Runtime 3:00 Music by Lafayette Elvire Bonduelle attended the Ecole des Beaux-arts of Paris in 2000 where she mainly works in Richard Deacon's studio and receives her diploma (Diplôme national supérieur d'arts plastiques) in 2005. Since 2004, she has been making "sort of" functional sculptures, through which, questions relative to conformity, norm, and the freedom of uses, as well as attitudes towards domestic space and comfort are being interrogated. Her work can be partially affiliated to relational aesthetics and has gained support from Tom Eccles, Liam Gillick, Hans Ulrich Obrist, Philippe Parreno, and Beatrix Ruf, who curated To the Moon via the Beach, Arènes d’Arles, 2012 in which she participated. Elvire Bonduelle has exhibited in France and abroad: The Rotating Painting Show, galerie laurent mueller, Paris and Galerie Van Gelder, Amsterdam, 2015; Pour Faire Joli, Sabrina Amrani Gallery, Madrid, 2012; L’art, le joli et le fonctionnel, Onestar Press, Paris, 2012. Among her group shows are Waiting Room #4, Sperling, Munich, 2015, New Archive at LACA, Los Angeles Contemporary Archive, Los Angeles, California, 2014 and Book Machine, Un Nouveau Festival, Centre Georges Pompidou, Paris, 2013.
The software Schwarm is a constantly changing abstract composition running in real time. A collection of particles moves over a surface leaving behind overlapping traces. This results in a sequence of unique Images, whose development is unpredictable. The software analyzes a sequence of images using their color values at their origin, which it then spreads like a brush would spread paint. The paths taken by the individual lines are influenced by deterministic randomness. After a predefined amount of time a new image becomes the source of the composition and all values definining shape and direction of the movement are being reset. The transition between the images happens seamlessly and is barely perceptible watching the software in realtime. The photographs only serve as a source for color and composition. The main focus is the ephemeral nature of the ever-changing composition.
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.
HD Video - 2015 - 02:11 min A long time nerd and gamer, Emiliano Bossi has always been exposed to and fascinated with errors and malfunctions in digital media. He discovered he could trigger and recreate those errors in a controlled way, and began experimenting with different software and techniques. The main technique used in the works is sonification, where the artist edits pictures and videos as sound in an audio editor. The artist approaches this medium from a rather technical point of view, and is much more interested in seeing how the data gets modified by his actions than to make a nice picture - all works are the raw output of the databending process, there's no post processing applied. He can be found on Facebook as Hyperspeed Hallucinations.
Video loop - 2014 - 01:55 min Regular Division is a looping spiral of meticulously layered scenes built from video shot in a number of indoor gardens in Europe and Asia. The geographically disconnected locations merge to form an interwoven paradise of foliage under a canopy of gridded glass. The piece directly references histories of landscape painting via expressive paintmarks lifted from famous paintings by artist such as Vincent van Gogh and Arthur Streeton and layered over the high-resolution filmic landscape Regular Division is part of a series of works that were shot and digitally composed on location in Europe, Asia and the Middle East. This series, titled ‘Indirect Flights’, is a response to the impact of digital technologies on the representation of landscape.
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
HD Video - 2015 - 06:38 min Soundtrack: Roger Tellier Craig Canada Council for the Arts Courtesy Laffy Maffei Gallery "Escales" is the result of the manipulation of electronic signals using digital means. Electricity, as raw material, is being sculpted, transformed and altered to be reborn as architecture. The video depicts an immersive environment where hallucinated spaces unfurl like automated mirages, and invite the viewers to project themselves inside this ever evolving space, continuously transforming and morphing into new environments. By its minimal aspect, “Escales” is a neutral space, without any specific identity. Once a number of layers and visual distortions are added, the architecture comes alive. “Escales” manifests the hallucinations and the interferences between what’s considered as “objective reality” and the subjective interpretation of it. Sabrina Ratté (b. Canada, 1982) is a Montreal based visual artist, mainly working in the field of video. Her work explores architectural environments and virtual landscapes generated by electronic signals and manipulated digitally. Her practice is also inspired by the relationship between electronic music and the video image, and she often collaborates with musicians for single-channel pieces as well as in live settings. Her work have been shown internationally in various forms and contexts, including live performances, installations, and screenings such as Paddles On! 1st Digital Art Auction at Phillips, EMPAC, Museum of the Moving Image, the International Film Festival Rotterdam, Ann Arbor Film Festival, Lampo, Sonic Acts Festival, Elektra Festival, MUTEK, in Montreal, Mexico City and Barcelona. Her videos have been released on DVD by the San Francisco Label Root Strata and on the video label Undervolt & Co. She is part of the online collective Computers Club and she is represented by the Laffy Maffei Gallery in Paris.
Animation - 2016 - 03:13 min Friday 1 April 2016, 1:55pm by Artie Viekant is an extension of the Image Objects project, which is focusing in the creation of altered installation views of prior works, which are then disseminated.