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-Salut, je suis la page formulaire

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user/pages/02.whats-on/01.exhibitions/blog.md

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+title: Exhibitions
+redirect: whats-on/exhibitions/current-upcoming
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user/pages/02.whats-on/01.exhibitions/current-upcoming/blog.md

@@ -1,5 +1,6 @@
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+title: 'Current + upcoming'
+show_sidebar: false
 content:
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@@ -13,4 +14,3 @@ aura:
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-Salut About

user/pages/02.whats-on/01.exhibitions/current-upcoming/cicatrices/events.md

@@ -0,0 +1,57 @@
+---
+date_start: '22-03-2019 16:06'
+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'
+show_sidebar: false
+aura:
+    pagetype: website
+---
+
+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...

user/pages/02.whats-on/01.exhibitions/current-upcoming/exhibitions-jean-marais/events.md

@@ -1,5 +1,7 @@
 ---
+date_one_day: '04-10-2019 20:04'
 title: 'Exhibitions Jean marais'
+show_sidebar: false
 aura:
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user/pages/02.whats-on/01.exhibitions/current-upcoming/nour-el-saleh-exquisite-farces/events.md

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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'
+show_sidebar: false
+aura:
+    pagetype: website
+---
+
+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.

user/pages/02.whats-on/01.exhibitions/current-upcoming/olivia-bax/events.md

@@ -0,0 +1,61 @@
+---
+date_start: '01-09-2019 16:04'
+date_end: '01-10-2019 16:04'
+title: 'OLIVIA BAX at large'
+media_order: 'Olivia Bax, Pump, 2016.jpg,Olivia Bax, Footloose, 2017.jpg,Olivia Bax, Love Handles, 2017.jpg'
+show_sidebar: false
+aura:
+    pagetype: website
+---
+
+An awareness of materials is crucial in pursuing any artistic endeavour.
+The capacity of the artist to resonate with their medium while grasping its
+true potential occurs through careful observation, during which a full
+understanding of its chemical properties, durability, and texture proceeds.
+For the painter or the etcher, the mental is translated into the physical
+realm predominately with the aid of utensils. The sculptor however relies
+less on this mediating process, for it is the tactile, his very own hand which
+possesses the knowledge to manipulate and assemble substance. It comes
+as no surprise that the greatest innovations in sculpture of the past century
+resulted from an increasing immediacy towards the generative process
+manifest through methods such as direct casting (Medardo Rosso) and
+carving (Constantin Brâncuşi) or the collection of novel, unconventional
+materials for further assembly (Iza Genzken). Olivia Bax's work is a
+distinct example of this aesthetic manu propria, for Bax not only
+physically leaves the imprint of her hand, her gestures on the surface of her
+sculptures, but she also uses handles as a recurring motif (Hot Spot,
+Boulder (with handle) and Pump). Her stand-alone pieces (Rumble and
+Roar) have a human scale, as if they were based on her own height.
+Bax's investigation of material rhythms can be likened to the act of
+sketching, of which the varying tempo, the drawing and selective retracing
+of preferred parts, aid in the development of her sculptural pieces. There is
+an unprecedented fascination with the armature of her pieces, which she
+does not completely conceal with the malleable paper pulp, opting rather
+for the visibility of the different processes. The sculptures are activated not
+only through the revealing of their anatomy and the material dialectic that
+ensues, but also through their humanistic dimensions. Scale holds a
+significant role within Bax's oeuvre, evoking both the domestic, and trying
+to escape from it by experimenting with site-specific height. The work
+Footloose, having been previously installed twice, is now refashioned to 
+accommodate the low ceilings of this space while still slightly protruding
+through the support grid. Bax's work is at large not only through its
+diversity, resembling a smaller retrospective, but also through the sheer
+dimension of the space (the largest space she has exhibited in thus far),
+which allows for the sculptures to escape confinement. There is sufficient
+expanse within the gallery for the works to exist as individual entities,
+while simultaneously undergoing a mutual, collective activation. Palisade,
+the blue fence-like structure suggests a tripartite segmentation of the
+sculptural environment while similarly acting as a chromatic backdrop for
+works such as the aforementioned Footloose, and a three-dimensional
+framing for Slot & Groove. This seemingly divisive curatorial choice
+however, conversely facilitates discourse between the sculptures of the
+ensemble, acting not as a barrier, but rather as an interactional tool.
+Bax's work extends beyond the removal of a sculpture from its pedestal as
+the sole source for immediacy. By imprinting her hands onto the surface of
+the work and using her height as a unit of measurement, by exposing
+diverse layers of materials causing thus an interaction within the anatomy
+of the work itself, and subsequently one within its collective pairing, the
+artist creates a cycle closed off by the viewer. Within her process of
+making, Bax activates herself, the space, the works and viewers, whether
+at a local level or at large.
+Smaranda Ciubotaru

user/pages/02.whats-on/01.exhibitions/current-upcoming/parfum-depines-phillips-x-vo-curations/events.md

@@ -0,0 +1,11 @@
+---
+date_start: '23-05-2019 16:33'
+date_end: '26-07-2019 16:33'
+title: '''Parfum d''épines'' 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'
+show_sidebar: false
+aura:
+    pagetype: website
+---
+
+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.

user/pages/02.whats-on/01.exhibitions/current-upcoming/pas-de-corps-sonya-derviz/events.md

@@ -0,0 +1,10 @@
+---
+date_start: '05-08-2019 16:37'
+date_end: '18-08-2019 16:37'
+title: 'PAS DE CORPS Sonya Derviz'
+show_sidebar: false
+aura:
+    pagetype: website
+---
+
+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.

user/pages/02.whats-on/01.exhibitions/current-upcoming/sara-berman-matter-out-of-place/events.md

@@ -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'
+show_sidebar: false
+aura:
+    pagetype: website
+---
+
+"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

user/pages/02.whats-on/01.exhibitions/current-upcoming/urban-waves-andrei-costache-richie-culver-an-d-morgan-ward/events.md

@@ -0,0 +1,10 @@
+---
+date_start: '03-07-2019 16:39'
+date_end: '13-07-2019 16:40'
+title: 'URBAN WAVES Andrei Costache, Richie Culver an­d Morgan Ward'
+show_sidebar: false
+aura:
+    pagetype: website
+---
+
+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.

user/pages/02.whats-on/01.exhibitions/past/archives.md

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user/pages/02.whats-on/blog.md

@@ -14,4 +14,3 @@ aura:
     pagetype: website
 ---
 
-Coactique aliquotiens nostri pedites ad eos persequendos scandere clivos sublimes etiam si lapsantibus plantis fruticeta prensando vel dumos ad vertices venerint summos, inter arta tamen et invia nullas acies explicare permissi nec firmare nisu valido gressus: hoste discursatore rupium abscisa volvente, ruinis ponderum inmanium consternuntur, aut ex necessitate ultima fortiter dimicante, superati periculose per prona discedunt.

user/pages/02.whats-on/events/blog.md

@@ -1,6 +1,8 @@
 ---
 title: Events
+redirect: /whats-on/events/current-upcoming
 visible: true
+show_sidebar: false
 content:
     items:
         - '@self.children'

user/pages/02.whats-on/events/current-upcoming/blog.md

@@ -1,5 +1,6 @@
 ---
-title: Visit
+title: 'Current + upcoming'
+show_sidebar: false
 content:
     items:
         - '@self.children'
@@ -13,4 +14,3 @@ aura:
     pagetype: website
 ---
 
-Salut visit

user/pages/02.whats-on/events/current-upcoming/cicatrices/events.md

@@ -0,0 +1,57 @@
+---
+date_start: '22-03-2019 16:06'
+date_end: '03-05-2019 16:07'
+lieux: '12th Floor'
+title: Cicatrices
+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'
+show_sidebar: false
+aura:
+    pagetype: website
+---
+
+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...

user/pages/02.whats-on/events/current-upcoming/sara-berman-matter-out-of-place/events.md

@@ -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'
+show_sidebar: false
+aura:
+    pagetype: website
+---
+
+"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

user/pages/02.whats-on/events/current-upcoming/urban-waves-andrei-costache-richie-culver-an-d-morgan-ward/events.md

@@ -0,0 +1,10 @@
+---
+date_start: '03-07-2019 16:39'
+date_end: '13-07-2019 16:40'
+title: 'URBAN WAVES Andrei Costache, Richie Culver an­d Morgan Ward'
+show_sidebar: false
+aura:
+    pagetype: website
+---
+
+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.

user/pages/02.whats-on/events/event-15-11-12/item.md

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-title: 'Event 15/11/12'
-aura:
-    pagetype: website
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-

user/pages/02.whats-on/events/past/archives.md

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+

user/pages/03.studio-programme/01.formulaire/form.md

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+---
+title: Apply
+visible: false
+aura:
+    pagetype: website
+form:
+    name: custom_form
+    fields:
+        first_name:
+            type: text
+            placeholder: 'First name'
+        last_name:
+            placeholder: 'Last name'
+            type: text
+        date_of_birth:
+            placeholder: 'Date of birth'
+            type: datetime
+        phone_number:
+            placeholder: 'Phone Number'
+            type: text
+        email:
+          placeholder: E-mail adress
+          type: email
+          size: large
+        move_in_date:
+            placeholder: 'proposed move-in date'
+            type: text
+        website:
+            placeholder: 'Website / instagram'
+            type: text
+        portfolio:
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+            type: file
+            multiple: false
+            destination: user/data/files
+            accept:
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+                - application/x-pdf
+                - image/png
+                - text/plain
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+              option1: true
+              option2: true
+              option3: true
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+              option1: individua
+              option2: share
+              option3: eithe
+        notes:
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+          placeholder: notes
+    buttons:
+        -
+            type: submit
+            value: Submit
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+        -
+            email:
+                from: '{{ config.plugins.email.from }}'
+                to: '{{ config.plugins.email.to }}'
+                subject: '[inscriptions-] {{ form.value.name|e }}'
+                body: '{% include "forms/data.html.twig" %}'
+                attachments:
+                    - my-file
+        -
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+                fileprefix: inscriptions-
+                dateformat: Y-H-u
+                extension: txt
+                body: '{% include "forms/data.txt.twig" %}'
+        -
+            message: 'Sent'
+            reset: true
+---
+
+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.

user/pages/03.studio-programme/02.about/default.md

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+---
+title: About
+media_order: 'Sonya Derviz, Dancers I, 2018.jpg'
+visible: false
+aura:
+    pagetype: website
+---
+
+Cumque pertinacius ut legum gnarus accusatorem flagitaret atque sollemnia, doctus id Caesar libertatemque superbiam ratus tamquam obtrectatorem audacem excarnificari praecepit, qui ita evisceratus ut cruciatibus membra deessent, inplorans caelo iustitiam, torvum renidens fundato pectore mansit inmobilis nec se incusare nec quemquam alium passus et tandem nec confessus nec confutatus cum abiecto consorte poenali est morte multatus. et ducebatur intrepidus temporum iniquitati insultans, imitatus Zenonem illum veterem Stoicum qui ut mentiretur quaedam laceratus diutius, avulsam sedibus linguam suam cum cruento sputamine in oculos interrogantis Cyprii regis inpegit.
+
+### PUBLIC DAYS: 20.04.2020

user/pages/03.studio-programme/blog.md

@@ -1,5 +1,7 @@
 ---
 title: 'Studio Programme'
+redirect: /studio-programme/about
+show_sidebar: false
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     items:
         - '@self.children'
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     pagetype: website
 ---
 
-Coactique aliquotiens nostri pedites ad eos persequendos scandere clivos sublimes etiam si lapsantibus plantis fruticeta prensando vel dumos ad vertices venerint summos, inter arta tamen et invia nullas acies explicare permissi nec firmare nisu valido gressus: hoste discursatore rupium abscisa volvente, ruinis ponderum inmanium consternuntur, aut ex necessitate ultima fortiter dimicante, superati periculose per prona discedunt.

user/pages/03.studio-programme/open-day/item.md

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----
-title: 'Open day'
-aura:
-    pagetype: website
----
-
-Salut je suis une page open day

user/pages/04.residence/01.about/default.md

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+---
+title: About
+visible: false
+aura:
+    pagetype: website
+---
+
+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.

user/pages/04.residence/02.current-upcoming/blog.md

@@ -1,6 +1,7 @@
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-title: Exhibitions
+title: Current
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+show_sidebar: false
 content:
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     pagetype: website
 ---
 
-Salut page Exhibitions

user/pages/04.residence/02.current-upcoming/victor-man/artistes.md

@@ -0,0 +1,13 @@
+---
+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
+aura:
+    pagetype: website
+---
+
+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.

user/pages/04.residence/blog.md

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+---
+title: 'In residence'
+redirect: /residence/about
+show_sidebar: false
+content:
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+        - '@self.children'
+    limit: 5
+    order:
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+        dir: desc
+    pagination: true
+    url_taxonomy_filters: true
+aura:
+    pagetype: website
+---
+
+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.

user/pages/04.residence/past/archives.md

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+aura:
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+---
+

user/pages/05.news/01.press/_the-surreal-world-of-nour-el-saleh/features.md

@@ -0,0 +1,8 @@
+---
+title: 'The surreal world of nour el saleh'
+class: small
+aura:
+    pagetype: website
+---
+
+Salut The surreal world of nour el saleh

user/pages/05.news/01.press/modular.md

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+---
+title: press
+content:
+    items: '@self.modular'
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+

user/pages/05.news/02.news/blog.md

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 title: News
+visible: false
+show_sidebar: false
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         - '@self.children'
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     pagetype: website
 ---
 
-Salut,  News

user/pages/05.news/02.news/news-1/news.md

@@ -0,0 +1,11 @@
+---
+date_start: '26-10-2019 14:13'
+date_end: '21-12-2019 14:13'
+title: 'Oda jaune, "beyond gravity'' Galerie templon, paris, france'
+media_order: 'Daiga Grantina, Li Li, 2018 and Victor Man, Flowers with Skeleton and Bear Wrestling, 2012.jpg'
+show_sidebar: false
+aura:
+    pagetype: website
+---
+
+Salut je suis la news 1

user/pages/05.news/blog.md

@@ -0,0 +1,18 @@
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+title: News
+redirect: /news/news
+show_sidebar: false
+content:
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+    limit: 5
+    order:
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+        dir: desc
+    pagination: true
+    url_taxonomy_filters: true
+aura:
+    pagetype: website
+---
+
+Salut,  News

user/pages/06.about/default.md

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+---
+title: About
+media_order: 'Install, Daiga Grantina, Robert Brambora1920.jpg'
+hero_classes: ''
+hero_image: ''
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+aura:
+    pagetype: website
+---
+
+Founded in 2018, VO Curations supports emerging art through affordable studio programmes, artist residencies and exhibition spaces in Central London. The diverse set of talents from multiple backgrounds and experiences, aim to share personal identities through their work in a collective melting pot. VO positions itself at the intersection of artist and institution, providing resourceful and supportive environments, filled with various opportunities. 12th Floor in Waterloo serves as their lead London location, launched within the former studio of David Chipperfield, and welcomes young international artists to collaborate towards themed exhibitions yearly.
+
+Upcoming this November, VO Curations will unveil a new space, 242 Marylebone Road, becoming the largest studio facility in Central London hosting a total of 70 artists studios. The application for VO’s Studio Programme is open to any London-based artist. To apply to our affordable studio programme visit the ‘Studio Programme’ page > Apply.

user/pages/07.visit-us/_Waterloo/text.md

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+title: Waterloo
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+street: '12th floor, The Tower,11 york Rd, Lamberth'
+city: 'London Nw1 6JQ'
+x: '51.503971'
+'y': '-0.1169142'
+aura:
+    pagetype: website
+class: small
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+---
+
+Address:
+12th Floor, The Tower, 11 York Rd, Lambeth, London SE1 7NX