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prologue
Tongue on tongue, nos salives dans ton oreilleMultisite exhibition December 5 – 21, 2019 Galerie Allen, Cité internationale des arts – Site de Montmartre, KADIST, Public Space
Opening : Wednesday December 4th, 6pm, Galerie Allen & Friday December 6th, 5:30pm, Cité internationale des arts – Site de Montmartre
Artists: Abdul Abdullah, Julieta Aranda, Maurice Blaussyld, Ève Chabanon, Chto Delat, Dora García, Dorota Gawęda & Eglė Kulbokaitė, Tania Gheerbrant, Lola Gonzàlez, Ibro Hasanović, David Horvitz, Barbara Kapusta, Mason Kimber, Naomi Lulendo, Ibrahim Mahama, Shitamichi Motoyuki, Gabriele Rendina Cattani, Garance WullschlegerCurators: Alexandra Goullier Lhomme, Sandrine Honliasso, Alexandra Pedley
Tongue on Tongue, nos salives dans ton oreille was born out of the following questions : what if we allowed ourselves to conceive the future? What future/s and what language/s would write them? What system/s of exchange could we (re)invent to trace the paths of our common future to bring about new ways of being, together?
More and more, the probability of dystopic futures weighs heavy upon us. Never before have ecosystemic concerns been felt on such a global scale. Terms such as eco-anxiety, eco-paralysis or solastalgia – the state of powerlessness and distress caused by the upheaval of an ecosystem – proliferate. The future has become debilitating. Yet, it is neither a fact nor a fatality, “the single, predictable, fixed future that the trend modelling proposes does not actually exist. Instead, what is out there is a multitude of possible futures (...). Knowing this means we have the power to imagine and create the futures that we choose”[1]. As such, it might be said that the future does not exist except as a consequence of decisions and actions in the present – here the present is no longer tense, but itself a compositional tool. Performance, as it manifests in the exhibition, is the rewriting of the future in the present and is revealed as much through social, political and economic bodies as those of flesh and sweat, reiteratively defining object and subject relations. Performance, as an artistic language, a language of composition, of the real and of speculation, is anchored in the contemporary yet operates outside of linear chronologies. It allows the creation and encounter of multiple bodies, slipping through the interstices of individual and collective narratives in order to revise the foundations of a society under construction. The writing of the future therefore plays out in the here and now, through strength of will and imagination.
Press kit
Tongue on tongue speaks to the meeting of bodies and languages. The exhibition traces the social dimension of linguistic exchange surpassing the frame of verbal language as predominant mode of interaction between human beings. Central operator of all social processes, language serves to name, represent and perform as ‘‘mediator in the formation of objects; it is, in a sense, the perfect mediator, the most important and valuable instrument in the quest and construction of a true world of object’’ [2] and of relations. Presented in both art spaces and public space, the works of invited artists propose a moment and place to re-conceive futurities collectively based upon a radical recomposition of the present. The works suggest diverse points of view on current modes and systems of exchange, formulating hypotheses which interrogate our presence as well as positions of agency and authorship in the world. Far from privileging one register of language over another, the exhibition articulates different forms of languages as performative tools to imagine new formations of collectivity, solidarity, emancipation, and engagement. Through performance, of varying temporalities, evolutive and interactive installation, the artists explore diverse contemporaneities, their logics and relations, corrupting and deviating from them as an invitation to (re)take possession of the future – neither utopia or dystopia but decidedly plural. From words anchored deep inside the body, to the use of social space, technological tools, alterity, biological and social spheres and everyday life, these are elements which can be seen as languages revealing our ways of thinking, being and acting. The exhibition gives body to language, as much as it conceives of it as itself an active body, modelled by the social, and its relationship to the Other, always-already steeped in the corporal, nos salives dans ton oreille.
[1]Jennifer M. Gidley, The Future: A Very Short Introduction, (Hampshire: Oxford University Press, 2017), p.2.[2]E. Cassirer, « Le langage et la construction du monde des objets », Essais sur le langage (Paris : Minuit, 1969), pp. 44-45.Image p.1 : David Horvitz, Poster, extract from Touch the sky with your eye, published by Jean Boîte Éditions, Paris 2019. Graphic design: Joanna Starck. Reproductions: Antonin Verrier. Editorial Manager: Mathieu Cénac & David Desrimais.
PROGRAMMATION
Tongue on tongue, nos salives dans ton oreilleDecember 5 – 21, 2019
GALERIE ALLENMason Kimber, Ibrahim Mahama, Naomi Lulendo, Gabriele Rendina Cattani, Garance WullschlegerDecember 5 – 21
CITÉ INTERNATIONALE DES ARTS – SITE DE MONTMARTREAbdul Abdullah, Maurice Blaussyld, Dora García, Dorota Gawęda & Eglė Kulbokaitė, Tania Gheerbrant, Barbara Kapusta, Shitamichi Motoyuki, Gabriele Rendina CattaniDecember 6 – 21
KADISTJulieta Aranda, Ève Chabanon, Chto Delat, Lola Gonzàlez, Ibro Hasanović Film projections & artist talkSaturday 7 December, 3:30pm – 7pm
PUBLIC SPACEDavid Horvitz, Dora García
David Horvitz will engage 25 laundromats dispersed throughout the 9th, 10th and 18th arrondissements of Paris.
Translation / Exile, a performance conceived by Dora García will traverse the 9th, 10th and 18th arrondissements of Paris ending at the Cité internationale des arts – Site de Montmartre. Friday 6 December, 2:30pm – 6:30pm
For more program details: www.prologuecollective.com
WEEK 1
Wednesday December 4Opening at Galerie Allen, 6pm
Friday December 6Exhibition open from 2pm at the Cité internationale des arts – Site de Montmartre
Performance, Dora García, 2:30pm – 6:30pmPublic space
Press visitGalerie Allen, 3:30pm Cité internationale des arts – Site de Montmartre, 4:30pm
Opening, 5:30pmCité internationale des arts – Site de Montmartre
Public talk with Dora García, 7pmCité internationale des arts – Site de Montmartre
Saturday December 7Film projections & artist talk, 3:30pm – 7pmKADIST
WEEK 2
Thursday December 12Performance, Naomi Lulendo, 6:30pmGalerie Allen
Friday December 13Performance, Barbara Kapusta, 6:30pm Cité internationale des arts – Site de Montmartre
Public talk with Barbara Kapusta & Gabriele Rendina Cattani, 7pmCité internationale des arts – Site de Montmartre
Saturday December 14Performance, Gabriele Rendina Cattani, 2pm – 7pm Cité internationale des arts – Site de Montmartre
WEEK 3
Wednesday December 18Public talk with Garance Wullschleger, 6:30pmGalerie Allen
Thursday December 19Performance, Garance Wullschleger, 6:30pmGalerie Allen
Friday December 20Performance, Dorota Gawęda & Eglė Kulbokaitė, 6:30pm Cité internationale des arts – Site de Montmartre
Performance, Garance Wullschleger, 2pm – 7pmGalerie Allen
Saturday December 21Performance, Garance Wullschleger, 3:30pm, 4:30pm, 5:30pmGalerie Allen
Public talk with Maurice Blaussyld, 6:30pmCité internationale des arts – Site de Montmartre
Abdul Abdullah is an Australian-Malaysian artist that questions the politicisation of marginalised identities. Through portrait, painting, photography, video, installation and performance, Abdullah deconstructs representations of the ‘other’ as they manifest in contemporary cultures. He works especially with groups of young Muslims and art collectives in Australia and south-east Asia exploring different degrees and forms of stigmatisation. The artist triggers mechanisms that are invisible and yet integrated into the ideology of language including symptoms of the virtual realities of contemporary subjecthood.
For prologue, Abdul Abdullah transforms ideological and symbolic exploration into installation, where the visitor finds themselves under surveillance upon entering the space. Using security cameras and facial recognition software, the image of the viewer is relayed in real time. An on-screen textual overlay is displayed, deducing arbitrary psychological characteristics based on the physical attributes of the target. At first, a seemingly humorous ploy is replaced by the sobering realisation that the software and equipment at work in the installation is in fact already in trial use in major public spaces across the world. Here, an entirely human-made algorithmic language overwrites personal complexities and the innate multiplicity of humanity.
Abdul Abdullah’s work has been presented in solo shows at Yavuz Gallery, Art Basel Hong Kong (2019), Singapore (2018); UNSW Galleries, Sydney (2017); Lisa Fehily Contemporary Art, Sydney Contemporary Carriageworks (2017); and Chasm Gallery, New York (2015). He also participated in group exhibitions at Artspace, Sydney (2019); QAGOMA (Brisbane, 2018); Te Uru Waitakere Contemporary Gallery, Auckland (2018); Galerie Oqbo, Berlin (2018); MAIIAM Contemporary Art Museum, Chiang Mai (2018). In 2018, he was shortlisted for the Australian Pavilion at the Venice Biennale and in 2017 he was a finalist for the Guirguis New Art Prize and Sulman Prize. His work has been acquired by numerous national collections including the Queensland Gallery of Modern Art (GOMA); National Gallery of Australia, Canberra; Artbank, Sydney; University of Western Australia, Perth; Murdoch University, Perth; Islamic Museum of Australia, Melbourne; Campbelltown Arts Centre, NSW; and Bendigo Art Gallery, Victoria.
Abdul AbdullahBorn in 1986, Perth, Australia. Lives and works in Sydney, Australia.Represented by Yavuz Gallery, Singapore.
Adbul Abdullah, Hierarchies, visual concept, 2019 Courtesy the artist
Julieta Aranda approaches the production and consumption of art from a position of systemicity, with objects, ideas and their circulation playing a critical role in her practice. Through installation, video, print media, and temporary projects, her solo and collaborative work, including her role as Editor of e-flux and her projects there with Anton Vidokle among others, demonstrate a conceptual preoccupation with the social, economic, and political infrastructures of space and time. Investigating the ways through which public space (physical and virtual), architecture and design are often thought of and employed as a way to control the body individually and collectively, Julieta Aranda seeks alternatives and loopholes within overarching languages of control.
For prologue, the video Swimming in Rivers of Glue, 2016, will be screened at KADIST as part of the projection and discussion program. The work is composed of multiple vignettes of natural and man-made environments, 3D visualisation, space exploration, and staged interview coupled with a disquieting textual annotation and a bio/techno sound score. The themes explored centre overtly around exploration, colonisation and uncertain futurities – including the fate of the human at an uncertain intersection with the non-human. The video interrogates the systems of future composition which are invariably embedded in the body and in language. As the textual narrator details ‘even a post-planetary condition that claims to be beyond the human, will always be revealed to extract its idealism from actual humans’. Swimming in Rivers of Glue is an indictment of contemporary control mechanisms of space and bodies where, ultimately, the future is situated within and negotiated through the body and its confrontation with space.
Julieta Aranda‘s work has been exhibited internationally, in venues such as the Centre Pompidou, Paris (2019); Der Tank, Basel (2016); 56th Biennale Arte, Venice (2015); Guggenheim Museum, New York (2015, 2009); Kunsthalle Fridericianum, Kassel (2015); the 8th Berlin Biennale (2014); Witte de With, Rotterdam (2013, 2010); MACRO – Museo d’Arte Contemporeana di Roma, Roma (2012); Documenta13 (2012); N.B.K. – Neuer Berliner Kunstverein, Berlin (2012); the Gwangju Biennial (2012); the 54th Biennale Arte,Venice (2011); the Istanbul Biennial (2011); Portikus, Frankfurt (2011); New Museum, New York (2010); and the VII Havana Biennial, amongst many others. She is Co-Director and Editor of e-flux.
JULIETA ARANDABorn in 1975 in Mexico City. Lives and works in Berlin, Germany and New York, USA.Represented by mor charpentier, Paris.
Julieta Aranda, Stealing one’s own corpse (an alternative set of footholds for an as- cent into the dark) Part 2 - (Swimming in rivers of glue), single channel video, color, sound, 9min 57, 2016/7Courtesy the artist & KADIST collection
Julieta Aranda, Stealing one’s own corpse (an alternative set of footholds for an as- cent into the dark) Part 2 - (Swimming in rivers of glue), single channel video, color, sound, 9min 57, 2016/7Courtesy the artist & KADIST collection
Maurice Blaussyld works at the intersection of form and philosophy where he encounters that which exists and persists beyond Art and everyday perception. His material, which may appear similar to painting or writing, to installation or photography, video or sound, surges forth as an interrogation of the world of humanity and of death. The work appears as much as it disappears in a single moment, created neither by concept or practice. Here, there is no Art and no artwork, and neither is there object. That which allows itself to be exists outside of time while being resolutely anchored within it, out of sheer necessity to recreate and to regenerate. In flux, uniting the invisible and inaudible, apparition and disappearance, without beginning, it is essential, irreducible, and indefinible: it is time.
For prologue, Maurice Blaussyld sees a formal ensemble through which sound, voice, and light allow their presence to be felt as much as darkness and silence, by a single almost imperceptible variation of a degree. Further to this, communication is non-communication, and appearance and disappearance are one and the same. The activation, or not, of technology means that we are in fact neither spectator nor activator of anything: there is only the encounter of solitude. That which appears as text, which Blaussyld names “typescript”, is merged and confused with what seemingly accompanies it. Here, all is word without being spoken and without creating silence. A sign – open, unknown, and inaccessible. This word is also something entirely different, as a poetic analysis or form or verbal trance it unfolds the consciousness that links being to the world. The typescript confronts us with the contemplation of existence, which itself lives a double life, one independent of our readership and as a result of it.
Maurice Blaussyld’s work has been presented in multiple solo exhibitions in France and abroad including at the Fondation Ricard, Paris (2017); Tale of a Tub, Rotterdam (2014); Galerie Allen, Paris (2014); and LLS 387, Antwerp (2013). He also shown in major group exhibitions including most recently Palais de Tokyo, Paris (2019); MAC’s, Grand Hornu (2019); FRAC – Fonds régional d’art contemporain Île-de-France Le Plateau, Paris (2016); and Biennale d’Art Contemporain, Les Ateliers de Rennes (2016). His works have been acquired among others by FRAC – Fonds régional d’art contemporain Bretagne, FRAC – Fonds régional d’art contemporain Île-de-France; FRAC – Fonds régional d’art contemporain Nouvelle-Aquitaine MÉCA; and the Institut d’art Contemporain/Villeurbanne, S.M.A.K. – Stedelijk Museum voor Actuele Kunst.
MAURICE BLAUSSYLDBorn in 1960, Calais, France. Lives and works in Lille, France. Represented by Galerie Allen, Paris.
Maurice Blaussyld, exhibition view Maurice Blaussyld, Galerie Allen, 2019Courtesy the artist & Galerie Allen (Paris)
Through sculpture, video, performance and writing, Eve Chabanon’s works are innately collaborative, dissecting diverse social scenarios in order to interrogate their influence upon identity. She engages with primarily underrepresented, excluded and marginalised groups and schools. Using an investigative and experimental approach, Ève Chabanon mobilises the vehicles of writing and fiction as tools to grasp the real, to liberate speech and undermine social taboo. Her work is always a pretext to provoke encounters in the hope of finding and building alternative solutions, collectively. Her objective remains to reclaim possession of the ‘social’ in social codes by playing with the rules of self/social construction.
For prologue, the artist will present her video work Antisocial Social Club, 2018, within the projection and discussion program at KADIST. Documenting the core of the artist’s performance of the same title, produced during her residency at The White House, London, the video primes the audience for a discussion held with the artist exploring dispossession and coalition. Questioning ties between the video, performance and performative document, Antisocial social club unveils and unravels taboos related to communities living in rapidly-changing outlying London suburbs. The performance itself invites inhabitants and their diverse identifications to unite at the local town hall in order to restage a public debate – where each voice has the opportunity to be heard. The specific issues related to the town, to country and to their histories play out the affirmation of the Self in public space and act out against the fear of the Other. Through fiction, the work examines automatic reflexes and deconstructs the precepts that underpin them in order to imagine future communities anew.
Ève Chabanon will be the subject of her first solo exhibition to be held at Bétonsalon, Paris (2020). She has been recently exhibited at Lafayette Anticipations, Paris (2019); FRAC – Fonds régional d’art contemporain Grand Large, Hauts-de-France, Dunkerque (2019); D.O.C., Paris (2018); Diep-Haven Festival, ONCA Gallery, Brighton (2018); Palais de Tokyo, Paris (2017); and South London Gallery (2017). She was the recipient of the 9th Science Po Contemporary Art Prize, Paris (2019) and was selected by L’Institut Français for the Te Whare Hera residency, Wellington (2018).
ÈVE CHABANON Born in 1989, France. Lives and works in Brussels, Belgium.
Ève Chabanon, Antisocial Social Club, ep1 The Chamber of the Dispossessed, performance, Dagenham, 2017© Gyte Gavenaite / Courtesy the artist & ASSC
Chto Delat (What is to be done?) is an arts collective founded in 2003 in St Petersburg, Russia. It gathers artists, critics, philosophers and researchers, blending art, theory, politics and activism to develop projects that engage with a postsocialist condition. With the aim of reviving forgotten or repressed potentialities of the Soviet past, their works often play with the politics of commemoration. Through interventions in public space, films, theatrical performances, and installations, the collective bases their work on the results of observation and analysis of current social and political conflicts.
For prologue, the film It hasn’t happened with us, yet. Safe Haven, 2016, will be screened as part of prologue’s projection and discussion program at KADIST, Paris. ‘Safe Haven’ is the name of a network of residences for artists, authors and musicians who live in countries where life, freedom or human dignity are under threat. In the safe haven, those seeking refuge must decide for themselves how best to define their futures – whether to request political asylum or return to their homelands. The film’s collaged narratives, blurring the lines of fact and fiction, are situated on a small Norwegian Island and set in the future past. The character’s play out the eventuality of having fled Russia. The film’s five protagonists (artists, curator, philosopher/director) wander the landscape encountering the lives of locals, their ideas and ideals of life beyond nationalities and political oppression. The malaise of stasis post-escape confronts and complicates understandings of persecution and the different forms it can take. Ultimately, the question remains about which is in fact the better option: to stay or to go ?
Chto Delat’s work has been presented in exhibitions internationally including recent solo exhibitions at VOX – Centre de l’image contemporaine, Montréal (2018); MUAC Museo – Universitario Arte Contemporáneo, Mexico (2017); CAAC – Centro Andaluz de Arte Contemporáneo, Sevilla (2017); and KOW, Berlin (2017). The group has also participated in group exhibitions and international events with ‘Nuit Blanche’, Toronto, Paris (2017); São Paulo Art Biennial (2014); Museo Nacional Centro de Arte Reina Sofía, Madrid (2014); and Tate Liverpool (2013). The collective’s works have been acquired by international institutions including the MoMA – Museum of Modern Art, New York; Van Abbemuseum, Eindhoven; Museum Reina Sophia, Madrid; Le Centre Pompidou, Paris; MUDAM – Musée d’Art Moderne Grand-Duc Jean, Luxemburg; Tretyakov Art Gallery, Moscow; KIASMA, Museum for Contemporary Art, Helsinki; KADIST, San Francisco; and Museum of Contemporary Art,
CHTO DELATCollective founded in 2003 in Saint Petersburg, Russia. Olga Egorova (artist), Artiom Magun (philosopher), Nikolay Oleynikov (artist), Natalia Pershina / Glucklya (artists), Alexey Penzin (philosopher), Alexander Skidan (poet and critic), Oxana Timofeeva (philosopher), Dmitry Vilensky (artist) and Nina Gasteva (choreographer).Represented by KOW, Berlin and The Gallery Apart, Rome.
Chto Delat, It did not happen with us, yet. Safe Haven, HD video, color, sound, 36 min, 2016 Courtesy the artists
Dora García investigates and recomposes the parameters that condition the relationships between artist, work, and public. Using a range of media including performance, installation, photography, video and text, her works subtlety blend the boundaries between fiction and reality. In her performance practice for example, she often engages intermediaries who set the performative space in motion, both knowingly and unknowingly. These scenarios can explore the political potential rooted in marginal positions and offer a radical revision of the politics of participation. Here, art and its multiple languages do not simply represent the world but instead hold the power to recompose new social realities.
For prologue, Dora Garcia presents a site specific iteration of TRANSLATION/EXILE, 2017. The performance and subsequent installation of its documentation are based upon an urban walk shared between two people. The protagonists selected include one person with an ‘insider’ position in the art world and one person who has recently arrived not only to the city but to its labyrinthine contemporary art circuit. The walk follows, at the outset, an itinerary that may encounter necessary deviations, obstacles and unexpected revelations through which the protagonists’ experiences, including commonalities and points of difference, are exchanged. Throughout the walk, a tool for translation in itself, vocabulary, information, behaviour and social codes blend resulting in a shared map and two distinct notebooks that bear the imprint of the experience. This meeting of two subjectivities holds the potentiality of revisiting social codes and hierarchies of knowledge production.
Dora Garcia’s works have been shown in the Museo Nacional Centro de Arte Reina Sofía, Madrid (2018); Tensta Konsthall, Stockholm (2018); Fondation d’Entreprise Hermès, Bruxelles (2017); and The Power Plant, Toronto (2015). She has also participated in numerous notable group exhibitions including the Aichi Triennial (2019); MACBA – Museu d’Art Contemporani de Barcelona (2018); Casco Art Institute, Utrecht (2017); 11th Gwangju Biennale (2016); 56th Biennale Arte, Venice (2015). Her works are included in prestigious collections such as, Musée National d’Art Moderne – Centre Pompidou, Paris; SFMOMA – San Francisco Museum of Art, San Francisco; Henry Art Foundation, Seattle; KADIST, Paris; MACBA, Barcelona; and the Flannan Browne Collection, United Kingdom.
DORA GARCÍA Born in 1965 in Valladolid, Spain. Lives and works in Olso, Norway and Barcelona, Spain.Represented by Michel Rein, Paris.
Dora García, TRANSLATION/EXILE, performance presented during Phenomenon 2, Anafi, 2017 © Alexandra Masmanidi / Courtesy the artist
Dora García, TRANSLATION/EXILE, performance presented during Phenomenon 2, Anafi, 2017 © Alexandra Masmanidi / Courtesy the artist
Through the evolutive and performative project of Young Girl Reading Group, artists Dorota Gawęda and Eglė Kulbokaitė explore the simple yet powerful act of reading as both intimate and collective experience. Mining feminist and queer theory, they create performative and speculative installations in which text, body, technology, space and emotion are interdependent. The multi-sensorial environments the artists conceive critically choreograph the relationships between physical and virtual realities, live performance, documentation and their roles in alternate forms of knowledge production and dissemination. Reading, at once individual and collective, is central to the performances which test the distinctions between body, materiality and the virtual. Specifically, the artists highlight their porosity to recompose intimate and social space.
For prologue, Dorota Gawęda and Eglė Kulbokaitė present the performative installation YGRG 154: BODY HEAT III, conceived as the encounter of text with visual and olfactive scenography exploring biopolitics. Using citations from Richard Sennett’s Flesh and Stone: The Body and the City in Western Civilization (1994), the performance underlines the necessity to rethink the body not as hermetic unit but rather as space – traversed and negotiated by its surrounding environment. The script of the performance blends Sennet’s text with various authors, including the artists themselves. All texts address in some way the body as element formed by that which it encounters including other beings, bodies, objects, and architecture. Ultimately the artists offer a provoking revision of subject/object relations including conceptions of gender and the Other.
Performed by Priscillia Amey, Eurydice Gougeon-Marine, Amandine Nan.Costume by Albane Gayet. Sound mix by Brooklyn Bridge.
Dorota Gawęda and Eglė Kulbokaitė have presented their work in solo exhibitions at Schimmel Projects – Art Centre Dresden (2019); Lucas Hirsch Ga llery, Düsseldorf (2018); Art in General, New York (2017); Mikro, Zurich (2017); Art Monte-Carlo: Salon d’Art, Monte-Carlo (2016); Center Project Space, Berlin (2015). They have also participated in numerous group exhibitions in institutions such as Lafayette Anticipations, Paris (2019); Spazio Maiocchi, Milan (2018); Martin Gropius Bau, Berlin (2018) ; ICA – Institute of Contemporary Art, Londres (2017); SMK/Contemporary Art Centre, Vilnius (2017); Museum of Modern Art, Varsovie (2016); and the Musée d’Art Moderne de la Ville de Paris (2015).
DOROTA GAWĘDA & EGLĖ KULBOKAITĖDorota Gawęda born in 1986 in Poland and Eglė Kulbokaitė born in 1987 in Lithuania.Collective founded in 2013, Berlin. Live and work in Basel, Switzerland.Represented by Amanda Wilkinson Gallery, London.
Dorota Gaweda & Eglè Kulbokaitè, YGRG 154: Body Heat, Amanda Wilkinson Gallery, London, 2018© Ari King / Courtesy the artists & Amanda Wilkinson (London)
For Tania Gheerbrant, the camera and set design are as important as the script and protagonists of her projects. Whether through performance, installation, video or publication, the ‘set’ is meticulously constructed, allowing the living to express itself freely and for the unconscious to emerge. Bound by language and its diverse forms of existence and expression, Gheerbrant interrogates our modes of interaction as clues to the mechanisms underlying thought, and consequently, knowledge production. Influenced by the history of cinema, the artist extends this exploration of underlying logics of construction to the making of her works, unveiling the ‘behind-the-scenes’ and its use of machinery, illusion, trickery and accident.
For prologue, Tania Gheerbrant creates a new video installation that looks at the connection between real time, recorded time, and the relationships between video and performance. Conceived as filmed performances, the video works of Tania Gheerbrant are always realised between a group of friends who open the door to their intimate world. In this new work, the protocol invites the protagonists to restage words already written and recorded. Through this exchange in monologues, where performers are no more than incarnations of voice, Gheerbrant questions our relationship to each other and to ourselves in a contemporary world where the smartphone reigns supreme. This concern is highlighted in the set filled with foam, a soft space in which this group of individuals is sprawled around two sculptural table-fountains – drinking from their continuous and infinite flows. Referencing the idea of political nonchalance, ease and stagnation within commonplace, the pulmonary quality of the foam, evokes as well the contrasting, infinite plurality of universes rather than a single one – asking us to approach the universe on an atomic level. From the singular to the universal, Gheerbrant attempts to dissect our ways of being and surviving in the world – including how to find one’s place – considering liquidity, multiplicity, and revelation in political, social or psychological terms.
Graduated from Beaux-Arts de Paris in 2017, Tania Gheerbrant had recently presented her work In Plano, Île-Saint-Denis (2019); the Other Art Fair, Turin (2018), Palais Bondy, Lyon (2018); FIB – Festival Internationale de Bagnolet (2018); La panacée, Montpellier (2019) Espace Delrue, Nantes (2017). Tania Gheerbrant is the president of the artist-run-space In plano and was co-founder du Praticable in Rennes.
TANIA GHEERBRANT Born in 1990 in Paris, France. Lives and works in Paris, France.
Tania Gheerbrant, Smooth Evolution, exhibition view FOMOSAPIENS, cur. Hotel Triki, Palais Bondy, Lyon, 2018© Tania Gheerbrant / Courtesy the artist
Tania Gheerbrant, Smooth Evolution, exhibition view FOMOSAPIENS, cur. Hotel Triki, Palais Bondy, Lyon, 2018© Tania Gheerbrant / Courtesy the artist
Lola Gonzàlez’s practice centres around video and performance, often focusing on the depiction of a group of young people navigating and negotiating their fate(s) together. Narratives of fiction elaborated by the artist are points of observation and interrogation of collective desires, affective relationships as well as intimate and shared feelings of these young people evolving in a world of undefined contours. In dreamlike sequences, characterized by natural landscapes and the isolation of these protagonists, atemporal intrigues unfold whose opacity reveals the ambiguity and the troubled stakes of the past and the becoming of this community. The artist’s scenarios form the tools through which she probes group dynamics, rules, roles and aspirations.
For prologue, Lola Gonzàlez presents her film Summer Camp, 2015, for the projection and discussion program at KADIST. The 9-minute video details the physical and psychological training of a group of men inside a house in preparation for an unknown event. An unending list of first names inscribed across the walls are cited and chanted by the group whilst carrying out their training drills. The act evokes a roll call, an ambiguous practice used outside of militarised environments throughout history to equally ambiguous ends – are these names incanted in reverence or chanted to identify future targets? The artist deliberately washes her script with military and religious references, furthering the feeling of uncertainty ultimately leaving her audience in the dark as to the nature of the impending action.
The works of Lola Gonzàlez have been exhibited widely nationally and internationally, including recent solo exhibitions at MuMo2 – Musée Mobile (2019); FRAC – Fonds régional d’art contemporain Île-de-France, Le Plateau, hors-les-murs, Paris (2019); Temple Bar Gallery + Studios, Dublin (2018); and the Musée d’art Contemporain de Lyon (2017). She has also participated in numerous international group exhibitions including most recently at the Villa Médicis, Rome (2019); FRAC – Fonds régional d’art contemporain Poitou-Charentes, Angoulême (2018); and CAFA Art Museum, Beijing (2017). In 2016, the artist was the laureate of the Prix Meurice pour l’art contemporain, France. Her works have been acquired by several notable collections including FRAC – Fonds régional d’art contemporain Île-de-France; IAC – Musée Institut d’Art Contemporain/Villeurbanne; and KADIST, Paris.
LOLA GONZÀLEZBorn in 1988 in Angoulême, France. Lives and works in Paris, France. Represented by Marcelle Alix, Paris.
Lola Gonzàlez, Summer camp, video colour HD, stereo sound, 9 min, 2015Courtesy the artist ; Marcelle Alix & KADIST collection
In his film practice, Ibro Hasanović observes History through a critical lens using individuals’ experiences and their stories to reconstruct the past. Migration, war, land claims, discrimination and persecution are among some of the phenomena that the artist uses to cast in sharp relief the repercussions of such events, felt and lived, on a personal scale. The tactic of moving from the macro to micro in his works produces a double effect: they counteract the opacity that can accompany a generalised and mediated reading of an event (politics and media) and at the same time it reestablishes the personal at the centre of the narratives around these events.
In Ibro Hasanović’s Note on multitude, 2015, screened during the projection and discussion program at KADIST, the work stages the farewells of future migrants preparing to take a bus that will take them away from their home country. The artist captures here the progression of emotions and gestures which translate the psychological states of the protagonists. From tenderness to violence, and eventually to exhaustion, the bodies and faces evolve in tandem with the ever more worrying chaos of the crowd in which they are gathered. The mounting tension emanating from the opaque haze of the situation created finds no resolution except in the eyes of the viewer who, faced with this deluge of bodies and obscurity, can only wonder as to the tragic nature of the motivations driving this group of people.
The work of Ibro Hasanović has been the subject of multiple solo exhibitions including recently at the Belgrade Cultural Centre, Belgrade (2017); Apoteka_ Space for Contemporary Art, Vodnjan (2015); and Tirana Art Lab, Tirana (2014). He has participated in multiple group exhibitions internationally including at MOMus – Experimental Center for the Arts, Thessaloniki (2019); Carré d’Art – Musée d’art contemporain de Nîmes (2018); Museum of Contemporary Art, Zagreb (2018); and Guangdong Museum of Art, Guangzhou (2017). The artist has received numerous awards and prizes for his film work including recently 1st Prize for short film for the 8th edition of « CineMigrante » International Film Festival, Buenos Aires (2017). His works have been acquired by numerous institutions including KADIST, Paris; Departmental Collection of Contemporary Art Seine-Saint-Denis, France; and by MGML – Museums and Galleries of Ljubljana, Serbia.
IBRO HASANOVIĆ Born in 1981 in Ljubovija, Yougoslavia. Lives and works in Paris, France.
Ibro Hasanović, Note on Multitude, HD video, sound, 7min 43, 2015Courtesy the artist & KADIST collection
Ibro Hasanović, Note on Multitude, HD video, sound, 7min 43, 2015Courtesy the artist & KADIST collection
Playful and poetic, the works of David Horvitz meddle with the systems of language, time and networks. Eschewing categorisation, his works examine questions of distance between places, people and time in order to test the possibilities of appropriating, undermining or even erasing this distance. Harnessing image, text, object and flows which he mobilises to circulate and operate independently from himself, penetrate ever more effectively the intimate sphere. Left face to face with his works, even those based in ephemeral action, our attention is drawn to the importance of detail and to the infinitesimal provoking the potentialities of the imaginary. Like rhymes or lullabies that become imprinted in memory, Horvitz deploys art as both object of contemplation and as viral tool to effect change on the level of the individual.
For prologue, David Horvitz proposes an itinerant experience by utilising 25 laundromats throughout the 9th, 10th, and 18th arrondissements of Paris in which the public becomes key actor. This project, shown in a space as intimate as it is public, presents a simple pile of posters left anonymously by the artist with each laundromat containing a poster that represents a letter of the alphabet taken from his children’s book Touch the sky with your eye (Jean Boîte, Paris, 2019). The 25 different poster artworks freely available in undisclosed laundromats throughout the northeast of the capital, are completed by a 26th – disseminated as the poster-invitation of the exhibition. In a viral pattern, the seemingly innocuous poster spreads within the intimate sphere of those who encounter it. Together the posters compose the 26 letters of the alphabet, undermining the instructional and rote-learnt ABC by inviting each reader to encounter the world differently through imagination. For the artist underwriting the base components of written language with another vision of the world sets in motion a ripple effect for future, and perhaps even utopian, possibilities.
David Horvitz has been the subject of multiple solo exhibitions internationally including most recently at SCAI The Bathhouse, Tokyo (2019); la Criée centre d’art contemporain, Rennes (2019); ChertLüdde, Berlin (2019); Château Shatto, Los Angeles (2018); Albertinum, Staatliche Kunstsammlungen Dresden (SDK), Dresde (2018); Galerie Allen, Paris (2017); and the New Museum, New York (2014). David Horvitz has also been invited to participate in major international group exhibitions held at the Biennale d’art contemporain Phenomenon, Anafi (2019); SFMOMA – San Francisco Museum of Modern Art, San Francisco (2019); S.M.A.K. – Stedelijk Museum voor Actuele Kunst, Gent (2018); Le Centquatre, Paris (2018); Hangar Bicocca, Milan (2017); Palais de Tokyo, Paris (2017); and the MoMA – Museum of Modern Art, New York (2015).
DAVID HORVITZBorn in 1983, Los Angeles, USA. Lives and works in Los Angeles, USA.Represented by ChertLüdde, Berlin.
David Horvitz, poster from Touch the sky with your eye, published by Jean Boîte Éditions, Paris 2019. Graphic design: Joanna Starck. Reproductions: Antonin Verrier. Editorial : Mathieu Cénac and David Desrimais.Courtesy the artist & Jean Boîte Éditions
In the work of Barbara Kapusta, sculpture, text, performance and animated video works blend to investigate forms of metamorphosis. Ever changing, ever between states, her works recall the inherent potential of change in content, objects and beings interrogating materiality and collective becoming. Conscious of the place of the viewer, the artist navigates the in-between space of the individual and the collective, of dismemberment and amplification, fluidity and stasis, compilation and fiction – abolishing any strict categorical distinction.
For prologue, Barbara Kapusta presents works from her series The Giant (2018). Mixing ceramic, porcelain, pigment, rubber, steel, and blown-up text bubbles, she recalls the body and its relation to others – be they human, animal, vegetal, or fictional. Body-like members punctuate the space across the floor – speaking to the present, the past and to a state of becoming. The text bubbles speak and make speech acts occur which question modes of societal interaction and interactions with others. The mounted enunciations recall the world of comic books and demonstration signs. They are known thoughts, unknown thoughts, and those that are still forming themselves for the artist, for the giant – this overflowing monstrous being – and for the visitor. The mounted text bubbles make words and any being entering this stage perform, questioning their role within the space of the exhibition and further afield in society at large. The installation will also be activated by the artist during a performative reading, creating a dialogue with the works and recalibrating their position in the space as a part of a constant process of metamorphosis. Here, the status of objects and beings remain resolutely in motion.
Barbara Kapusta has participated in multiple solo and group exhibitions internationally including most recently at the Kunstraum, London (2019); Kunsthalle Wien, Vienna (2019); MAK – Austrian Museum of Applied Arts, Vienna (2019); Belvedere 21, Vienna (2019); Eugster, Belgrade (2019); Gianni Manhattan, Vienna (2018); Ashley Berlin, Berlin (2018); Pina, Vienna (2018); KW Institute for Contemporary Art, Berlin (2017); Scriptings, Berlin (2015); The Institute of Contemporary Arts (ICA) Studio, London (2015); and Museo de Arte Contemporáneo de Castilla y León (MUSAC), Léon, Spain (2015). Her most recent publication Dangerous Bodies was published in 2019 by Gianni Manhattan Vienna and Motto Books, Lausanne, Berlin.
BARBARA KAPUSTABorn in 1983, Lilienfeld, Autriche. Lives and works in Vienna, Autria. Represented by Gianni Manhattan, Vienna.
Barbara Kapusta, exhibition view The Giant, Gianni Manhattan, 2018Courtesy the artist & Gianni Manhattan (Vienna)
Mason Kimber’s work is anchored in the inbetweenness of architecture and memory. His practice deals with the collision of experienced places – both their interiors and exteriors that are imbued with personal histories. Applying an archeological approach to painting and sculpture, Kimber creates wall-based reliefs, collages and site-specific installations through which fragments of recollection and history are embedded. During his time at the British School in Rome, Italy, his research surrounding ‘architectural memory’ allowed him to examine the fragmented structure and spatial illusion found in ancient fresco painting. For the artist, the works house the present by blending personal and collective histories together to become a form of shared archive.
For prologue, the artist presents a new performative sculptural installation composed of plaster and resin-based tablets realised using the shop front façades inside the Passage du Prado, Paris – one of the oldest arcades in the capital. The works reconfigure the way that we engage with history by listening to local stories and translating them into sculptural form. The work will be made in close communication with local shopkeepers of the arcade as an integral conceptual component, with their voices informing the composition of the installation itself. The work will evolve across time as a cumulative and processual installation – reiterating the stories and conversations documented only through the reliefs themselves. In this way, the narratives are multiple, non-linear, and ever in-process. For the artist, these works are not simple imprints or copies of architectural detail, instead they embrace the uncertainty of remembering and its role in writing the future.
Mason Kimber has been the subject of solo exhibitions in Australia including at Spring 1883, The Establishment, Sydney (2019); COMA Gallery, Sydney (2018); Sophie Gannon Gallery, Melbourne (2018); and Galerie Pompom, Sydney (2017). He has also participated in numerous group exhibitions in Australia and internationally including at NAS Gallery, Sydney (2018); TRIPP Gallery, London (2017); Galerie Pompom, The Cloud, Auckland (2017); Penrith Regional Gallery and Lewers Bequest Penrith (2017); and the Australian Centre for Contemporary Art (ACCA), Melbourne (2016). He has been a finalist for numerous art prizes including Sir John Sulman Prize, Art Gallery of NSW (2019); Sunshine Coast Art Prize, Caloundra Regional Gallery (2019); The Churchie, Institute of Modern Art, Brisbane, and the Geelong Contemporary Art Prize, The Substation, Melbourne (2018).
MASON KIMBER Born in 1985, Perth, Australia. Lives and works in Sydney, Australia. Represented by Sophie Gannon Gallery, Melbourne.
Mason Kimber, Husk/Draft, acrylic, synthetic polymer, gypsum, extruded polystyrene foam, resin, 59.5 x 41.5 x 6 cm, 2018Courtesy the artist
The works of Naomi Lulendo are materialisations of the artist’s interest in appropriation and diversion: of words, meaning, and objects, and the experience of space, the body and identity. Through painting, sculpture, photography and installation, the artist creates works that destabilise and recompose relationships to space via the intimate sphere of the body. Proposing the idea of ‘the alternate’ as means and mechanism ‘to be’ and ‘to do’ the experience of space, Naomi delves into the complex interaction and potentialities of the body, of form and motif. Playing with the idea of surfaces, the works of the artist are themselves spaces of projection – of desire, memory, inquiry and the imaginary.
For prologue, Naomi Lulendo elaborates a new performance work entitled Per Forma in which the artist continues to mine her interest in construction and representation of gender. The performance draws from the catalytic quality of social phenomena such as carnavale and other festive rites of passage where social regulation and self-censorship dissipate allowing licit rule-bending and breaking. Conceived as a syncretic ritual where oral tradition, masking, and divination coalesce, Per Forma blends presence, plurality and play as vibrant affirmation of multiplicity in identity construction and its inherent effect upon constructions of the Other.
Naomi Lulendo graduated from the École Nationale Supérieure de Beaux Arts de Paris in 2018. She recently participated in the research seminar Raw Academy under the supervision of contemporary artist Otobong Nkanga, Raw Material Company Centre for Art, Knowledge and Society, Dakar. Her works have been shown in group exhibitions at École Nationale supérieure des Beaux-Arts de Paris (2019); Salon des Réalités Nouvelles, Parc floral de Vincennes, Paris (2019); 13th edition of the Biennale d’art contemporain de Dakar (2018); Raw Material Company, Dakar, (2018); and Galleria Continua, Boissy le Châtel (2016).
NAOMI LULENDO Born in 1994 in Paris, France. Lives and works in Paris, France.
Naomi Lulendo, Bi (langue) Gui, performance at Raw Material Company, Dakar, 2018Courtesy the artist & RAW Material Company, Dakar
Naomi Lulendo, Bi (langue) Gui, performance at Raw Material Company, Dakar, 2018Courtesy the artist & RAW Material Company, Dakar
The works of Ibrahim Mahama are developed from recuperated objects of mass consumption that become analytic tools in the study of past and contemporary migratory flows due to globalisation and international economic exchange. His jute sacks, a recurrent object in the artist’s practice, bear witness to the underlying economic logic which reigns over international relations. Originally imported from South Asia, and omnipresent in Ghana, the sacks are used in the transportation of heavy goods and are subsequently repurposed to multiple utilitarian ends. In collaboration with various groups, the artist realises his large scale ‘paintings’ by sewing together the sacks and covering the interior or exterior of a specific edifice. In doing so, the structures take on the historical load of individual histories and social implications of a globalised system of exchange – and their impact upon local, national, and international economies.
For prologue, Ibrahim Mahama continues his Occupations series, 2012–, where the artist almost entirely covers the interior space of the exhibition. This immersive installation of jute sacks galvanises both recent and historical, collective and individual trajectories generated by a global market. The gallery is no longer a neutral receptacle of the installation which, in coming into union with all the forms of its architecture, is reciprocally blended with the space. The usages of both space and work are inscribed within one another and within an international cultural and economic flux. The visitor becomes witness in the space to these interrelations recounted by the objects which are themselves witnesses to larger networks of local and global histories.
The works of Ibrahim Mahama have been shown in numerous international solo projects including Norval Foundation, Cape Town (2019); daad galerie, Berlin (2018); White Cube Bermondsey, London (2017); and Tel Aviv Art Museum (2016). He has also been invited to participate in major group exhibitions internationally including the inaugural Ghana Pavilion, 58th Biennale Arte, Venice (2019); Hammer Museum, Los Angeles (2019); Museu de Arte de Sao Paulo (2018); Documenta 14, Athens and Kassel (2017); Kunsthal Charlottenborg, Copenhagen (2016) ; 56th Biennale Arte, Venice (2015); and The Broad Art Museum, Michigan (2015).
IBRAHIM MAHAMABorn in 1987 in Tamale, Ghana. Lives and works in Accra, Kumasi and Tamale, Ghana.Represented by APALAZZOGALLERY, Brescia & White Cube, London.
Ibrahim Mahama, Occupation, public installation, Malam Dodoo National Theater, Accra, Ghana, 2016© Ibrahim Mahama / Courtesy the artist & APALAZZOGALLERY (Brescia)
Artist Shitamichi Motoyuki is known best for his in-field research which manifests in photography, events, interviews, documentation and publications. His durational survey and photography projects concern stories that have otherwise been largely forgotten, buried over by the day-to-day. His photographic series of Japanese shrine gates in America, Taiwan, Russia, Korea, and elsewhere entitled Torii (2006-), explores how symbolic and historic forms are translated and transformed in differing cultural and political climates over time.
For prologue, the artist will present the work 14 years old & the world & borders, first realised in 2013 and presented at the Gwangju Biennale in 2016. The work is the fruit of workshops conducted by the artist with secondary school students from all over the world. For this iteration, Shitamichi will engage with various northeastern Parisian public high schools creating dialogues with students, looking for the ‘borders’ in their daily lives. The writings of students will be found in local newspapers as the artwork medium. The artist hopes that through writing and publishing, young citizens may author their own futures and come to value the impact of their voices even in a global context as their writings sit side by side with important national and world news.
The artist has exhibited, published and built projects on numerous international institutions including at Miyagiya, Okinawa (2018); V54, HongKong (2017); Kurobe City Art Museum, Toyama (2016); and the Toyota Municipal Museum of Art, Aichi (2016). In 2019, Shitamichi Motoyuki is representing Japanese National Pavilion for the 58th Venice Biennale. His works form part of numerous international collections including KADIST, Paris, San Francisco; Toyota Municipal Museum of Art; Mori Art Museum, Tokyo; and the National Museum of Art, Osaka. In 2012, Shitamichi Motoyuki was awarded the Gwangju Biennale Noon for an emerging artist.
SHITAMICHI MOTOYUKIBorn in 1978 in Okamaya, Japan. Lives and works in Nagoya, Japan.
Shitamichi Motoyuki, 津波石♯11 / Tsunami Boulder ♯11, film, 2 min 26 s 08, Tarama-Island, Tarama-son Miyako-gun Okinawa, Japan 02/11/2018 at 12:32Courtesy the artist
Mixing visual, sound and performance art, Gabriele Rendina Cattani’s result from a process of ingestion and digestion of the world around him whereby he questions the status ans categorisation of things. Accustomed to field recording, constantly capturing what surrounds him, transforming, and cutting sound millisecond by millisecond – in other words chewing the real, Rendina Cattani builds a world both hybrid and symbolic, in which seemingly inactive bodies of performers, support for technical equipment in a reversed role play, are in fact revealed to us. This confrontation talks to the perception we have of our own body and to the influence of an allegorical overload on our identities.
For prologue, Gabriele Rendina Cattani presents a protean installation, dispersed across the different floors of the Cité internationale des arts - Site de Montmartre. A continuation of his performance series MAGNUS OPUS, 2018–, exploring confessions and mechanisms of value attribution through the dissolution of a being in gold. The work forms part of the artist’s broader movement towards a total metamorphosis of reality through simultaneous expansion and synthesis. MAGNUS OPUS embodies the theological iconography and alchemical treatises of Johan Tölbe’s The Twelve Keys (Duodecim Clavibus), 1618, and Peter aus Rosenheim’s Ars Memorandi, 1507, which he distorts with personal images, sometimes intimate, with the active desire for transformation and existential quest. This ritual, or omnivorous liturgy, is an ode to the mineral fate of every living being and to the processes of perpetual self-extraction. At Galerie Allen the artist places a single gold nugget, the result of a prior alchemical performance. This nugget – an ersatz not yet refined – awaits its next phase of dissolution, derives from umpteenth chewing and exists as residual object of an action to which we no longer have access.
Performers : Filipo Aparo von Flue, Balthazar Heisch, Chiara Percivati & guests.
Gabriele Rendina Cattani’s works have been shown within institutions such as BASE Milano, Milan (2019) ; HeK – Haus der elektronischen Künste Basel, Basel (2018) ; Teatrum Botanicum, Parco Arte Vivente, Turino (2018) ; Fondazione Spinola Banna per l’Arte, Poirino (2018) ; Center of Integration, Tirana (2018) ; Cité internationale des arts – Site de Montmartre, Paris (2018) ; Magasins Généraux, Paris (2018) ; Musée national des Arts asiatiques – Guimet, Paris (2018) ; Musée de Minéralogie des Mines, Paris (2017) ; Fondazione Prada, Venice (2014) ; MACRO – Museo d’Arte Contemporeana di Roma, Rome (2013). Gabriele Rendina Cattani is part of the curatorial platforms RepertorioZero et ALMARE. He is currently studying at Städelschule, Francfurt.
GABRIELE RENDINA CATTANIBorn in 1990 in Rome, Italy. Lives and works in Frankfurt, Germany.
Gabriele Rendina Cattani, Magnum Opus: Part I, video, sound & performance, Die Form des Klangs, cur. Boris Magrini, HeK – Haus der elektronischen Künste, Basel, 2018 Performers: Balthazar Heisch © HeK – Haus der elektronischen Künste / Courtesy the artist
In a climate of psychological, bodily and social insecurity writ-large in the public sphere, survivalism and the quest for well-being mutually intensify one another in the works of Garance Wullschleger. Using performance, text, installation, design and photography, she questions certain conditions of contemporary life. The artist unveils a nomadic universe in which the viewer is invited to let down their guard and to reconsider ways of being in the world. Suspended between utopia and dystopia, the known and the unknown, and fluctuating scales of the individual and of the universal, a total destabilisation of linear time is created throughout the artist’s practice.
For prologue, Garance Wullschleger delves into both intimate and collective memory. In a series of performance-visits and taking place in three stages – focused on a body, a house, and a cave – the audience, step by step, through an existential experience. The endeavour begins through the exploration of a common denominator: the human body. A body invested with words, thoughts, memories, a double skin that serves as a script or a prompter, bringing the body of the performer and those of the viewers into contact with one another, slowly moving together, in order to compose a single body. This collective skin stretches to implicate the entire space, at once an intimate and social structure: the house. A place-concept, transitory in essence and upon which selfhood is constructed. Finally, it is within a symbolical space that Garance Wullschleger concludes her visit: the cave. Inspired by the artist’s visit to the prehistoric cave in Chauvet – Pont d’Arc, the sharing of this experience makes it possible to inscribe the work within frameworks situated beyond that of the individual and even that of History by invoking the very foundation of being and creation.
After studying applied art (textile design) Garance Wullschleger obtained her Diplôme nationale supérieur d’expression plastiques (DNSEP) from École nationale supérieure des beaux-arts de Lyon in 2019. Recently, her work has been presented at edna Dva Tři Gallery, Pragues (2019) in the framework of her artist residency at Petrohradska Kolektiv with the artist Anna Reutinger; Fondation d’Entreprise Ricard, Paris (2019); KlaraKiss Zipspace, Zurich (2019); Academiæ – Youth Art Biennale, Bolzano (2018).
GARANCE WULLSCHLEGERBorn in 1993 in Besançon. Lives and works in Lyon, France.
Garance Wullschleger & Anna Reutinger, Après moi, le déluge, installation & performance, KlaraKiss Zipspace, Zurich, 2019 / Performers : Garance Wullschleger & Anna ReutingerCourtesy the artist
Garance Wullschleger & Anna Reutinger, Après moi, le déluge, installation & performance, KlaraKiss Zipspace, Zurich, 2019 / Performers : Garance Wullschleger & Anna ReutingerCourtesy the artist
INFORMATIONS PRATIQUES
Galerie Allen 59 Rue de Dunkerque75009 ParisMer-Sam, 14h - 19hwww.galerieallen.com
Cité internationale des arts – Site de Montmartre15 rue de l’Abreuvoir 75018 Paris Mer-Sam, 14h - 19h (ou sur rendez-vous)www.citedesartsparis.net
KADIST 21 Rue des Trois Frères75018 ParisJeu-Dim, 14h - 19h (ou sur rendez-vous)www.kadist.org
PROLOGUE
prologue est un collectif curatorial initié en 2018. L’association soutient la diffusion d’œuvres contemporaines avec pour ambition de consolider la place de la performance dans le champ de l’art mais également comme outil social, propice aux actions collectives et au partage de récits. Ses activités prennent la forme d’une série de projets vivants, mus par des temporalités qui leur sont propres et qui se déploient autant dans les espaces d’art que dans divers lieux de l’espace public.
www.prologuecollective.com
CONTACT PRESSEAnabelle Lacroix06 64 27 21 15
PARTENAIRES
Les projets des artistes ont reçu le soutien de :
