mercredi 25 janvier 2012

La vie des hommes infâmes (en valise)







«In 1995, the New York State Museum was moving items out of the Willard Psychiatric Center in Willard, NY which was being closed by the State Office of Mental Health. It would eventually become a state-run drug rehabilitation center. Craig Williams and his staff became aware of an attic full of suitcases in the pathology lab building. The cases were put into storage when their owners were admitted to Willard sometime between 1910 and the 1960s. And since the facility was set up to help people with chronic mental illness, these folks never left. An exhibit of a small selection of the cases was produced by the Museum and was on display in Albany in 2003. It was very moving to read the stories of these people, and to see objects from their lives before they became residents of Willard.

I have been given the incredible opportunity to photograph these cases and their contents. To me, they open a small window into the lives of some of the people who lived at the facility. I have settled on the idea of shooting the suitcases as they have been preserved by the museum, since part of my goal with this project is to show the care that was taken in archiving these materials.»

Jon Crispin travaille comme photographe. Il a également réalisé un projet de photographies d'asiles en ruine et de prisons datant du 19e siècle.


Sources: Kickstarter, Jon Crispin's Notebook,  Jon Crispin's Projects

mardi 24 janvier 2012

Oublier quoi?


Cube, 1934

Bronze, height 94 cm
«Mais le visage disparu du père, sa face retranchée, continuait sans doute de regarder  Giacometti depuis son fond de dissemblance mortifère. Le Cube serait alors à penser comme le cristal de cette absence et de cette opacité ;  et sa géométrie même comme le lieu  imposé à l'artiste pour recueillir - fût-ce un temps -  ce visage de l'absence.»
Georges Didi-Huberman, Phasmes. Essais sur l'apparition, Paris, Éditions de Minuit, 1998, p. 225.

jeudi 19 janvier 2012

La mère invisible





‘This was a practice where the mother, often disguised or hiding, often under a spread, holds her baby tightly for the photographer to insure a sharply focused image.’

Source: retraunot, Bourgeoise sérigraphe

Du livre à l'exposition


Dans le fanzine du Livre de foie, j'avais créé des superpositions en sérigraphiant les dessins sur du papier-calque cousu ensuite sur les pages du livre.

dimanche 15 janvier 2012

Torse de papier




Horst Kiechle, Paper Torso

Ce torse, avec ses organes amovibles, est fait entièrement de papier. Il a été réalisé pour le Science Lab of the International School Nadi, Fiji. Horst Kiecle est un architecte australien connu pour ses "archisculptures'' des sculptures de papier.

Source:Mymodernmet

lundi 9 janvier 2012

you can’t spell slaughter without laughter, Christine Negus



«Negus' works range from ephemeral objects, including glittery party banners, neon signs and artificially flowered memorial wreaths, to video works steeped in sweet sadness. At the centre of you can't spell slaughter without laughter is a constellation of short but intense, single channel videos and digital-animations investigating nostalgia and loss through humour and difficult irony. Here children tell terrible stories, pop songs become awkward and painful poetry, night stars are watching us, and small traumas play out within a larger view of the cosmos.»

Source: Gallery TPW

mardi 3 janvier 2012

Le Livre de Foie s'expose






Céline Huyghebaert étudie la trace, tant son potentiel d'effacement que sa survivance matérielle. Par le biais de l'écriture, du dessin et de la sérigraphie, l'artiste interroge l'impact que certaines traces impriment au présent sous la forme d'affects. L'exposition Livre de Foie questionne la notion d'identité reliée à la matérialité du corps organique. À travers une série d'estampes, combinant texte et image oùsupports transparents, encre de chine et sérigraphies se superposent, l'artiste nous invite à suivre sa protagoniste dans une recherche des traces de son histoire.

Livre de Foie s'inscrit dans un projet plus large qui tente de reconstruire les traces infimes qui forment la mémoire, en plus de réfléchir à la manière dont elles s'enroulent au présent pour en faire un temps complexe et hybride.




Céline Huyghebaert studies the mark for its potential for effacement as well as for material survival. By means of writing, drawing and silkscreen printing, the artist reflects on these traces and their imprint on the present in the form of affects. The exhibit Livre de Foie (Liver Book) questions the notion of identity tied to the materiality of the organic body. Through a series of prints, combining text and image where drawings on transparencies, China ink and silkscreen printing are superimposed, the artist invites the viewer to follow the protagonist through a search for her history.  

Livre de Foie is inscribed in a larger project by the artist that attempts to rebuild minute markers which make the memory, while also reflecting on the manner in which these markers wind around the present time to create a complex and hybrid time.
  

Céline Huyghebaert couples writing with techniques such as drawing and silkscreen printing to create a dialogue between text and image in zines and artist books which have been presented at Expozine.She has also published short stories in collective books and in several magazines such as Moebius and Le Chameau, as well as articles and essays in several art magazines. As part of her PHD in études et pratiques des arts at Université du Québec à Montréal, she focuses on artist books and installations as places where the material memory of death is recorded. From March 17th to April 22nd, she is participating at the Biennale du Livre d'artistes du Quai de la Batterie in Arras (France). 
  


Lieu: Galerie Les Territoires
Vernissage: Jeudi 2 février 2012 à partir de 18 h
Adresse: Édifice Belgo, #527
372, rue Sainte-Catherine Ouest