Graduate of the Villa Arson ( Nice), Julie Béna completed his formation in Gerrit Rietveld Academie, Amsterdam.
Proceeding by gaps, slidings, movements, Julie Béna diverts images and daily objects. They become little by little the subjects of multiple fictions, strange and poetic. Through the installation, the photography, the video or the performance, the artist explores the moment of the transition, just like the passage separating the night of the day fall. This tenuous balance reveals what does not see itself in the first look, what takes place in a moment of wait, what causes the fate imperceptibly.
In 2011, she(it) participates in the exhibition Channel, This Is Not French Cinema in London. In 2012 she presents Ain’t you seen Rose Pantoponne to the Foundry Darling, Montreal, Of major or minor one second with Dominique Blais in BF15 Lyon and Stimulo, performance with Antonio Contador in the Nuit Blanche, Fondation Ricard, Paris
Jesse Hlebo is a New York City based artist.
His work explores the ways in which societal power structures, methods of associated control, and autonomous actions are disseminated via mass media. The work is resistant to ‘facts’ and ‘objective truths’ and so often violates its own meaning.
Each project is vulnerable; it could easily self-destruct.
Jesse has exhibited, performed, and curated numerous solo and group shows internationally. Venues and spaces include the MoMA Library, MoMA PS1, Brooklyn Academy of Music, Clocktower Gallery, Museum of Arts and Design, Printed Matter, Inc, and Storefront for Art and Architecture in NYC, Family in Los Angeles, the Khyber Center for Contemporary Art and NSCAD in Halifax, Nova Scotia, among others.
Jesse is the co-founder of _ Quarterly, a publication based on obsolescence, and is the founder of Swill Children, a small press and record label focusing on notions of value as they pertain to small run, physical objects. His most recent project, Paperweight, is a collectively operated site devoted to facilitating a critical dialogue on, and providing resources for, independent publishing. He holds a position on P-MAG (the Printed Matter Advisory Group).
The project-based work of Whitney Lynn is rooted in sculpture, but in addition to objects also includes video, photo and works on paper. She is drawn to subjects that flirt with peripheries; recent projects have ranged from working with street performers, creating traps that look like sculptures (and sculptures that look like traps), making ‘monuments’ for military ‘brats,’ to making (cynical) public art for the city of Reno. Through highlighting, extracting and reframing aspects of art and popular culture, She hopes to engage conversations regarding questions of authorship, context and control, intersecting formal relationships, and inquiries into the means by which value and worth are assigned. (Ultimately, she hopes to create more questions than answers.)
SUPERFLEX is an artists’ group founded in 1993 by Jakob Fenger, Rasmus Nielsen and Bjørnstjerne Christiansen.
SUPERFLEX describe their projects as Tools. A tool is a model or proposal that can actively be used and further utilized and modified by the user.
As a synthesis of the Do It Yourself ideology and the utopia of the family unit of the American Way of Life, handcrafting is central to the work of Hoel Duret . What interested him in the process of amateur practice was not so much the specific aesthetics of the haphazard assemblage but to find, to display and to demonstrate that economic constraints can engender productivist intelligence. In order to support his work with a theoretical corpus, he has gathered his research about alternative methods of manufacturing in a self-published opus the title of which – I Can Do Anything Badly – sounds like an introductory slogan epitomizing his entire production.
In Hoël Duretʼs work, everything derives from the back and forth between industrialized ways and hand-made ways of production, intentionally causing a would-be industrial gesture to become poetry. The young French artist has learned the lessons of the generations that preceded him. Indeed, his views on creation were built during the second half of the 2000′s, an era profoundly affected by a reinterpretation of modern and modernist precepts, sometimes to the point of fetishism. But despite manipulating the same codes as his elders, Hoel Duret has no fascination for modernism. On the contrary, it is by undertaking its critical review that he intends to grasp it, to examine it, to shake it up, even at the risk of undermining it. In a way we could see in his work a place to test the obduracy of these forms.
Stephan Balleux is a belgian artist based in Berlin, Germany. His work is dealing with position of painting in our digital age.The various techniques (drawing, painting, sculpture, video and special effects) constitute as many fields of investigation. From these experiences emerges an image, in constant change, erasing any temporality. Like a virus, the pictorial texture propagates itself and its digitalization becomes an eminently contemporary process.
New York–based artist Xavier Cha incorporates video and installation in performances that play with multiple perspectives and deferred access, reflecting our fractured contemporary experience.
Xavier Cha was born in Los Angeles, CA, in 1980; she currently lives and works in New York, NY. Cha received her B.F.A. from the Rhode Island School of Design in 2002 and her M.F.A. from the University of California, Los Angeles in 2004. Her performance-based work has been shown in solo exhibitions at the Contemporary Art Museum, St. Louis (Two-Way Mirror, 2010) and Taxter & Spengemann Gallery, New York (The Third I, 2009, Voicedoor, 2008, and Holiday Cruise!, 2006). Group exhibitions include The Absolutely Other, 2010, The Kitchen, New York; Convention, 2009, Museum of Contemporary Art, North Miami; and In Practice, 2006, The Sculpture Center, Long Island City.
In her enigmatic films, Emily Wardill explores how social meanings are projected onto objects. Presenting a blurred concept of truth and fiction, symbolism and reality and rationality and emotion, Wardill unlocks the hierarchical and closed structures of knowledge; deconstructing visual modes of communication and offering alternative meanings for their aesthetics. Her desire to empower the viewer is premised upon these explorations, as she explains, “I am interested in this possibility, or responsibility, of enacting your ideologies, and how that can happen in a way that’s fictitious. When you summon up material reality in your language, why does that always take on this fictitious dimension?”