Acrobatic Painting
Acrobatic Painting 500 x 600 x 800 cm Installation, oil on canvas, wood, cardboard and paper, collected and painted objects from the city of Freiburg, typed roll of canvas, spray on plaster and cardboard, performance, text, sound With the complicity of Selma Kahoul Solo show Kabuff residency, E-Werk, Freiburg im Breisgau, DE 2020 ©Luca Kasper Here, a formal research on the observation of acrobats, gymnasts and athletes is transposed to a series of paintings and drawings. It is inspired by listening to music during the entire lockdown. Several album covers feature such human figures in absurd positions which are chosen as models for visual study. Three texts juggling between automatic writing, referenced reading by Hubert Renard (Sans Titre, art&fiction, 2013) and whimsical interpretation, performed and read in space by Selma, on soundtracks by Clark, Ennio Morricone and Goldfrapp, on the evening of the opening. Or as a comment randomly found on a large video platform would say: "It reminds me of an innocent and happy village idiot on a beautiful summer day, walking in the sun, climbing peach trees, and walking to the river for swimming and fishing." gegenwartskunst-freiburg.de/kabuff/archiv-kabuff
Bureau des questions fondamentales
Bureau des questions fondamentales 250 x 150 x 100 cm Installation, collected furniture, encyclopedias and frames, application letters, stamp, text, sound Sammelsurium (bureau des questions fondamentales) group show Espace Cheminée Nord, Usine Kugler, Geneva, CH 2019 ©Antoine Siron A Fundamental Questions Bureau is set up in the corner. A table and a chair borrowed from a museum, the 19th edition of the Brockhaus Encyclopeadia in 24 volumes + 1 appendix placed on top, a handmade ink pad and stamp reading “OF NO INTEREST” purchased in Paris, and anonymous letters of rejection for grant applications displayed in recycled frames.
DALTON(S)
DALTON(S) 380 x 450 x 900 cm Installation, wallpainting, oil and acrylic on canvas, mixed techniques on envelopes, collected and painted objects from the city of Carouge, typewriter, laser print on 250g paper, TV, video, performance, text, sound With the complicity of Gabriel Alexandrino, Kerouan Dam, Anya Lindup Solo show (cur. collectif La Fonte) La Fonte residency, Halles de la Fonderie, Carouge, CH 2019 ©Antoine Siron Stored inside this room are objects found and collected around the city, then painted and positioned on site. On the large grey wall hang four vertical panels painted in the Daltons’ colours and arranged in order of size. And two square panels patched with scraps of canvas. On the blue wall hang eight envelopes of various textures and sizes. They each served for artistic correspondence. The exhibition is brought alive by a script written on site and broadcast on two loud speakers. It’s the story of four bandits hunted by the police, and who have taken refuge in the building. During the opening, Gab Dalton tells a story. A TV set is switched on and plays a looped video of Anya Dalton laughing. A photo portrait of Kerouan Dalton hidden by a piece of blue painted canvas, is uncovered. The broadcast script ends with the inventory of all the objects on display in the room. The script itself is also physically present, typewritten and placed in the typewriter. collectiflafonte
All-in
All In 600 x 1200 x 700 cm Installation, oil on canvas and wood, silver spray on plaster, typed roll of canvas, risograph print on paper, studio table, books With the complicity of Gabriel Alexandrino, Romane Chabrol, Luca Kasper, David Sentkar, Antoine Siron MFA Diploma Work.Master (contemporary art practices department), HEAD–Genève, CH 2019 ©Zoé Aubry & Emily Bonnet In a large, almost empty studio, the art work, paintings and furniture lean against the walls, backs to the audience. When the audience enters the room, a vinyl LP is playing on an old stereo. Then a list is read aloud, one item after the other. The first item is “Painting.” The five associates stand up and hang the paintings on the walls, making them visible to the audience; most of the paintings are from previous exhibitions. The second item is “Installation.” Plaster sculptures, trestles, plinths and other objects are placed around the room. The third item “Painting – not on canvas.” The sleeve of the LP being played is turned round; it is a painting made in collaboration with one of the associates. The fourth item is “Mind maps.” They were drawn in different cities, between 2017 and 2018, and numbered in sequence. Two of them, risograph prints, are hung in a corner. The fifth item is “Texts typed on canvas.” Two scrolls of typed canvas fixed to the wall, one of them painted, are unrolled. The sixth item is “Photos and videos taken in places where people live or work.” A small black and white book with black and white photos called Klingnau is opened, then an old CRT TV is turned on, a still frame video with monotonous narration is payed. The seventh item is “A book called Service Trois Pièces.” A stack of fifteen handmade editions of the book is placed on a stand, underneath the two mind maps hanging in the corner. The eighth item is “Handmade editions.” A worktop - on which lies a whole collection of micro editions, monographs, exhibition catalogues, most of which appear in the bibliography of Service Trois Pièces - is set up on the trestles. The ninth item is “Texts read during performances with a typewriter.” A ten-meter-long scroll of cloth with the entire script of the book Service Trois Pièces typed onto it is unrolled from a typewriter. The last item is “Performances with and/or for other people.” A painter’s overalls, used in a group performance called NASA, are hung on the wall. The whole exhibition was assembled in fifteen minutes – an inventory of every item is typed up on the typewriter before the discussion begins.
Tribulation / Tabulation Room
Tribulation / Tabulation Room 300 x 800 x 800 cm Installation, oil, acrylic and lacquer on canvas, plinth, typewriter, typed roll of canvas, laser prints on paper, loudspeakers, text, sound Work.Master (contemporary art practices department), HEAD–Genève, CH 2019
Tabula Rasa
Tabula Rasa 300 x 600 x 900 cm Installation, oil on canvas, mixed techniques on paper, collected furniture and objects from the former GDR period, typed inventory on paper, performance 6th International Summer Campus residency, Künstlerstadt Kalbe (Milde), DE 2018 A fictitious painter’s studio is created in a room in one of the old buildings in the small town of Kalbe (Saxony). Formerly used as an archive room during the German Democratic Republic, everything inside had remained intact, including the furniture. At the beginning of the residency, the room was cleaned and repainted. Inhabitants of the town were invited to donate objects dating back to the German Democratic Republic period. Every day, old schoolteacher’s frames, coats of arms and postcards of the town, beer mugs, household items, identity cards and party membership cards, pioneer medals, newspapers and documents from the former Trabant car factory next door would arrive. Four paintings are painted in the colour of the furnace built into the wall. Just like the room’s ceiling plaster is crumbling, each painting too has a defect: two horizontal or vertical support bars from the frame are missing, are not varnished, or are cut in half. A painting by Gevorg Grigoryan, another resident, is hung above the furnace. A map of the city and four mind maps that were made on spot are put under glass, in old mismatched frames. An inventory of everything to be seen in the space is typed on a portable typewriter that is still in its original case. During the public visit, a performance takes place, where a fictitious painter expresses his satisfaction at having returned to the studio he would have occupied more than thirty years ago, had he not have had to leave the country in a hurry to flee persecution because of his paintings. He goes around talking to himself in three languages, his words not really making any sense. He finally sits down at the desk and finishes typing up the inventory and reads it out loud, before leaving the room.
Kunst-Halle-an-der-Saale
Kunst-Halle-an-der-Saale 390 x 400 x 300 cm Installation, wall painting, oil, acrylic and transparent varnish on jute canvas, collected and painted objects from the city of Halle, digital printed inventory on paper Hermès5 group show (cur. Sophia Schama) Malerei Klasse (Painting department), Burg Giebichenstein Kunsthochschule Halle (Saale), DE 2018 There is no Kunsthalle in Halle. The city’s coat of arms is red and white, with a crescent moon and a star, reminiscent of some flags of other countries. These colours and patterns are in part included in the installation. In every administrative or artistic correspondence, it must be specified that it is Halle (an der Saale), i.e. “Halle-sur-la-Saale“, in French. A certain lack of the French-speaking world is therefore felt after some time. Over the months, a large number of objects were accumulated. They were collected during aimless wanderings in the streets. A few books are from flea markets or historical museums. They often evoke the city’s East German industrialist past. Some objects are tools or drawings donated by other artists working in the building, such as the small charcoal sketch by Julius Walter Scholz framed at the bottom left of the project. An inventory, in A6 format, can be consulted by the audience as a fake exhibition leaflet. Here, the space that was used as a work place for six months transforms into a temporary exhibition area. Everything that was collected during that period is hung on a wall or placed on two stands and a table on the floor. A Kunst-Halle-an-der-Saale exists for the duration of an exhibition.
Eingang
Eingang 250 x 700 x 350 cm Installation, metallic wall paint, oil on canvas and wood, watercolor on cork, acrylic on paper, spray on cardboard, plexiglas, plaster and wood, collected and painted objects from the city of Geneva, typed inventory on paper Open Doors Work.Master (contemporary art practices department), HEAD–Genève, CH 2018 Fantasy workshop situated on the first floor of the Boulevard Helvétique 9 (Geneva, Switzerland). A mural is painted with a mix of gold pigments in transparent acrylic. Two workshop tables are placed the foreground. Among other objects, some plaster casts made from various containers and painted with a brush or aerosols are placed on it. Frames salvaged from the street or from the school are mounted on the walls. A few pieces of broken frames are put up above and around them. The entire art installation is designed for this portion of the wall that was imposed by the school requirements. A large wooden door frame, painted in the two main colours is erected in front of it and allows you to enter this ephemeral space. An inventory is made and typed up with a typewriter, but is not visible in the room.
Ausgang
Ausgang Variable sizes Oil and Indian ink on canvas BFA Diploma Représentation (Painting/drawing/installation department), HEAD–Genève, CH 2017 ©Bastien Seon Four large oil and ink paintings are mounted on the walls of the largest room of the building on the fourth floor of the Boulevard Helvétique 9 (Geneva, Switzerland).
Perspectives Monochromes (w. Marius Quiblier)
Perspectives Monochromes 400 x 400 x 400 cm Installation, wall painting, oil, lacquer and Indian ink on canvas Re(présentation) #13 duo show with Marius Quiblier (cur. Tiphanie Blanc) HEAD–Genève, CH 2016 ©Tiphanie Blanc & Sylvain Gelewski Three out of four walls in a 4 x 4m room are painted in three different shades of pink. Three square blackboards of different sizes are mounted on the walls creating plays on perspective and interacting with the components of the room and the floor. representationhead.tumblr.com/page/2
