French artist been born in Bent in 1986, Jérémy Gobé works in Paris.
From the beginning of the development of his artistic practice, Jérémy Gobé asks himself the question of the work and the repeated movement. But he evokes the question of the abandoned factories which leave workers without work and materials without worker, objects without use and not shaped works.
In 2011, he is a prize-winner of the Bullukian prize, the Pierre Gautier-Delaye Prize , ENSAD / Cité Internationale des arts and the Prize of the festival Ici et Demain of Paris.
Key to the work of Lucas Maassen is a process of validation through perception. To what extent are aspects of scale and matter fundamental to determine and pronounce typological objects? In a highly playful manner, Maassen manipulates the parameters of conceiving objects; deriving from recognisable functionality into a fictional realm of attributed economic value as limited or as matter, both effectively qualitative realities, he qualitatively measures these up to apparent conditions of the imaginary.
Utilising exclusive materials and technologies, a secondary layer of tension of conceiving objects arises. A toy chair made of pure gold, poured out of one bar of gold, raises the question of its value: emotional vs. real value. Likewise, a chair created by a Focus Electron Beam (FEB), results in a chair so small that even a regular microscope cannot reveal this seat. This chair is a leap of faith into technological authorship. Our day-to-day empirical reality is just not good enough to capture these objects. To what extent is technological culture able to transmit empirical experiences to our mindset? And moreover, our cultural tradition tells us that a chair has four legs but what happens when these notions are being challenged by a non-empirical, technological order?
Measuring up chairs to the extent that they seem to generate a life of their own; through a character derived from inner qualities beyond any man-conceived sphere, Maassen creates an imaginative order.
The work of Alexandra Kawiak carries a technical and material eclectism she assumes and, even more, claims, juggling with video, photography as well as installations and sewing. Most of the time she doesn’t work alone, she collaborates with people she meets and who help her give shape to her projects. The artist states : “The eclectism of my shapes reflects the complexity of the ideas I deal with”. Her brainstorming always turned towards the Other, conveys three essential themes : words, women and links between North and South. Kawiak subtly pinpoints the mistakes and injustices of our society. Part of her work lies on the words she easily plays with in order to make us aware of the contemporary uneasiness. While exploring our society either in a humoristic or in a more cynical way, she offers an accurate critic of the absurdity of our world. With this in mind, Alexandra Kawiak uses subtlety, irony and humor as weapons.(…)
David Ancelin was born in France in 1978 in Rennes. Graduated from the Villa Arson in Nice where he obtained his DNSEP in 2005. He lives and works in Paris and teaches silkscreen printing in the school of Fine Arts in Toulouse. He has exhibited at the Palais de Tokyo and Monnaie de Paris. His work is in the collection of Mamco in Geneva and in private collections. The convergences that take place in David Ancelin’s works have the charm of the unexpected and the accuracy of the obvious. It is these impossible mechanics that offer them to the viewer like so many staggered objects or environments. However fastidious the artist is when he realizes his works, the majesty of the sculpture doesn’t matter much to him. Combining his expertise and a relaxed practice, he sets up elegant works that often scott their own status. Hybridity as a means of ironc distance. The works of David Ancelin handle equilibrium and distortion, and the techniques he uses (silk screen printing on paper, mirrors, aluminum, photographs, drawings…) seem to respond to his desire – constantly repeated – to question the order of things. The industrial elements he chooses (motorbike, pinball, tiller, deckchair…) are reinterpreted and playfully deliver a harmonically discordant universe.
Guillaume Mansart 2008
Vladimír Turner (1986) graduated from the Film and TV School of the Academy of Performing Arts in Prague (FAMU) in audiovisual studies, then he studied at the Studio of Intermedia Confrontation at the Academy of Arts, Architecture and Design in Prague. He has been to study stays in Buenos Aires, Valencia and Australia. In his works, he oscillates between documentary film, art in public space and activism. He does not perceive these fields as divided, trying to combine them within a whole he labels as active civic life. His works from around the world can be seen in the streets, on film screens and in galleries.
The artistic work of Bettina HUTSCHEK relies on multidisciplinary research , and consequently takes different forms : video , performance and texts and books. Each is based on the work of language, text and narrative practices . On the basis of observations of reality and narrative practices, she juxtaposes layers of fiction and reality to create “transitional spaces” : these transits generate mental spaces and mythological and poetic narrations ….
In her videos, these narratives evoke mythical societies, distant lands and a subjective approach related to memory and oblivion .
In her performances, she adopts the role of an authority to “explain” the space around (ie : an art exhibition , a city , an architecture… ) a mythological, so fictional, poetic or simply absurd. These fictitious explanations and create a virtual space that accompanies the real space.
Her work speaks of urban space, collective memory and political image . Different layers of reality and their complex interrelationships are unified in these narratives , offering metaphors to describe contemporary phenomena.
“Though I have made a painting of large size, and though painting connects with a long tradition of great scope, my interest in it is merely a matter of affection, an affection that is more closely linked to the interaction with the pictorial material than to its historical and temporal aspects. After all, I use my works as devices to modify space, and its interactions with works and people.”
Andrea Kvas, from a conversation with David Adamo, Riccardo Beretta, Ettore Favini, Daniel Knorr, Andrea Kvas and Adrian Paci, in: Ogni cosa a suo tempo — All in Good Time, published by Mousse, 2011.