièrement,
à l’histoire personnelle, familiale ou collective
(dans les œuvres de Marion Bataillard, François
Malingrëy, Louise Pressager, ou Qingmei Yao).
Venus de France, mais aussi de Belgique, de Chine
et de Pologne, pratiquant le dessin, la peinture,
la sculpture, la vidéo ou la performance, ces lauréats
du Salon de Montrouge ont déjà eu la chance de
bénéficier de présentations personnelles au Palais de
Tokyo. Grâce à la JCE, leurs œuvres vont à présent
circuler dans toute l’Europe.
Stéphane Corréard
Curator of the Salon de Montrouge, 2009-2015
13
Marion Bataillard
www.marionbataillard.info
[email protected]
Born in 1983, Nantes. Lives and works in
Montluçon.
Studies: Academy of Decorative Arts, Strasbourg ;
Hochschule für Grafik und Buchkunst, Leipzig
Marion Bataillard paints all kinds of scenes,
in all sorts of formats, but nevertheless
keeps them remarkably consistent.
Beyond an obvious stylistic consistency,
there is, more and less importantly, a
painter’s consistency, for she is searching
for her own genius, beyond the variety of
subjects and means of expression.
Aurélien Bellanger, member of the critic college,
60th Salon de Montrouge
Marion Bataillard peint toutes sortes de
scènes, dans toutes sortes de formats,
mais conserve malgré cela une cohérence remarquable, cohérence stylistique
évidente, mais aussi, plus et moins que
cela, cohérence de peintre, parti en quête,
par-delà la manière et les sujets, de son
génie propre.
Aurélien Bellanger, membre du collège critique,
60ème Salon de Montrouge
Self-portrait as a painter. Oil on wood, 49 x 40 cm,
2013.
14
Willem Boel
www.willemboel.be
[email protected]
Born in 1983, Sint-Niklaas. Lives and works
in Gand.
Studies: Academy of Fine Arts Sint-Lucas, Gent
Willem Boel has just built stunning
machines. They are new embodiments
of his New Mills, a perpetual work on
randomness and repetition. Willem gives
shape to what happens in everyday life,
to sculptures that he literally extracts
from nothingness.
Eva Barois de Caevel, member of the critic college,
Willem Boel vient de construire d’ahurissantes machines. Elles sont des avatars de
ses Nouveaux Moulins : œuvre perpétuelle
sur le hasard et la répétition. Willem
donne forme à ce qui se produit dans la
quotidienneté, à ce qui ne croit pas en
la finalité, à des sculptures qu’il extrait,
véritablement, du néant.
Eva Barois de Caevel, membre du collège critique,
De Nieuwe Molens #04. Mixed media, 180 x 90 x 90 cm,
2012.
Photo : © Maren Duflou.
15
Virginie Gouband
www.virginiegouband.com
[email protected]
Born in 1988, Cahors. Lives and works in Paris.
Studies: Academy of Fine Arts La Cambre,
Brussels
The weighing. Photographic ektachrome films,
20 x 25 cm each, precision scales.
Coproduced by Palais de Tokyo. 2015.
Photo: © Virginie Gouband.
Virginie Gouband has, for a few years now,
been working on a broad and complex
study of the status of representation,
its relationship to space, the world and
the viewer. With a preference for such
mechanical processes as photography and
film, she uses seemingly banal pictures to
further her investigation of the relationship
between work of art and reality.
Le travail que mène Virginie Gouband
depuis quelques années est une réflexion,
ample et complexe, sur le statut de la
représentation, ses rapports à l’espace, au
monde et au spectateur. Privilégiant les
procédés mécaniques qui constituent la
photographie et le film, elle use des images
apparemment banales pour mieux interroger
la position de l’œuvre d’art face au réel.
Camille Viéville, member of the critic college,
Camille Viéville, membre du collège critique,
16
Arthur Lambert
www.arthurlambert.org
[email protected]
Born in 1979, Poitiers. Lives and works in
Les Sables d'Olonnes.
Studies: Academy of Fine Arts, Tours Angers
Le Mans
Arthur Lambert highlights these transformed states of nature and being.
Removing oneself from the world is one of
the keys to unlocking this fantastic journey
within a secret, coded language. […]
These “illuminations” allow the artist to
initiate a search between the heavenly and
the earthly, between object and subject.
Marianne Derrien, member of the critic college,
Arthur Lambert met en lumière ces états
transformés de la nature et de l’être.
S’extraire du monde est une des clés pour
accéder à ce voyage fantastique au sein de
son langage codé et secret […]. Ces « illuminations intérieures » permettent d’initier
une quête entre le céleste et le terrestre,
entre l’objet et le sujet.
Marianne Derrien, membre du collège critique,
Niké. White gold leaf on photography, 75 x 50 cm,
2015.
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François Malingrëy
cargocollective.com/francoismalingrey
[email protected]
Born in 1989, Nancy. Lives and works in Paris.
Studies: Academy of Decorative Arts, Strasbourg
The Uncanny defined by Freud as a disturbing familiarity, although not explicitly
named by François Malingrëy, is a concept
he probably wouldn’t dispute, since his
realistic paintings are suffused with
mystery, to the point of making the viewer
uncomfortable.
Arnaud Labelle-Rojoux, member of the critic college, 60th Salon de Montrouge
L’Inquiétante étrangeté définie par Freud
correspondant à une familiarité troublante, si elle n’est pas nommément revendiquée par François Malingrëy, elle reste
une notion qu’il ne devrait pas réfuter
tant son travail de peintures d’une facture
réaliste qui se caractérise par une charge
mystérieuse jusqu’à l’inconfort.
Arnaud Labelle-Rojoux, membre du collège critique,
The man. Oil on cardboard canvas, 30 x 40 cm, 2015.
18
Louise Pressager
www.louisepressager.fr
[email protected]
Born in 1985, Nancy. Lives and works in
Malakoff.
Louise Pressager's works can be described
as “moral”. They are at the heart of contemporary debates relating to issues of
power and domination. The vocabulary
used is both ironic and serious, grotesque
and cheerful, absurd and irreverent, but
never cynical: Louise Pressager knows that
she, too, is compromised in the contradictions of her time.
Bernard Marcadé (excerpt from the label of the
Palais de Tokyo exhibition, November 2014)
Les œuvres de Louise Pressager peuvent
être qualifiées de “morales”. Elles se
situent au cœur des débats contemporains,
touchant aux questions de pouvoir et de
domination. Le vocabulaire employé est
à la fois ironique et sérieux, grotesque et
enjoué, absurde et irrévérencieux, mais
jamais cynique. Louise Pressager sait, en
effet, qu’elle est elle-même compromise
dans les contradictions de son temps.
Bernard Marcadé (extrait du cartel de l’exposition
au Palais de Tokyo, novembre 2014)
The big hug. Video 3’57, 2014.
Faster, further, higher, stronger. Ink on paper,
30 x 40 cm, 2014.
The straight way. Pyrography on wood, 11 x 7 cm,
2012.
19
Tatiana Wolska
www.tatianawolska.com
[email protected]
Born in 1977, Zawiercie. Lives and works in Nice.
Studies: Academy of Fine Arts, Arts, Villa Arson,
Nice.
Untitled. Heated plastic bottles, 272 x 150 x 140 cm,
2015.
As stubborn or as patient as nature, Tatiana
Wolska repeats her simple gesture, almost
fumbling, until something comes of it.
Pieces of heat-sealed plastic are used to
produce shapes that, despite their large
volume, are as light-weight as clouds.
Sandra Cattini, member of the critic college,
Entêtée ou patiente, comme la nature,
Tatiana Wolska répète son geste limité,
comme bégayant, jusqu’à ce qu’il donne
forme à une chose. Des bouts de plastiques
thermo-soudés donnent naissance à des
formes aériennes qu’il suffit de soulever
pour constater qu’en dépit de leur volume,
elles sont aussi légères qu’un nuage.
Sandra Cattini, membre du collège critique,
59 ème Salon de Montrouge
20
Qingmei Yao
sunshinemaya.wix.com/yaoqingmeiwork
[email protected]
Born in 1982, Yueqing. Lives and works in
Limoges and Toulouse.
Studies: Academy of Fine Arts, Limoges ;
Academy of Fine Arts, Villa Arson, Nice.
Sculpter un billet de 100 euros. 4 videos,
3 of 7'21 each & 2'30, 2014.
“I use a € 100 banknote as my material.
It is 100% pure cotton. I rub it between two
fingers every day for over a month until
it is worn out and some material comes
out of it. I do this in different locations so
as to provoke and reveal the reactions of
passers-by. The gesture of rubbing fingers
together in enough to refer to money in
many cultures, but by doing it, I am also
deteriorating that money”.
21
« J’utilise un billet de 100 euros comme
un matériaux. Il est composé de 100 %
pur coton. Je le frotte entre deux doigts
quotidiennement pendant plus d’un mois
jusqu’à l’user et en retirer un maximum
de matière. J’interviens dans différents
lieux afin de provoquer et révéler la réaction
des passants. Ce geste de frottement désigne
l’argent dans beaucoup de cultures, mais en
le faisant, je le détériore ».
Hjørring Denmark
The Art Building in Vrå, April – May 2016
www.kunstbygningenvraa.dk
Artists:
Valérie Collart, Ditte Knus Tønnesen, Amalie Jakobsen, Astrid Myntekaer, Christine Overvad Hansen, Nanna Riis Andersen,
Johanne Skovbo Lasgaard, Dan Stockholm.
Coordinator:
Henrik Godsk
Henrik Godsk is a Danish curator and artist. He holds an M.A from Aalborg University in Literature and Art. His Academic interests cover literary
and cultural theory and the borderlands between literature, art history, and philosophy. Henrik Godsk began curating exhibitions and projects
in 2010 when he was in the Curatorial Board of the Danish contemporary art festival Port 2010. The festival included international artists such
as Tomás Saraceno. In 2011, he curated an exhibition in collaboration with Kunsten – Museum of Modern Art in Aalborg, Denmark, which
presented Danish artists from different generations. As the Exhibiton Curator at the Utzon Center in Aalborg, Denmark, and the Artistic Director
of The Art Building in Vrå in Hjørring, he has continued focusing on contemporary art and generational meetings.
Arne Boelt
Mayor of Hjørring
Anders Engelund
The Art Building in Vrå, Chairman of the Board
Jury of the Danish selection:
Jesper Rasmussen
Artist and Headmaster of The Jutland Academy of Art
Torben Zenth
Head of Copenhagen Art Institute
Søren Elgaard
Artist and Chairman of the Board of
the Vrå Exhibition
Maria Torp
Artist
Henrik Godsk
Artist and curator. Artistic Director of The Art
Building in Vrå
22
We are very happy to be a part of the 2015-17 edition of
the JCE Biennale. It is the first time that Denmark is
represented. In fact, it is the first time that a Scandinavian
country is represented. The exhibition will be shown
at The Art Building in Vrå – The Engelund Collection.
Vrå is a small village in the North of Denmark close
to Hjørring. The Art Building has a strong tradition
and was one of the first places in the region to show
modern art. It all began in the early 1940s when the
painter Svend Engelund exhibited works at the folk
high school that is situated next to The Art Building.
Before long, he invited other artists to exhibit as well,
and soon after, The Vrå Exhibition, an association of
artists, was established. The Vrå Exhibition is always
shown in August. In 2015, it will be the 73rd edition,
and new works by 46 of some of the most recognized
artists and architects in Denmark will be presented.
The Art Building in Vrå – The Engelund Collection
has the largest collection of works by renowned
painter Svend Engelund. Svend Engelund is known
for his landscapes and figure paintings, but he is also
known as an artist who helped pave the way for new
talents, inviting them to participate in exhibitions.
In the spirit of Engelund, we show two exhibitions
every year where young talents are shown together
with very established artists. Accordingly, we were
very happy to be taken into consideration for the JCE
Biennale, which focuses on new talents.
We have selected eight artists to represent Denmark.
It is difficult to say anything general about the
selected artists except that they all integrate different mediums into their praxes. Johanne Skovbo
Lasgaard focuses on materiality, creating works that
are somewhere in-between sculpture and painting.
Valérie Collart is a photographer and sculptor who
explores the relation between image and object.
Dan Stockholm draws on many artistic strategies
and mediums. In the exhibition, he is represented
with a sculpture that looks like a mix between a
diagram and an architectural structure. Ditte Knus
Tønnesen works in a field between image and spatial
construction, often mixing photography and objects.
Nanna Riis Andersen works with sculpture and
installation as well as two-dimensional mediums
such as drawings and paper works. In the exhibition, she shows sculptures made of leather and
latex. Astrid Myntekær’s work often focuses on the
esoteric and mystical. In the exhibition, she shows a
sculptural piece that consists of two glass bowls with
dark, mud-like fluids that move. Christine Overvad’s
works are often a mix between sculptural pieces
and mechanical devises. And, finally, but not least,
Amalie Jakobsen works in a field between sculpture
and installation, installing minimalist elements that
relate to the context.
Det er os en stor glæde at være en del af 2015-17
udgaven af JCE Biennalen. Det er første gang,
at Danmark er repræsenteret. Rent faktisk er det
første gang, at Skandinavien er repræsenteret.
Udstillingen bliver vist i Kunstbygningen i Vrå –
Engelundsamlingen. Vrå er en lille stationsby i
den nordlige del af Danmark – tæt på Hjørring.
Kunstbygningen har en stærk tradition og var et
af de første steder i regionen, der viste moderne
kunst. Det hele begyndte tidligt i 1940’erne,
da maleren Svend Engelund udstillede arbejder på Vrå Højskole, der er placeret ved siden af
Kunstbygningen. Inden længe inviterede han andre
kunstnere til også at udstille og kort derefter blev
Vrå-udstillingen, der er en kunstnersammenslutning, etableret. Vrå-udstillingen bliver altid vist i
august måned. I 2015 vises udstilling nr. 73, og her
vil man kunne opleve nye arbejder af nogle af de
mest anerkendte kunstnere og arkitekter i landet.
Kunstbygningen i Vrå har den største eksisterende
samling af værker af den anerkendte maler Svend
Engelund. Svend Engelund er bl.a. kendt for sine
malerier af landskaber og figurerbilleder, men
han er også kendt som en kunstner, der hjalp unge
kunstnere på vej og inviterede dem til at deltage
på udstillinger. Helt i Engelunds ånd viser vi hvert
år to udstillinger, hvor unge talenter vises ammen
med meget etablerede kunstnere. Derfor var vi også
meget glade for at blive taget i betragtning til JCE
Biennalen, som netop fokuserer på nye talenter.
We are looking forward to presenting eight of the most
talented young Danish artists to the rest of Europe.
Vi har udvalgt otte kunstnere, der skal repræsentere
Danmark. Det er vanskeligt at sige noget generelt
om de udvalgte kunstnere udover, at de alle integrerer forskellige medier i deres praksisser. Johanne
Skovbo Lasgaard fokuserer på materialitet og laver
værker, der befinder sig et sted mellem skulpturen og
maleriet. Valérie Collart er en fotograf og skulptør,
der undersøger forholdet mellem billede og objekt.
Dan Stockholm trækker på mange forskellige
strategier og medier. PÅ udstillingen er han repræsenteret med en skulptur, der ligner et mix mellem
et diagram og en arkitektonisk struktur. Ditte
Knus Tønnesen arbejder i et felt mellem billede og
rumlig konstruktion, og hun mixer ofte fotografi og
objekt. Nanna Riis Andersen arbejder med skulptur
og installation såvel som med plane medier som
tegning og papirarbejder. På udstillingen viser hun
skulpturer, der er lavet af latex og læder. Astrid
Myntekærs arbejder fokuserer ofte på the esoteriske
og mystiske. På udstillingen viser hun et skulpturelt værk, der består af to glas med en mørk og
mudder-lignende flydende masse, der bevæger sig.
Christine Overvad’s arbejder er ofte et mix mellem
skulpturelle elemeneter og mekaniske enheder. Sidst,
men ikke mindst, arbejder Amalie Jakobsen i et felt
mellem skulptur og installation og installerer minimalistiske elementer, der relaterer til konteksten.
Henrik Godsk
Vi glæder os til at præsentere otte af de mest talentfulde unge danske kunstnere for resten af Europa.
Henrik Godsk
23
Valérie Collart
www.valeriecollart.com
[email protected]
Born in 1981, Bordeaux. Lives and works in
Copenhagen.
Studies: Academy of Fine Arts, Villa Arson,
Nice.
In my work I explore the relationship
between sculpture and photography.
I reflect upon the permeability of these two
mediums by experimenting with their limits.
The ambiguity of this approach raises the
question of whether the work’s existence is
image-based or object-based or whether it
can be both.
The selected work Pillar, a large minimalistic and monochromatic photograph,
sustains the concepts of beauty and immutability within the space of the image and
represents a material encounter between
the two- dimensionality of the photo documentation and the three dimensionality of
the object.
I mit arbejde undersøger jeg forholdet
mellem skulptur og fotografi og disse
mediers permeabilitet gennem eksperimentering med deres overlap og grænser.
Tvetydigheden af denne arbejdsproces
stiller spørgsmål ved, om værket er billedbaseret eller objektbaseret, eller om det
kan være begge.
Værket “Pillar”, et stort minimalistisk og
monokromt fotografi, opretholder koncepterne omkring skønhed og uforanderlighed i det billedelige rum og repræsenterer
det materielle møde mellem den todimensionelle fotodokumentation af den tre
dimensionelle skulptur.
Pillar. Photograph, C-print, laminated on Dibon and
framed, 165 x 105 cm, 2014.
24
Ditte Knus Tønnesen
www.ditteknus.com
[email protected]
Born in 1982, Århus. Lives and works in
Copenhagen.
Studies: The Glasgow School of Art ;
Kyoto Seika University.
There is a big difference in how one understands and defines wild nature versus the
cultural landscape – even seen from the
European countries’ perspectives where
we understand our cultures as being very
similar to each other. In my latest work, the
motifs are centered around the borderline
between wild nature and man's manipulation of it. Working in a field between
photography and spatial structures, and by
exceeding the regular confinements of the
photograph, I explore how we relate to and
understand nature today.
Der er stor forskel på, hvordan man
forstår og definerer vild natur versus
kulturlandskabet – selv set fra de europæiske landes perspektiver, hvor vi forstår
vores kultur som meget ens. I mine seneste
værker er motiverne centeret omkring
grænsen mellem vild natur i mødet med
den menneskemanipuleret. Arbejdende i et
felt mellem fotografi og rumlige strukturer, og ved overskridelse af de regelmæssige indespærringer af fotografiet,
undersøger jeg, hvordan vi i dag relaterer
til – og forstår naturen.
Cast shadows. Photographic emulsion and varnish
on MDF, 199 x 109 x 78 cm, 2015.
25
Amalie Jakobsen
www.amaliejakobsen.com
[email protected]
Born in 1989, Copenhagen; Where she lives
and works.
Studies: Academy of Fine Arts, Goldsmiths
University of London.
Untitled #10. Mixed media, variable dimensions,
2014.
Untitled #10 is comprised of four green
rectangles placed on the wall. The work
has nothing to do with rectangles; nothing
to do with green. But between these rectangles, this green and this wall you may
find yourselves aware of your own desires
and expectation of what might or should
be there.
Untitled #10 er fire grønne rektangler
placeret på væggen. Værket har intet at
gøre med rektangler. Intet at gøre med
grøn.
Men iblandt disse rektangler, den grønne
farve og den væg, der kan du finde dig selv
bevidst om dine egne ønsker og forventninger til, hvad som vil eller burde være
tilstede.
26
Astrid Myntekær
www.astridmyntekaer.com
[email protected]
Born in 1985, Copenhagen. Lives and works
in Denmark.
Studies: Royal Danish Academy of Fine Arts,
Copenhagen ; Hochschule für bildene Künste,
Hamburg.
Untitled. Glass, ferrofluid, motor, magnet,
100 x 75 x 40 cm, 2014.
Astrid Myntekær constantly tests, challenges and refines materials and technologies in new contexts and compositions.
She establishes both sculptural and
performative links between hacked objects
and stoned materials from the local DIY
shop. Myntekær lets pulses of experimenting subcultures vibrate in her work and
tries as simple as possible to balance light
and sound that can hit you in both body and
head.
27
Astrid Myntekær tester, forandrer og forædler konstant materialer og teknologier i nye
kontekster og kompositioner. Hun etablerer
skulpturelle og performative links mellem
hackede objekter og stenede materialer
fra den lokale DIY butik. Myntekær lader
pulsen fra eksperimenterende subkulturer
vibrere i sine værker og prøver så enkelt som
muligt at balancere lys og, lyd som kan
ramme dig både I hoved og i krop.
Christine Overvad Hansen
www christineovervad.dk
[email protected]
Born in 1988, Gørlev. Lives and works in
Copenhagen.
Studies: The Royal Danish Academy of Fine
Arts, Copenhagen.
I work in the field between sculpture and
performance. I’m very interested in the
‘interoperability’ between materials, and
I work with a spectrum of materials ranging
from clay to metal.
During my performances, I construct sculptural and mechanical structures, from these
materials.
In addition to the materials in the spectrum,
my sculptures often contain performative
elements, such as motion.
Jeg arbejder i krydsfeltet mellem skulptur
og performance. Jeg er meget optaget af
forskellige materialers ‘interoperabilitet’
og arbejder med et materiale-spektrum
rangerende fra ler til metal.
Under mine performances opbygger jeg
ofte skulpturelle og mekaniske strukturer,
bestående af disse materialer.
Mange af mine skulpturer indeholder
desuden performative elementer, såsom
bevægelse.
Stonemachine. Stone, motor, gear, metal,
181 x 53 x 61 cm, 2011.
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Nanna Riis Andersen
www.nannariisandersen.dk
[email protected]
Born in 1985, Silkeborg. Lives and works in
Copenhagen.
Studies: Jutland Art Academy, Århus.
By-products (thigh section). Mixed media, variable
dimensions, 2012-2014.
Nanna Riis Andersen combines drawings
and objects into installations, exploring the
limits and the possibilities of the organic
body. Sources and references include
medical instruments, treatment and surgery and are woven together into abstract,
fragmented shapes that appear as broken
down parts; a decomposition of organic
matter. The objects consist of materials
such as silicone and bandage and focus
attention on the organic body, questioning
to what extent nature can be altered.
29
Nanna Riis Andersen kombinerer tegning
og objekter i installationer, hvor kroppens
strukturer undersøges. Inspireret af blandt
andet lægevidenskab og kirurgi væves
elementerne ind i abstrakte, fragmenterede former, der fremstår som nedbrudte de
le; som en omorganisering af et organisk
materiale. Objekterne består blandt andet
af materialer som silikone og bandage,
og henleder opmærksomheden på vores forståelse af kroppen som helhed, og til hvilken
grad det naturlige kan ændres.
Johanne Skovbo Lasgaard
www.johanneskovbolasgaard.com
[email protected]
Born in 1985, Århus. Lives and works in East
Jutland and Copenhagen.
Studies: The Royal Danish Academy of Fine Arts,
Copenhagen.
In Johanne Skovbo Lasgaard’s work, the
materiality itself is the narrative. Through
the physical experience, Johanne Skovbo
Lasgaard maintains a consistency in her
work, arising from a focus on the process,
the repetition, and on a material sensibility.
The objects are casted in everyday objects
like dish wash basins and whatever else is
available. The surfaces are fragile and porous,
and they evolve. The process is poetic and
physical, the material is liquid and it dissolves, transforms, stiffens, and eventually
takes its own form.
I Johanne Skovbo Lasgaard praksis er
materialets bevægelse selve fortællingen.
I den processuelle undersøgelse, der
meditativt gentager, søges der en kropslig
erkendelse.
Objekterne er støbt i hverdagsgenstande,
vaskebaljer eller hvad der ellers er til
rådighed. Overfladerne er skrøbelige og
porøse, og de udvikler sig. Undersøgelsen
udformer sig som et poetisk nærstudie
af, hvordan materialet udformer sig fra
flydende form, transformerer sig, stivner
og endelig tager sin egen form.
Mutual Linger. Plaster, acrylic paint and pigment,
series of 3 pieces, 27 x 32 x 25 cm, 2014.
Photo : © Marie Kirkegaard.
30
Dan Stockholm
www.danstockholm.com
[email protected]
Born in 1982, Thisted. Lives and works in
Copenhagen.
Studies: Academy of Fine Arts, Odense ;
Staatliche Hochschule für Bildende
Künste, Frankfurt am Main ; Institut für
Raumexperimente, Berlin.
Dan Stockholm primarily works with
sculpture and objects. His working
method involves: studio work, field praxis,
traveling and research. Utilizing a method
of creative archeology, he is drawn to
and explores places, architecture and
materials of historical value, tension
and even conflict. He works with what
he calls Performative Process: a method
where the processes are brought into focus
making the final work a vessel that carries the story of its own making. Looking
at photographs of archaeological ruins
visited during the last ten years using an
eye tracker. The resulting diagrams from
tracing the movement of the eye across
the photographs becomes the blueprints
for The Phantoms, a series of laser cut
steel sculptures.
Dan Stockholm beskæftiger sigprimært
med skulpturogobjekt. Hansmetode er
en blanding af atelier- og feltarbejde,
rejserog research. I sit arbejdebenytterStockholm sig af en art skabendearkæologi. Han ertiltrukketafogudforskersteder,
arkitekturogmaterialeafhistoriskværdi,
spændingogkonflikt. Han arbejder meddethanbetegnersomperformativproces: en
metode, hvorselveprocessen bag værketeri
fokus, oggørdetendeligeværktilbærerafsinegenhistorie.
Phantom column (Petra, Jordan). Laser cut steel,
wire, sandblasted steel, 260 x 100 x 49 cm, 2014.
31
Wrocław Poland
Wrocław Congress Center Centennial Hall, June – July 2016
www.halastulecia.pl
Artists:
˛
Miłosz Flis, Michał Frydrych, Marcelina Groń, Kornel Janczy, Berenika Kowalska, Izabela Łeska,
Tomasz Poznysz,
Magdalena Sawicka.
Coordinator:
Ewa Sułek
Photographs provided by WP Hala Ludowa Sp. z o.o.
Art historian, curator and writer from Warsaw, Poland. After graduating from the Warsaw University and the University of Cambridge, UK, Ewa
organised a number of cultural events in the fields of visual arts, music and film. She was the guest curator for the exhibitions in the art
galleries and urban space all over Poland and abroad. Her main goal in the curatorial activities is to promote the most interesting phenomena
in modern Polish art and exceptional works of art made in Poland, existing not only in the institutional framework. She is the author of a book
on the cultural movements and art performances present during the Ukrainian revolution 2013 / 2014.
Rafał Dutkiewicz
Mayor of the city of Wrocław
Krzysztof Maj
Director of the festival office of the European Capitol
of Culture Wrocław 2016
Mirosław Jasińskié
Director of the City Gallery of Wrocław
Ewa Sułek
Curator
32
The subconscious and intuition against rationalism and conceptualism; privacy and intimacy next
to universalism and references to history, literature, philosophy and the history of ideas. Also the
aesthetic and formal explorations, neo-materialism,
echoes of ready made, found objects, play with the
scale and space as well as the medium itself, being
close to the para-scientific experiments. The eight
artists invited to this project represent the variety of
artistic attitudes, individualism and courage in their
approach to the medium, as well as going beyond the
institutional framework of art.
Scaling, deformation, surprising juxtaposition of
the found objects is characteristic to the series of
Capsules by Miłosz Flis. He presents an alternative
space, following the intuition and the subconsciousness, avoids unambiguity.
Przeskalowanie, deformacja, zaskakuja˛ce zestawienia obiektów znalezionych charakteryzuje seri˛e
Kapsuł Miłosza Flisa. Prezentuje on przestrzen’
alternatywna˛ wobec rzeczywisto’sci, poda˛żaja˛c za
intuicja˛ i pod’swiadomo’scia˛, unika jednoznaczno’sci.
The field of interest of Michał Frydrych is the language
- as a form, material, system of communication,
carrier of meanings, code. He plays with it, getting into
its pure matter, depriving it of the basic properties
and then giving them back again. In the presented artwork, referring to the short novel by H.P. Lovecraft, he
deconstructs its language giving it a brand new form.
Polem zainteresowan’ Michała Frydrycha jest j˛ezyk jako forma, tworzywo, materia, system komunikacji,
no’snik znaczen,
’ kod. Bawi si˛e nim pozostawiaja˛c
czysta˛ materi˛e, pozbawiaja˛c go podstawowej wła’sciwo’sci i ponownie mu ja˛ nadaja˛c. W prezentowanej
pracy odwołuje si˛e do fragmentu opowiadania H.P.
Lovecrafta, dekonstruuja˛c jego j˛ezyk i nadaja˛c mu
nowa˛ form˛e.
A deep symbolism, references to the history and
mysticism of a diptych by Marcelina Gron’ are filtered
by the events connected with the history of her
family. The visual sphere of the canvas is emphasised by the use of a scripture, letters from the
different alphabets composing an enigmatic cipher,
a system of signs and the visual-semantic structure.
Gł˛eboki symbolizm dyptyku Marceliny Gron,
’ odniesienia do historii i mistyki, przefiltrowane sa˛ przez
wydarzenia zwia˛zane z historia˛ rodziny artystki.
Wizualna sfera płócien wzmocniona jest poprzez użycie pisma, liter z różnych alfabetów składaja˛cych si˛e
na enigmatyczny szyfr, system znaków oraz struktur˛e
wizualno-znaczeniowa˛.
Abstract shapes, imposed in order to determine the
landform, simplified forms derived from nature,
are to be found in the work of Kornel Janczy, whose
art should be seen through the tradition of postconceptualism and minimalism. Janczy in a concise
way, but also with a sense of humour and certain
sentimentality, is arranging the space.
Abstrakcyjne struktury, narzucone w celu okre’slenia
ukształtowania powierzchni, uproszczone formy
wywodza˛ce si˛e z natury odnajdziemy w pracy
Kornela Janczego, którego twórczo’sc’ należy postrzegac’ poprzez tradycj˛e sztuki postkonceptualnej oraz
minimalistycznej. Janczy w sposób lapidarny, ale
też z poczuciem humoru oraz pewnym sentymentalizmem, porza˛dkuje przestrzen.
’
Berenika Kowalska reaches out toward the templets
and ornaments’ books, which are combined with the
social and cultural aspects. In the “Untitled” series she
is referring to the psychoanalytic theory of Jacques
Lacan, questioning the identity, the search for oneself
and the forming of the “I”.
Tomasz Poznysz, with humour and charm, is examining
the famous Girl with the Pearl Earring by Johannes
Vermeer. Both, the knowledge of the paintings’ techniques and technologies as well as the iconography,
have been used only partially – it is rather a game with
the well known visual sphere.
The multimedia installation by Izabela Ł˛eska is an
intimate and personal tour into the past. With the
use of the multiplied found object, the video-recording
of her performance, collages and photographs,
Ł˛eska overworked her difficult emotional state.
33
Pods’ wiadomos’ c’ i intuicja wobec racjonalizmu i
konceptualizmu; prywatno’sc’ i intymno’sc’ obok uniwersalizmu i odwołan’ do historii, literatury, filozofii
i dziejów my’sli. A także poszukiwania formalne,
neo-materializm, echa ready made, obiektów
znalezionych, gra ze skala˛ i przestrzenia˛ oraz z
samym medium, zbliżone czasem do eksperymentów
paranaukowych. Zaproszonych do projektu o’smiu
artystów cechuje różnorodno’sc’ postaw artystycznych,
indywidualizm, odwaga w podej’sciu do medium a
także wyj’scie poza instytucjonalne ramy sztuki.
Berenika Kowalska si˛ega do wzorników i ksia˛g z
ornamentami, które ła˛czy z aspektami społecznymi i
kulturowymi. W serii Bez tytułu odnosi si˛e do teorii
psychoanalizy Jacques’a Lacana, zadaja˛c pytania
o tożsamos’ c,
’ poszukiwanie siebie, kształtowanie
własnego “ja”.
Tomasz Poznysz, z humorem i urokiem, nawia˛zuje
do słynnej Dziewczyny z perła˛ Johannesa Vermeera.
Zarówno znajomo’sc’ dawnych technik malarskich
jak i aspekty ikonograficzne zostały tu wykorzystane
jedynie cz˛es’ ciowo – to raczej gra ze znana˛ powszechnie sfera˛ wizualna˛.
Multimedialna instalacja Izabeli Ł˛eskiej to intymna i
osobista wycieczka w przeszło’sc.
’ Poprzez zmultiplikowany obiekt znaleziony, video-rejestracj˛e performance’u,
kolaże i fotografie Ł˛eska przepracowuje trudne emocje.
A series of works by Magdalena Sawicka is also a record
of the artist’s personal experience. Very intimate,
full of a subtle humour and eroticism, a set of drawings
brings out what is essential to each human being,
but remains hidden in the area of bashfulness.
Seria prac Magdaleny Sawickiej to także zapis
przeżyc’ artystki. Intymny, pełen subtelnego humoru
i erotyzmu zbiór rysunków wydobywa to, co jest
bliskie każdemu człowiekowi, ale pozostaje ukryte w
sferze wstydliwo’sci.
The participation in the JCE Biennale stems from the
need to present internationally the leading and most
original works of young Polish artists. The exhibition
in Poland, that additionally will be accompanied by the
installation by Julia Curyło and Liza Sherzai, will take
place as a part of the celebration of the European
Capital of Culture in Wrocław in 2016.
Udział w biennale JCE wia˛że si˛e z potrzeba˛ zaprezentowania na arenie mi˛edzynarodowej najwybitniejszej i najbardziej oryginalnej twórczo’sci młodych
artystów. Wystawa w Polsce w 2016 roku, której
otwarciu b˛edzie towarzyszyc’ instalacja Julii Curyło
i Lizy Sherzai, odb˛edzie si˛e w ramach obchodów
Europejskiej Stolicy Kultury we Wrocławiu.
Ewa Sułek
Ewa Sułek
Miłosz Flis
molosh.tumblr.com
[email protected]
Born in 1986, Lublin. Lives and works in
Wrocław.
Studies: Academy of Fine Arts, Wrocław.
Capsules: By the river. Mixed media, 12 pieces,
19 x 13 x 17 cm each, 2014-2015.
The core essence of these works, based on
intuition, randomness and quasi-scientific
interest in the possibilities offered by the
medium, is found on found objects. Before
being placed in a capsule, they accompany
the artist in everyday life, on the book
shelves and around his workshop. They
ripen to create the symbolic or absurd
relation with each other, the new space,
autonomous from the one where the actual
capsule exists.
Prace tworzone w oparciu o intuicj˛e,
przypadkowo’sc’ i paranaukowe zainteresowanie możliwo’sciami, jakie daje medium,
bazuja˛ na obiektach znalezionych. Zanim
znajda˛ si˛e w kapsule, towarzysza˛ arty’scie
w życiu codziennym, na półkach z ksia˛żkami i porozrzucane po jego pracowni.
Dojrzewaja˛ aby stworzy’c wraz z innymi
symboliczna˛ lub absurdalna˛ relacj˛e, nowa˛
przestrzen,
’ autonomiczna˛ wobec tej, w której
w rzeczywisto’sci znajduje si˛e kapsuła.
34
Michał Frydrych
www.michalfrydrych.com
[email protected]
Born in 1980, Warsaw; Where he lives and
works.
Studies: Academy of Fine Arts, Warsaw.
The key description from H.P. Lovecraft’s
novel The Colour Out of Space is reinterpreted as a visual form. Via Google
Translator the original text’s meaning was
blurred, arriving at a form that reminds of
the beat poetry. The literary lovecraftian
“Unnamed” meets “The Intangible”, which
is at the base of every description and
story, from the epos, newspaper’s headlines to the stories told by the bar counter.
Kluczowy opis z opowiadania Kolor
z przestworzy H.P. Lovecraft-a został
przełożony na form˛e wizualna˛. Posługuja˛c
si˛e translatorem Google sens oryginalnego
tekstu został zatarty, docieraja˛c do formy,
która przypomina bitnikowska˛ poezj˛e.
Literackie, lovecraftowskie “Nienazwane”,
spotyka “Nieuchwytne”, które leży u podstawy każdego opisu i historii, od eposów,
nagłówków gazet, do anegdot opowiadanych przy barowym kontuarze.
The Colour Out of Space. Mixed media,
105 x 80 x 70 cm, 2014.
Produced in the framework of Culture and National
Heritage Minister’s Fellowship for 2014.
35
Marcelina Groń
[email protected]
Born in 1990, Wrocław; Where she lives and
works.
Studies: Academy of Fine Arts, Wrocław.
You live within me, my grandma, Abelard, Hildegard
of Bingen, my blood. Acrylic on canvas, dyptich,
320 x 180 cm, 2015.
The diptych acts like an open book, carrying within devotional, symbolic and
magical meanings. The scripture is intergenerational transmission that creates the
pictorial palimpsest based on the historical
writings and combined with the modern
visual forms such as street art and graffiti.
As a whole it allows us to realize that we
were made to build the new reality, not
forgetting, however, about the genes of the
past generations.
Dyptyk jest jak otwarta ksi˛ega, niesie ze
soba˛ znaczenia dewocyjne, symboliczne i
magiczne. Pismo jest tu przekazem mi˛edzypokoleniowym, tworza˛cym malarski
palimpsest oparty na tekstach historycznych, poła˛czonych ze współczesnymi
formami sztuki miejskiej jak street art czy
graffiti. Cało’sc’ u’swiadamia, iż powstali’smy po to, by budowa’c nowa˛ rzeczywisto’sc,
’ nie zapominaja˛c o tym, że mamy w
sobie geny minionych pokolen.
’
36
Kornel Janczy
korneljanczy.blogspot.fr
[email protected]
Born in 1984, Limanowa; Where he lives and
works.
Studies: Academy of Fine Arts, Cracow.
The minimalist, restrained form, inspired
by the landscape of Polish Beskidy
Mountains is an interplay between
the exhibition space and the material.
Landscape made from the soil corresponds to the model, that is derived from
the observation of the shadows cast by
the clouds on the wooded slopes of the
mountains. The artist classifies unbridledness of nature in the form of the abstract
structure, creating the universal landscape
reduced to its core essence.
Minimalistyczna, pow’scia˛gliwa forma
zainspirowana krajobrazem beskidzkim
stanowi zabaw˛e z przestrzenia˛ ekspozycyjna˛ i materia˛. Pejzaż z ziemi koresponduje z modelem pejzażu, co wynika z
obserwacji cieni rzucanych przez chmury
na zalesione stoki gór. Artysta klasyfikuje
nieokiełznanie natury w formie abstrakcyjnej struktury, tworzy pejzaż uniwersalny, ograniczony do swojej podstawowej
istoty.
Landscape. Acryl paint on cardboard and soil,
30 x 40 cm, 2014.
37
Berenika Kowalska
www.berenikakowalska.com
[email protected]
Warsaw.
No Title II. Oil on canvas, 130 x 100 cm, 2014.
The self-identification with the own image
seen in the mirror is the crucial stage
of creating an Ego. What happens if we
deprive mirror of that main characteristics
of giving an image? The significant No Title
painting questions the issues of identity
and self-recognition. Reflection without reflection, an imitation of the mirror
becomes a symbol of the torment and
confusion, inability to find the ‘self’.
Samo-identyfikacja z odbiciem w lustrze
jest kluczowym momentem kształtowania
Ego. Co wi˛ec si˛e stanie, gdyby pozbawi’c
zwierciadło jego głównej wła’sciwo’sci
– odbijania obrazów? Praca o znacza˛cym tytule Bez tytułu porusza kwestie
tożsamo’sci i samopoznania. Odbicie bez
odbicia, imitacja lustra staje si˛e symbolem zawirowan’ i zagubienia, niemożno’sci
odnalezienia własnego ja.
38
Izabela Łe˛ska
www.izabelaleska.com
[email protected]
Born in 1989, Zabrze. Lives and works in
Katowice.
Studies: Academy of Fine Arts, Katowice;
Academy of Fine Arts, Clermont-Ferrand.
Our Lady Bleuberry. Mixed media,
variable dimensions, 2012.
The accidentally found artwork of Jadwiga
Sawicka (Polish artist) was an inspiration
for this very private and intimate multimedia installation. The print gave the impetus
for creation of the work, which in turn
became a valve allowing the artist to work
through difficult emotions. The recurring
phrase is a carrier of meanings, but also a
way of coping with and taming the trauma,
due to the visual multiplication.
39
Znaleziony fragment pracyJadwigi
Sawickiej stał si˛e pretekstem do powstania multimedialnej instalacji, niezwykle
osobistej i intymnej. Wydruk był impulsem
do stworzenia pracy, która z kolei była
wentylem pozwalaja˛cym przepracowa’c
trudne emocje. Powtarzaja˛ca si˛e fraza
jest no’snikiem znaczen,
’ ale też sposobem
radzenia sobie z trauma˛, oswojenia jej,
dzi˛eki wizualnej multiplikacji.
Tomasz Poznysz
tomaszpoznysz.blogspot.fr
[email protected]
Born in 1988, Młynary. Lives and works in
Warsaw.
Studies: Academy of Fine Arts, Warsaw.
Dog with a Pearl Earring. Oil on canvas, 100 x 90 cm,
2014.
The witty and playful reference to the famous
Girl With a Pearl Earring by Johannes
Vermeer is the visual game of the iconic
representation. The careful study of the
medium via iconographic and technological
associations with the famous masterpiece
becomes the pure praise of painting in its
traditional formula.
Dowcipne i żartobliwe nawia˛zanie do
słynnej Dziewczyny z perła˛ Johannesa
Vermeera to zabawa z konwencja˛ i wizualna gra z ikonicznym przedstawieniem.
Badanie malarskiego medium przez skojarzenia ikonograficzne i technologiczne
ze słynnym arcydziełem staja˛ si˛e czysta˛
pochwała˛ malarstwa w jego tradycyjnej
formule.
40
Magdalena Sawicka
msawicka.blogspot.fr
[email protected]
Warsaw.
Farewell (cycle). Fineliner on paper, variable
dimensions, 2014.
Personal record of the events, feelings,
strong emotions, a kind of a diary created with the use of the line. Focused on
things that are bashful and intimate, like
sexuality, which is the primordial nature of
each man, but also a mystery. Through a
simple form, the diversity and the lack of
obviousness are disclosed. While watching
the others and herself, the artist creates a
certain code, an image of the present.
41
Osobisty zapis wydarzen,
’ uczu’c, silnych
emocji, swoisty pami˛etnik oddany za
pomoca˛ kreski. Skupiony na rzeczach
wstydliwych i intymnych, jak seksualno’sc,
’
która jest pierwotna˛ natura˛ człowieka,
ale też pewna˛ tajemnica˛. W prostej formie
ujawnione zostały pragnienia i ich różnorodno’sc’ i nie oczywisto’sc.
’ Obserwuja˛c
innych i siebie artystka tworzy pewien
kod, wizerunek współczesno’sci.
Cēsis Latvia
Science and Art center “Brūzis”, September – October 2016
www.kanepes.lv/jce
Artists:
Lauris Aizupietis, Margrieta Dreiblate, Atis Izands, Klāvs Loris, Oskars Pavlovskis, Paula Pelše, Linda Vigdorčika,
Lauris Vitolinš.
‚
Coordinators:
Alberto Di Gennaro
Alberto Di Gennaro holds a BA of visual arts and theatre and a BA of Architecture. He has been active in Italy, France, Germany and more recently
in Latvia as a producer for theatre and art events. He’s currently independent curator of MUSABA Foundation (Calabria - Italy), managing
partner of KKC – (Rı̄ga – Latvia) and freelance scenic designer. His international background and experiences have encouraged his passion for
collaborations and furthered his focus on the communal use of public space and social experiments.
Dāvis Kanepe
‚
Dāvis Kanepe,
cultural activist, has created, launched or collaborated to different initiatives in Latvia - the independent music festival “rozaa
‚
peldbaseins”, the “Free Riga” movement, Kanepes
Kultūras centrs, where in last three years more than 500 multidisciplinary events have been held.
‚
He is author of several short-films among which “Vadātājs”(2013), commissioned by the Latvian National Television. He is currently working on
his first full-length feature film with Tasse Films.
Hosted by Science and Art center “Brūzis”, Cēsis
Curated by Kanepes
Kultūras Centrs, Rı̄ga
‚
In collaboration with Institute for Environmental Solutions and Cēsis Municipality.
Supported by State Cultural Capital Foundation (VKKF).
Members of the jury:
Ilze Vanaga
Photographer
Diāna Barčevska
Curator
Alberto Di Gennaro
Dāvis Kanepe
‚
Artistic consultants:
Fišers
Mikelis
‚
Artist
Kaspars Lielgalvis
Artist
Armands Leitis
Creative director and founder of Guilty's agency
42
While writing this very text, we, the curators, are
based some 80 km away from each other (Rı̄ga and
Cēsis). Both towns are in different ways emerging
cultural clusters in Latvia and the Baltics. Rı̄ga just
experienced the highlights of being Culture Capital
of Europe in 2014 and Cēsis, during the same year,
was opening the multi-functional spaces of a new
Concert Hall.
Latvia joining this year JCE network doesn’t
happen as a surprise for people who followed and
witnessed the fast growing interest to local and
international art and culture nationwide. And we
shouldn’t talk just about interests. It is a consistent array of plans, actions and initiatives, from
institutions, public and private organizations and
independent groups of creators.
In fact, a broader and more attentive audience
for culture in Latvia has propelled a new breed of
managers and artists to take part in generating and
shaping the landscape of cultural identity and to
demand a stronger commitment from the institutional sector.
Among emerging and progressive institutions,
the Institute for Environmental Solutions (IES), an
international network of scientists, artists, and
innovators, based in Cēsis, has pulled our attention
on their cacophonic, yet emblematic and inspiring
spaces in the centre of town.
Abandoned for more than a decade, the Old
Brewery, a 425 years old charismatic industrial
monument of Cēsis, is a complex of buildings merging different architectonic styles from the 18th to
the 20th century. Nowadays the space is in transition to become the Science and Art Centre “Brūzis”.
Eight young artists were selected by Diāna
Barčevska, curator of Mūkusalas Mākslas salons
and Latvian National Museum of Art, Ilze Vanaga,
photographer, Alberto Di Gennaro, artist and
curator; Dāvis Kanepe,
founder of Kanepes
Culture
‚
‚
Centre, a private organization and resourceful
platform for the contemporary art and music scene
in Riga.
While analyzing the work and poetics of the 8 artists, who will be part of JCE 2015-2017 Biennale,
some links and symmetries were stemming out, to
compose like a witchcrafting kit: most of the works
seem following each other in the form of pagan
rituals or voodoo sessions.
Latvia has a peculiar spiritual climate, where
monotheistic religions and pagan traditions coexist,
with a strong and shared regard to nature. Nature
is respected, protected and celebrated. We believe,
all latvian artists participating to the present edition
reflect a common ethical commitment towards
Nature.
There are no mountains in Latvia, the landscape
runs flat in all directions. Though, in the last
decade, latvian painters have started to raise the
silhouettes of mountains. They are invitations to
climb, palpable monuments to render visible the
invisible.
By the way, this is the first generation of artists that
has grown up in an independent Latvian Republic.
Alberto Di Gennaro, Dāvis Kanepe
‚
43
Rakstot tieši šo tekstu, mēs kuratori esam 80 kilometru
attālumā starp Rı̄gu un Cēsı̄m. Baltijas mērogā
abas šı̄s pilsētas savdabı̄gi sev zı̄mē kulturālu renesansi. Rı̄dziniekiem nesen galvu reibināja Eiropas
Kultūras galvaspilsētas statuss, kamēr Cēsı̄s atklāja
jauno Koncertzāli.
Latvijas pievienošanās JCE tı̄klam tieši šogad nav
pārsteigums cilvēkiem, kuri novēro sabiedrı̄bas
augošo interesi par vietējās un ārzemju mākslas un
kultūras notikumiem. Tā pat nav tikai interese – tie
ir aptveroši plāni, aktı̄vas inciatı̄vas un attı̄stı̄bas
vı̄zijas no institūcijām, sabiedriskām un privātām
organizācijām, neatkarı̄gām radošajām grupām.
Aizvien plašāka un uzmanı̄gāka auditorija kultūras
notikumiem iedvesmo aizvien vairāk māksliniekus
un uzn‚ēmējus iesaistı̄ties jaunās kultūras identitātes
veidošanā un jau pieprasa daudz lielāku iesaistı̄šanos arı̄ no publiskā sektora institūcijām.
Vides Risinājumu Institūts Cēsı̄s – starptautisks
zinātnieku, mākslinieku un inovatoru tı̄kls – piesaistı̄ja mūsu uzmanı̄bu ar savu kakofoniski skaisto
ēku kopumu pašā pilsētas centrā.
Pamesta vairāk kā desmit gadus, Vecais Brūzis,
kurš pastāv jau 425 gadus, ir harismātisks industriālais mantojums, arhitektonisks kokteilis ar
būvēm, kas radı̄tas dažādos stilos starp 18. un 20.
gadsimtu. Šobrı̄d tas pārdzimst par pirmo Zinātnes
un Mākslas centru Latvijā ar nosaukumu „Brūzis“.
Aston‚us jaunos māksliniekus atlası̄ja Diāna
Barčevska, Mūkusalas Mākslas un Latvijas
Nacionālā Mākslas muzejakuratore, Ilze Vanaga,
fotogrāfe, Alberto Di Gennaro, mākslinieks un
kurators un Dāvis Kan‚epe, kultūras aktı̄vists no
Kan‚epes Kultūras centra, privātas organizācijas,
kas ir būtiska platforma laikmetı̄gās kultūras
procesiem Rı̄gā.
8 mākslinieku poētika lika domāt, ka vin‚u darbi
varētu būt kādas tautas dziedniecı̄bas un ma‘gisko
rituālu instrumenti: tie varētu tikt izmantoti pagāniskos buršanas rituālos vai voodoo sesijās.
Latvijai raksturı̄gs garı̄gais klimats, kurā monoteiskās reli‘gijas un pagānu tradı̄cijas lı̄dzpastāv ar
izkoptu un stipru cien‚u pret dabu. Daba ir respektēta, aizsargāta un svinēta.
Latvijā nav kalnu, ainava visbiežāk ir plakana
visos virzienos, bet tomēr pēdējā desmitgadē aizvien
vairāk mākslinieki ‚lauj mums ieraudzı̄t kalnu
siluetus. Tie ir ielūgumi rāpties augstāk, taustāmi
pieminekl‚i neredzamajam, bet klātesošajam.
Starp citu, tā ir pirmā mākslinieku paaudze, kas ir
pieaugusi neatkarı̄gā Latvijas Republikā.
Alberto Di Gennaro, Dāvis Kanepe
‚
Lauris Aizupietis
www.aizupietis.com
[email protected]
Born in 1986, Riga; Where he lives and works.
Studies: ISSP School; Riga School of Arts and
Crafts .
Lauris Aizupietis is a professional photographer who works at the photo news agency
f64 as well as he implements his own
projects. "Photography Award of the Year
2013" laureate, he attended the ISSP School
for young and emerging photographers
and other workshops. Shoots mostly ironic
everyday scenes where documentary mixes
with subjectivity.
Lauris Aizupietis ir profesionâls fotogrâfs,
kas ikdienâ strâdâ fotoziòu aìentûrâ, bet
brîvdienâs îsteno personîgos projektus.
Bijis "Gada balva fotogrâfijâ 2013" laureâts, fotogrâfijas izglîtîbas programmas
ISSP Skola dalîbnieks, kâ arî piedalîjies
meistarklasçs. Fotografç galvenokârt
ironiskas ikdienas ainas, kurâs dokumentâlisms mijas ar subjektivitâti.
Point Blank 13. Digital print collage, 21 x 30 cm, 2014.
44
Margrieta Dreiblate
www.lokaldaisy.tumblr.com
[email protected]
Born in 1991, Riga; Where she lives and works.
Studies: Art Academy of Latvia.
This "enfant terrible", known to the contemporary art scene of Latvia, for constantly
evoking and provoking questions about art
itself, should be taken seriously. For the
ones who believe that life is a serious affair,
there will be no mercy.
Margrieta Latvijas laikmetı̄gās mākslas
scēnā ir zināma ar provokatı̄viem un
nopietniem jautājumiem par mākslu pašu
par sevi. Labāk neesi džamba rasta un
izn‚em to svētdienas bukletu no pasta.
Basta.
So far again. Mixed media, 30 x 40 x 60 cm, 2015.
45
Atis Izands
[email protected]
Black frost. Oil on canvas, 180 x 200 cm, 2015.
Photo : © Atis Izands
Back frost is a Latvian expression that
describes a very particular type of weather
condition. The temperature is below -20°
and there is no snow. All flora is endangered,
the air is so clear, you can hear sounds you
have never noticed and it is the best time to
skate down a frozen river for several hours.
The main theme in Izands paintings is
the fear of not recognizing your roots and
losing your cultural identity. A painful
reflection on what should be conserved
and preserved, what symbols of disasters
transmitted to future generations.
How many shades of grey can we learn to
distinguish?
Kailsals - stiprs bezsniega sals, kad gaiss
ir tik tı̄rs, ka ir iespējams sadzirdēt skan‚as,
kuras citkārt nebūtu dzirdamas.
Tas ir skaidrı̄bas un patiesı̄bas mirklis,
kas reizē slēpj sevı̄ bı̄stamu dabu, apdraudot vājākos floras elementus.
Mākslinieka darbu tēma ir nedrošı̄ba,
bailes par vērtı̄bu un nacionālās identitātes zaudēšanu ārēju emocionālu lēmumu
iespaidā.
Tās ir sāpı̄gas pārdomas par to, kas būtu
jāsaglabā un kādi simboli nododami
nākamajām paaudzēm.
Pelēkie ton‚i kā būtisks Latvijas dabas elements pauž tuvējā apkārtnē tvertās sajūtas.
46
Klāvs Loris
www.klavsloris.wix.com/klavsloris
[email protected]
Studies: Art academy of Latvia, Riga.
Beaver pond. Mixed media, 280 x 270 cm, 2015.
In his mixed-media paintings Loris landscapes portraits of the world. In this paradoxal play with words possibly lays one
of the key to confront Loris work. Nature
is not only a physical environment, but a
mirror of the consciousness. Spending
several months on one single piece, necessarily the artist's feelings and moods drop
onto the canvas and stick, between one
layer and its following.
47
Savos jauktas tehnikas darbos Loris attēlo
pasaules portretus. Šajā paradoksālajā
vārdu spēlē, iespējams, slēpjas viena no
atslēgām Lora darbu konfrontācijai.
Daba ir ne tikai fiziska vide, bet arı̄
apzin‚as spogulis. Pavadot vairākus mēnešus pie viena darba, mākslinieka izjūtas
un noskan‚ojums pielı̄p audeklam, iejūkot
starp klājumiem.
Oskars Pavlovskis
www.pavlovskis.lv
[email protected]
Untitled. Silkscreen prints, 45 x 67 cm, 2014.
“I have a big passion for organic forms,
flesh like structures and anatomy. I tend to
create characters that sometimes morph
with unstructured shapes and become depictions of mixed creatures between reality
and fiction”, the artist states.
Pavlovskis has been working in different
media, from computer graphics and comic
to more traditional formats as sculpture,
illustrations and silk screen.
"Mani aizrauj organiskas formas,
struktūras un anatomija. Es cenšos radı̄t
tēlus, kuri dažkārt saplūst ar nekonkrētām
formām, veidojot radı̄jumus kas robežojās starp realitātes un fikciju" stāsta
mākslinieks.
Pavlovskis savu radošo darbı̄bu realizē
dažādos medijos, sākot ar datorgrafiku un
komiksiem lı̄dz tradicionālākāiem virzieniem tādiem kā tēlniecı̄ba, ilustrācija un
sietspiede.
48
Paula Pelše
[email protected]
Born in 1988, Riga; Where she lives and works.
Studies: Art Academy of Latvia; Faculdade de
Belas Artes, Porto.
By mixing silk screen with drawing, Paula
questions the separation between mankind
and nature. How dependent is one from
the other is still to be measured, while
currently, a consistent group of scientists
is referring to our time as Anthropocene,
a Time when human activities have been
proved to have a significant impact on the
ecosystem we are also part.
Kombinçjot sietspiedi ar zîmçšanu un
fotogrâfiju, Paula meklç cilvçka un dabas
mijiedarbîbas robežu. Tas, cik savstarpçji
atkarîgas ir šîs abas pasaules, vçl nav
nosakâms, tomçr pašlaik zinâtnieki mûsu
çru dçvç par Antropocçnu — laiku, kad
cilvçka darbîbai ir bûtiska ietekme uz
ekosistçmu, kurai piederam arî visi mçs.
Space of thought. Author technique, 167 x 132 cm, 2012.
49
Linda Vigdorčika
www.lindavigdorcika.com
[email protected]
Born in 1986, Riga. Lives and works in London.
Studies: Chelsea College of Arts; Art Academy
of Latvia; University of Latvia.
“It seems so strange that only 10 years
ago people were so much attracted to
new technologies and cyber-reality, but
now everybody is driven towards nature.”
Nature with its prefixes, sub-brands and
gadgets is a contemporary trend.
“Through nature consumption”, Linda
believes “there is not enough nature for
everybody anymore.”
By subtly hacking the image and behavior of nature, Linda unveils the decadent
dream of idyllic settings in an uncontaminated land and points the finger to the
healing power of placebo-greenery.
“Man liekas interesanti, ka vçl pirms
10 gadiem cilvçki tiecâs iedomâties nâkotni
kâ tehnoloìijas un saiber-realitâtes çru,
bet nu uzmanîbas centrâ nonâkusi daba
un dabiskais”. Daba, ar tâs prefiksiem,
sub-brendiem un daþâdiem “rîkiem” ir
kïuvusi par mûsdienu “trendu”.
“Tâ kâ “dabiskais” ir kïuvusi par “produkciju”, Linda uzskata, “esam nonâkuði lîdz
tam, ka “dabas” vienkârði visiem nepietiek”.
Smalki kodçjot dabas tçlu un iezîmes, Linda
atklâj dekadenta sapni par idillisko ainavu
ar nepiesâròoto zemi, un norâda uz producçtâs-dabas dziedinoðo spçku.
Untitled (Specimen No. 2). Mixed media, 2015.
50
Lauris Vitolinš
‚
www.laurisvitolins.com
[email protected]
We are at war. More than 100 years after
the outbreak of WW1, we have recycled
the same fears and ambitions into new
machines of hate and power. Dunkel is a
modern fountain that keeps pumping and
spilling the color of our shame (Dunkel is
the german term for “dark”), in a closed
relentless circle.
Lauris' playground is a collection of kinetic
sculptures and installations, where he
displays his interest of time and its relativity, the dialectic of order and disorder, the
edge and recurrence of power.
Mēs esam karā. Vairāk kā simts gadus
pēc Pirmā pasaules kara, mēs vēljoprojām
pārstrādājam tās pašas bailes un ambı̄cijas
jaunās varas un naida mašı̄nās. Dunkel ir
laikmetı̄ga strūklaka, kas turpina pilināt
mūsu kaunu. (Dunkel ir “tumsa”, vācu val.)
Laura dārzin‚š ir kinētiskās skulptūras
un instalācijas, kurās vin‚š iemieso savu
interesi par laiku un tā relativitāti, kārtı̄bas un haosa dialektiku, varas un spēka
robežas.
Dunkel. Steel, oil, rubber, 200 x 100 x 100 cm, 2014.
51
Como Italy
Villa Olmo, February – March 2017
www.visitcomo.eu
Artists:
Giulia Berra, Tania Brassesco & Lazlo Passi Norberto, Juri Ceccotti, Giulia Fumagalli, Matteo Galvano, Giovanni Longo,
Federico Scarchilli.
Coordinator:
Francesca Testoni
Francesca was born in 1982 and graduated in Contemporary Art communication and organisation from the Fine Arts Academy of Brera, Milan.
She has been working since 2008 at the Department of Culture of the Municipal Authority of Como and has since 2009 also been coordinating
and organising “Co.Co.Co.” the Como Contemporary Contest, a national competition for young artists that is sponsored by the City.
Mario Lucini
Mayor of Como
Luigi Cavadini
Claudio Grillone
Councillor for Culture
Head of the Creativity Department for the City of
Milan and of Fabbrica del Vapore
Maurizio Ghioldi
Flaminio Gualdoni
Head of Cultural Department
Art historian and curator
Veronica Vittani
Elena Isella
Manager of Culture and International Relations,
City of Como
Art historian and curator
Francesca Testoni
Gallery owner
Coordinator of the Italian selection,
Cultural Department
Rita Begnis, Valentina Cavallari, Antonella
Guariglia
Salvatore Marsiglione
Veronica Vittani
Manager of Culture and International Relations,
City of Como
Cultural Department
52
The city of Como has selected the artists participating in the JCE through the well-established
art competition known as Co.Co.Co. Como
Contemporary Contest, which has seen 200 artists
taking part from all over Italy.
La Città di Como ha selezionato gli artisti partecipanti alla JCE tramite il consolidato concorso
d’arte Co.Co.Co. Como Contemporary Contest,
che ha visto la partecipazione di oltre 200 artisti
da tutta Italia.
Although young, the artists chosen for this Biennale
are excellent examples of the figure of the contemporary artist, with their sensitivity and an attention
to phenomena in the outside world that ensures they
are producing deeply meaningful work.
Seppur giovani, gli artisti scelti per questa edizione
della Biennale incarnano perfettamente la figura
dell’artista contemporaneo, con una sensibilità
e una attenzione ai fenomeni esterni che rende il
lavoro profondo e carico di significato.
Today more than ever the artist has a duty to
reflect on and shine a light on current issues, to
express his or her own point of view and encourage the spectator to consider the nature of the
what it is to be truly human in the contemporary
world. The artist is thus no longer just doing art
for art’s sake but producing aesthetically valuable
work that is also, and above all, a form of social
commitment.
Oggi più che mai l’artista ha un dovere, che,
a ben vedere, è anche un potere: quello di porre
l’attenzione su temi d’attualità, esprimere il suo
punto di vista e far riflettere lo spettatore sulla
condizione umana contemporanea. L’artista
dunque non è più colui che fa arte intesa come
creazione meramente estetica, ma ha anche e
soprattutto un impegno sociale.
In Fleets of dreams, Giulia Berra interprets the
topical question of migration, drifting boats that
are full of dreams and hopes. The light and delicate
materials employed invite the spectator to get up
close and touch. They also hold up a mirror to the
fragility of the hopes and vision of migrants who
would sail in these idealised boats.
Juri Ceccotti ponders the precariousness of employment in the installation CV, a curriculum vitae in
which the artist fills in the required information in
a straightforward manner, with no retouching or
sexing up of the data. Apparently ironic, the work
masks a reflection on the condition of modern man,
forced to wear a mask of appearance rather than
the authentic and honest self.
Contemporary precariousness is also the subject
of a work by Giovanni Longo whose fragile skeletons are those of symbolic, ancestral or prehistoric animals. They are carefully constructed out
of wooden eroded and weathered by nature, and
can be seen as a projection of our human weaknesses. The search for the material, which the
artist sources in the beds of rivers or at the sea,
is itself an integral part of the work. It involves
a slow walk in the natural world, with inspiration often arising out a random stumbling upon
an object in which the artist can already see the
finished work.
Federico Scarchilli also explores the essence of
the human being in society with his photograph
entitled 15 minutes. It is dominated by silence and
stillness in a world that is governed by speed and
unbridled consumerism. Scarchilli suggests we
should stop, reflect on who we are, and seek out
our inner essence. A raking light directs our attention to trace a narrative that each of can reinvent
as our own story.
53
In Flotte di sogni, Giulia Berra interpreta l’attualità delle migrazioni, barche alla deriva cariche
di sogni e desideri. I materiali utilizzati, leggeri
e delicati, invitano lo spettatore a una lettura
ravvicinata, tattile e sono lo specchio della fragilità, delle speranze e delle visioni dei migranti che
queste barche idealmente navigano.
Juri Ceccotti riflette sulla precarietà del lavoro
nell’installazione CV, curriculum in cui l’artista
compila le informazioni richieste in maniera
schietta, senza ritocchi o migliorie. Apparentemente
ironico, il lavoro cela invece una riflessione sulla
condizione dell’uomo moderno, costretto a indossare
la maschera dell’apparenza piuttosto che svelare la
sua parte autentica e onesta.
La precarietà contemporanea è anche oggetto del
lavoro di Giovanni Longo in cui fragili scheletri
di animali simbolici, ancestrali o preistorici,
accuratamente costruiti con reperti lignei erosi
dalla natura, sono la proiezione delle debolezze
umane. La ricerca del materiale, che l’artista
compie nel letto dei fiumi o in riva al mare,
è parte integrante dell’opera: un camminare lento,
un’ispirazione che talvolta nasce dall’incontro
casuale con un pezzo in cui l’artista già intravede
il lavoro finito.
Indaga l’essere umano nella società anche
Federico Scarchilli nella foto intitolata
15 minuti, dominata dal silenzio e dall’immobilità. In un mondo governato dalla velocità e dal
consumismo sfrenato, Scarchilli suggerisce di fermarsi, riflettere su noi stessi e tentare di ritrovare
l’essenza interiore. Una luce radente indirizza
il nostro sguardo per suggerirci una storia che
ognuno di noi può inventare.
Essere artista significa anche possedere un’eccellente capacità progettuale e tecnica: Tania
Brassesco e Lazlo Passi Norberto creano affasci-
Como Italy
Being an artist also means having excellent design
skills and technique: Tania Brassesco and Lazlo
Passi Norberto create fascinating photographs at
the boundaries between reality and unreality. The
scene is meticulously constructed in the studio.
Under the surface magnetically captures our gaze
and directs it to the poetry and elegance it exudes
as in a waking dream; a scene from a film of which
each of us can become the director.
With excellence and technical mastery, Matteo
Galvano works with biro on paper to create, in
his ArchitAMORfosi , imaginary structures that
are formed from the merging of easily recognisable buildings. The Turning Torso, emblematic
of the city of Malmö, merges with the Tower of
Pisa, to create new architecture with a postmodern feel.
For her part Giulia Fumagalli has a conceptual
approach and examines chromatisms. Her work
comes from her observation and study of optical
phenomena. In addition to being a visual experience, her work inhabits the space with a minimalist simplicity.
The opportunity is given to us to make comparisons between all these artists chosen to represent
different European partner countries of the JCE.
nanti fotografie al confine tra realtà e irrealtà in
cui la scena è meticolosamente costruita in ogni
sua parte in studio. Under the surface cattura
magneticamente il nostro sguardo per la poesia
e l’eleganza che traspira, un sogno ad occhi aperti
o la scena di un film del quale ognuno di noi può
farsi regista.
Con eccellente padronanza tecnica, Matteo
Galvano lavora a penna bic su carta per creare,
nelle sue ArchitAMORfosi, strutture immaginarie nate dalla fusione di edifici facilmente
riconoscibili: il Turning Torso, emblema della
città di Malmö, si fonde con la Torre di Pisa,
creando una nuova architettura dal sapore
postmoderno.
Giulia Fumagalli ha invece un approccio concettuale e di ricerca nel campo del cromatismo.
Il suo lavoro nasce dall’osservazione e dallo studio
di fenomeni ottici. Oltre ad essere un’esperienza
visiva, l’opera abita lo spazio nella sua essenzialità minimalista.
Un interessante confronto si aprirà tra tutti gli
artisti scelti a rappresentare i paesi europei partner della JCE.
Francesca Testoni
Francesca Testoni
54
Giulia Berra
giuliaberra.blogspot.fr
[email protected]
Born in 1985, Cremona; Where she lives and
works.
Studies: Academy of Fine Arts of Brera, Milan
Fleets of dreams. Embroidery and feathers on
Japanese paper, 20 elements, variable dimensions,
detail, 2014.
Patiently-picked-up feathers and spirals
of threads create a fleet of boats as thin
as dreams and hopes. The installation,
inspired by the situation of Mediterranean
Countries, is part of a research which has
in Nature its starting point to make visions
and narrations about the present, characterized by the use of fragile biological
materials. To be watched closely, with
respect.
55
Piume raccolte con pazienza e intrecci di
refe danno vita ad una flotta di barche
esili come sogni e speranze. L’opera,
ispirata all’attualità dei Paesi del
Mediterraneo, s’inserisce in una ricerca
che vede la Natura come punto di partenza per costruire visioni e narrazioni del
contemporaneo, caratterizzata dall’utilizzo
di materiali biologici fragili, da osservare
da vicino con rispetto.
Tania Brassesco & Lazlo Passi Norberto
www.tanialazlo.com
[email protected]
Born in 1986, Venice; Where she lives and works.
Born in 1984, Zevio. Lives and works in Venice.
Studies: Academy of Fine Arts, Venice
Studies: IUAV, Venice
Under the surface. Medium format digital photography,
C-print on dibond, 98 x 131 cm, 2014.
The artwork is linked to the universe of
psyche, unconscious and dream. The
character is totally sunk into the maze of
her mind, in contact with the deeper part
of her thoughts, fears and visions. The
artworks of Tania & Lazlo are a fusion of
photography, cinema, performance and
installation. Sketches and ideas turn into
real set, carefully realized in detail like a
scene for a movie.
L’opera è legata all’universo della psiche,
del sogno e dell’inconscio. Il soggetto è
totalmente immerso nel labirinto della
sua mente, in contatto con la parte più
profonda dei suoi pensieri, paure e visioni.
Le opere di Tania & Lazlo sono una
fusione tra fotografia, cinema, performance ed installazione. Bozzetti ed idee si
trasformano in set reali, creati nei minimi
dettagli come per la scena di un film.
56
Juri Ceccotti
www.juriceccotti.com
[email protected]
Born in 1980, Pisa. Lives and works in Milan.
Studies: Academy of Fine Arts, Carrara
CV. 13 720 sheets of A4 paper 80gr/m2, pallet,
60 x 80 x 35 cm, 68,6 kg, 2015.
My work explores various aspects and
mechanisms of society and forms of contem
porary life through simple procedures.
CV is an installation designed to run out in
the interaction with the audience.
The curriculum is a self-promotion tool
where we highlight our qualities and abilities in two A4 sheets paper, about 10 gr.
This is the weight that the society attaches
to our individuality.
In an attempt to reverse this process of
alienation that leads us to be treated as
goods, I've filled out the format providing an
honest answer, without the logic of advertising fascination. The curriculum was then
printed in the number of copies needed to
reach my weight (68,6kg).
57
Il mio lavoro indaga attraverso interventi
semplici vari aspetti della società e delle
forme di vita contemporanee.
CV è una installazione progettata per
esaurirsi nell'interazione con il pubblico.
Il curriculum è uno strumento di auto-promozione dove qualità e abilità sono riassunte in due fogli di carta A4, circa 10 gr.
Questo è il peso che la società attribuisce
alla nostra individualità.
Nel tentativo di invertire questo processo
di alienazione che ci assimila a delle
merci ho compilato il modulo rispondendo
sinceramente, senza la logica pubblicitaria della fascinazione. Il curriculum è
stato poi stampato fino a raggiungere il
mio peso corporeo (68,6kg).
Giulia Fumagalli
www.spazienne.it
[email protected]
Born in 1990, Carate Brianza. Lives and works
in Montevecchia.
Studies: NABA, New Academy of Fine Arts,
Milan
The artwork is composed by an indefinite
number of devices which make a visual
experience representation possible.
The viewers, made up of stained glass,
realistically reproduce aura symptoms,
a perceptual disturbance that replaces a
person’s visual field with colored stripes.
These chromatisms can be captured and
become experience for some, or memory
for others.
Il lavoro si compone di un numero non
determinabile di dispositivi che permettono l’esteriorizzazione di un’esperienza
visiva. Visori, composti da vetri colorati,
riproducono verosimilmente i sintomi
dell’aura, un disturbo della vista che
sostituisce il campo visivo con fasci di
colore. Questi cromatismi offrono la possibilità di essere presi e diventare per alcuni
esperienza e per altri ricordo.
Cromatismo visivo. Stained glass and wood structure.
12 x 14 cm each, 2014-2015.
58
Matteo Galvano
www.matteogalvano.it
[email protected]
Born in 1983, Como; Where he lives and works.
Studies: Master of Art, Como
architAMORfosi – Torre pendente & Turning Torso
Malmö. Black biro pen on cardboard,
50 x 100 cm, 2015.
59
architAMORfosi is a project that displays
the artists view on achieving “the ideal
city”. The goal has been to merge two geographically distant cities, thereby letting
the viewer imagine and experience both at
the same time. The continuous and repetitive strokes of the artists pen has resulted
in landscapes offering silent reflection
found side-by-side with the swirls of urban
sounds.
architAMORfosi esprime la convinzione
dell’artista circa la possibilità di riappropriarsi della città ideale. Quest’opera
raggiunge l’obiettivo fondendo due città
geograficamente distanti tra loro, immaginando di viverle in un unico momento
ed avvolgendole in tutto lo spazio, utile ad
ottenere silenziosi momenti nel turbinio dei
suoni urbani tradotti nel continuo ripetersi di tratti della sua biro.
Roberta Macchia
Roberta Macchia
Giovanni Longo
www.giovannilongo.com
[email protected]
Born in 1985, Locri; Where he lives and
works.
Studies: Academy of Fine Arts, Reggio Calabria
Zero distance. “Fragile Skeletons” series,
driftwood, foam rubber, zinced iron, stainless steel ball,
26 x 10 x 30 cm, 2015.
Giovanni Longo, graduated in sculpture
at the Academy of Fine Arts in Reggio
Calabria, has been experimenting multiple
art languages for several years searching for different solutions able to describe
the contemporary precariousness. From
2005 his attention is basically focused on
reclaimed wood (driftwood) with which,
creating a bond between the osseous and
the ligneous elements, he represents symbolic skeletons weakened by time.
Giovanni Longo, diplomato in scultura
presso l’Accademia di Belle Arti di Reggio
Calabria, da diversi anni sperimenta
molteplici linguaggi alla ricerca di
soluzioni che possano descrivere la precarietà contemporanea. Dal 2005 la sua
attenzione si concentra principalmente sul
legno di recupero con il quale, operando
un parallelo tra elemento osseo e ligneo,
rappresenta simbolici scheletri indeboliti
dal tempo.
60
Federico Scarchilli
www.federicoscarchilli.it
[email protected]
Born in 1985, Cremona; Where she lives and
works.
Studies: Academy of Fine Arts of Brera, Milan
15 Minutes. Digital photography, 70 x 100 cm, 2015.
My work wants to analyses the relationship between human being and society.
Nowadays we are getting faraway from our
personal virtues, society gives us every
answer we need simplifying our lifetime
and we just keep living without taking
time to pose questions. I try to photograph
silence and loneliness, according to me
these are invisible spaces that give the
right mood to think without being distracted by noises, in this way we can put
aside the unnecessary resuming to ask the
important questions we really need.
61
Il mio lavoro vuole analizzare il rapporto
tra essere umano e società. L’uomo, con
il progredire della modernità, si sta
allontanando dai suoi valori personali,
oggigiorno non ci poniamo più alcuna
domanda, il sistema in cui viviamo
sembra darci risposte già confezionate
facilitandoci la vita. Con le mie foto
cerco quindi di fotografare il silenzio e la
solitudine, spazi invisibili che permettono
all’essere umano di riflettere nella totale
assenza di rumori e di distrazioni, e ritornare così a domandare.
Figueres Spain
Museu de l’Empordà, April – May 2017
www.museuemporda.orgwww.figueres.org
Artists:
Aïda Andrés Rodrigálvarez, Adrian Espinós Ferrero, Anna Ill Albà, Jennifer Owens, Esther Pí Gómez, Mònica Planes Castan,
Ignasi Prat Altimira, Ines Schaikowski.
Coordinator:
Mario Pasqualotto
Mario Pasqualotto, born in Barcelona in 1953, is an artist with wide-ranging interests: his creative activity encompasses many different fields
of the plastic arts, including installations-performances-environments, sculpture, sculpture-painting, jewellery and the graphic arts. He is the
President of the Jury for the JCE Biennale in the city of Figueres.
Marta Felip i Torras
Mayor of Figueres
Alfons Martínez Puig
Mario Pasqualotto
Head of Cultural Department
President of the jury and exhibition manager
Artist and curator
Teresa Miquel i Malé
Pep Montoya
Director of the Museu de l’Empordà
Josep Maria Torner i Malé
Department of Culture, City of Figueres
Artist and manager of the Master Degree
“Production and Artistic Research” at the University
of Barcelona
Natàlia Chocarro
Assistant of the artistic director, Fundació Vila Casas
Ricard Planas
Director of the “Bonart Magazine” and cultural
manager
62
The city of Figueres consolidates its presence in this
European itinerant cultural project, fostering and
giving support to the youngest Catalan talents in the
visual arts who are seeking international projection,
and at the same time visualising the conceptual and
plastic interests of these young creators who have
been trained in educational centres, universities and
art schools.
In this edition there is a notable presence of female
artists. Six of the eight selected creators are women,
since most of the proposals and dossiers presented
were by female artists. But both women and men,
even though they do not represent an entire new
generational plastic art movement, do bring us
closer to a more generic vision of the interests,
conflicts and tensions that generate their everyday
personal lives, marked with a profound politicoemotional background between the personal world
and the reality that surrounds it. These are young
artists who are living today’s convulsive times, based
on precarious subsistence economies and persistent
personal recycling, both emotional and material, on
which basis they shape their most intimate experiences and emotions.
In the previous edition, the jury saw that the projects
reflected the socio-political situation of profound
crisis and discouraging realities existing for a large
part of the public, particularly the younger generations, who displayed powerful visual proposals with
irony and acuteness.
This year there is a clear and widespread tendency
to probe deeper into the dreamlike, metaphorical
and evocative worlds of real or imaginary spaces –
sacralised everyday objects –as a form of rejection
of the tangible mediocrity that surrounds us, and the
need to cast off weight and defend their own dreams,
protecting themselves with reflection and thought,
the capacity to imagine and to build bridges towards
another possible parallel future as creators, and
towards Utopias as NON-places/spaces.
From Figueres (Catalonia), the artists selected by the
jury of this edition of the Biennial are: Aida Andrés
Rodrigálvarez, Adrián Espinós, Anna Ill, Jennifer
Owens, Esther Pi Gómez, Mònica Planes, Ignasi Prat
and Inés Schaikowski.
All of them propose their particular plastic visions,
which, from the moment when they are displayed
outside of their studios to the viewing public, come to
form part of the observers’ memory and grant them
the privilege of being able to dream and create their
own aesthetic-mental worlds which, paradoxically,
do not necessarily coincide with the artist’s motivations and wishes. The entire experience leads us into
a greater awareness of human diversity.
Mario Pasqualotto
La ciutat de Figueres consolida la seva presència en
aquest projecte cultural itinerant europeu, fomentant
i donant suport a la plàstica catalana més jove que
vol projectar-se internacionalment, i dóna visualització als interessos conceptuals i plàstics d’aquests joves
que es formen als centres d’ensenyament, universitats
i escoles d’art.
En aquesta edició us presentem 8 propostes artístiques
amb una notable presència femenina, ja que gran
part dels dossiers i propostes que ens han arribat són
de dones artistes. No es tracta de representants d’una
nova plàstica generacional, però sí que ens aproximen a una visió més genèrica dels interessos, conflictes i tensions que generen les quotidianitats personals
en la vida d’aquests creadors: totes les obres tenen
un profund rerefons polític i una càrrega emocional,
que exemplifica la dualitat entre el món personal i
la realitat que els envolta. Són joves que viuen els
temps convulsos actuals, amb situacions econòmiques
precàries que els obliguen a un reciclatge personal
persistent, tant emocional com material, que condicionen les seves vivències i les seves emocions.
En l’anterior edició, el jurat va constatar que les
obres evidenciaven d’una manera dramàtica la
situació de profunda crisi sociopolítica i les descoratjadores realitats d’una gran part dels ciutadans i, en
especial, de les joves generacions que reflectien amb
ironia i agudesa propostes plàstiques contundents.
Enguany es constata la tendència d’aprofundir en els
mons onírics, metafòrics i suggerents d’espais reals o
imaginaris, i en els objectes quotidians sacralitzats,
com a rebuig a tanta mediocritat tangible que ens
envolta i a la necessitat de deixar anar llast i defensar els propis somnis. L’artista es protegeix amb la
reflexió i el pensament, amb la capacitat d’imaginar,
amb la construcció de ponts cap un altre futur possible com a creadors, i amb les utopies d’un no-lloc i
d’un no-espai.
Des de Figueres, Catalunya, els artistes seleccionats
que componen el jurat d’aquesta edició biennal
són Aida Andrés Rodrigálvarez (Barcelona, 1985),
Adrián Espinós (Alacant, 1985), Anna Ill (Vilanova
i la Geltrú, 1990), Jennifer Owens (Dublín, 1983),
Esther Pi Gómez (Mollet del Vallès, 1982) Mònica
Planes (Barcelona, 1992), Ignasi Prat (Sant
Esteve de Palautordera, 1981) i Ines Schaikowski
(Wriezen, 1981).
Aquests artistes proposen les seves visions plàstiques
que, des del moment en què són mostrades fora dels
tallers, davant dels espectadors que les contemplen,
passen a formar part de la memòria de qui les observa.
A més, ens permeten el privilegi de poder somiar i
crear els propis mons esteticomentals, els quals paradoxalment no han de coincidir amb les motivacions
de l’artista i els seus desitjos. Tot plegat ens endinsa
en el coneixement de la diversitat humana.
Mario Pasqualotto
63
Aïda Andrés Rodrigálvarez
www.aidarodrigalvarez.com
[email protected]
Born in 1985, Barcelona; Where she lives and
works.
Studies: School of Architecture, Barcelona;
Faculty of Fine Arts, University of Barcelona.
The Manners [details]. 6 mezzotints and 3 matrixes,
handmade cotton paper, 100 x 70 cm each, 2014.
With my work, I propose looking beyond
the art pieces to realize that our perception is neither rational nor objective. I also
propose cultivating a state of reflexive
perception and a sensitivity of the senses
to help us relate to the world in which we
live and to ourselves. I recognize “feelings”
as a fundamental criterion of life. They fill
our minds with memories and intelligence
connecting us to the world and enriching
our experience of it.
Amb el meu treball proposo veure més
enllà de l’obra per adonar-nos que les
postres percepcions no són racionals o
objectives, cultivant aquest estat de percepció reflexiva i sensibiliat dels sentits que
ens situa i relaciona amb el món i amb
nosaltres mateixos. Reconec la “sensació”
com a criteri fonamental de la vida, la
qual omple la nostra ment de memòria i
intelligència connectant-nos amb el món i
enriquint la nostra experiència d’ell.
64
Adrián Espinós Ferrero
www.adrianespinos.com
[email protected]
Born in 1985, Alicante. Lives and works in
Alcanar.
Studies: Faculty of Fine Arts, University of
Barcelona.
Mars Polar Lander. Mixed technique on
plexiglass, 90 x 90 cm, 2015.
I consider ideas as living entities and
the artwork a way to give them a body.
My investigation is focused on the creation
of new material in the artistic process,
using transparent plexiglass as double
painting surface, where the front side has
texture/matter (body) and the backside not
(idea). I conceive this duality as the basis
for an artificial artistic life.
65
Considero que las ideas son entidades
con vida propia y el arte una forma de
darles cuerpo. Mí investigación se centra
en la creación de materia nueva durante
el proceso artístico, usando metacrilato
transparente como una doble superficie
pictórica. La parte frontal tiene textura/
materia (cuerpo) mientras que la posterior
no (idea). Concibo esta dualidad como la
base para una vida artística artificial.
Anna Ill Albà
www.annaill.com
[email protected]
Born in 1990, Vilanova i la Geltrù. Lives and
works in Paris and Barcelona.
Studies: Academy of Fine Arts, Goldsmiths
University of London.
Inframonde Humide : (De)Construction of the Bed
& (De)Construction of the Pavement. Mixed media,
The exploration of intimacy becomes
the stage for studies into that which lies
between boundaries and external spaces.
The passage of time is incorporated as an
immovable and conditioning factor while
reflecting the ephemerality that is linked
to our ambiguous journey. Textiles and
photography represent the fusion between
a creative and inspirational environment.
By using perspective and photographic
content I move into conceptual depth until
the essence is reached.
L’exploració de la intimitat es converteix
en l’escenari d’estudi entre els límits de
l’interior i l’exterior. El pas del temps
s’incorpora com a un factor inamovible
i condicionant que reflexa l’efimeritat en
relació al nostre camí imprecís. El tèxtil
i la fotografia representen la fusió entre
el medi creatiu i inspiratiu. A través de
la perspectiva i del contingut fotogràfic
capturat m’endinso en la profunditat
conceptual per arribar a l’essència.
66
Jennifer Owens
[email protected]
Born in 1983, Dublin. Lives and works in
Barcelona.
Barcelona.
Drawings with hair. Hair sewn on canvas, 9 pieces,
7 x 9 cm each, 2015.
My work with hair is about facing death
and seeing it as something natural. Hair is
one of the few elements which remains of
us when we die. It is a symbol of strength
and freedom since it is something we grow
ourselves without the help of anyone else.
In my photographic work I discover worlds
and create scenes where things happen,
but I also try to keep a sense of mystery
within them.
67
Mis obras con pelo tratan de enfrentar
la muerte y verla como algo natural. El
pelo es uno de los pocos elementos que
queda de nosotros cuando morimos. Es un
símbolo de fuerza y de libertad ya que es
algo que cultivamos sin la ayuda de otra
persona. En mi obra fotográfica descubro
mundos y creo escenarios donde suceden
cosas, pero a la vez intento mantener un
cierto misterio.
Untitled (Back Roads series). Digital photograph on
paper, 8 x 20 cm, 2014.
Esther Pí Gómez
www.estherpigomez.com
[email protected]
Born in 1982, Mollet del Vallès. Lives and
works in Darnius.
Barcelona; Escola Massana, Barcelona.
Graduated in Fine Arts from the University
of Barcelona (2005), she specialized
herself in sculpture at the Massana School
in that same city (2011). She has participated in collective expositions in various
galleries in Spain as well as abroad. In her
sculptures and installations Esther Pi uses
a subtle and metaphorical language, based
on the human body, nature and the characteristic qualities from the materials.
Llicenciada en Belles Arts per la
Universitat de Barcelona (2005) i Tècnica
Superior en Arts aplicades a l’Escultura
(Escola Massana, 2011). Ha participat
en exposicions col·lectives de diferents
espais d’Espanya i de l’estranger. En les
seves escultures i instal·lacions utilitza un
llenguatge subtil i metafòric, partint del
cos humà, de la natura i del simbolisme
que genera la forma i el concepte del
material.
The Seed. Mixed media, 2015.
68
Mònica Planes Castan
www.monicaplanes.com
[email protected]
Born in 1992, Barcelona; Where she lives and
works.
Barcelona.
Armchair. (Not) shared interior space. Mixed media,
My objects imply a human activity which
relates to my mind and body, so that, more
than objects, they become spaces between
the interior and the exterior self through
which the inherent problems of everyday
life can be revisited. In Armchair. (Not)
shared interior space, I have removed two
fences from the public space and I have
brought them home. Using a rope as a
line, I have turned them into two armchairs
which are impossible to sit on. With this
action I have fused the private and the
public space.
69
Els meus objectes impliquen una activitat
humana en relació al cos i a la ment i,
per tant, més que objectes, són espais entre
interior i exterior on reviso els problemes
inherents a la quotidianitat. A Butaques.
Espai interior (no) compartit he extret
dues tanques de l’espai públic i les he dut
a casa. Utilitzant una corda a mode de
línia, les he convertit en unes butaques
a les quals és impossible seure. A partir
d’aquesta acció fusiono l’espai públic i el
privat.
Ignasi Prat Altimira
www.ignasiprat.org
[email protected]
Born in 1981, Sant Esteve de Palautordera.
Lives and works in Barcelona .
Barcelona; Institute of Photographic Studies
of Catalonia, Barcelona; Escola Groc – School
of Fine Arts and Design, Barcelona.
Inventory of the Official Political Portrait.
Photography, installation, variable dimensions,
2013-2015.
The documentary collection project
focuses on the official portrait of the
Governors in the plenary rooms of
Catalonian Councils. The aim of the project
is to suggest a reflection on the use and
the power of such images, showing the
validity of the personality cult through the
physical image and offering a model of
organization of this branch of the imaginary of political power.
Fons documental que pren com a motiu
principal els retrats de governants de
les sales de plens dels Ajuntaments de
Catalunya. La finalitat és suggerir una
reflexió sobre els usos i el poder d’aquest
tipus d’imatges, donar compte de la
vigència de la pràctica del culte a la
personalitat a través de la imatge física
i proposar una urbanització d’aquesta
branca de l’imaginari del poder polític.
70
Ines Schaikowski
www.inesschaikowski.de
[email protected]
Born in 1981, Wriezen. Lives and works in
Barcelona.
Studies: Philipp University of Marburg,
Faculty of Arts; University of Barcelona,
Faculty of Fine Arts.
efímero [box & pillar]. Mixed media, 2014-2015.
efímero is a project about the issue of
death and the search for faith after a deep
crisis caused by a loss.
In my work I’m looking for a visual form to
express a rupture, an internal fragmentation with all its emotional and spiritual
consequences. Furthermore I am experiencing about the question of how it is
possible to love an absent person. Human
feelings evoke the beloved, although they
remain physically absent.
This project wants to be a collection of
intuitive moments full of emotional tension
among a sad devotion and a desperate
search.
71
efímero es un proyecto que aborda el
tema de la muerte y la búsqueda de la fe
después de una profunda crisis por motivo
de una perdida.
En mi trabajo estoy buscando una forma
visual para expresar una rotura, una
fragmentación interna con todas sus
consecuencias emocionales y espirituales.
Además estoy experimentando sobre la
cuestión de cómo es posible amar a una
persona ausente. Los propios sentimientos
evocan lo amado, que sin embargo, sigue
estando físicamente ausente.
Este proyecto quiere ser una colección
de momentos intuitivos llenos de tensión
emocional entre una devoción triste y una
búsqueda desesperada.
Amarante Portugal
Amadeo de Souza-Cardoso Municipal Museum, July – August 2017
www.amadeosouza-cardoso.pt
Artists:
Basttuz, Inês Henriques, Mariana Mendes Delgado, Pedro Mesquita, Mónica Nogueira, Filipa Silveira, Marlene Teixeira,
Fátima Teles.
Coordinator:
António Cardoso
António Cardoso, born in 1932 in Amarante, is an Emeritus Professor at the Faculty of Arts of the University of Porto where he taught Art History,
directed and guided seminars and Masters courses. He has collaborated in different ways with various magazines and newspapers, and has
devoted himself to painting and drawing, with several individual and group exhibitions in Portugal and abroad. He is a specialist in History of
Contemporary Art, a researcher and a member of the International Association of Art Critics (Portuguese section). He is also a member of the
General Council of the Institute Marques da Silva and is currently the Director of the Amadeo de Souza-Cardoso Municipal Museum (Amarante).
José Luís Gaspar
Mayor of Amarante
António Cardoso
Director of the Amadeo de Souza-Cardoso Municipal
Museum and Curator of the Portuguese selection
Carlos Teixeira
Responsible of the Cultural Department
Cláudia Cerqueira and Renato Teixeira
Cultural Department
72
The advent of the industrial age and his coronation
that now seems to live, gave the world achievements
and your's Humanity truly unthinkable centuries
ago. Notable progress in all areas exceeded limits
of yore, gave new horizons and narrowed the contact
between Men.
The shortened distances, not the physical, but the
temporal knowledge and updating the information
to the planetary scale are within reach of a click!
And the Art? This followed and benefited by incorporation and adaptation of all this movement.
For centuries Europe was the great booster breaks
that always meant evolution and his art was always
synonymous with their cutting edge.
With their own languages, but always understandable they raise controversy, abstraction and,
consequently, development, Art was often the only
common point of respect and appreciation between
people, helped to bring down barriers, to promote
and strengthen ties, to build bridges to the future.
Today the call to that art plays this role in a Europe
in the process of mutation, by incorporation, deep,
is strong and vital. The Young Creation is probably
the biggest example of European contact and
approach for the contemporary art, started in three
countries, represented by many other cities today
involves seven countries represented by culturally
diverse cities but of extreme wealth, which, together,
host this project partnership that, for three years, is
point of contact and dialogue.
To Amarante, cradle of the Modernity of the plastic
arts with Portuguese Amadeo de Souza – Cardoso,
integrate this project with a European dimension and
welcomes you on your Museum's Amadeo by patron,
continues to put the city at the dawn of Modernity
and the route of European arts, ensuring an unrivalled
quality project attractiveness.
The Portuguese team, around eight young artists, is
intended to be a part of this project around thematic
papers and various disciplinary, aroused well-deserved
analysis and reflection of all those who, throughout
their country after country, roaming global its look
and its focus on exposure, contributing to the dissemination of the image and of Portuguese culture.
Without wanting to forget all those who participated
and that although not selected have contributed
to the enhancement of this process, I leave the
invitation to fruition and to take advantage of this
civilizational contact point.
Carlos Teixeira
O advento da era industrial e a sua coroação que
agora parece vivermos conferiram conquistas ao
mundo e à sua Humanidade verdadeiramente impensáveis à séculos atrás. Notáveis progressos em todos os
domínios ultrapassaram limites de outrora, conferiram
novos horizontes e estreitaram o contacto entre o
Homem.
As distâncias encurtaram, não as físicas, mas as
temporais, o conhecimento e a actualização da
informação à escala planetária estão ao alcance de
um click ! E a Arte ? Essa acompanhou e beneficiou
por incorporação e adaptação de todo esse movimento.
Durante séculos a Europa foi o grande impulsionador
de rupturas que sempre significaram evolução e a sua
Arte foi, sempre, sinónimo da sua vanguarda.
Com linguagens próprias, mas sempre entendíveis
suscitadoras de controvérsia, abstracção e, por consequência, desenvolvimento, a Arte foi, muitas vezes,
o único ponto de respeito e apreciação comum entre
povos, ajudou a derrubar barreiras, a fomentar e
estreitar laços, a lançar pontes para o Futuro.
Hoje o apelo para que a Arte desempenhe esse papel
numa Europa em processo de mutação, por incorporação, profundo, é forte e indispensável. O Salão
de Jovem Criação é, provavelmente, o exemplo de
maior dimensão europeia de contacto e aproximação
pela Arte contemporânea, iniciado em torno de
três países, representados por outras tantas cidades,
hoje envolve sete países representados por cidades
culturalmente diversas mas de extrema riqueza que,
juntas, acolhem este projecto de parceria que, durante
três anos, é ponto de contacto e de diálogo.
Para Amarante, berço da Modernidade das artes
plásticas portuguesas com Amadeo de Souza-Cardoso,
integrar este projecto de dimensão europeia e
acolhe-lo no seu Museu que tem Amadeo por patrono,
continua a colocar a cidade na alvorada da
Modernidade e na rota das artes plásticas europeias,
assegurando um projecto de inigualável qualidade
a atractividade.
A selecção portuguesa, em torno de oito jovens artistas,
pretende ser uma peça deste projecto em torno de
trabalhos temática e disciplinarmente diversos, por
certo suscitadores de merecida análise e reflexão
de todos aqueles que, ao longo da sua itinerância,
país após país, debruçarão o seu olhar e a sua atenção
na exposição, contribuindo para a divulgação da
imagem e da cultura portuguesa.
Sem querer olvidar todos os que participaram e que
embora não seleccionados contribuíram para a valorização deste processo, deixo o convite à fruição e
ao aproveitar deste ponto de contacto civilizacional.
Carlos Teixeira
73
Basttuz
[email protected]
Born in 1980, Guimarães; Where he lives and
works.
Studies: Academy of Fine Arts, Porto.
# 5. Mixed media, 250 x 200 cm, 2012.
In my work I am searching the progress of
creation and construction of an object.
The construction process – the “Play”– is
more relevant than the final result or its
idealization. I’m not looking for a specific
material to create a piece of art, but unlike,
I started working with what crossed on
my way. The title came after just like an
evocation. Its a way to date my work in a
period of time.
No meu trabalho eu procuro o curso da
criação e construção de um objecto. O processo de construção - o "Jogo"- é mais
relevante do que o resultado final ou a
sua idealização. Não procuro um material
específico para criar uma obra de arte,
mas antes, trabalho com o que se cruza
no meu caminho. O título vem depois,
apenas como uma evocação. É uma forma
de datar o meu trabalho num período de
tempo.
74
Inês Henriques
www.ineshenriques.weebly.com
[email protected]
Born in 1984, Lisbon; Where she lives and works.
Studies: Academy of Fine Arts, Lisbon.
Reconstruction #10. Acrylic on canvas, 4 canvases,
180 x 50 cm each, 2013.
In my act of Doing, I want to explore the
idea that a work of art can be modified and
recreated, in form and meaning, not being
confined in a single format.
This project was born from the observation
of buildings in construction. It is a serie
of canvases which explore a space and
turning it an essential part of its reading,
in a constant changing dialogue between
creation /space / onlooker. The way the
several elements of the work are articulated
intends to enhance the visual impact of
the referential and its volume in the urban
fabric.
75
No meu acto do Fazer exploro a ideia de
que uma obra se pode modificar e recriar,
num constante evoluir de forma e significado, não se confinando a um único
formato.
Este projecto nasce da observação de
edifícios em construção.Trata-se de um
conjunto de telas que explora um espaço
e transforma em parte essencial na sua
leitura, num diálogo em constante mutação entre obra/espaço/espectador. O modo
como se articulam os diversos elementos
do trabalho pretende realçar o impacto
visual dos referentes e da sua volumetria
no tecido urbano.
Mariana Mendes Delgado
cargocollective.com/marianacmgd
[email protected]
Born in 1991, Aveiro; Where she lives and works.
Studies: Faculty of Fine Arts, University of Porto.
Crisis in Decline. Mixed media,
105 x 135 x 10 cm, 2014.
Ruin, intimate of the idea of precariousness,
is the medium that fits together the project
Dystopia: Inner Lining for a Fabricated
Home (2013-2014). Allegory is the form of
fictional production which destroys all
images in a time always, ever more, obsolescent. The dystopian metaphor, through
the disquiet ingrained in the society in
which the artist lives, is the construction of
its own horrific power in artworks. Thusly
the crisis can be felt.
A ruína, íntima da ideia de precariedade, é
o medium que encruza o projeto Dystopia:
Inner Lining for a Fabricated Home (20132014). A alegoria é o modo de produção
ficcional que destrói todas as imagens
num tempo sempre, até mais, obsolescente.
A metáfora distópica, pela inquietação
entranhada na sociedade em que o / a
artista vive, é a construção do seu próprio
poder horrífico nas obras. Sente-se por aí
a crise.
76
Pedro Mesquita
www.artslant.com/global/artists/show/106211-pedro-mesquita
[email protected]
Born in 1977, Oporto. Lives and works in Lavra.
Studies: Royal Danish Academy of Fine Arts,
Copenhagen; Academy of Fine Arts, University
of Porto.
Untitled. Mixed media on wood, 2010.
The use of commonly used materials and
industrial character brings us to the industrialized world. Looking for the discovery of
new techniques, exploiting the characteristics
of these materials, it behaves and observing certain suggestions that form between
them. As this research is the need for
constant demand, with particular attention
to the accident, which reflects and characterizes my work.
77
A utilização de materiais de uso corrente
e de caráter industrial remete-nos para
o mundo industrializado. Olhando para a
descoberta de novas técnicas, explorando
as características desses materiais, como se
comportam e respeitando certas sugestões
que se formam entre eles. Como esta pesquisa
é a necessidade de demanda constante,
com particular atenção para o acidente, o
que se reflete e caracteriza o meu trabalho.
Mónica Nogueira
[email protected]
Born in 1978, Viseu. Lives and works in Oporto.
Oporto.
Untitled. Acrylic on canvas, 83 x 190 cm, 2008.
One of the central elements of her work
resides on the use of paint in the same way
as the being.
She explores the dynamic between pigment
and tissue in a chromatic reaction of
interaction between hazard and imaginary.
The paint propagates, creates texture and
alters. It transports the symbolic charge
and the idea of circuit of the imaginative
being. It is not limited by the pictorial narrative. It’s about an expression of emotional flow and proposes a sensory bond
with the observer.
Um dos elementos centrais do seu trabalho
consiste na utilização da tinta á semelhança do ser.
Explora a dinâmica entre pigmento e
tecido numa reacção cromática de interacção entre o acaso e o imaginário. A tinta
difunde, cria textura e altera. Transporta
carga simbólica e a ideia de circuíto do
ser imaginante. Não se limita a uma narrativa pictórica. Trata-se de uma expressão de trânsitos emocionais e propõe uma
aproximação e partilha sensorial com o
observador.
78
Filipa Silveira
www.filipasilveira.com
[email protected]
Born in 1978, Oeiras. Lives and works in Lisbon.
Studies: Artistic anatomy, Fine Arts University,
Lisbon.
These characters watch us attentively
and try to read our soul. They are timeless
women, suspended in space and time,
embracing us in their fears and dreams.
Simultaneously present and absent, static
and yet vibrant, they are aware of their
melancholic nature, and of the different
destiny that they intend to reach.
They invite us to communicate and guess
their thoughts and feelings, moving us
travel within our own.
Estas personagens observam-nos atentamente
lendo a nossa alma. São mulheres sem
época suspensas no tempo e no espaço,
envolvendo-nos nos seus medos e sonhos.
Simultaneamente presentes e ausentes,
estáticas e vibrantes, elas são conhecedoras da sua natureza melancólica e dos
diferentes destinos que as aguardam.
Convidam-nos a comunicar e adivinhar
os seus pensamentos e sentimentos, levando-nos a viajar.
Consciousness. Oil on canvas, 145 x 98 cm, 2014.
79
Marlene Teixeira
www.marleneteixeira.weebly.com
[email protected]
Born in 1989, Viseu. Lives and works in Queluz.
Lisbon .
Self-portrait. Gelatine silver print, 50 x 70 cm, 2008.
In a society that has become more and
more demanding in people’s behavior…
that’s the reason we try to please and be
perfect which lead us to a psychological
“abyss” only a few are able to retrieve.
The battle between being and the duty
in a society whose control and builds us,
forgetting us as individuals.
Numa sociedade cada vez mais exigente
sobre o comportamento dos outros…
a razão de tentarmos agradar e sermos perfeitos leva-nos a um “abismo” psicológico
no qual poucos conseguem recuperar.
A batalha entre o ser e o dever numa sociedade que nos permuta e constrói a seu modo
e não a titulo individual.
80
Fátima Teles
www.fatimateles.pt
[email protected]
Born in 1982, Penedono. Lives and works in
Viseu.
Studies: Academy of Fine Arts, Tomar.
The construction of the golden rectangle,
based on the Fibonacci series of numbers,
extends to infinity in the work of the artist,
establishing a connection with the infinite
of this rectangle, creating spaces where its
reproduction becomes possible.
In her work, these mathematical principles
are essential to the design of her pieces,
which go from the infinitely small to the
infinitely large.
construção do retângulo de ouro, tendo
como base a série de números de Fibonacci,
estende-se para o infinito no trabalho da
artista, estabelece-se uma ligação com o
infinito desse retângulo, criando espaços
onde a sua reprodução se torna possível.
No seu trabalho estes princípios matemáticos são determinantes para o desenho
das suas obras que se situam desde o infinitamente pequeno ao infinitamente grande.
Series II, Construction IV. Chinese ink on paper,
102 x 72 cm, 2015.
81
The JCE Biennale is initiated and organized by the City of Montrouge
La Biennale JCE est initiée et organisée par la Ville de Montrouge
Ville de Montrouge
43, avenue de la République
92120 Montrouge
www.92120.fr
www.jceforum.eu
82
Head of the project
Curators of the JCE Biennale
Jean-Loup Metton
António Cardoso
Mayor of Montrouge, France
Curator of the Portuguese selection
Amarante, Portugal
Gabrielle Fleury
Deputy Mayor
Commissioner for Culture
Stéphane Corréard
Curator of the French selection
Montrouge, France
François Benoit
Director of Cultural Department
Henrik Godsk
Andrea Ponsini
Curator of the Danish selection
Hjørring, Denmark
Executive Curator of the JCE
Cultural Department
Dāvis Kanepe
& Alberto Di Gennaro
‚
Licia Demuro, Andrea Volpi
Curators of the Latvian selection
Cēsis, Latvia
Production Managers
Cultural Department
Mario Pasqualotto
Ghislain Magro
Curator of the Spanish selection
Figueres, Spain
Director of Communication Department
Ewa Sułek
Laura Buck
Print Communication manager
Communication Department
Curator of the Polish selection
Wrocław, Poland
Francesca Testoni
Laure Turbian
Web Communication Manager
Curator of the Italian selection
Como, Italy
Sarah Mouzet
Press attaché
Cyrielle Lafond
Webmaster
The city of Montrouge thanks all the JCE partners and the jury.
83
INSTITUTIONAL PARTNERS
PRIVATE PARTNERS
MEDIA PARTNERS
© Ville de Montrouge, the authors
All reproduction rights reserved
Printed by Etc inn, France, 2015
Designed by nicolas profit design elements
Translated by Olivia Cooper Hadjian
84
© Frank Blommestijn & Michiel van der Werf.

C¯esis - Agence La Mercerie

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