maj de tout

2019-11-14 00:51:19 +01:00
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+title: Exhibitions
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+date_start: '01-01-2020 16:06'
+date_end: '06-02-2020 12:38'
+lieux: '12th Floor'
+title: 'Cicatrices, '
+artistes: 'Jean-marie appriou, Srijon Chowdhury, John miserendino, Cajsa von zeipel, Adriano amaral, muriel abadie'
+media_order: 'Adriano Amaral, Untitled, 2018.jpg,Adriano Amaral, Untitled, 2018(1).jpg,Adriano Amaral, Untitled, 2018(2).jpg,Cajsa von Zeipel, When_ and Why_, 2019.jpg,Cajsa von Zeipel, Why_, 2019, When_, 2019.jpg,Details of Adriano Amaral, Untitled, 2018.jpg,Details of Cajsa von Zeipel, When_ and Why_, 2019.jpg,Installation Isaac Lythgoe and Muriel Abadie.jpg,Isaac Lythgoe, grip the wheel, look straight ahead, 2016.jpg,Jean-Marie Appriou, Shrimp, 2018.jpg,John Miserendino, L’origine du monde, 2018.jpg,John Miserendino, Mamie and Marco, 2018.jpg,Muriel Abadie, Masked Monkey, 2018.jpg'
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+
+On an epithelial level, the scar is simply a mark, a regenerated piece of tissue, a healed lesion
+that conventionally follows the infliction of an incision or a burn, either intentional or not. Of
+this trace however, we almost instantly find that it does not suffice to regard it as a mere
+peculiarity of the dermis, as what is crucial to this fibrous section of tissue is the meta-
+cutaneous, its metonymic relationship to a particular event or action. This is the primary trait
+of any scar: that it signifies beyond the skin, beyond the biological palimpsest that it has
+produced. We are, at first, tempted to associate it with the traumatic, with the remnants of
+suffering that make of it a relic of pain, both physical and cognitive, an agonizing recollection
+of consumed passions and jagged embraces, flaming within our psyche and manifest with the
+illuminated perspex sculptures of Isaac Lythgoe. Yet, is it not a scar that also reminds one of
+birth, of being removed from the womb for, which our mothers bear a caesarean section or
+we, a snipping away of the umbilical cord? Can the postpartum depression alluded to by
+Srijon Chowdhury’s distracted mother-infant dyad not foreshadow a latter maternal joy, an
+expulsion of postnatal morbidity?
+
+If we look past the mere a priori and posteriori of the scar we begin its exoneration, its
+acknowledgement as a mode of ‘becoming’ with aesthetic, religious, socio-cultural, and
+adaptive facets. The tattoo reaffirms this, for it not only physically exteriorises the intrinsic,
+symbolically branding the epidermis, but performs the function of ritual by subjecting one to
+the repeated injection of their beliefs. Such Maia Regis’ effaced protagonist, dog and pistol in
+hand, imparts further potency to its all too visceral surroundings via the snake emblem
+ascending their torso, the scar given agency. The kissing silicone sculptures of Casja von
+Zeipel too recall this piercing and tinting of the skin through selective transparencies and the
+emulation of a cracked reptilian dermis undergoing ecdysis (molting), further inscribing their
+hyper-visiblity by means of their hybridity. Synthetic and organic, their skin, double-layered or
+scaled, appears mechanically superior while still presenting the human characteristic of
+retaining traces, or bearing scars. This dualism, the recalling of an organic anterior, further
+prompt a focus on DNA, one expressed by Adriano Amaral in his employment of natural
+materials such as tree bark and spirulina alongside shapes of contemporary industry. The
+ramifications emerging from Amaral’s tubular structures delineate an ecological scarification
+inflicted upon flora and fauna rather than the human flesh, proposing the solution of
+prosthetics as a method of undoing any damage to the organic. A similar approach lies within
+Jean-Marie Appriou’s sculptures of marine creatures. Displaying a hereditary connection to
+their material makeup, for glass is made out of sand, such works however, conversely,
+emphasize their static adherence to the gallery wall rendering the objet d’art no different to a
+biological specimen. There is no question of hybridity as with Zeipel or Amaral, urging rather
+recognition through a confrontation with artifice.
+
+John Miserendino’s variegated marbles too evidentiate their flesh-like striations in order to
+uncover a particularity akin to DNA. Each marble is modeled after, yet not sculpted to
+resemble a figure, breaking with a tradition of purity (white-ness) and the relative anonymity
+of material by accentuating surface lesions and vivid chromatic schemes. The notions of
+transmission and trace exist not only within such marbles, for through the work of Muriel
+Abadie an idea of recollection, of one's personal rather than cultural history surfaces with
+the sketch. Abadie seeks to access a realm of the familiar, to awaken in all of us a forgotten
+memory that can appear through the visual. Her urge is collective, remembrance as
+protection against temporal perdition. Within our efforts to heal, perhaps the same can be
+said for the cicatrice...
@@ -0,0 +1,12 @@
+---
+date_start: '05-05-2020 17:21'
+date_end: '11-10-2020 17:21'
+title: 'Lght cages, '
+artistes: 'dillwyn smith'
+media_order: 'Oda Jaune, Galerie Templon, Paris, France 02.jpg'
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+date_one_day: '04-10-2019 20:04'
+---
+
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+---
+date_start: '05-10-2019 16:27'
+date_end: '11-10-2019 16:27'
+title: 'Nour El Saleh ''Exquisite Farces'''
+media_order: 'Inhabited Props in a Box, 2018.jpeg,Wrong Side of the Table, 2019.jpg'
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+
+Exquisite Farces is the culmination of Nour El Saleh’s residency at VO Curations, a
+curatorial and cultural mediation outfit that are helping usher in a new way for artists to
+inhabit and make use of the rapidly transforming architecture of an austere London. It
+also marks her first foray into the wider world following on from three-years of study at
+The Slade School of Fine Art, London.
+El Saleh’s approach dismisses preparatory drawings; lines and forms are imagined,
+physicalised and placed impulsively to prompt new narrative possibilities. She has
+worked towards the creation of a satirical language to communicate an uncanny rendition
+of her own experiences. With her childhood spent in the United Arab Emirates, a host for
+impermanent residents, El Saleh’s comfort was in a constant state of flux, and through the
+work she grapples with a sense of belonging; deceivingly familiar spaces are tensed with
+anguish and actors, and through the use of theatrical and comical imagery, the artist
+reconciles these two forces.
+The Puppeteer of Karakas evokes the memory of a man playing with puppets in the street
+where El Saleh lives in Beirut. Here, the puppeteer is disguised and plays with four
+eccentric real-life marionettes. Any hint that they might fall into a Mickey Sabbath-like
+world of destitution and depravity is reframed with a sense of homeliness; checkered floor
+tiles and floral wallpaper, which feature as a recurrent backdrop across El Saleh’s scenes.
+Inserting small characters in the eyes and heads of certain protagonists, El Saleh seems
+to play with the apparent roles, and who in fact conducts the scene. A mise en abyme
+occurs, the Puppeteer of Karakas becomes puppeteered, and equally, the motherly figure
+of Wrong Side of The Table loses her intimidating aura, turning into a vessel, a further
+prop in the theatre of El Saleh’s mind. Wrong Side of the Table depicts a juxtaposition
+between a naked bust-figure, sitting at the table provocatively, acting out for the sake of
+being rewarded with attention, which is at odds with a heavily cloaked figure under the
+table, an elderly child, hidden out of view, coaxing attention through her aloofness.
+El Saleh’s characters all seem to resemble each other with similar features: prominent
+noses, dimpled chins and brown hair, almost to the point of appearing cloned in certain
+scenes. All interacting intensely within a domestic interior and little space to roam,
+pronounce the collectivistic atmosphere present across the artist’s paintings. This is
+echoed by the two hybrid characters that sit aside the central figure in Inhabited Props in
+a Box, which although are bickering, at once recall squabbling siblings rather than
+anything untoward; and in this lay the charm of El Saleh’s world. Despite the peculiarity of
+her depictions, on further inspection there lies a familiarity and intimate feeling of the
+‘known’. Representation dissolves, El Saleh seems to abolish the stage, the auditorium
+and have spectators sit within the composition. In an Artaud-esque manner, actors are
+seen to be passive and neutral, while masks, puppets and sock marionnettes rule the set.
@@ -0,0 +1,12 @@
+---
+date_start: '23-05-2019 16:33'
+date_end: '26-07-2020 16:33'
+title: 'Parfum d''épines'
+artistes: 'PHILLIPS X VO CURATIONS'
+media_order: 'Installation Daiga Grantina and Robert Brambora.jpg,Installation Jean-Marie Appriou and Claude Bellegarde.jpg,Installation Jean-Marie Appriou, Muriel Abadie and Claude Bellegarde.jpg,Installation Oda Jaune, Pedro Wirz and Sonya Derviz.jpg,Robert Brambora, Untitled, 2019, Untitled, 2019, and 9 to 5 (2), 2018.jpg,Daiga Grantina, Li Li, 2018 and Victor Man, Flowers with Skeleton and Bear Wrestling, 2012.jpg'
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+Phillips x VO Curations are pleased to present a novel reading of Charles Baudelaire's collection of poems Les Fleurs du Mal through the spectrum of contemporary art, exploring the seminal concept of the double postulation that has protruded beyond the literary universe of the French poet. The exhibition features the works of 9 contemporary artists that play upon the duality of the Baudelairian ethos and its fascination for antithetical pairings, the atemporal resonance of what the poet refers to as the "two inseparable abysses of the human soul". Parfum d'épines was supported by Parcours 2019 and Outset Contemporary Art Fund.
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+---
+date_start: '05-08-2019 16:37'
+title: 'PAS DE CORPS Sonya Derviz'
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+There exist no bodies, yet collective movement ensues. The canvas surface is flat, yet the power of suggestion engrosses Sonya Derviz's Dancers within the figurative, only to awake us from this mirage through the protrusion of a forceful abstract composition. She aims to simultaneously construct and efface the presence of the recognisable, to insert it within a stream of strokes dragging, rotating, and contorting colour and form within the predefined space of the canvas. The dynamism stirring each layer of wash, the alternation of dispersing blocks of colour with interwoven accents pierces the fabric of the figurative into abstraction. The exhibition was accompanied with a poem, composed by Joshua Leon.
@@ -0,0 +1,66 @@
+---
+date_one_day: '07-12-2019 16:30'
+title: 'SARA BERMAN Matter out of Place'
+media_order: 'Installation Sara Berman.jpg,Installation Sara Berman(1).jpg,Sara Berman, Lint Sweater #37, 2018.jpg,Sara Berman, Lint Sweater #38, 2018.jpg,Sara Berman, Lint Sweater #40, 2018.jpg'
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+
+"It is something rejected from which one does not part, from which one
+does not protect oneself as from an object. (...) It is thus not lack of
+cleanliness or health that causes abjection but what disturbs identity,
+system, order."
+
+- Julia Kristeva
+
+There is an unprecedented struggle for unity and mutuality in this epoch of
+singularity and individualism. The biblical precedes these secular ideals in
+the myth of Babel, with its human element inevitably failing into disparity,
+not just of language but also of socio-cultural context for its collective
+ambitions would become its primary sin. Surrounded by divergent,
+fluctuating value systems, Sara Berman has selected the lowest common
+denominator of mankind as the focal point of her work, as an uncanny,
+debased catalyser in her line of artistic inquiry: 'waste'. A propensity for
+textiles has perhaps indicated Berman in the direction of lint, of drying
+machine filters, which despite her minimal intervention, do not draw one
+immediately towards the abject nature of the piece, but rather ensue an
+auratic dialogue guided by their anthropomorphic quality and vivid
+stratigraphy. This 'matter out of place', waste in the form of the work of
+art (the commodity par excellence) comes to embody the term derived from
+Mary Douglas's seminal study on dirt, not just literally, but through the
+very internal logic of the works. Not only are the fabric remnants
+dislocated from their status as superfluous objects, framed and exhibited
+within the gallery space, but in her attempt to generate discourse Berman
+has created an art object resistant and adhering to any nomenclature, while
+circumventing any positive or negative valences. The works find
+themselves in a latent state; perhaps even one of paradox for an initial
+reaction might contravene a subsequent one upon finding out the medium. 
+From breaking her own dyer at home, to her latter exploration of London
+drycleaners, from the first attempts of gathering the lint in large bags to
+then attaching it to furniture, Berman has redacted her process of making
+to reduce the infliction of her will upon the work as much as possible. This
+however has not created a ready-made, for the immediacy of deskilling is
+replaced by a careful subtraction, while the unique makeup of the works
+would have them tangential to artisanship. Berman selects the lints from
+the filters (very few of which present this distinctive layering) and stiches
+them to pieces of linen without seeking precision. There is an
+inexhaustible web of socio-economic relations, which each wool fibre or
+hair follicle has traversed and can further generate through their
+repurposing in the lint figures. It is perhaps not coincidental that some of
+these should have a convex, circular geometry, occurring in the inferior
+parts evoking thus the maternal or the fertile. The human dimension of the
+works would have it operate like an artefact, even more so now that the
+pieces are exhibited framed for the first time, an equalizing procedure to
+stress their organic, biological aspect. There is only an illusion of
+uniformity as each work is entirely distinct in its 'genetic composition'
+while any separation occurs as an auxiliary, as our own imposed
+estrangement from it. Berman has removed the glass dividing the viewer
+from the 'abject', facilitating either confrontation or familiarization, in
+either circumstance permitting a direct exchange. The rug outside invites
+one into the gallery space while simultaneously deconstructing its
+boundary, playing into the idea of domesticity as a percept for belonging
+and safety while including the nomadic. Berman's inquiry extends into the
+exterior realm, the question remains, is it art, a handful of hair and lint
+from the local drycleaners or simply matter... out of place?
+Smaranda Ciubotaru
@@ -0,0 +1,12 @@
+---
+date_start: '03-07-2019 16:39'
+date_end: '13-07-2019 16:40'
+title: 'URBAN WAVES '
+artistes: 'Andrei Costache, Richie Culver and Morgan Ward'
+media_order: 'Victor Man, Et Al. _Claude Mirrors_, Schinkel Pavillon, Berlin, Germany  .jpeg'
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+The exhibition featured the work of sculptor Andrei Costache and painters Morgan Ward and Richie Culver. Andrei Costache's sculptures proliferate a sentient quality, mirroring a vast spectrum of experiences from one's first visit to London to the infantile joy of watching a new cartoon series. His MDF creations stress their ephemerality through the very nature of their material, far more mobile than traditional mediums such as metal or stone. Morgan Ward is concerned with extending the interaction of colour and form beyond two-dimensionality, both materially and by employing abstracted optical illusions. Richie Culver's works present narratives mirroring those of London housing estates or marginalised residential areas, narratives of domestic heroes or local underdogs.
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+date_start: '20-07-2020 12:44'
+title: 'Public days'
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+date_start: '26-07-2020 16:39'
+title: 'Julien dupont'
+media_order: 'Oda Jaune, Galerie Templon, Paris, France 02.jpg'
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+        - Salut
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+
+The exhibition featured the work of sculptor Andrei Costache and painters Morgan Ward and Richie Culver. Andrei Costache's sculptures proliferate a sentient quality, mirroring a vast spectrum of experiences from one's first visit to London to the infantile joy of watching a new cartoon series. His MDF creations stress their ephemerality through the very nature of their material, far more mobile than traditional mediums such as metal or stone. Morgan Ward is concerned with extending the interaction of colour and form beyond two-dimensionality, both materially and by employing abstracted optical illusions. Richie Culver's works present narratives mirroring those of London housing estates or marginalised residential areas, narratives of domestic heroes or local underdogs.
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+title: Apply
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+
+We accept applications of artists from all practices. Our studios can be used individually or shared with others. Applications are for one person at a time, so even if you are applying as a group, please fill out individual applications and specify in *notes* who you wish to share a studio with. Our studio prices are offered inline with the _Greater London authorities affordability guide* (2014, 2019)_ and are inclusive of all utilities (inc. wifi). They are accessible 24/7, with communal areas and shared kitchens available. Please allow us a week to get back to you, you will receive a response over email. 
+
+Email us at [studio@vocurations.com](mailto:studio@vocurations.com) for any further questions, or if you would like to visit our facilities. 
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+title: About
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+V.O Studios offers affordable workspaces to artists based in London. The group reflects the diversity of artists and practices in the city, and form an integral part of V.O’s community-at-large. All studios are located in Zone 1 Central London, with the view to ease access and visibility for each artist. ~~Various~~ ‘Open Days’ are scheduled throughout the year to offer artists ongoing opportunities to create new dialogues with interested members of the local community, as well as the wider public. V.O ensures their artist community their ongoing support through advising on professional development, mentoring, presentation, and access to workshop and exhibition opportunities. 
+
+V.O Studios are currently located in Waterloo, SE1 and 242 Marylebone Road, NW1 with more upcoming spaces from spring 2020!
+
+_V.O Studios is a not-for-profit initiative launched October 2019._
+
+### [PUBLIC DAYS: 20.04.2020](/whats-on/events/current-upcoming/public-days)
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+V.O Curations programmes up to sixteen residencies each year. Residencies are invited for up to three months at a time. The programme supports and facilitates artists professional development at all levels of their careers, from emerging to established talents. Residencies are non-prescriptive, process-based and focus on enabling artists to research and develop new work on their own terms in a supportive environment. V.O offers an end-of-residency solo exhibition to the resident which isn’t mandatory, depending on the artist’s schedule. The residency programme is made public through different types of events and ‘Open Studios’ Days. 
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+---
+date_start: '23-05-2019 19:43'
+date_end: '26-07-2019 19:43'
+title: 'victor man'
+media_order: 'Robert Brambora, Untitled, 2019, Untitled, 2019, and 9 to 5 (2), 2018.jpg'
+show_sidebar: false
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+
+Faux-texte: a pour fonction de faire office de texte de substitution ou d'outil permettant la comparaison et l'appréciation de différentes polices.
+
+On appelle Lipsum un texte qui, en l'absence du texte définitif, sert de substitut aux futurs contenus lors de la production de maquettes pour les publications ou sites Web. Le terme Lipsum est issu de la contraction du plus connu de ce type de texte "Lorem ipsum". Ils sont également connus sous les noms de texte blanc, faux-texte, bolo bolo, pseudo texte, texte factice, vrai faux texte, faux contenu, texte de remplissage, de remplacement, ou d'attente. Outre son usage dans les milieux de l'imprimerie et du graphisme, certains chansonniers en font l'utilisation lors de la composition de mélodies, chantant ces textes en amont de l'écriture de leur textes. L'utilisation de faux-textes aurait déjà été une pratique courante depuis le 16ème siècle dans les milieux de l'imprimerie et de la composition.
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+Residencies form the core of VO Curations’s work. We support and facilitate the professional development of cultural practitioners at all levels of their career, from emerging to established art professionals. We provide our residents with a platform to incubate their ideas and showcase them to their international peers and the general public.
+Residents are selected to take part in our programmes for up to three months at a time. They are non-prescriptive and process-based and focus on enabling artists to research and develop new work on their own terms in a supportive environment. Made public through events and Open Studios, these opportunities encourage interaction and dialogue between international artists and audiences in London.
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+title: 'La boutique Archive 18-20 inaugure sa première exposition'
+date_start: '12-11-2019 18:27'
+date_end: '23-11-2019 18:28'
+date: '06-11-2019 17:28'
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+'La boutique Archive 18-20 inaugure sa première exposition', Wave FR
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+title: '‘Phillips x VO Curations Presents Perfume Of Thorns’'
+date_start: '23-11-2019 18:29'
+aura:
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+date_event: '23-05-2019 19:30'
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+
+‘Phillips x VO Curations Presents Perfume Of Thorns’, Outset Contemporary
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+title: 'A Look Inside Nour El Saleh''s Surreal "Exquisite Farces" Exhibition at VO Curations'
+date_start: '21-11-2019 18:29'
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+date_event: '03-09-2019 19:35'
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+
+'A Look Inside Nour El Saleh's Surreal "Exquisite Farces" Exhibition at VO Curations', Hypebeast
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+title: 'Baudelaire vu par l’art contemporain chez Phillips'
+date_start: '28-11-2019 18:29'
+aura:
+    pagetype: website
+date_event: '24-07-2019 19:31'
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+
+'Baudelaire vu par l’art contemporain chez Phillips', The Art Newspaper
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+title: 'Dancing Monkeys And Finger Puppets, Nour El Saleh Wants You To Feel'', HUNGER'
+date_event: '27-08-2019 19:34'
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+'Dancing Monkeys And Finger Puppets, Nour El Saleh Wants You To Feel', HUNGER
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+title: 'Gallery Baker Street'
+date_event: '18-09-2018 17:31'
+date: '06-11-2019 17:28'
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+
+'Gallery Baker Street', Blanc Magazine
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+title: 'Inside the Twisted World of Nour El Saleh'
+date_event: '04-09-2019 19:36'
+aura:
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+'Inside the Twisted World of Nour El Saleh', Mille World
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+title: 'Le concept-store Archives 18-20 expose la jeune garde britannique de l''art contemporain'
+date_event: '24-04-2019 17:31'
+date: '06-11-2019 17:28'
+aura:
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+
+'Le concept-store Archives 18-20 expose la jeune garde britannique de l'art contemporain', Hypebeast
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+title: 'Light Cages - Dillwyn Smith at V.O. Curations'
+date_event: '05-11-2019 19:38'
+aura:
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+
+'Light Cages - Dillwyn Smith at V.O. Curations', Wall Street International
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+title: 'Nour El Saleh’s “Exquisite Farces” to kick off VO Curations’ new calendar'
+date_event: '27-08-2019 19:32'
+aura:
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+
+'Nour El Saleh’s “Exquisite Farces” to kick off VO Curations’ new calendar', FAD Magazine
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+title: '''Parfum d''Épines Exposition Collective'''
+date_event: '16-07-2019 19:30'
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+'Parfum d'Épines Exposition Collective' , One Arty Minute
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+title: 'Sam Cornish on Olivia Bax'
+date_event: '16-08-2018 17:31'
+date: '06-11-2019 17:28'
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+'Sam Cornish on Olivia Bax', Instantloveland
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+title: 'Inside the twisted world of nour el saleh'
+date_event: '04-11-2019 17:31'
+date: '06-11-2019 17:28'
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+'Inside the twisted world of nour el saleh', Mille world
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+title: 'the Surreal World of Nour El Saleh'
+date_event: '01-10-2019 19:37'
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+
+'The Surreal World of Nour El Saleh', Jdeed Magazine
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+title: 'VO Curations ''93 Baker Street'
+date_event: '20-10-2018 17:31'
+date: '06-11-2019 17:28'
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+'VO Curations '93 Baker Street'', Outset Contemporary
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+title: 'VO Curations the new curatorial platform based between London and Paris taking over the emerging art scene'
+date_event: '20-05-2019 19:29'
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+
+'VO Curations the new curatorial platform based between London and Paris taking over the emerging art scene', FAD Magazine
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+Light Cages - Dillwyn Smith at V.O. Curations', Wall Street International
+05/11/2019
+
+'The Surreal World of Nour El Saleh', Jdeed Magazine
+01/10/2019
+
+'Inside the Twisted World of Nour El Saleh', Mille World
+04/09/2019
+
+'A Look Inside Nour El Saleh's Surreal "Exquisite Farces" Exhibition at VO Curations', Hypebeast
+03/09/2019
+
+'Dancing Monkeys And Finger Puppets, Nour El Saleh Wants You To Feel', HUNGER
+27/08/2019
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+date_end: '05-01-2020 19:52'
+title: 'Jean-Marie Appriou, Biennale de Lyon, Lyon, France'
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+date_start: '29-11-2019 19:44'
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+date_start: '11-09-2019 19:55'
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+title: 'Jean-Marie Appriou, ''The Horses'', Central Park, New York, USA'
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+date_start: '26-10-2019 19:50'
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+title: 'Oda Jaune, ‘Beyond Gravity’, Galerie Templon, Paris, France'
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+date_start: '01-09-2019 19:57'
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+title: 'Pedro Wirz, Et. Al., ‘Mask’, Aargauer Kunsthaus, Aarau, Switzerland'
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+date_start: '02-11-2019 19:48'
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+title: 'Srijon Chowdhury, ''A Divine Dance'', Anat Ebgi, Los Angeles, USA'
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+date_start: '11-09-2019 19:54'
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+title: 'Victor Man, Et Al., ''Claude Mirrors'', Schinkel Pavillon, Berlin, Germany '
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+date_start: '07-11-2019 19:47'
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+title: 'Victor Man, Et. Al., ''La Plage'', Galleria Zero, Milan, Italy'
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+date_start: '06-06-2019 19:59'
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+title: 'Victor Man, Et. Al., ''Louise Giovanelli'', Manchester Art Gallery, Manchester, UK'
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+date_start: '17-10-2019 19:51'
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+title: 'Victor Man, Et Al., On the Spiritual Matter of Art, Museo nazionale delle arti del XXI secolo, Roma, Italy'
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+Salut,  News
--- a/Show More
+++ b/Show More