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#1dad

Curated by Philippe Riss / XPO

Curated by Philippe Riss / XPO E-renaissance? Welcome to an age of meaning. Today’s networked culture not only generates hyper connectivity, but also an abundance of changing images and flux … Yet, information is abundant. Commodities of information are freely replicable. Once a thing is made, it can be copied infinitely We’re surrounded not just by intelligent machines, but by a new layer of reality centered on information, dissolving meaning into total chaos. How can the Digital drive and affect the curatorial process? The approach for the #1 DAD exhibition is not technologically driven, or even digital art oriented, but focuses instead on the impact and implications of the Digital. When I created the gallery in Paris, 2 and a half years ago, I did not want to reproduce a 20th century model. In my opinion, in the networked culture we are living in, the gallery has become a place of transition and is no longer a place of destination. I still believe very much in the physical exhibition, but as filter, an information structure in the three dimensions. We don’t want to forget the exhibition model, but rather make it more a media than an object - because its information an not things which are endowed with value. It is information and not things that produce meaning. Philippe Riss Founder of XPO Gallery and co-founder of hypersalon

Always vomit after formalities

Since 2002, assume vivid astro focus (avaf) has fused wallpaper, painting, neon, sculpture, video, and performance in exuberant installations mounted in public spaces and museums around the world. Conceived by Eli Sudbrack in 2001 and joined by Christophe Hamaide-Pierson in 2005, the duo brings a passionate collaborative spirit to every aspect of their work—from conceiving projects in tandem, to employing an extensive range of references and materials, to executing large-scale installations with expert, animated, diversely talented teams. avaf  approaches every project with a combination of all-encompassing, unbridled vision and keen pragmatism.

Mountain, 2012

Running time 0:51 With his distinctive, deceptively simple style of ink drawings, Vincent Broquaire finds moments of humor and poignancy in the everyday. In his clean, small-scale works on paper, a cast of tiny humans inhabit a world at once flat and minimalist, yet easily recognizable as our own for the foibles and idiosyncrasies encountered there. Expanding his illustrations into further dimensions, Broquaire has more recently turned to producing books and, most notably, animations, which bring to life witty takes on technology and man’s incursion into nature. In one video, construction equipment relocates an island in the middle of the ocean, while others depict whimsical scenes of his characters draining lakes or struggling with computers. Vincent Broquaire expresses relationships between nature and new technologies, at the center of which Man imposes himself as the great decision maker and manipulator. Landscape plays a driving role in his work, it is considered as a technical construction that Man transforms according to his needs and whims. The artist thus builds a critical understanding, fed with irony and poetry, of Man and his insatiable need to control his environment. He analyzes the mechanisms of a system allowing “Man to play God.” A system translated by drawing, where the real and the fictional merge.

The missing place, 2014

Thanks to Christian Merlhiot, Hirokazu Tokuyama, workers of the Ryoan-Ji. With the support of Fondation Bettancourt Schueller for Villa Kujoyama. Ryoan-ji garden in Kyoto has been an inspiration for artists such as John Cage and David Hockney. In this garden, 15 stones were arranged in such way that it is not possible to see them all at once. A stone always intervenes between our eyes and another stone. The space has been scanned for the first time in all its facets and reconstructed in 3D. A virtual camera moves indefinitely randomly. This infinitude remains utopian because the time of the observer is limited. Grégory Chatonsky (b 1971) is a French artist based in Montreal and Paris. In 1994 he founded the net-art platfromr, Incident.net. He has received awards and grants including Dicream (2014), CAC (2013), CALQ (2012), CRSH (2011), Cap Digital (2010), Arcadi (2010), & CNAP (2008). In 2013, he launched TELOFOSSILS at MOCA (Taipei), and a second version was shown in Beijing (2015). In 2014, he presented a solo exhibition, CAPTURE, at CDA (France), an accelerationist rock band; and he followed this with EXTINCT MEMORIES in 2015, about the data centers of Google (IMAL, Brussels). He has also participated in group exhibitions such as Erreur d'impression, Jeu de Paume (Paris), The Beginning of The End (Timisoara), Mois de la Photo (Montréal), Extimitat CCA (Palma), Der Untergang Doomsday (Berlin), Connect the doct (Roma), Interlife Crisis (Seatte), The Radius (Chicago), Il Pardosso Della Rupetizone (Roma), Augmented Senses (Shanghai), and the Biennale d'art contemporain (Montréal), amongst others. In addition, he has participated in a number of residencies including IMAL (2015), Unicorn (2015), Villa Kujoyama (2014), UQAM (2007), Abbaye de Fontevraud (2006), Villa Médicis hors les murs (2005), and Le Fresnoy (2004) … His work is on the relationship between existence and technology, and explores the underlying structures of everyday technology to create variable and endless fictions.

Second Nature, 2015

Second Nature is a series of video loops which show an alternate reality layered on top of our own. During a return to the Alps in the south of Munich where I grew up, I took walks in the forest, filming them from my own point of view and recording ambient sounds. The video footage was then analyzed and a virtual camera was calculated which reconstructs my movements. Then, working around the path of the camera in space, the environment was created only to cover the field of vision, which becomes apparent in the production stills. The vegetation is an obviously fictitious one, where tropical leaves populate northern European trees. A fern’s structure was misappropriated and given banana leaves. The materials have the signature A N F coulour palette of (purple, green and blue) with a dull metallic finish (unusual for plants). The POV perspective and gait recognizable in the camerawork shows the influence of first person shooter games, while its enemies and objectives remain absent or unknown. There is no clear narrative or purpose other than the wish to be transported to this world, creating a false memory of a place that does not exist.

The Third Memory, 2014

Runningtime 9:31 Born in 1986 & 1954, based in Paris, Santa Monica, and New York, Judith Deschamps works in an era in which reality and virtuality coexist, sometimes to the point of conflation. Since the 70s, her pieces haven't ceased to question the dialogue that is woven between us and the media. Her works are conceived as documentary fictions, and appropriate events to elude them, creating alternative realities. The artist treats reality and her identity as malleable materials. Events become clouded, images and discourses are built and taken apart, and new narratives appear, shedding light on the way in which history is constructed and on the gap between what we are and what makes us. Judith Deschamps first studied theater in the Sorbonne Nouvelle in Paris 3 where she garnered her first experience working with a company. She then studied scenography coupled with visual and media arts in the University of Quebec in Montreal and in the Haute École des Arts du Rhin in Strasbourg. After graduating in 2011, she has participated in several international solo and group exhibitions in the Musée National d’Art Moderne -Centre Pompidou of Paris (FR), the Pavillon Vendôme (FR), the Salon of Montrouge (FR), the de Appel Arts Centre (NL), the FRAC Bretagne (FR), the Edouard Manet gallery (FR), The Francès Fondation (FR), the Theater Cartier of Montreal (CA), & The Kunstverein of Freiburg (DE).

Subversive Eco Coin Proposal, 2014

Runtime 2:50 Ella Görner (b. 1989), was born in Dresden, Germany and now lives and works in Berlin and Dresden, Germany. In 2015/16 she is the holder of the fellowship of the German state. She co-curated the #WEC, The Whole Earth Catalyst with Ché Zara Blomfield, which was held at The Composing Rooms, Berlin in April and Mai 2015. Recent Solo- and Group projects include Hypersalon, Miami (US); Sustainability & Opportunities at the Konstanet Gallery, Tallin (EST); and Kunstverein Nassau, Wiesbaden, (GER). The subject of Ella Görner’s work resonates from an amalgamation of an investigation in environmental studies, financial systems, technological development and cultural and social studies. Her current course seeks for cross-disciplinary research and investigation into contributional management to generate ambitious ways of conceiving alternative structures outside of current legal and discursive systems. Her aesthetic work combines corporate identity with narrative and subjective or symbolic imagery. Her projects include Eco Coin, which is an effort to establish a collaboratively used tool to collect and share thoughts and impulses for a modern and adaptive financial system. The project Eco Coin is currently in is initiation stage and will evolve in the course of the next years. Recent work as it was shown in her co-curation of the #WEC – The Whole Earth Catalyst at The Composing Rooms, Berlin (GER) and in Sustainability & Opportunities at the Konstanet Gallery, Tallin (EST) addresses the visuality and placement of eco-innovative products and is investigating into prevailing prototypes of corporational structures. She examines eco activism, the power of eco innovation and how the conditions of visuality and human connection to nature are changing over the course of time.

Screen Play_Evolution

It’s Our Playground (IOP) is an artistic duo comprising of Camille Le Houezec and Jocelyn Villemont. IOP’s projects are primarily concerned with examining the exhibition format and take the form of online projects comprising mainly of scenography and installation. They are perhaps unique in that they make a claim for curation as artistic medium. The duo’s practice is thus an irreverent reflection on modes of display, exhibition devices and the influence of the Internet on contemporary artistic production. IOP’s online projects deconstruct the hierarchy that exists between objects or documents while overcoming the physical constraints of a real exhibition space. Originally exhibited online, their video Screen Play_evolution examines the systems of circulation that govern the mediation of artworks by looking at their online documentation. This exploration of the second life of an artwork playfully looks at the transformation of the image, back and forth from 3D to 2D, and illustrates the hybrid character of IOP’s practice. Each project transforms and mutates according to the different mediums used for circulation, blurring the frontier between exhibition, installation and sculpture. Since 2010, itsourplayground.com acts primarily as an online artist-run space and archive for the duo’s activities. From September 2012 to August 2014, IOP curated the program for SWG3 Gallery, Glasgow. Their recent exhibitions include Deep Screen, Parc Saint Léger, Pougues-les-eaux, 2015; Show Room, Glassbox, Paris, 2015; La Chose Encadrée, SWG3 Gallery, Glasgow, 2014; Végétal Passion, Le Crédac, Ivry-rsur-Seine, 2013.

Make Up 1, 2007

Using a variety of cinematographic techniques to combine personal expression and playing a role, individual existence  and cultural postures, Isabell Heimerdinger crafts a compelling inquiry into the nature of acting and authenticity, creating an immediate sense of intimacy with the worlds and characters she in part creates and in part discovers. The artist’s filmic works tell stories without being narrative in a classical sense. Often arranged as installations and accompanied by collages, neon lights and photographs, her practice follows the movements of her life without ever being personal. She is included in such collections as the FRAC Nord-Pas de Calais, and the Daimler collection in Berlin. She received her MFA from Cal Arts, lives and works in Berlin and Rome, and is represented by the Medhi Chouakri Gallery in Berlin.

Verde-TT, 2014

Runningtime 3:53 From its first work in the early 1990s, Kolkoz has constantly gambled – literally and figuratively –with the effects of simulation. Every one of their works is a duality – of a reality, a person or a shape – created by modelization. In its simplest form, simulation is a specific mode of generating illusion, as a way to move between a physical and virtual reality. The artistic work undertaken by Kolkoz is based on activating the powers of representation through the transactions and exchanges that occur between what is virtual and what is real. Transforming the mundane into the hyper-mundane is therefore an esthetic act that has real political impact. First, because improving the powers of reality means that its nature can be profoundly modified through use. Second, transforming the mundane into the hyper-mundane is a gesture in which impact can be viewed as meta- physical, as it incites areflection on the nature of reality. Kolkoz have a network internationally and are known for their artistic practise, interventions in performance, installation, nomadic sculpture and sound. Their performance hosts to the artworld and dance-floors around the world they have invented a language through music and culture that is unparalleled with their social sculpture parties. They have been celebrated for their contribution to contemporary art and social libations and exhibited in Mexico City, Paris, New York, Dubai and participated in a panel discussion on the social aspects of art in a relatively progressive science experiment and sound lecture with Simon De Pury. Represented by Galerie Perrotin (Paris, Hong-Kong, New-York), one of the most influential French galleries in the industry, Kolkoz has held numerous solo and group exhibitions in UCCA Beijing, Wentrup (Berlin), Perrotin (Paris) and OMR (Mexico City) Gallery, at The Museum of Modern Art (Paris), Fondation Ricard, BASS Museum (Miami). Their artwork has been acquired for the collection of public institutions at Beaubourg Centre Pompidou and The Museum of Modern Art of Paris in Paris, France, the Fond National d’́Art Contemporain in Bordeaux, France, and Colección Jumex in Mexico City, Mexico. Their work has also been acquired for private collections in France, England, Mexico, Argentina, and Dubai.

L’enfouissement du Crabe, 2009

Run time 2:57 Incorporating familiar objects into his sculptures, from tables to shelves, plywood, even the sails of a windmill, Leblon presents enigmatic constructions and combinations which have a powerful, seductive, material presence. While his works refuse a single reading, they often conjure images of the ruin and the passage of time, bringing the present and the past into contact. Guillaume Leblon was short-listed for the Prix Marcel Duchamp, has participated in solo and group exhibitions in such venues as Mass MoCA, the Palais de Tokyo, and is included in various institutional collections including the Georges Pompidou center in Paris. He is represented by Galerie Jocelyn Wolff in Paris, and Carlier-Gebauer in Berlin.

Automonuments, 2015

Auto-Monuments is a series of short videos created entirely on the iPhone. The artist composes forms and structures in various settings with the use of an app called Matter, For this project Plessas created a new series, using places and photos from trips during the Eternal Internet Brotherhood. During these trips Angelo Plessas "scrolls" his iPhone photostream and inserts his looped animated forms - the so called Auto-Monuments - adding his own imaginative reading to the offline world.

Test of a found Samsung LE32R32B LCD TV, 2011

Runningtime 24:30 Torben Ribe makes paintings. He makes sculptures. He makes so many different things that they make up small environments and sometimes big environments. Sometimes his paintings seem to get lost in the process. In one work he places a tree in front of a painting. In another work he installs a magazine rack on top of a painting. In a third piece he hangs a blue bag with an iPhone magazine on top of a blue painting, hung on top of a blue square painted directly on the wall. Maybe Torben Ribe lets his paintings disappear in his small environments. Maybe it is just another way to make painting appear in and as an environment. Some paintings seem to anticipate a certain situation - for instance when people take pictures with their iPhone of his paintings with iPhone magazines. Other paintings look like the left-overs of a given situation – cut-outs of walls from people’s homes. They recall the failures of a bricoleur, who wants to restore his or her house and ends up restoring restorations and re-decorating decorations. But they might also be traces of the failures of Torben Ribe - failures so neatly staged that they might as well be successful. It is not easy to evaluate Torben Ribe’s works. Among others because his work is not entirely his work. Not only because he uses found objects. Also because he puts paintings of his colleague Mads Lindberg on top of his own paintings. But also because it is sometimes difficult to see, where his own work begins and ends. Before one of Torben Ribe’s paintings were hung, the radiator below this painting was not there – unlike, for instance, the ceiling above the painting, which was already there. Torben Ribe’s works can be seen as small environments. They can also be seen as environments in environments. Toke Lykkeberg Torben Ribe (1978, DK) has a MFA from the Royal Danish Academy of Fine Arts. He has among others exhibited at Grand Century (New York), MonCheri (Brussels), TOVES (Copenhagen), Elizabeth Dee (New York), National Gallery of Iceland (Reykjavik), Frutta Gallery (Rome), Kunstnernes Hus (Oslo), Kunsthal Charlottenborg (Copenhagen), Galerie Hussenot (Paris), Royal College of Art (London), KUMU Art Museum of Estonia (Tallinn) and West (The Hague). He is co-founder of the artist-run space IMO in Copenhagen.

Les Temps Modernes, 2010

Runningtime 8:53 The work of Paul Souviron brings together a set of practices related to research and the creation of spaces, gaps, landscape or scenes. In the first place, the referred gap is a mental space; a physical form in the second place, a potential territory, unconquered, governed by nonexistent rules. Each sculpture, performance or installation aims to create an atmosphere, a scene to stroll in and project oneself. The very idea of a scene is linked to fiction, to the possibility of another place. It connects architecture with the volumes and shapes that power our daily lives. Each piece is shaped in its own way, as suspended in time, creating a snapshot that encapsulates the past and the future. Paul Souviron’s work reflects on many concepts such as space, scale, animality, danger and territories. He grafts them together, emphasizing the often hostile and retro-futuristic environment presented in his works. All productions evoke our contemporary stage of siege, a war in which action is always latent. Landscape is seen as a permanent movement, which re-emerges in history, and is inhabited by so called humans and animals … a landscape where interactions gives way to frustration.

Untitled, 2015

The Quistrebert Brothers  The underside of surfaces  The two brothers, Florian and Michaël Quistrebert, born respectively in 1982 and 1976, have been painting four-handed since 2007, following their graduation from the Ecole des Beaux Arts of the city of Nantes. Being siblings gives them the particular privilege of not having certitudes but rather multiple intuitions, shared in duo, about the expectations of the medium they have adopted. Far from taking refuge in the comfortable doubting attitude of current painting, by practicing in pairs they are driven to re-question - in an empirical manner filled with fantasy - the ambition of modernism that they consider to be far from having exhausted all of its resources. They experiment with freedom of forms, materials and references (from the dark romanticism of their first paintings to the iridescent abstraction of their latest works), in a blend of painting that they handle in the irreverent manner of a Picabia. But they also explore the imaginary worlds of the space occupied by the depiction that they wield on the canvas or screen, with a pronounced taste for what transgresses the frontiers between real and virtual on contact with the multiple interfaces of the digital era. The Quisterbert brothers’ paintings and videos - recently seen at the galerie Crevecoeur (Paris) and Juliette Jongma (Amsterdam) at the Grand Palais during the show “Dynamo” as well as in the show “Post-Op” at the galerie Emmanuel Perrotin - play on the numerous visual effects that have come from this opticalist procedure (animation of surfaces, proprioceptive destabilization) that they combine with curious effects of material (impastos, swellings, projections, …).This is a hybridization that we might qualify as “monstrous” – in the foremost sense of its etymology – a monster of painting which articulates with brio and insolence two vocabularies that the historiography of abstraction had brought into opposition, if not separated (haptic materialism/retinal opticalism). This explosive mix, albeit elusive due to its iridescent effects, dialogues with the corrosive alchemy of a Sigmar Polke in a more brutal version. But it also recalls, just as effectively, the research made by the English physicist William Crookes on the fourth state of material, a “radiant state” (he is the inventor of the famous “Crookes tube” to which we owe a new visual system of “transparency” with the discovery of radiography which is ascribed to him). The brothers’ work is about the obviousness of materials and processes (they do not intend to play on the mystery of making or the confusion of intensions) but also about the transparency, more analogical, of surfaces. Analogy: this term finds surprising resonance in their four-handed work in the face of the current development of simulation. Because analogy echoes the experience of the diversity of the frameworks of reality (between visible and imperceptible, singular and double, micro-world and cosmos), tackling head on the uncompleted project of modernism; opening the field of perception and the imaginary worlds of depiction, only this time, without dogma or empowerment and with an obvious interest in spaces and gaps. A far cry from a simple disenchanted revival of the repertory of abstraction.  Pascal Rousseau 

Breathe Deep, 2014

“Breathe Deep is a kaleidoscope of 80’s and 90’s popular culture with dozens of localized perspectives, mixing two- and three-dimensional representations without physical constraints. The resulting virtual sculpture unifies these disparate layers, either captured from real-world objects like plastic toys and fake plants or inspired from digital artifacts like animated GIFs or fish swarms originating from nostalgic screen savers. Katie Torn, growing up in this time of hyper-capitalism, delivers a hindsight portrait of a constantly overwhelmed female body, collecting and blending superficial entities manically – to defend the status quo of a fully destabilized, veneer world.” -Robert Seidel, artist and curator

Some Sites and Their Artifacts: 123D Catch

HD Video - 2014 - 06:03 min Clement Valla is Brooklyn based artist. His recent solo show ‘Surface Survey’ at Transfer Gallery in New York was an Artforum Critic’s Pick. His work was included in the “Paddles On!” auction at Phillips, organized by Lindsay Howard. His work has also been exhibited at The Indianapolis Museum of Art, Indianapolis; Museum of the Moving Image, New York; Thommassen Galleri, Gothenburg; Bitforms Gallery, New York; Mulherin + Pollard Projects, New York; DAAP Galleries, University of Cincinnati; 319 Scholes, New York; and the Villa Terrace Decorative Arts Museum, Milwaukee. His work has been cited in The Guardian, Wall Street Journal, TIME Magazine, El Pais, Huffington Post, Rhizome, Domus, Wired, The Brooklyn Rail, Liberation, and on BBC television. Valla received a BA in Architecture from Columbia University and an MFA from the Rhode Island School of Design in Digital+Media. He is currently an assistant professor of Graphic Design at RISD.

Sigrid Codicil

HD Video - 2014 - 11:30 min “Sigrid Codicil” functions as an exit for a character central to three of Yemenwed’s earliest projects. As the character is retired, her role in the group’s future projects is left in a questionary state.  The production of a video transforms this dilemna into a document. Working with templates found in daytime television and social media, Sigrid is accompanied by a personal drone documenting and broadcasting her every movement. Sigrid's destiny concludes with a sunset walk to her burial site at a beach cafe. She is eulogized by a burning ice block (a central character in several Yemenwed works), who thanks her for her contributions to the artistic output of the group. “Sigrid Codicil” addresses the aspects of a transitionary artwork and what that means to a particular group of artists’ output as a whole. Yemenwed was founded in 2006 in New York City. They create collaborative works, which synthesize the artistic focus of the varying members. Yemenwed’s work often explores a detached reality; a hyper re-clarification of the present moment, which frequently results in the visual shifting of peripheral experiences to the foreground. Mundane movement, tangential objects and domestic abstractions are theatrically rearranged to be viewed as central, and with increased detail. The group maintains an active interest in the vocabulary of mainstream popular culture, and its conventions, as well as entertainment value, and notions of beauty. Yemenwed has participated in exhibitions and performances at MOMA P.S.1 Contemporary Art Center, Tate Modern, MOCA, Palais de Tokyo, Perez Art Museum Miami, Portland Institute for Contemporary Art TBA:10, Performa 09 and the Hessel Museum of Art.