Spring issue « Un coup de dés

Un coup de dés

The witnesses

Until September 2011, the centre d’art was located at the heart of a famous architectural grouping by architect Jean Renaudie, in three unused basement cinemas. Since then, the centre d’art has relocated to the American-style Manufacture des Œillets building, a jewel of Ivry industrial heritage. Gilles Drouault (a gallery owner) and Pascal Beausse (the head of photographic collections at the Centre National des Arts Plastiques), both members of the centre d’art’s administrative council, each comment on an exhibition that made an impression on them at the Cédrac.

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EDITO

NOTE OF 1st APRIL

Yangon, 40°C → Paris, 10°C
Myanmar → French
three seasons (rainy, winter, summer) → four seasons (spring, summer, autumn, winter)


THERE IS A DOOR BETWEEN LOVE AND HATE . . . (moe satt, 1st April)

“ I know this will be the last time
but I am not sad It was time
to leave you cause I love you
to leave you cause I hate you
to leave you cause I hate you
I know this will be the last . . . .”

* Emma Dusong, The Door, 2013


Opening doors…
“Doors open 45 minutes before start”
“Opening hours and entrance fees”
“De martes a domingo de 10:15 a 17:30”
“Free entry”
“Admission charge”
(if you don’t pay you aren’t free; if you’re not free you pay)

* Loreto Martínez Troncoso. “Entre” (meaning “enter” or “between”)

-


I NEVER SEE A GHOST BUT GHOST CAN SEE ME . . . (moe satt, 1st april)

a guest + a host = a ghost
(December 1953, Marcel Duchamp)

Vue nocturne de l’arrière de la synagogue et de la Gue(ho)st House de Berdaguer & Péjus. Gue(ho)st House, commande publique de Berdaguer & Péjus Centre d'art contemporain - la synagogue de Delme, 2012 © Adagp Paris 2012 Photo © OHDancy photographe

“the boundary between fantasy and reality is blurred”,
“we are faced with the reality of something that we have until now considered imaginary”

Gue(ho)st House, commande publique de Berdaguer & Péjus Centre d'art contemporain - la synagogue de Delme, 2012 © Adagp Paris 2012 Photo © OHDancy photographe


BLUR THE BOUNDAR BETWEEN SITE AND WORK . . . (moe satt, 1st april)

The Edge-Stones connect the Vière site, revealing the expansive force contained in the hamlet, which counters the invisible action of the mountains that set the village firmly in its own area.

* (Fabien Faure)

Edge-Stone, Vière et les Moyennes Montagnes, hameau de Vière, Prads-Haute-Bléone, 2011 / crédit Richards Nonas Edge-Stone, Vière and the Highlands, hamlet of Vière, Prads-Haute-Bléone, 2011 / rights Richards Nonas


Élodie Royer: Could you talk about the inflatable you’ve made for the show?

Hans-Walter Müller: What’s very important in an art exhibition is that there’s a contact between the inside and the outside, a continuity. But without feeling that you’re outside. So the modular floor in the exhibition doesn’t touch the inflatable at all, it’s like an island.

*Abitacollection, interview with Hans-Walter Müller at La Ferté Allais, 30th august 2012


the exhibition space was my body, and talking to the public about my relationship with them was actually an analysis of my relationship with the table that was standing on my body…

* (Adva Zakai)

Photo of the performance by Adva Zakai at Le Quartier / rights: Marc Van Langendonck


CAN OBJECTS TELL STORIES? (moe satt , 1st april)

These objects are evidence, revealing a social and economic environment.
A closer look allows us to obtain a more complex vision than just a wasteland.


My work is easily carried around and I react to situations, so residencies are a great context for it.

* (Pauline Bastard)

Pauline Bastard, Untitled, London, objet, 20 x 16x 15 cm, 2012


– They’re camouflage designs for boats, they used them to disguise warships in the First World War. Check it out,

* Olivier Bosson

PILIPA : - thanks ☺ PILIPA : - C’est des motifs de camouflage de bateaux […] Fais une recherche tu verras


Power No Power is a work around power but also an act of empowerment of a group of youngsters who, because of their social destiny, have only very little power.”

* (Claudio Zulian)

Power No Power, by Claudio Zulian, Aulnay-sous-Bois, France, 2013


“This object or this event might be anything and perhaps nothing”- with this I simply mean- art is not related to any specific object, material, or situation. It is profoundly true that anything can be art. Can. Potentially, anything can. Even nothing can.

* (Dora Garcia)

The Innocents © Dora Garcia

ABOUT

Bolstered by its success and visibility, uncoupdedés.net is restarting and subjecting existing content to new voices. In 2014 and 2015, several personalities from outside France will be asked to become our editorial writers for one season. Their task will be to place the contents of the whole magazine in perspective, presenting them differently through the prism of their subjectivity and their own work contexts. Catalina Lozano (Colombia), Zasha Colah (India), Moe Satt (Myanmar) and Manuela Moscoso (Brazil): each guest editor will reformulate the actions of the centres d’art, various aspects of which they will have been able to perceive through the magazine. Each editor-in-chief will “roll off” a cross-cutting text, presenting an original re-examination of the resolutely fluid geography of the centres d’art. uncoupdedés.net repeats the challenge from the poet Mallarmé, resurrected in the cinematographic art of Jean-Marie Straub and Danièle Huillet (Every Revolution is a Roll of the Dice, 1977). The guest editors, coming from a variety of disciplines, will widen the circle of expression even more. Choral and fragmentary, uncoupdedés.net takes just as much after puzzles as it does after memories, and naturally calls for cut-outs of every kind…

MOE SATT

(Yangon, Myanmar)

Moe Satt is an artist who lives and works in Yangon, Myanmar. After graduating in 2005, he is part of a new generation of Burmese artists to emerge after 2000 with a different approach to conception and embodiment. In 2008, he founded and organized Beyond Pressure, an international festival of performance art in Myanmar. As a performance artist, Moe Satt has performed in galleries and also on the streets of Yangon. He has actively participated in live art festival in Southeast and South Asia, and occasionally in the West.