Press release

Marie Reinert, Défense Yokohama, courtesy of the artist, 2014
Marie Reinert
Défense
Yokohama
Exhibition from September 27th 2014 to February 28th 2015
The exhibition is coproduced
with Mécènes du Sud
FRAC
Provence
Alpes
Côte d’Azur
Press release
Fonds
Régional
d’Art
Contemporain
20, bd de Dunkerque 13002 Marseille www.fracpaca.org
Frac press contact: Marie-Aurélie Elkurd
e [email protected] t +33 (0)4 91 90 30 47
Mécènes du Sud press contact: Bénédicte Chevallier
e [email protected]
t +33 (0)4 91 02 49 01
The Fonds Régional d’Art Contemporain
(Regional Fund for Contemporary Art) is financed by
the Provence-Alpes-Côte d’Azur region and the Ministry
of Culture and Communication / Regional direction
of cultural affairs Provence-Alpes-Côte d’Azur.
It is a member of Platform, a group of Regional Funds for Contemporary Art
and founding member of the Marseille Expos network.
project press contact: Patricia Joannides
e [email protected]
t +33 (0)6 12 24 01 11
Marie Reinert
Défense Yokohama
Fonds Régional d’Art Contemporain Provence-Alpes-Côte d’Azur
Coproduced with Mécènes du Sud
Press conference
Friday, September 26, 11.00
Opening
Friday September 26 starting at 18.00
Exhibition
from September 27 to February 28 2015
Friday Late Hours
Free entry: 18.00 – 21.00
Fridays: 10/24; 11/21; 12/12; 1/16; 2/13/15
• January 16, 2015 at 7 pm: Opération Béton: Round table
on the history of the industrial film, a little-known genre
in the world of cinema;
• February 13, 2015 at 7 pm: How to carry out an
investigation in a just-in-time manufacturing world?
Discussion between artist Marie Reinert and Catherine
David, Associate Director, Musée national d’art moderne,
Centre Pompidou, Paris.
Curators:
Pascal Neveux and Florence Ostende
Around the exhibition:
The following can be viewed at the Documentation Center:
• Marie Reinert’s ‘ephemeral library’, a bibliographical carte
blanche accompanying the current exhibition and providing
viewers with multiple approaches to the exhibition,
• Documentary resources in connection with the exhibition,
• A shared interview between Marie Reinert, Florence Ostende and
Pascal Neveux can be listened to in the center (Directed by Xavier
Thomas, in partnership with radio Grenouille).
Press contacts:
• Frac: Marie-Aurélie Elkurd
[email protected] / +33 (0)4 91 90 30 47
• Mécènes du Sud : Bénédicte Chevallier
[email protected] / +33 (0)4 91 02 49 01
• Project press contact : Patricia Joannides
[email protected] / +33 (0)6 12 24 01 11
Press Kit Marie Reinert, Défense Yokohama FRAC Provence-Alpes-Côte d'Azur
Page 2
Table of content
The exhibition by Florence Ostende, curator 4
List of works7
Stage exhibition 17
Stage exhibition 210
multimedia stage 11
Biographies 12
The FRAC 13
Mécènes du Sud 14
Practical information 15
Press Kit Marie Reinert, Défense Yokohama FRAC Provence-Alpes-Côte d'Azur
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Défense Yokohama, courtesy of the artist, 2014
Committed to accompanying and providing financial support to new
exhibition venues in the wake of Marseille Provence Capitale européenne de la Culture in 2013, the Mécènes du Sud collective has
joined forces with the Fonds régional d’art contemporain ProvenceAlpes-Côte-d’Azur to co-produce the first large-scale solo exhibition
by French artist Marie Reinert, born in 1971, living and working in
Berlin. This event is also the occasion to see how deeply her work is
submerged in the heart of the economic world.
Ubiquitous in any harbor town, Yokohama fenders are enormous inflatable bumpers that protect ships from banging into the
wharf. By taking the name of these shock absorbers, the exhibition
identifies itself right away as an enigmatic object whose massive
black shell calls up images of futuristic architecture.
A familiar object in the industrial harbor environments that have
inspired Marie Reinert’s latest films, this buoy slips into the cracks
of maritime life in exactly the same way that Reinert’s artistic practice slips into different surroundings. Since the late 1990s, the artist
has been infiltrating the bowels of the working world, and retracing
the experience of a body in total immersion in closed-off places,
inaccessible to the public at large, through her films, objects and
performances.
On the occasion of the first major solo exhibition of her work,
Défense Yokohama is evidence of the level of commitment involved
in this unique body of work which has been in constant evolution
for the past fifteen years.
Marie Reinert is attentive to the movements and circulation
of people, merchandise and stocks and bonds. She has developed
her work around the notion of flow, be it material or immaterial.
Since studying at the Arts Décoratifs of Strasbourg, the artist has
concentrated her research on the physical manifestation of human
movement in the public space, which she makes visible through
furtive, albeit tangible gestures.
A former track athlete with a body disciplined through rigorous
training, she observes, follows, or even diverts the trajectories of
workers, pedestrians and consumers in order to make the traces of
their conditioned actions visible. Time spent at the Laboratoires
d’Aubervilliers reinforced her affinity to contemporary dance and
performance art, to which is added her penchant for sociology,
ergonomics and urban planning.
After experimenting in road and rail construction sites,
supermarket shelves and city intersections, Marie Reinert has turned to more complex and difficult-to-access territories, going back
to the source of the phenomena that she retranscribes. The spontaneous and clandestine infiltrations of her earlier years have been
transformed into long periods of residency, often in the margins of
existing artistic networks:
‘Unlike someone working in a studio, I have to think in terms
Press Kit Marie Reinert, Défense Yokohama FRAC Provence-Alpes-Côte d'Azur
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of residency, a period of immersion that is often long. I have to
constantly think about how to get my foot in the door, especially in
the case of companies.
Each residency is a journey on which I investigate the transformation of a body moving through a place and getting acquainted with
it’* From the negotiations of collective spaces to the intimate organization of an office, her forays into the working world reveal the
mind-boggling cogs at the heart of the machine and its underlying
economy. Her films and performances are the fruit of the long, hard
observation of functional places, as easily exposing the maintenance gestures of an archivist as a company’s private meeting
rooms.
Défense Yokohama is divided into three parts and takes a
panoramic look at Reinert’s artistic practice from the late 1990s up
to her most recent works. Upon entering the exhibition, the visitor
is immersed in a large installation of three films revealing the
artist’s latest explorations: the closed-off world of a bank in
Amsterdam, the industrial landscape of the oil shipping port of
Fos-sur-Mer, and the crossing from Marseille to Algiers on board a
roll-on-roll-off ship. Marie Reinert has invented a way to film, a
kind of mix between the slow tracking shots of a Western movie and
the fast jolting action filming of a GoPro camera like the one used
for extreme sports. In this new trilogy using action camera technology, what is reenacted is no longer the trace of the flow, but rather
the physical experience of the artist’s movement back to its point of
origin, where bodies and machines beat to the rhythm of production. ‘In Roll-On, Roll-Off, I didn’t want to show the sailors as we
expect them to be at work.
I was more interested in these fragmented bodies inside the boat.
There are no outside shots. You get into the machine, into the unit.
It’s a piece in praise of the motor!’
Exhibited for the very first time in their integrality, the tools
of infiltration, demonstration and filming that have been tailormade to fit the dimensions of the artist’s own body are presented in
the form of an inventory, as if she were archiving the contents of a
storage room. Amongst these there is a measuring stick made from
a telescopic surveyor’s level onto which the artist’s exact anatomical dimensions (finger, elbow, ankle) are transferred in order to
define the scale of a film shoot: ‘The presence of a body behind the
camera can be suggested by tools adapted to the body. I make these
objects for my explorations by reproducing a declination of my
measurements and altering the universal unit for my own
purposes. Everything I make must have a utilitarian sense.’
Confronting the introspective gaze of the artist with the communication tools used by the corporate world is the purpose of the
Plateau multimedia, a space dedicated to a continuous program of
industrial films, providing an occasion for the general public to
Press Kit Marie Reinert, Défense Yokohama FRAC Provence-Alpes-Côte d'Azur
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discover this little-known cinematographic tradition. In fact, it was
an industrial film that marked the origin of the history of cinema,
taking the form of the famous footage of workers leaving the
Lumière factory in 1895.
Although this genre evolved in the shadow of fictionbased cinema,
it remains an indispensable witness account of the technical, economic and political upheavals of a territory. In homage to the great
industrial myths, this selection of films, principally shot in the
Mediterranean area between the 1950s and the 1970s, reveals the
fascinating ambiguity of a language torn between the didactic
limits of any commission and the free celebration of production
tools.
The last part of the exhibition is the fruit of a long process
involving meetings with several companies on the subject of the
value of their production. The result of these encounters took the
form of collaboration with a law firm in order to make a performance piece using the codes belonging to speeches for the defense.
Inspired by the structure of a company organigram, the artist
developed her own diagram, replacing each administrative post
with a reflection or a question gleaned from these exchanges and
left to the interpretation of two lawyers. By provoking a deliberate
contrast between her real experience in the company, and its interpretation in a legal register, the artist delegates the transcription of
her subjective exploration into a rhetorical discourse, governed by
collective laws and intended for the audience invited into the
context of a meeting room.
Florence Ostende
Co-curator of the exhibition
Translation by Patricia Chen
Press Kit Marie Reinert, Défense Yokohama FRAC Provence-Alpes-Côte d'Azur
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LIST OF WORK
The exhibition is located on Plateaus 1 and 2, as well as on Plateau
Multimedia, in which a program of industrial films will be
screened.
Stage exhibition 1
Globus, 2014,
12 blocks (graphite mixture 7B), Ø 45 cm, transport crate 79 x 70 x
70 cm
Assistant Elia Kragerud
Technical design Ivan Lacaze
Coproduction Faber Castell
Fouille, 2007,
Video triptych
Black and white, 6 min 15 sec
Collaboration Triangle France
Études-Geste, 2010-2013 4:54:54 ; 4:42:19 ; 4:57:38 ; 6:13:14 ; 6:29:58 ; 5:18:58 ; 6:57:57 ; 3:23:10 ;
3:40:46 ; 3:14:15 ; 5:53:07, 2010-2013
Graphite pencil 7B on tracing paper, metal plates
Series of 12 drawings: 84 x 84 cm; plates: 93 x 93 cm
Coproduction Frac Provence-Alpes-Côte d’Azur
Tools (from left to right)
Visionneuse code, 2014
Conversation with Marie Frampier 05.26.2012
Tracing paper roll, aluminum, cylinders
50 x 20 x 20 cm
Production Frac Provence-Alpes-Côte d’Azur
Valise/vidéoprojecteur, 2013
Carrying case, video beamer, audio system, power transformer,
mirror, 12 volt-battery, bellows
25 x 47 x 32 cm folded; 55 x 180 x 60 cm unfolded
Collaboration Mechanical workshop/Fluxel
Coproduction/residencies Frac Provence-Alpes-Côte d’Azur,
Mécènes du Sud, CAC Arts visuels Région Paca, La Compagnie,
Dicream
Axe, 2010-2013
Graduated metal ruler, various components
12 x 73 cm
Production Frac Provence-Alpes-Côte d’Azur
Press Kit Marie Reinert, Défense Yokohama FRAC Provence-Alpes-Côte d'Azur
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Reste 1, 2014
Graphite pencil, wooden plate
140 x 10 x 5 cm
Tête motorisée pour caméra, 2010
Twin-axial engine, aluminum
25 x 27 x 10 cm
Collaboration Guillaume Stagnaro
Coproduction/residencies Frac Provence-Alpes-Côte d’Azur,
Mécènes du Sud, CAC Arts visuels Région Paca, La compagnie,
Centre national des arts plastiques
Échelle 1, 2010
2 elements:
metal band, 14 x 300 x 1 cm, outstretched
metal ruler, 4 x 2 x 500 cm, outstretched
Sur tes traces, 2001
Colour video, 17 min 44 sec
Masse graphite, 2014
Graphite block, metal handles
26 x 9 x 13 cm
Collaboration Faber Castell
Atex 1, 2013
Explosion-proof housing with metal frame for camera
45 x 56 x 66 cm
Atex 2, 2013
Explosion-proof housing with straps for camera
13 x 30 x 14 cm
Collaboration Mechanical workshop/Fluxel. Coproduction/residencies Frac Provence-Alpes-Côte d’Azur, Mécènes du Sud, CAC Arts
visuels Région Paca, La Compagnie, Dicream
Ballant, 2014
Wooden plate, metal rod, graphite block, various components
15 x 49 x 27 cm
Boussole, 2013
Electronic compass, programmed microcontroller, wi-fi connection
circuit, stepper motor, Rotary encoder
12 x 8 x 7 cm
Technical design Guillaume Stagnaro. Collaborations Dutch
National Bank, VBCN Netherlands, Dicream
Press Kit Marie Reinert, Défense Yokohama FRAC Provence-Alpes-Côte d'Azur
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Gare du nord, 2005,
Colour video, 12 min
Conformateur, 2014
Wood, aluminum
210 x 60 x 10 cm
Production Frac Provence-Alpes-Côte d’Azur
Avancer reculer, tracer , 2010-2014,
Aluminum, engine, sensor, graphite pencil, 12-volt battery.
230 x 110 cm
Collaboration Guillaume Stagnaro
Coproduction/residencies Frac Provence-Alpes-Côte d’Azur, Mécènes
du Sud, CAC Arts visuels Région Paca, La compagnie, Centre national
des arts plastiques, Maison Populaire
Roll On Roll off, 2008-2010
Colour video, sound, 24 min
Collection Frac Provence-Alpes-Côte d’Azur
Coproduction Marfret, Mécènes du Sud, Festival de Marseille, FRAC
Provence-Alpes Côte d’Azur. With the support of : Centre national des
arts plastiques, Ministère de la Culture et de la communication/Drac
Provence-Alpes-Côte d’Azur, Région Provence-Alpes-Côte d’Azur,
Ateliers de l’EuroMéditerranée Marseille-Provence 2013.
Collaboration Guillaume Stagnaro
Quai, 2012-2014,
Colour HD video
Collaboration Head cameraman Guillaume Mariotti
Coproduction/residencies : Frac Provence-Alpes-Côte d’Azur,
Mécènes du Sud, CAC Arts visuels Région Paca, Dicream. With the
support of La Compagnie, Marseille.
Bull & Bear, 2014
Colour video, 20 min
Coproduction Dutch National Bank, VNCN, Dicream
Press Kit Marie Reinert, Défense Yokohama FRAC Provence-Alpes-Côte d'Azur
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stage exhibition 2
Infiltration, 1996-in process
Diaporama of 112 images
Meuble d’archives, 2014
Prototype, metal, architecture plans of the Clé à molette (1967)
106 x 80 x 114 cm (open)
Collaboration Noël Haddad, Graphitheque
Production Frac Provence-Alpes-Côte d’Azur
Défense, 2014
Sound installation : defence speech, loudspeakers, tables, chairs
Collaborations Amaury Dumas-Marze, Nicolas Keramidas (Lexcase),
Simone Bardot, Xavier Thomas
Press Kit Marie Reinert, Défense Yokohama FRAC Provence-Alpes-Côte d'Azur
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multimedia stage
Screening programme of corporate films, 2 sessions:
september 26-December 20,
2014
January 6 – February 28, 2015
BP Lavera, Jean Hubinet,
1950, 13 min, © Les Films
du Soleil
Quillan : capitale Formica,
anonymous, c. 1960–1965,
21 min, coll. Institut
Jean Vigo
L’Acier du mistral,
Jean-Paul Bourdeauducq,
1975, 40 min, © D.R.
Le Chant du Styrène,
Alain Resnais, 1958, 14 min,
© Les Films du Jeudi
Europort du Sud
(Le Port de Marseille
en construction),
Daniel Absil, 1969, 12 min,
© Port de Marseille Fos
La Guerre des moustiques,
Jean Hubinet, 1955, 18 min,
© Les Films du Soleil
Le Verrou de la vallée,
Jean et Jacques Hubinet,
1964, 12 min, © Les Films
du Soleil
Les Dieux du feu,
Henri Storck, 1961, 12 min,
© Fondation Henri Storck
Les Sources de la ville,
Jean Hubinet, 1959, 27 min,
© Les Films du Soleil
Opération béton,
Jean-Luc Godard, 1954,
20 min, © Actua Films
Man & computer,
a perspective,
Peter de Normanville, 1971,
22 min, coll. Institut
Jean Vigo
Mouvements des eaux,
Louis Guilbert et
Jacques Rouxel, 1974,
15 min, © Société du Canal
de Provence
Serre-Ponçon,
Jean Hubinet, 1958,
32 min, © Les Films
du Soleil
Triomphez de l’objection,
anonymous, 1953, 31 min,
Images de notre temps,
Jean Hubinet, 1955,
23 min, © Les Films
du Soleil
Press Kit Marie Reinert, Défense Yokohama FRAC Provence-Alpes-Côte d'Azur
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Marie Reinert was born in 1971 in France. She lives and works in
Berlin. Her work has been exhibited numerous times in France and
abroad: the Aichi triennial, Nagoya, Japan (2013), the Dutch
National Bank, Amsterdam (2013); Festival Hors Pistes, Centre
Pompidou, Paris (2013); La Virreina,
Centre de la Imatge, Barcelona (2012); the Arsenal Museum, Kiev
(2011); Stedelijk Museum, Amsterdam (2011); Bunker, Berlin (2011);
Printemps de Septembre, Musée des Abattoirs, Toulouse (2010);
MAC/VAL, Vitry-sur-Seine (2009); Le Plateau, Frac Île-de-France
(2007). Her work is included in several public collections: the
Collection départementale d’art contemporain du Conseil général
de la Seine-Saint-Denis, the Conseil général d’Ille-et-Vilaine, Frac
Provence–Alpes–Côte d’Azur, Centre National des Arts Plastiques.
Défense Yokohama at Frac Provence–Alpes–Côte d’Azur is her first
solo exhibition.
A curator, writer and art historian, Florence Ostende recently organized A Story of Two Museums: The Museum of Jurassic
Technology and The Museum of American Art (City University of
New York), Pierre Huyghe +/- (The Artist’s Institute), Louise Hervé &
Chloé Maillet (Dallas Contemporary) and the symposium These
Things Called Exhibitions (New Museum). Adjunct curator at Dallas
Contemporary (2011–14), curator at Maison Populaire, Paris (2010)
and curator-in-residence at Palais de Tokyo, Paris (2009–10), she is
currently a faculty member at HEAD University of Art and Design,
Geneva.
Press Kit Marie Reinert, Défense Yokohama FRAC Provence-Alpes-Côte d'Azur
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The FRACs were created 30 years ago to build up public collections of contemporary art and to support artistic creation. The
Frac Provence-Alpes-Côte d’Azur, the only Frac of the new generation to be found in an urban “hyper-center,” has a new building of
5,400 m2 (of which 1000 m2 are dedicated to exhibitions). It also
hosts all of the activities corresponding to its missions on the same
site: acquisitions, diffusion and mediation. The Frac ProvenceAlpes-Côte d’Azur’s collection includes 1,016 works by 440 international artists. The Fonds régional d’art contemporain is financed by
the Region Provence-Alpes-Côte d’Azur and the Ministère de la
Culture et de la communication / Direction régionale des affaires
culturelles Provence-Alpes-Côte d’Azur. It is a member of Platform,
a collective of FRACs and is a founding member of the Marseille
Expos network.
Mécènes du Sud is a collective, created in 2003, born of the
desire of companies of the Aix-Marseille territory to support
contemporary artistic creation. Not only providing financial backing, but also accompanying the development of prize-winning
projects, the companies have the legitimate conviction that they
contribute to the culture of their company and the cultural wealth
of their territory. More than 85 projects, selected by an Artistic
Committee of art world personalities, have been supported. Today
the collective brings together more than 40 companies who have
actively defended the candidature of the territory for Capitale
Européenne de la Culture. It has inspired the Ateliers de l’EuroMéditerranée, developed ten artists’ residencies in companies, and
hosted filmed musical improvisations in the context of the Watt
Archipels project.
Press Kit Marie Reinert, Défense Yokohama FRAC Provence-Alpes-Côte d'Azur
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Practical information
The Frac is open Tuesday through Saturday: 12 to 7 pm.
The Frac will be closed on December 24, 2014 and january 1st 2015
Group receptions available by appointment Tuesday
through Saturday 12 to 7 pm: [email protected]
Upcoming exhibition: Marie Bovo
March 28 – June 6, 2015
Opening: Friday, March 27
starting at 6 pm.
Press Kit Marie Reinert, Défense Yokohama FRAC Provence-Alpes-Côte d'Azur
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Other supports
SNCF TER
parisART
Press Kit Marie Reinert, Défense Yokohama FRAC Provence-Alpes-Côte d'Azur
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