Benoît Billotte - Benoit Billotte

Transcription

Benoît Billotte
rue de la Navigation, 05
1201 Geneva - Ch
+41 (0)79 564 82 95
[email protected]
www.benoitbillotte.fr
Benoît Billotte
[email protected]
www.benoitbillotte.com
Born in 1983
Lives and works in Geneva since 2008
S OL O E X H IB I TION S
2015
2014
2013
2011 2010
2009 2008
2007 -
Insulae, art space Selecta, Nyon, Ch.
Les Traversées, V illa du parc, art contemporary center, Annemasse, Fr.
Passeggiata, Halle Nord, a rt contemporary space, Geneva, Ch.
Disappearing city, Cour Carrée gallery, Paris, Fr.
Concrete Block, Studio Sandra Recio gallery, Geneva, Ch.
Mirabilia, Laboratoire d’expression élastique, Metz, Fr.
Mirabilia urbis Romae, Milkshake Agency, Geneva, Ch.
Borrow my studio, Daan Noppen’s studio, Amsetrdam, Nl.
Cherche la rose, contemporary art center Parc St. Léger, Pougues-les-eaux, Fr.
V ivarium, Espace Stargazer, Geneva, Ch.
Trait de taille, french cultural center, T imisoara, Ro.
Variables, Atelier, Montrouge, Fr.
OMAC – organisation mondiale de l’art contemporain, Espace Kugler, Geneva, Ch.
Crashtest, Espace LX5, Luxembourg, Lx.
GR O U P E X H IBITION S SE LE C TION
2015 - Bourses Fonds Berthoud, Lissignol-Chevalier et Galland, Centre d’art Contemporain, Geneva, Ch.
- Stand D12, Volta, Basel Art Fair, Ch.
- Now&After’15, 5th art video festival, Moscou, Ru.
- Formes cristallines, collaboration between Centre Pompidou-Metz and Fondation
d’entreprise Hermès, Musée La Grand Place, Saint-Louis, Fr.
- Installations, Studio Sandra Recio gallery, Geneva, Ch.
- L’Eloge de l’heure, Mudac, Lausanne, Ch.
- Talweg 2, Pétroles édition, for the exhibition Station FRAC PACA, Marseille, Fr.
2014
- Aliquid Mirari, with Lena Amuat & Zoë Meyer and Géraldine Singy; Curator: Marie-
Eve Knoerle, Piano Nobile, Geneva, Ch.
2013
- Spazi Aperti, roumanian academy, Rome, It.
- Une brève histoire des lignes, Centre Pompidou-Metz, Fr.
2012
- Bourses Fonds Berthoud, Lissignol-Chevalier et Galland, Centre d’art Contemporain, Geneva, Ch.
- Totalité Vécue 2, Collection de multiples d’Ergastule, POCTB, Orléans, Fr.
- The Material feat, Glass-Fabrik and Cirva de Marseille, Espace Labo, Geneva, Ch.
- Overgamed, Collectif NotOnlyKidsPlay, V illa Dutoit, Geneva, Ch.
2011
- Totalitée Vécue, Collection de Multiples Ergastule, l’Adagio, Thionville, Fr.
- Elephantiasis, contemporary art center Standard Deluxe, Lausanne, Ch.
- Concours fédéral d’art, Swiss Art Awards, Basel, Ch.
- Prix d’Art Robert Schuman, Luxembourg, Lx.
- Geste serpentine et autres prophéties, 49 NORD 6 EST - Frac Lorraine, Metz,Fr.
2010 - Moving Worlds, Roundabout II - Triennale Jeune création, Luxembourg, Lx.
- Bourses Kiefer Hablitzel, Swiss Art Awards, Basel, Ch.
- Drawing time / Le temps du dessin, Musée des Beaux Arts de Nancy, Fr.
- Acte 3, Thônes, les Aravis, Fr.
2009
- Prix d’Art Robert Schuman, Metz, Fr.
2008
- Version Bêta, Centre pour l’Image Contemporaine, Geneva, Ch.
- Sombres Desseins / Dark Designs, la Maison d’Ailleurs, Yverdon-Les-Bains, Ch.
2007 - Sharing common playground, Esch-Belval, Lx.
- Biennale itinérante d’art contemporain, Jeune création européenne, Montrouge, Fr.
- Source Froide, Kunstraum Wacheturm, Zurich, Ch.
- Reality Strikes Back, Universal Cube, Leipzig, D.
- 52em Salon d’art contemporain de Montrouge, Montrouge, Fr.
R ES IDE N C I E S
2016
2013
2011
2010
2008
- Pro Helvetia Shanghai Swiss Arts Council, China.
- Institut Suisse de Rome, Italy.
-CIR VA, Marseille with Glass-Fabrik, France.
- Contemporary art center Parc Saint Léger, France.
- Studio residenci, ville de Montrouge, France.
EDU C ATION
2008 2006 2005 2004 postgrade, Haute Ecole d’Art et de Design, HEAD Geneva, Ch.
DNSEP option art , fine art school Metz métropole, Fr.
training «Transistor 05», Praha, Cz.
DNAP, fine art school Metz métropole, Fr.
GR A N TS & P UBL IC C OL L E C TION S
- Fonds Cantonal d’art Contemporain (FCAC) and Fonds Municipal d’art Contempor (FCAC) , Geneva.
- MUDAC, Lausanne.
- Prix Talents contemporains 2014, Fondation François Schneider, Wattwiller, France.
- Prix Kiefer Hablitzel, Swiss Art Awards, Basel.
P UBL I C AT ION S
- Talweg 2, Pétroles édition, 2014
- Une brève histoire des lignes, Centre Pompidou-Metz, 2013
- Issue 26, «Deratisme. «, 2012
- Prix d’art Kunstpreis Robert Schuman 2011, exhibition catalogue, Lx.
- Geste serpentine et autres prophéties, exhibition catalogue, FRAC Lorraine, 2011
- Swiss Art Awards 2010, Office fédéral de la culture Suisse.
- Moving Worlds, exhibition catalogue, Triennale Jeune Création, Lx.
- Drawing time - Le temps du dessin, exhibition catalogue, Nancy city and FRAC Lorraine, 2010
- Art & V ie en Aravis, exhibition catalogue, association Acte 3, 2010
- Prix d’art Kunstpreis Robert Schuman 2009, exhibition catalogue, Metz, 2009
- Carte Blanche 2009, exhibition catalogue, Centre culturel français de T imisoara
L A NG U A G E S
- fluent English (read, written, spoken)
- good level Italian (read, spoken)
- good level Spanish (read, spoken)
Artistic research:
The practice which I develop is mainly characterized by drawing, yet without limiting itself to this
medium. I may say it is quite the contrary as my
work can easily get away from paper to become
an engraving, a cut out piece, an intervention on a
wall or on a floor and sometimes even an object.
Without a definite medium, I like exploring and
confronting myself to new materials or techniques. When necessary I also to collaborate with
craftsmen or other professionals to break open
my research and experiments.
Alike a land-surveyor, I gather information and
documents that surround us and use them as resources for my work. Both scientific and technical
encrypted data are transcribed, translated visually, thus removing them from their original use. By
handling maps, flows and statistics, I suggest a
formal and conceptual version of these objective
data which our society has produced to give itself markers or benchmarks. Removed from their
context, they are reduced to their pure abstract
form becoming graphic and poetic signs open to
interpretation and new forms of reading.
My aim is to bring to light various forms of soft propaganda that surround us.The field of research
that i explore in my practice is wide and can touch
many domains such as sciences and its obsolescence, cartography and its topographical survey,
urbanistic utopias and the revelation of architectural forms.
Drawings:
Terre creuse (The Hollow Earth) ,
vitrophanie, variable dimensions,
production of La Villa du Parc contemporary art center
octobre 2015,
exhibition Les Traversées, contemporary art center La Villa du Parc, Annemasse, Fr.
Since Antiquity, several stories and mythologies mention the existence of a hollow Earth,
concentric and possibly liveable in its centre.
During the 18th and 19th centuries some will even
assure you that the Earth holds an inside sun within its heart and that the poles are the ways to
access this unexplored world.
The Hollow Earth is an in situ installation representing this theory in the shape of a map. Cut out
adhesive tapes are stuck directly on the bay window of La Villa du Parc art centre thus enabling
the visitor to see it from the outside as well as the
inside.
Insulae,
5 silkscreen prints on survival blanket, 160 x 210 cm,
production of La Villa du Parc contemporary art centre
october 2015, photographs © Aurélien Mole
exhibition Insulae, art space Selecta, Nyon, Ch.
The title is inspired by the term “insula” which
refers to both the island (the habitat in Roman
Antiquity) and the part of the brain that controls
memory.
At the intersection of these two meanings, this
series features an installation nearby of a map
room. On these maps islands such as Fiji, Easter
or Greenland have a particular style as they were
drawn using the now obsolete technique of uneven hatches.
Theses maps, carried out non scientifically, are
not exploitable nowadays for obvious reasons. Indeed, they are closer to a visual impression than
an accurate reading of the territory. However,
these drawings were still very useful for tracking
around the island, which accentuates the meaning of using survival blankets.
Les Indes noires,
5 drawings with Indian ink, charcoal and spray on arche paper 100 x 65 cm,
june 2015
exhibition Volta 11 stand Sandra Recio, Basel, Ch.
Inspired by invisible worlds and underground cities, this series of drawings revisits the idea of
coalmines. We say that the ground’s landscape
is drawn by what lies in its basement, however it
is rarely considered. Invisible to the naked eye,
we often tend to forget that many tunnel networks
were dug for mining and still are.
As genuine parallel worlds, they cover distances
and areas comparable to those of larger cities.
Mapping was gradually mastered to give an account of many of this ensemble and thus showing
that we are able to navigate there.
Each drawing is built from a mining networks’
cross-sectional plan and floor plan playing on
different scale levels. The horizon is the only element to locate us. Each subterranean landscape
helps to escape and get lost away in our imagination.
The title was inspired by the eponym novel by
Jules Verne.
Concrete Block,
10 drawings with concrete, on paper or on the wall,
variable dimensions,
april 2014
exhibition Concrete Block, Studio Sandra Recio, Geneva, Ch.
exhibition aliquid mirari, Piano Nobile, Geneva, Ch.
Concrete Block is a selection of urbanistic maps
of the beginning of the 20th century. The work
presents modernist cities (Washington, Canberra), industrial cities (Crawley, Houten), harbour
cities (Boston) or historic cities (Berlin, Athens)
which went through an important expansion in
the early twentieth century with the development
of concrete.
These cities can take geometrical or very organic
curvy shapes: as a grid pattern, as a concentrically radiating plan or a bipartisan plan. The main
map of these cities now becomes a real concrete
landscape which, when reduced to its graphic aspect, offers a reading that is no longer informative
but more open to interpretation and visual reading slides.
photo credit Mauve Serra
photo credit Carole Parodi
photo credit Carole Parodi
Mirabilia urbis Romae,
colored adhesive, 8 m of circumference,
in-situ installation,
june 2013, photo credit Ciprian Buzila
exhibition Suivre les lignes, Laboratoire d’expression élastique, Metz, Fr.
exhibition Spazi Aperti, académie roumaine, Roma, It.
Mirabilia urbis Romae is a reinterpretation of
ancient and modern maps of Roma. It brings together the main ancient roads, Hadrian’s Wall or
railway and military axes on the same level or
even a set of overlapping circle-square-triangle
shapes that highlight possible geometric arrangements of the city.
The main lines link together ancient, religious and
public monuments of Roma, often called Mirabilia. This map evokes Roma at different times and
marks the particular importance of its building’s
layout in the urban grid. The ground installation
covers an area of about 64m2 thus allowing visitors to physically apprehend this point of view on
the Eternal City.
This drawing was the base for the performance
Sitting Lines by Anne Rochat and Werner Rohner
(video documentation available).
Portulan,
pyrography on leather, 100 x 80 cm
March 2013
exhibition Autonomia, 11 bienal de artes mediales, invited by Frac Lorraine, Santiago del Chile, Cl.
Inspired by some so called old nautical
charts of the fourteenth century similarly
named Portulan, this mural intervention
redraws a world map where only maritime
zones are indicated.
By a simplification process, I revisit these
mapping and graphic conventions in order to give a drawing inviting adrift and
elsewhere.
The absence of scale and legend as well
as any indication text makes us looses our
landmarks and opens to other possible readings such as astronomy, networking or
spinning. It also allows a more random reading of this kind of representation, another
kind of mental projection.
Wind drift,
sand and glue, 450 x 1300 cm,
january 2013,
request and production Centre Pompidou-Metz for Une brêve histoire des lignes exhibition
curator Hélène Guenin, responsable du Pôle Programmation, Centre Pompidou-Metz and Christian Briend, curator au Centre Pompidou, Musée national d’art moderne, Cabinet d’art graphique
credit photo: Centre Pompidou-Metz, janvier 2013 © Shigeru Ban Architects Europe et Jean de Gastines Architectes, avec Philip Gumuchdjian Architects pour la conception du projet lauréat du concours / Metz Métropole / Centre Pompidou-Metz / Photos Rémi Villaggi
exhibition Une brève histoire des lignes, Centre Pompidou-Metz, Fr.
Wind Drift offers a formal and conceptual appropriation of objective data, flows and statistics,
produced by society to provide references.
Isolated from their context, they are now simplified and can therefore be considered as pure
abstraction or become graphic and poetic signs
open to interpretations. A topography of the wind
– a clearly unseizable element which is now paradoxically recomposed – and its influence on
ocean currents.
Inspired by actual maps, Wind Drift shows a possible break of the wind suspended in its race. It
results in a world map where swirling arrows covers only water surfaces.
The sand, an element often moved by the wind
and the sea, is used to materialise the key elements of the breeze, the uncertainty and the impermanence of a movement.
Sandcastles,
wall drawings wiht sand, 60 X 350 cm each one,
september 2012, photo credit Sonia Chanel
exhibition Installations, Studio Sandra Recio, Geneva, Ch.
exhibition Monument, Musée des Beaux Arts - Calais and Frac Basse Normandie - Caen, Fr.
exhibition Bourses Fonds Berthoud, Lissignol-Chevalier et Galland, c.a.c., Geneva, Ch.
Sandcastle is a series of sand drawings on the
wall, showing the frontage of skyscrapers (minimum size 60 x 350 cm) such as Guangzhou TV
Tower, Chicago Spire, Shanghai Tower. Their silhouette is in perpetual expansion as an expression of power and superiority.
The frame and the alternation of glass surfaces
constitute “curtain walls” with strong graphic lines
which accentuate the rise of the building. An ascending dynamic, as well as optical and physical,
does not cease stretching construction. They look
like idols with feet of clay as in many contemporary megalopolises.
With the sand, it is said that everything is falling
apart and that the erosion of rocks like those of
skyscrapers, and ultimately our living spaces, is
immutable. The sand grain is what remains, the
ruins of a world that is no longer, as these buildings sooner or later return to a state where only
dust and imagery remain.
Yellow Stone,
chalk on blackboard painting, 250 x 340 cm
November 2011
exhibition B or ro w my s tu d i o , D a a n N o p p en’s studi o, A msetrdam, N l .
A blackboard and a chalk drawing: a set of
roughly concentric lines draws on the wall
a piece of territory that stretches and
contracts to infinity. This is a view of Yellowstone Park in 1871 where the coordinates, bearings and scale have disappeared
to only leave place to graphic shapes.
Visually, the forms seem to offer themselves to the viewer while giving itself away
only partially as if an underlying motion
animated them. The very precise cartographic data are here deprived of their authoritarian function to lose us better.
This park – one of the older national parks
in the world – is the centre of an important
geothermal activity and is situated on a caldera (a huge volcano). Apparently calm, it
continues in fact to grow and to be constantly changing, like this geographical representation playing with light kinetic movements.
Sunline,
blackboard painting and chalk drawing, 120 x 1014 cm,
january 2011,
production 49 Nord 6 Est – Frac Lorraine, Metz
photo credit : 49 Nord 6 Est - Frac Lorraine, janvier 2011 © Rémi Villaggi
exhibition Geste serpentine et autres prophéties, Frac Lorraine, Metz, Fr.
A blackboard and chalk drawing: the coordinates
and landmarks have disappeared; space opens
infinite and free; a sine wave crosses the plane.
Escaped from a mathematical graph, the curve
gives an impression of knowledge and authority.
It embodies a truth. But which one?
Sun line ... Since the Earth, it is by measuring the
number of dark spots visible on the surface of the
solar star that one realizes its activity. This varies
according to a periodicity of 11.2 years. The cycles are repeated, similar but not identical.
The figures collected since 1761 become a frieze
that provides a quirky and enigmatic portrait of
the sun. Two hundred and fifty years of activity
(twenty-four cycles) are summarized in a few
centimeters. Nothing on the scale of the star.
Objects and sculptures:
Thaumasia ou The Oblivion dynamic, ,
10 céramics,
production with financial support of DRAC Lorraine and Société des Arts de Genève
2015 - 2016,
exhibition Bourses Fonds Berthoud, Lissignol-Chevalier et Galland, c.a.c., Genève, Ch.
Combining both a study on the funeral urns
shaped as a house and mausoleums for men of
History, the project Thaumasia or The Oblivion
dynamic points out the importance of memory in
funeral rites and the recurrence of commemorative
constructions such as the monument throughout
the centuries.
Architecture is a field where one can express
power and memory. We can talk about speaking
architecture, i.e. buildings which, by their shape,
give more or less directly what they are or what
they are made for. The mausoleum is a perfect
example. On different scale, much smaller, the
urns – also called urn hut – takes this commemorative function again.
These two types of «eternal homes» are distinguished by their proportions and materials, but
are joined by the forms they use and simply by
their function.
Near to a study of architectural shapes of memory, those constructions magnify a being after his
death. This project revisits with lightness these
monuments in the shape of model, near to the
decorative item, even to ceramic doll’s house.
Sélénographie ,
viewpoint indicator engraved on aluminium and dropped initial with iron fillings, variable dimensions,
production of La Villa du Parc contemporary art center
october 2015, photo credit Aurélien Mole
Sélénographie is an installation which plays on
the study of the Moon’s surface and relief by
using a lunar viewpoint indicator (object usually
installed in situation which, to be used, should
project us in a uncertain future).
Reliefs drawn outside are those of the Valle
de la Luna in the Andes , named so for its resemblances with the lunar surface. The central
drawing mixes prints showing craters with the
surface of the Moon and the Earth.
On the wall, names refer to lunar sites (named so
for centuries) showing how much the Moon, for
the foreign and extra-terrestrial surface that it is,
is always described, studied, named, according
to terrestrial concerns.
This installation, which inextricably blends lunar
and terrestrial geographies, reminds us that the
Moon was always men’s projection space for in
literature and science.
Dazzle vs Emmerich,
folded and pasted paper, paint with cement and dust,
in-situ installation, for an exhibition at Urgent Paradise with collectif P4
april 2015, photo credit Michael Lianza,
exhibition La cimaise et la fraction, invited by collectif P4, Urgent Paradise, Lausanne, Ch.
The project carried out for Urgent Paradise’s art
space and the display invented by collectif P4,
exploits the report of the scale model and that of
the module. Resulting from the plans by architect
David Georges Emmerich, paper foldings regain
the shape of the exhibition cardboard dome he
had invented and presented, in particular at the
Packing Salon in Paris in 1968. On these cupola
is also applied a texture made of dust and cement inspired by theories of camouflage named
Dazzle.
With the meeting of these two inventions which
at the same time seek to show and dissimulate,
Dazzle vs Emmerich is a flexible structure which
can be repeated and invest the exhibition space
to infinity.
Passeggiata,
sandbox and pvc, variable dimensions,,
in-situ installation, Act-Art Price 2014
september 2014
exhibition Passeggiata à Halle Nord - contemporary art space Geneva.
Passeggiata, or Stroll in English, started during
a visit to Ostia Antica, Italy. Pieces of columns,
capitals and entablature are stored there in a lapidarium.
In this organisation, the shapes that emerge become objects; constructions close to scale models and – why not? – sculptures close to minimalism. Each of these elements can be part of a
whole that it is entirely up to us to invent.
To make that combination possible, Passeggiata
offers a PVC moulding series of ruin fragments.
Like beach buckets, these matrices are available
to be used by each and everyone in a sandbox
made available for this purpose.
The gesture is pointless and absurd. Why do you
duplicate ancient architectures and furthermore
with sand? The extreme fragility of the material
underlines an inscription in time, here ephemeral,
impossible to keep. The ruins are the elements
of a History that occurred but is now long gone.
Here, their possible replica invites us more to a
projection, a story writing itself.
Patterns paternes,
12 cutting Hosts, diameter 13 cm each one,
june 2013
exhibition Disappearing city, gallery Cour Carrée, Paris, Fr.
exhibition Mirabilia, Laboratoire d’expression élastique, Metz, Fr.
Patterns paternes collects various plans focused
mainly on Roman Catholic churches. Some are
closer to a radiating or polygonal map, but all are
inscribed in the Host’s circle.
The plan, drawn by the absence of paste, presents the foundations of a shaped volume as if
it was the beginning of a 3D elevation. The cut
gives the Host an aspect close to lace.
The geometric patterns are transformed into easily recognisable and reassuring forms.
Scénographie architecturale pour narration urbaine,
cutting cardboard, 3d print, 30 x 25 x 35 cm each one
june - august 2013, photo credit Aurélien Mole
exhibition Somnia forma urbis, Milkshake Agency, Genva, Ch.
public collection Fond cantonal d’art contemporain, Geneva.
Scénographie architecturale pour narration urbaine (Architectural scenography for urban narration) presents a different set of models inspired
by monuments said to be minor because of their
architectural forms (simple forms often close to
the geometric volume).
Most of these monuments, inspired by mausoleums or funerary and votive monuments, are
found in the Antiquity, but also the Renaissance
or the fascist period. This set is a repertoire of
forms shown as the characters of an urban history, an architectural theatre.
Each of these architectures, that can be described
as “speaking architecture” becomes here a fictional character. A theatre stage can be imagined for
each one of these urban protagonists.
Plaque Pioneer (version beta),
lead plate moulded, 23 X 17 cm, 12 ex.
Septembre 2011
exhibition Monument, Musée des Beaux Arts - Calais et Frac Basse Normandie - Caen, Fr.
exhibition Totalité Vécue 2, collection de multiples d’Ergastule, POCTB, Orléans, Fr.
This multiple is a remake of the Pioneer plate
sent into space in 1972. An anachronistic way to
revisits the scientific information engraved on this
artefact.
Some of these elements were already questioned, our solar system in particular. The scientific data can indeed evolve, be completed, be
modified or erroneous in time. In this spirit of
Science’s obsolescence, Plaque Pioneer go back
over theories or scientific representation which
are no longer in use.
They seem totally improper and absurd today but
have been widely spread and considered to be
exact for the previous centuries (the theory of a
hollow Earth, alchemical signs, skeleton’s representation in theatrical positions ....).
Dessin de la Plaque Pioneer (version beta).
Crystal House in the mountains,
series of different height glass, height 30 cm to 5 cm, width 6 cm,
in collaboration with Glass-Fabrik and CIRVA, Mudac collection Lausanne.
august 2011, photo credit Arnaud Conne
exhibition Formes cristallines, collaboration entre le Centre Pompidou-Metz et la Fondation d’entreprise Hermès, Musée La Grand Place, Saint-Louis, Fr.
exhibition Le Verre Vivant, collection d’Art verrier contemporain, Mudac, Lausanne, Ch.
collection Mudac Lausanne.
Halfway between mineral element (prismatic
rock) and architectural form, Crystal House in the
mountains is a series of glass modules of different heights which exploit assembling modes and
transparency games. A form is multiplied and arranged in a dynamic structure that can be close
to a street map, a mountain range or a quartz
column.
The regular geometry with sharp angles is balanced by a rounded tip each time slightly different similarly to an organic shape. Essentially inspired by Bruno Taut’ architectural research and
the poet Paul Scheerbart with the glass chain,
this work resembles a model, a mock-up of what
is to be oscillating between a natural combination
and the human projection.
Architectone,
cutted timber square, height 11cm, width 7.5 cm,
mai 2011
exhibition Installations, Studio Sandra Recio, Geneva, Ch.
exhibition Elephantiasis, espace d’art contemporain Standard Deluxe, Lausanne, Ch.
exhibition Concours fédéral d’art 2011, Swiss Art Awards, Basel, Ch.
exhibition Prix d’Art Robert Schuman 2011, Luxembourg city, Lx.
Further to a reading of New York Délire by
Rem Koolaas, my interest got set on «architecture sculptures». I specifically selected different
constructions from the twentieth and twenty-first
centuries with a special geometry that can be associated to the revolutionary architecture – avantgarde or almost fantastic.
Close to the sculpture, each piece is cut-out in a
wooden (timber) square of the same size (11cm
on top and 7.5 cm of width). The buildings are
all evened out to the same scale. This allows an
upgrade of each architecture for a more comfortable comparison of their overall shape.
Buildings become simple geometric forms that
evoke some minimal sculptures.
Framework for trade,
print on silk square, 90 x 90 cm
June 2010
exhibition Prix d’Art Robert Schuman 2011, Luxembourg city, Lx.
exhibition Bourses Kiefer Hablitzel 2010, Swiss Art Awards, Basel, Ch.
The silk square is an archetypal clothing accessory. It allows us to make a dress match while underlining a personality and being entirely part of
an outfit in numerous occupations (stewardess,
agent of welcome/reception, lawyer, financial advisor). Its history is also related to the first world trades and the Silk Road connecting Asia and
Europe since the second century BC.
With Framework for trade, the silk scarf is revisited on a pattern the level. It becomes the support of planispheres where takes shape the main
graphic elements in relation to the international
exchanges. A series of arrows, points or lines in
vivid colours appears to their surface.
We can distinguish there and then, at a world level, migratory flows, merchandise flows or
still massive financial trades centres. Element of
splendour and source of geo-economic information, Framework for trade can worn in the same
way it is being read.
Prints and video:
Talweg 02_La Périphérie, Petrole Edition,
paper edition, 21 x 28,5 cm folded, 500 ex.
http://www.petrole-editions.com/editions/talweg02
vectorial drawing for wall installation
december 2014,
exhibition Talweg 2, Pétroles édition, for the exhibition Station FRAC PACA, Marseille, Fr.
Planisphère shows the construction of grid maps
of the world in the thirteenth to the eighteenth
century. By a graphic simplification of the map’s
structure, the base map loses all possible reading
or meaning. Only a symmetrical drawing similar
to an optical game seems to persist. Between
geometrical effects and the composition of a decorative pattern, the map is an invitation to project ourselves towards an undefined elsewhere.
Portulan revisits the cartographic conventions of
the fourteenth century and invites to drifting by
graphic simplification. Here the map only shows
what outskirts the land, meaning the maritime territory. This one was considered as an unknown,
an area to be explored for ages, also full of surprises and fantasies in the same way of what had
been the twentieth century space exploration.
Organicisme,
video animation Flash, 3 min
édition 2014 à 5 ex. + 1 a. ex.
http://www.benoitbillotte.com/travaux/2014/Organicisme_BBillotte.swf
april - may 2014,
exhibition Concrete Block, Studio Sandra Recio, Geneva, Ch.
Coming from the philosophic thought, organicism maintains that reality is better understood
as an organic whole. It is common to assimilate
elements such as human society to an organism,
humans to these cells, cities to growing biological
structures.
From this starting point the animation Organicism
replays, on Petri dish scale, the growth of the city
like the farming of microorganisms. The heart of
the city is being developed around its first Road,
then extends progressively as would a growing
cell. The streets, the arteries multiply and grow at
the rate of an organic development.
The four cylindrical cultures allow a comparison
between the development of cities and shape.
We can observe both Shenzen, Astana, Vienna
and Rome, each one of them with its specific urban and architectural changes.
still screen animation:
Somnia forma urbis,
video animation Flash with audio, 6 min
silk screen print, 65 x 50 cm (12 ex + 3 ex for artist)
May 2013
http://www.benoitbillotte.com//travaux/2013/SomniaFormaUrbis_BBillotte.swf
exhibition Now&After’15, 5th video art festival, Moscou, Ru.
exhibition Mirabilia, Laboratoire d’expression élastique, Metz, Fr
exhibition Mirabilia urbis Romae, gallery, Screen Space Melbourne, Au.
exhibition aliquid mirari, Piano Nobile, Geneva, Ch.
Somnia forma urbis’ starting point is the publication Il Campo Marzio di Roma by Piranesi (1762)
in which he redraws the Ancient maps of Roma.
This resulting city only remains a possible projection of what was the Eternal Rome.
Each building, after being isolated and being redrawn, is organized in a free way with the other
architectural elements, like a puzzle, in order to
constitute the background of the animation. This
city, which looks like a constellation or a space
station, sets itself up and is expends endlessly on
the plan. Its modular and orthogonal shapes can
remind us of the Adriana’s Villa in Tivoli.
The animation offers a wandering in this dream
city. Just like a scan, an aculus (or oculis) brushes
the light showing the various buildings without revealing them completely. Close to frustration, this
partial urbanistic fare opens on a contemplation
where each and everyone can project its own
dreamt city.
The sound is a mix between space sounds and
solar winds. This sonor atmosphere gives an
other reminder of the constellation.
still screen animation:
Apollo / Futuro,
silk screen print, 57.5 X 41 cm , (12 ex + 3 ex for artist)
2012 - 2013
exhibition Monument, Musée des Beaux Arts - Calais et Frac Basse Normandie - Caen, Fr.
Apollo / Futuro is a photomontage showing the
three astronauts from Apollo 1 praying before
their lunar module mission. The latter is here replaced by the Futuro house designed by Matti
Suuronen and known for its circular shapes close
to a flying saucer.
Halfway between a tribute and the editing of
science fiction, this silkscreen printing brings together two separate worlds with common similarities or a metonymy of forms. The perception
of the photography is being distorted, and plays
with benchmarks as well as reading codes.
An unlikely meeting between space exploration,
architectural revolution and religious fervour is
possible to perceive and decipher.
Cadre
enchanteur,
Un
tour
du monde pour 0.01672 euros ,
série de
19on
impressions
numériques couleurs, format carte postale, A6
color
print
paper, A0 paper,
décembre
2008.
October
2008
exhibition Prix d’Art Robert Schuman 2009, Metz, Fr.
A sum of 10-euros was converted in 53 currencies
on a web site where the exchange transaction is
free of charge.
Through computer tools and their immediate nature, one could complete a world tour in less than
two hours without moving from one’s seat. His virtual journey in a globalized economic system puts
the emphasis on the speed of financial flows and
their immateriality.
Close to a poetry movement, this board offers
both a graphic aesthetic form and a symbolical
significance.
détail de la mise en page.
planche complète.

Benoît Billotte - Benoit Billotte

Transcription

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