photos: Jean-Loup Mathieu, société Eureka
Petit CABANON (private version for Wyspa) exhibited at Labour and Leisure Exhibition, in the context of Alternativa Visual Art Festival 2012, curated by Aneta Szylak at Hall 90B, Wyspa Institute of Art in Gdansk, Poland. The physical installation consists of the reconstruction of the two sheds that Le Corbusier had in his garden: CABANON + the Work Shed. The two buildings were made of cardboard bricks, in a playful construction. The sounds cape inside both volumes would reproduce the atmospheres and summer conversations by Le Corbusier, Eileen Gray and their friends, as an evocation. http://www.alternativa.org.pl/
Scenography Expanding 3: On Curating
September 27 – 29, 2010
Festival Escrita na Paisagem and Centro de História da Arte e Investigação Artística (CHAIA), Évora, Portugal
In his 2008 Whitechapel Gallery talk, Boris Groys pointed toward „exhibition practice as the cure that heals the originally ailing image, that gives it presence, visibility; it brings it to the public view and turns it into the object of the public`s judgement. However, one can say that curating functions as a supplement, like a pharmakon in the Derridean sense: it both cures the image and further contributes to its illness“ .
The ambivalent gestures of curatorial practice in both „healing“ and, possibly, „infecting“ or „contaminating“ come into particular, – and contested – focus when the object that is exhibited is nothing more but the remnant of a past performative event. Can the scenographic object be „helped“ by the curators effort in order to achieve a status of autonomy beyond ist original co-authored mode of production? Or must it be transformed into another genre (installation) to be exhibited? Can we identify an intrinsic essence of the scenographic object in relation / in contrast to exhibition space and public viewing?
In the third and last symposium before the June 2011 Prague Quadrennial for Perfomance Design and Space (PQ), curators and artists from the performing arts, visual arts and spatial design disciplines are invited to enter into a transdisciplinary dialogue on the challenges of exhibiting the ephemeral, the fleeting, the immaterial – the performative event and the scenographic space.
Speakers include: Maria Federica Maestri (Director of Natura dei Teatri, Italy), Radivoje Dinulović (Scenographer and Theoretician, Serbia), Christian Teckert (Architect and Academic, Germany/ Austria), Katharina Schlieben (Curator, Germany) Joanna Warsza (Curator, Poland), Randy Martin (Theory, USA), Dorita Hannah (Architect and Scenographer, Curator for PQ Architecture Section, New Zealand).
The official language of the symposium is ENGLISH.
Tape installation / DMY 03 / Berlin 2010 / http://www.numen.eu
fotos Diogo Matos . Sandra Pereira
These are a few images of the “making-of” the spatial installation of Rewind.
The exhibition is about to open on the 4th of July (Friday) 2010, Lons-le-Saunier, France.
Rewind _contemporary art exhibition
Curators: Laurent Fiévet and Silvia Guerra
Spatial Concept: Inês Moreira + Diogo Matos [petitcabanon.org]
Artists: Dan Colen (USA, 1979), Robert F. Hammerstiel, (Austria, 1957), Bertrand Lavier (France, 1949), Jan Vercruysse (Belgium, 1948), John Wood et Paul Harrison (UK 1969 and 1966), Cléa Coudsi et Eric Herbin (France, 1979 et 1980), Gabriel Desplanque (France, 1981), Xavier Gautier (France, 1974), Fabien Mérelle (France, 1981), Moira Ricci (Italy, 1977).
Produced: Laboratoire Artistique de Bel _Construction: Produções Reais
Maison de la Vache Qui Rit Lons le Saunier, France, June 2010
Dossier de presse en français
[click DP REWIND]
5 juin – 5 septembre 2010
La Maison de La vache qui rit®
Comissaires: Laurent Fiévet + Sílvia Guerra
rewind _contemporary art exhibition / the spatial installation [a preview]
This project is a conceptual space created to host rewind, the contemporary art exhition curated by Laurent Fièvet and Sílvia Guerra for Label. The space concept is by Inês Moreira + Diogo Matos [petitcabanon.org] an adventurous collaboration between Paris+Genéve+Porto+Lons-le-Saunier
Series DW, 1967
corrugated cardboard (square tubes, 140 x 70 x 70 cm
Through May 15 Curated by Marc-Olivier Wahler, PALAIS DE TOKYO, PARIS
“The things I make are variable, as simple as possible, reproducible,” Posenenske remarked in the late ’60s. Emerging as a painter while American Minimalism was taking shape, the German artist (1930–1985) went on to develop an approach strongly influenced by architecture. Constructing objects from simple industrial materials like tin and corrugated cardboard, she tested the combinatorial possibilities of modular forms, delegating an active role to the viewer. In 1968, for political reasons, Posenenske stopped making art, and her work was largely forgotten. A substantial career survey, in 2005, in Innsbruck, Austria, and Siegen, Germany, sparked a resurgence of interest, making Posenenske something of a cult figure. This extraordinary artist is now the subject of a comprehensive retrospective of roughly fifteen major works made between 1956 and the end of her abruptly truncated career.”
under preparation, an exhibition in France, early June
Curators: Silvia Guerra and Laurent Fiévét
Space: Inês Moreira + Diogo Matos [petit CABANON]
Among other interesting artists: John Wood and Paul Harrison (from Tate Chanel)
Aftermath and Resonance! is a speculative project thinking through the spaces wounded during the fire of May 08 at the Rectorate of the University of Porto.
Aftermath and Resonance! is a modest approach, with an austere language, and is made public as a modality of spatial installation and as a publication. The project is born from the fascination for the accident itself, but rejects the spectacle of the catastrophe. It is a research onto the anti-spectacle and onto normality, sounding out the resonances of a non conventional space, performing the rawness and the materiality of the aftermath, and documenting it all through different media (video, photography, sound and space). A spatial essay is exhibited in an installative modality, interpreting and reenacting the consolidation process of the existing spaces through documentary records and materials that a group of contemporary authors collected in the aftermath.
Aftermath and Resonance! is a spatial essay about the potentialities and the metaphorical dimensions of exhibiting in “non conventional” spaces. The publication documents the exhibited projects and is complemented by essays on the ideas of institution, fiction and contingency.
A collaborative project of André Cepeda (photographs), Paulo Mendes (videos), Inês Moreira (curator and spatial concept) and Jonathan Saldanha (sound).
Catalogue with essays: Pedro Bandeira, Filomena Soares and Inês Moreira