14 rue de l'Oratoire - 63000 CLERMONT-FERRAND
From Tuesday to Sunday - 10AM > 6PM
Collection Musée d'Art Moderne Grand-Duc Jean, Mudam Luxembourg.
With David Bichindaritz
After reading Barack Obama’s speech “A More Perfect Union”, given on March 18, 2008, I immediately wanted to “use” his words in one of my videos. At that moment, Barack Obama was cornered by the press, after the declarations of his pastor about the American people’s racism. We were waiting for his response. He was being called too white or too black or too Muslim, immature, without experience… Barack Obama chose Philadelphia, the city of the mythical speech by Martin Luther King**, to answer. But if the latter “had a dream”, Obama made a forceful speech for “Not this time!” A speech that is engagé, social, racial, left-wing, going from personal to universal.
Several months later, I was at a concert of my friend David Bichindaritz. In the middle of the concert, David let himself go and his voice became extremely feminine. I immediately decided that he would be the stand-in for Barack Obama, the first president of the United States to not look like a cowboy, but a sort of new body that is masculine as well as feminine.
It wasn’t easy for David to put into practice what I call the “double touché”: he exposes himself to us, without protection, twisting, as a result, the extreme severity of the words of the speech. He doesn’t want to convince us, but the gentleness of his performance lays bare all the harshness of the words and reminds us of the pain of a speech that we know will never come true.
Sylvie Blocher is based at the periphery of Paris. In 1993 she authored the term Je Nous Sommes (I We Are) and ULA (Universal Local Art). These concepts are made manifest in her continuing video series Living Pictures. In 1997 she and architect and urban planner François Daune founded the collaborative art action group Campement Urbain, which received a 2002 Evens Foundation International Prize for art/community/collaboration. She has exhibit in numerous museums over the world as well as in international manifestations like Venice Biennial 2003, Guangzhou Triennial 2005, Lyon Biennial 2009...
Website of the artist
Gas art gallery, Gagliardi Art System, Turin, Italie.
Giuliana Cunéaz uses images and forms taken from the world of nanotechnologies.
The molecular landscape, translated and elaborated into 3D images, turns the painting's space into a phenomenological space. The hypothesis Giuliana Cunéaz wants to suggest is not so much a merely virtual world as a more realistic possible world.
Complex geometries and volumes offer themselves for what they are. The most you can do is to simply indulge in marvel or amazement - and that is something. What we see is, in a way, a substitution of the notion of infra-mince that was theorized, and only hinted at by Marcel Duchamp, during the Thirties (decades ahead of Benoit Mandelbrot's "fractals") with an ultra-deep that is revealed, but not completely archived, by technology.
Giuliana Cunéaz's painted superimpositions in his screen paintings correspond to the desire to anchor the mobility of the technological image, with its impressing ability to replicate itself, to a fixed, stable element. Paradoxically, it is as if the painted image were a projection (a still or a long shot?) of the mobile world revealed by an ultra-powerful microscope.
Also, the combination of painting and animation makes a special effect on the observer and on his imagination. Indeed, once the screen has lit up, painting is not immediately distinguishable from the projected images. These two kinds of superimposed images produce a sort of alternating rhythm, a short temporal shift, a virtuous form of dystonia.
The strongest effect of this dystonia is that it projects into the viewer an (occult yet unconcealed) sense of mystery, of excess that is peculiar to nature... and only completely visible through imagination.
Giuliana Cunéaz's seems to capture and grasp the upsetting aspect, which is peculiar to both the artistic and the scientific-technological experience. The occult, in this case,
coincides with something hidden and, until recently, not immediately visible - it has to be read more like an "instrument" rather than a condition.
An instrument that allows us to unchain the disquieting familiarity that is peculiar to all conscious artistic practices and is, at the same time, the end and finalization of all scientific research.
Giuliana Cunéaz was born in Aosta and lives and works in Milan. She graduated from the Academy of Fine Arts in Turin and uses all artistic media, from video-installations to sculpture, from photography to painting, and even painted screens.
Website of the artist
Film fragments of life. Three bodies hide from themselves.
Capture their compulsive movements.
Slip into the dance of each one and feel their fitful breath for a moment, the flittering of their eyelashes, the trembling of their hand, or arrhythmic steps.
The Iceberg Chamber explores the feverish moments when a person feels after a long battle with oneself, that their life is turning inside out.
The fate of the characters is in suspense. They come face to face with hostile territories. Through the uncertainty relative to their choice in life, a way out of their existence glimmers before them. “So it will be you, you’ll be the first, you’ll go ahead and have to choose the path to take for everyone else”.
An allegory for an existential quest, a bare truth about oneself, this film is a strange ordeal in which actors and spectators can meet or lose each other.
Water, often cold, sometimes icy, is the underground guide to this journey. The three protagonists, filmed in turn, create invisible and tentacular relations with each other.
The tension builds and contracts at the end of each portrait.
Even though the film is pure fiction, I didn’t want to control everything. Leaving the actor unsure of his own role and constricting the tension in the editing phase. Working on narrow relations, sometimes peculiar, between the sound and the image. Creating each moment a feeling of closeness and extreme distance. The spectator is forced into a violent and intimate confrontation with the character. He is the omniscient observer, the impotent confidant of their silent distress.
This film is a work of mise-en-scène from a performance text by Audrey Gleizes.
Artist in residence at Videoformes in 2009/10
Clémentine Lemaître, born in Alès in the Gard in 1986, is the fruit of encounters, friendship, and of a sharing of skills. She grew up in the Cévennes and was influenced by her grandmother who gave her a taste for sewing. In 2004, Clémentine entered the Ecole Supérieure des Arts Décoratifs in Strasbourg although she thought she was predestined for a career as a fashion designer. A choice that she did not regret because very quickly, she was captivated by images in movement (video art, dance, performance). A vast and inexhaustible playground with which the artist enjoys combining and experimenting in her current practice of video art.
Between 2007 and 2008, Clémentine Lemaître had the opportunity to meet the Belgian filmmaker Boris Lehman and completed a four-month internship with him. This encounter is going
to give structure to her practice of video and lead to a film on the daily life of the director Conversation with Boris Lehman.
In 2009, she earned a degree in plastic arts as well as the Ritleng Prize from the city of Strasbourg.
Being the last part of the Perception Trilogy ; a three-part cycle exploring the imperceptible conditions that frame life.
Six easy pieces connects art and science, focusing on space and time and romantically refers to an age when artists and scientists had similar concerns and were often one and the same person.
Reynold Reynolds was born in Alaska (1966). He initially studied physics receiving a bachelor's degree, but changed his focus to studio art and studies under experimental filmmaker Stan Brakhage. Reynolds then finished an M.F.A. NYC at the School of Visual Arts. Working primarily with 16mm and Super 8mm film as an art medium he developed a common film grammar based on transformation and decay, increasingly provoking the viewer's participation and dismay. In 2003 Reynold Reynolds was awarded the John Simone Guggenheim Memorial Foundation Fellowship and in 2004 he was invited to The American Academy in Berlin.
He lives and works in Berlin.
Website of the artist
In collaboration with Heure Exquise
Abuse of Pleasure
Screening, 3 min. 49 sec.
Screening, 3 min. 49 sec.
65 printed underwears
Document about a Visit
Vidéo, 2008,13 min. 57 sec.
Installation produced with the support of the City of Belgrade & the Ministry of Culture of Serbia.
The show deals with the concept of concentration camps which is interpreted as a social augmentation of the meeting point between the need to exterminate everything that is different and the emotional state when one is unable to set free from the feeling of guilt.
Perverted body / flesh occupy the central place in the structure of any concentration camp (according to Wilhelm Reich) which represents the model of institution within the society of violence that incites the abuse of pleasure.
Dragana Zarevac works in new media and exhibits internationally (Tate Modern, Ludwig Museum of Contemporary Art, Centre Georges Pompidou, ZKM - Karlsruhe, Museo Guggenheim, Arts in General, New York; Renaissance Society, Chicago; Museum of Contemporary Art, Belgrade etc.) Her work was supported by Ministry of Culture and Ministry of Education, France, City of Paris, Open Society Fund, Goethe Institute, Stability Pact for South-East Europe, ProHelvetia, Roberto Cimetta Fund, City of Belgrade and Ministry of Culture of Serbia. She was a guest-artist in The Center for Art and Media Technology ZKM, Karlsruhe, CICV, Herimoncour, and at ILeMOUVANTE, Corsica. Received The International Video Art Award, ZKM, The Golden Sphinx by Video Medeja and The Nadežda Petrovic Award. Actually lives in Belgrade.