Thus, the format of the show, in three succeeding rooms, presents Florence Jung in a convertible version like a sofa-bed , whereas other recognizable elements of La Salle de bains have been replaced. They are not empty but rather full of absences and things that are lacking, blank pages and closed doors on the threshold of which anything can happen, images and stories that occasionally stand apart from the ordinary through an ah-ha effect that occurs once the work itself has already taken place. Florence Jung lives and works in Amsterdam, where she is currently an artist-in-resident at the Rijksakademie van beeldende kunsten.
A graduate of ECAL Lausanne , she has taken part in numerous solo and group shows since , in Europe and around the world though not necessarily visibly and not always under her own name , notably at the Kunstverein of Bielefeld, the Swiss Cultural Center of Paris, the Bregenz Biennial, and Ford in Geneva. Media coverage is taken care of more or less despite themselves by those who help to spread the rumor fashioned by personal versions of the facts, which vary and even contradict one another.
En Avril Sophie T. Son dessin et son organisation sont pris en charge par des artistes. Sculptures, p. On pourrait faire plus simple pour faire de la peinture. In the preceding Halls Rooms , time and space were compressed and distended. The first one took place between two exhibitions in Paris and Bienne , proposing its acceleration copying it.
The second Hall inserted the first exhibition into another, and physically displaced the audience, resulting in a form of decompression of the Salle de bains.
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After this series of movements, Hall 3 finds itself presented precisely here. The regard towards the exterior is gone, as are the temporal displacements: only a sculpture and a painting are present. Both Sculptures, p.
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In the same way the titles of the works index the works on the page of the book from which they originate. These works will only be the realistic models of a reproduction it is already complex to think that the image of an object comes before the object, and that in fact it is the image that informs the object. The strangeness that this production will have produced is this: works that present themselves with the authority of painting and statue, but that establish rapports that defer time and space.
They are however quite familiar to us in the poverty of their original materials and their common references; in sum, works made in the image of modernity and its copy. It is a world where the texture of images, even digital ones, becomes that of reality. There are simpler ways to make a painting. Here, the question is no longer that of painting or of sculpture, but that of creating possible images, paintings and sculptures, while taking into account their contemporary versatility and drawing together all of the strangeness that our images still hold when they are placed in complex circulations, when they pass from Lo-Fi to Hi-Fi, from skate culture to academic culture, from simulacra, from representation, to reality: how to leave objects as objects in becoming, even if they were already images.
Creating books and catalogues of images as a duo, they will rapidly deploy sets of works from them. Pursuing an increasingly complex dialectical game between the original and its reproduction in an abundance of forms, their work has been the subject of numerous individual and collective exhibitions, notably at Passerelle art center Brest and in the galleries Ellen de Bruijne Projects Amsterdam and Allen Paris.
This process takes place with a great formal liberty, the motifs and colors modified to such a point that the images obtained refer to different styles and eras. We did not move from Lyon to Bienne just to see an exhibition. The same operations can be seen in the composition of these paintings, the result of more than one-thousand five-hundred files, whose titles themselves indicate the abundance of this heredity and these internal variations Heredity and Heredity The striking effect of this displacement is perhaps the relationship of scale that plays out in this monumental hall which suddenly offers distance in face of the works.
Under this effect of dilation, the notions of transport of the audience , of postponement of a motif , and of becoming a copy are brought together strangely. If in the cramped space of Hall 1, paintings are the subject of paintings, representing the works themselves represented in the image of a past exhibition, like a backdrop looking at itself up close, these last and thus the first allow themselves to be seen from a distance. While the proximity of a work allows one to consider the quality and the materiality of an ersatz with rough and watery surfaces, here, the paintings are smooth and deal with surfaces and colorful planes.
It is here that all the protocol of this work is made clear: with each new production derived from a technical reproduction there is an addition of grain as much as reality and, paradoxically, what would be thought of as the original appears further away. Working as a duo to create images and paintings is already a form of manifesto. A deconstruction takes place in the form of an addition, four hands multiplying the possibilities and resulting in an augmented and shared authority. What is presented as the work is already the copy of its reproduction, but an augmented and sublimated one.
The image is silkscreened in color on canvas, giving it all of the assets of the original work, unique and respectable. This process takes place with a great formal liberty, the motifs and colors modified to such an extent that the images obtained refer to different styles and eras. The first room presents five paintings from a new series Heredity Ersatz Paintings , painted in oil by hand after works from the series Heredity. And the mirror of the Salle de bains simulates the reflection of the past exhibition. And to which the response will be: again, an addition. Entrer dans une peinture comporte des risques.
Entering a painting involves risks. Thus the exhibition is often an opportunity to reformulate, in order to make explicit, the perversity of its mechanisms. This is the case of Concentrate the mind on something, think about something else which has appeared previously in the form of an inscription on the wall in the exhibition space, where, the work stunningly becomes an obstacle to a full aesthetic experience.
In other words, the exhibition is a problem at least as perilous as the problems surrounding self-representation, all these problems being, in an artistic sense, terribly connected. Caught in between two mirrors, this exhibition inside a painting extends itself in an infinite space, or the relentless repetition of an image of an exhibition.
Other individuals might be attracted by the luminous tubes, often used by entomologists to attract different insects species on an observation surface, a device that the artist considers as an interesting reversed cinema phenomena. They are all resulting from a similar activity, whose repetition generates new ways of painting — varying the expressive intensity of the gesture, or changing the protocole in order to cover the canvas — preventing any genealogical reading of a practice willing to let landscape give way to grid, or else, willing to affirm that flatness should lead towards the exploration of an illusionary space.
Charlie Hamish Jeffery, born in Oxford in , lives and works in Paris. His work, animated by contrary moods and strengths, between growth and destruction, creative power and laisser faire, takes on multiple forms, sculpture, painting, poetry and performance are major components. Ce premier constat est juste. Est-ce que toute association produit du sens? Qui transporte le message?
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Everything is in motion, in permanent transformation. It only appears partially when small lines or dots are placed to represent trees, stones or columns. All the landscapes are more like internal works, like an ideal landscape: large, free, untouched and in perpetual creation. In his paintings nothing is final. They breathe and are like living organisms. Their meaning can only be approached, but the paintings can never be fully understood. Letting the colours flow into each other, creating only nuances from black to grey to almost white, an osmotic relation between colour and paper establishes, with only a little help from the artist, an independent space.
The colour itself fills this space, without determining it. The act of painting is the door to the implied spiritual cosmos which is limited by time and space. The emptiness can be interpreted as an active Space, a pendant, a provoker of tension, giving the paintings a feeling of freedom and spaciousness.
All this can not be interpreted without the Zen-tradition and its spiritual message. I see art less as a self expression but more as an act of self cleansing — with more or less sober eyes, which look at the continuously changing world and to a great extent, to the incoherent self. It may be right to consequentially claim that the work is only the means to the goal.
The creative force needed by all people lies in the ability to penetrate a different reality and in the ability to feel an unknown mental force of creation. By this it reflects the process of creation, the seemingly everlasting conception.