Alexandra Dementieva, Breathless, 2012

On the occasion of her exhibition 10 Installations at the Moscow Museum of Modern Art, Natasha Kurchanova conducted a long interview with Alexandra Dementieva for Studio International. You can find the interview here.

 

This weekend Dominique Leroy takes part in the project Modulation, 24 hours of micro-radio in the mountains of the Hautes-Alpes region in France. A radio studio is mounted in open air and transmits locally over one square kilometre. During 24 hours, artists connect to the antenna to produce live experimental music, sound poetry and radiophonic art.

Modulation proposes a unique radio experience in the spirit of the micro radios developed by Tetsuo Kogawadans in Japan in the eighties. The idea is to work with the medium of radio on a reduced scale to include the studio on the environment and create a continuum between production and listening.

The program starts at Saturday 15th July at 6pm and runs until all artists have intervened “or until the batteries run dry”.

Nearest train station is Veynes en Devoluy. Visit https://108mhz.wordpress.com/ for more info (in French).

As an artist Dominique Leroy also works in the world of theatre and dance.

Circuit – the new creation of French choreograph David Rolland is an immersive sensorial experience for one spectator. Guided by a haunting soundtrack through a mobile architecture designed by Dominique Leroy, the spectator wanders around shadow dancers on the trajectory of a real or imagined partner. She projects herself into an artist’s life, imagines looking at a work from behind the scenes, gains confidence and dares a careful movement. In this abstract phantasmagoria, the warm voice of David Rolland accompanies the visitor in her perambulation towards “moments between us”, “just before …”, where there is often talk of waiting or listening. While the spirit is immersed in fiction, the body is summoned to be physically present like the two dancers that one comes across. In a play with shadows and humour, dreams, memories and phantasies mix where dance takes its place.

As a continuation of a choreographic self-portrait, Circuit is an invitation to partake in the precise and precious moments of the profession of the dancer and choreograph. How to be at the same time centred on one-self and keeping the senses alert, conscious of the world that surrounds us. It is with that goal that David Rolland invites the spectator to enter into “a state of dance”.

Circuit takes place during the Festival of Avignon from 6 to 18 July 2017 (break on 12 July) and takes 1h20.

For more info and images: David RollandLa Manufacture and a video.

Château de Saint Chamand, Avignon
Reservation is essential and can only be done via phoning +33 6 69 61 30 00.
12€/7€/5€

 

For the exhibition, Celibatair Divas at Herkenrode Refuge, Sara Bomans has taken up her practice of drawing with human hair. The drawings, with the umbrella title ‘I used to be sexy’, focus as usual in her work, on the fragility of human beings.

Celibatair Divas takes place in a former abbey and focusses on the idea of its original inhabitants who were nuns, caretakers and confidants, but equally entrepreneurs, landowners and capital managers. A bleeding catholic wafer enabled them from 1317 onwards to develop the abbey of Herkenrode into the largest pilgrimage centre of the low countries.

Starting during the so-called Virga Jesse Festivities that celebrate the story of the bleeding wafer, the exhibition takes place in the refuge that was constructed by the absis Mechtildis de Lechy (1520-1548). It discusses aspects like “power, richness, escapism, diversity, identity, knowledge, superstition, conviction, searching, emotion, passion, consolation, pain”. The invited artists, a mixture of internationally established and upcoming talents, are invited to show their vision on the current tensions between the worldly and the spiritual.

Other artists showing work are amongst others, Miles Aldridge, Nick Ervinck, Koen Vanmechelen, Erwin Olaf, Hans Op de Beeck, Trees de Mits, Jim Dine, Nan Goldin, Vanessa Beecroft, Peter de Cupere, Maria Roosen, Rudi Knoops and Frederik de Wilde.

The project is organised in collaboration with art gallery De Mijlpaal.

Celibatair Divas runs from Saturday 1 July until Sunday 3 September 2017

Opening hours
2 July until 4 August; 21 August until 3 September:
Thursday, Friday, Saturday, Sunday: 2 – 6 PM

5 Augustus until 20 August (during the Virga Jesse Festivities):
Daily 2 PM – 6 PM and by appointment

at Herkenrode Refuge, Maastrichterstraat 100, Hasselt, Belgium

More info on the website here

 

On the 1st June 2017 Hantu gave a phono plastic performance at the Arts Academy of St. Petersburg of which this video gives an impression.

Jean Delsaux and Pascale Weber stand in front of each other in the dark equipped by a small frontal lamp and a micro torch, the first to follow and give phonetic indications to her partner, the second to light her lips while she pronounces and articulate different sounds into the dark. Behind them is projected a video film of 12m55 on which clouds of smoke appear that correspond with the slow motion of the form that leaves our mouth when we talk.

The scene of this performance might resemble a visit to the ophthalmologist when a patient has to read letters and syllables, while the audience slowly learns to read the breath that comes from Pascale Weber’s mouth when she pronounces the phrase “donner form” (give form).

For her upcoming solo exhibition ’10 Installations’ at the Moscow Museum of Modern Art, Alexandra Dementieva brings together ten interactive installations.

Dementieva is both a cinephile and a voracious reader, with her interests ranging from classical prose to philosophical literature, from films by Alfred Hitchock, David Lynch, Roman Polansky, Andrei Tarkovsky to audacious psychological thrillers and unabashed horror films. Taking one of these source works as her starting point, she goes on to develop from it, in a typically-Russian maniacal manner, the key questions that were of such concern to Dostoevsky’s “Russian boys”: what is fear and what lies in its nature, both individual and social? Is there life outside the camera’s view and if so where do the saints go who fly away from the surface of the stained-glass window after having transformed into extraterrestrials? How does one gain insight into oneself just by taking a seat in a special brain-scanning object? Are your hidden thoughts as pure as you think and would the fulfilment of an innermost wish bring you happiness or would you suffer the same fate as Porcupine from Tarkovsky’s film, who wished to resuscitate his brother but gained untold wealth instead? These are the questions the artist subsequently visualizes in her own work, such as in ‘Monolith’ (2010), ‘The Unbearable Lightness’ (2009) and ‘Stalker’ (2006).

First of all Dementieva is an observer and an explorer of human reactions which she usually records and stores in the computer memory of her works. The viewer can however be assured that no one, except the artist herself in her laboratory, will ever see those who became frightened inside an installation, those who hysterically cackled or those who, as happens quite often, passionately kissed. Only in rare instances and if required as an aspect of the piece will this internal archive be presented to the public, for example in the interactive installation ‘The Mirror’s Memory’ (2003), in which the viewer, when looking into the ‘mirror’ of a screen, can discover at his or her side those who grimaced and danced in front of it several minutes ago.

It is easier to surmise the source material that inspired the artist, be it Woody Allen or Alfred Hitchcock, than to induce the distinguishing formal characteristics of her oeuvre. However, despite the visual variety of Dementieva’s works one can discern her signature. Almost always there is at the core of her installations an easily recognizable oeuvre of a cult film director from which Dementieva draws forth and brings to light a perennial question which is typically Russian, a potential answer to which can only be found with the viewer’s active involvement. One is however always given the choice to either let oneself be immersed into the space of offered experiences thus granting the installation a right to live, or to pass by leaving it inanimate, waiting for Godot … [Based on text by curator Elina Selina].

‘Alexandra Dementieva – 10 installations’ opens Wednesday 14th June at 7pm and runs until 20th August 2017 at the MMOMA – Moscow Museum of Modern Art
Petrovka Street 25
MOSCOW 199019

For more info see Cyland Media Art Laboratory

Work by Dementieva is currently also on show in Venice in the exhibition Hybris which still runs until 28th August.

This Much I’m Worth – prototype, Jim Poyner Photography, The York Photographer, http://www.jimpoyner.co.uk

As a conceptual digital data artist Rachel Ara incorporates her background in computer system design with familiar, technological aesthetics. For the upcoming group exhibition Controlled Realities at Anise Gallery in London, Rachel’s work questions value in the art world and beyond, employing satire to highlight these issues. Long-listed for the Arte Laguna Prize for Virtual Art for her piece ‘Cocksure’ and winning the Aesthetica Prize 2016 with the prototype for ‘This Much I’m Worth’, she will present both works in ‘Controlled Realities’ with a further developed version of the latter.

Although the exhibition showcases three very different artists and their techniques, virtual reality is where the three meet and the viewer is invited to experience the virtual reality headset, which is the epitome of the controlled and contrived realities addressed by each artist. A collaborative piece with creative input from Rachel Ara, Charles Harrop-Griffiths and Jacek Ludwig Scarso will take the form of a VR experience.

See Rachel’s update of the production of ‘This Much I’m Worth’ on her Instagram account.

Controlled Realities opens Wednesday 14th June from 6-9pm, see Facebook event.

The shows runs until 15th July.

Artist talk and tour: Thursday 29 June 7pm
Reserve your place here

Anise Gallery
13a Shad Thames
London SE1 2PU
https://www.anisegallery.co.uk/portfolio/controlled-realities/
Contact gallery for opening hours

 

During his micro residency “Process YOUPI”, the shortest artistic residency in the world initiated by STATIONS SERVICES, Dominique Leroy has developed his SU(n)EATER to provide warm water via solar heating for his (n)A nomadic atelier.

Find a dossier on the SU(n)EATER here and more news on his new website here

SU(n)EATER is part of the group exhibition “Process YOUPI” opening Wednesday 7 June. The exhibition runs until 15 July.

Maison du Développement Durable (Sustainable Development)  – Espace Diderot
50, Rue de Château de Rezé, 44400 Rezé (near Nantes)
Tues 2-6pm, Wed 10am-1pm and 2-7pm, Sat 10am-1pm and 2-6pm

AnneMarie Maes was awarded an Honourable Mention at Ars Electronica 2017 for her ongoing research project The Intelligent Guerilla Beehive.

The Intelligent Guerilla Beehive is a bio-art installation on the edge of art and science. It evokes issues of sustainability and biodiversity, giving viewers an artistic experience of my ongoing research related to the disappearance of the honeybee. Bees are bio-indicators. They reflect the health of their surrounding ecosystem as well as the cumulative effects of different pollutants. In many industrialized nations bee colonies are now threatened. Pesticides and parasites are among the main factors, but equally worrisome is air pollution and the compromised state of the bees’ foraging fields.

The Intelligent Guerilla Beehive is a radically new beehive designed for urban environments, offering a shelter to swarming bee colonies, and thus supporting pollination by the bees and protecting the biodiversity of their foraging fields. It has also been a starting point for exploring possible futures through artistic research on materials science and biotechnology. Navigating between a blueprint and a proof of concept, the Intelligent Guerilla Beehive is an artifact for the future, a fragment of a world to come. It tackles a new challenging application domain where a collaboration between human and non-human actors is necessary to maintain the resilience of the system.

Find more information about and images of the project on AnneMarie’s website here.

Jimena Kato is currently exhibiting inboth Poznan and Madrid.

For the exhibition D / I / S / R / U / P / T at the Rodríguez Gallery in Poznan, curated by Marlon de Azambuja, she developed M/M (Maquette/Module) 2017 with pine wood laths, acrylic paint and watercolour in variable dimensions.

These modules were fabricated using the scales of her hand (palm width, finger length), the shape is given by using these lengths and angles and color rhythms to obtain a closed shape, an attempt to create a sort of alphabet of its own. Following this operation, the different variations and position of these pieces and their different combinations attempt to become a sort of visual vocabulary.

The order, position and combination of each M/M is interchangeable and can be modified any time. These modules operate as links, as a part of a larger structure but they can work as a single element as well.

The exhibition runs until 8th June 2017

Rodríguez Galleryul.Wodna 13/4, 61-782 Poznań, Poland – Tue – Fri: 12-19; Sat: 12-17

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For the exhibition To Come To at Alimentacion30 in Madrid she developed the installation / drawing with pigment on glass “Strokes and traces are matters of the word – A drawing like a babbling, a thought, a rumination.”

This series of drawings are made directly with her hands, referring to their tracks as our first instruments of communication in time. The work is inspired by the documentary film “Le Moindre Geste” (The Minimal Gesture) by Fernand Deligny, which shows the coexistence, habitudes and interactions of a group of autistic children and adolescents in a town in France. Deligny focuses on their daily paths through the field and the way autistics communicate, using drawing for this purpose. Although the window of interaction with them is small, Deligny makes us discover a reading of the universe these minimal gestures unfold.

Like in the prehistoric cave of the hands, using the hand as a stencil to create a negative, in these drawings Kato uses her hands to remove pigment. It is the void that in contrast to matter will create shapes / phrases playing with light, color and transparencies.

Alimentacion30 is situated at 30, calle Dr Fourquet in Madrid. The installation can be seen until 24th May 2017.