#Claire LE Restif

[lutzhuelle]

Alexandra Bircken et Lutz Huelle œuvrent respectivement depuis l’art et la mode. Une exposition les réunit, ainsi qu’un troisième comparse, le photographe Wolfgang Tillmans, à partir d’une histoire d’amitié adolescente. Et une commune énergie, comme un geste d’exposition, d’en découdre avec les assignations de genre et les séparations de médiums.

Text by Ingrid Luquet-Gad on Les Inrocks On les connaît respectivement comme plasticienne et créateur de mode. Alexandra Bircken et Lutz Huelle se sont chacun·e fait un nom, respectivement dans l’art et la mode. À la Fondation Pernod Ricard, ce qui se montre est un flux commun qui les rassemble : une Pensée corps, le titre de l’exposition confiée à la curatrice Claire Le Restif, la directrice du…

[honeymooninthefridge]

DEAD SOULS WHISPER (1986–1993) 

Derek Jarman 

Until 19.12.21 

AT LE CREDAC

Curatorship: Claire Le Restif, in collaboration with Amanda Wilkinson and James Mackay

[worldfoodbooks]

BACK IN THE BOOKSHOP: ALEXANDRA BIRCKEN - STRETCH (2017) STRETCH is a comprehensive retrospective of work by artist Alexandra Bircken, showing both early and new pieces. A fundamental parameter of her work is experimentation with materials, with the body as a key point of departure. Her multi-layered, meticulously-constructed sculptures explore skin as covering, as an organ and a cellular structure, but also as a boundary between inside and outside. Materials used in her objects are notable for their strikingly diverse, often contradictory qualities: plaster models, waxes, mannequin fragments and pieces of clothing stand in for body parts; structures packed with wool are used as set pieces and interwoven with one another. Texts by Alexandra Bircken, Thomas Brinkmann, Friedrich Wolfram Heubac, Kathleen Rahn, Claire Le Restif, Michael Stoeber, Susanne Titz. Available via our website and in the bookshop tomorrow. #worldfoodbooks #alexandrabircken (at WORLD FOOD BOOKS)

[a2sparis]

LE FIL D’ALERTE

EXPOSITION. «Le fil d’alerte»

Exposition collective à la Fondation d’entreprise Ricard. Commissaire : Claire Le Restif, directrice du Centre d’art contemporain d’Ivry-sur-Seine, en banlieue parisienne.

C’est Marcos Ávila Forero (né en 1983 à Paris) qui est le lauréat du 21ème Prix de la Fondation d’entreprise Ricard, prix attribué chaque année à un jeune artiste de la scène française des arts plastiques et visuels. Ávila Forero a été récompensé pour un ensemble d’œuvres sur le travail en usine, avec en particulier trois écrans vidéo montrant des ouvriers métallurgistes retraités mimant les gestes professionnels qu’ils effectuaient à l’usine. Ávila Forero a étudié l’École nationale supérieure des Beaux-Arts de Paris et y a obtenu en 2010 son diplôme d'arts plastiques (avec félicitations du jury). D’ores et déjà, des expositions individuelles lui ont été consacrées, en France, mais aussi notamment au Japon, en Espagne, en Finlande et en Suisse, et certaines de ses œuvres figurent dans des collections publiques, en particulier celle du Fonds national d’art contemporain, en France, ainsi que celle du Musée d’art contemporain de Barcelone. Parmi les projets artistiques antérieurs d’Ávila Forero, nous avions particulièrement apprécié  sa vidéo «Cayuco», qui retrace l’interminable périple d’une reproduction en plâtre d’une embarcation utilisée par des migrants clandestins, reproduction traînée - avec quelles difficultés ! - sur des routes entre la frontière Maroc-Algérie et l’enclave africaine espagnole de Melilla, routes sur lesquelles la reproduction laissait de longues traces de plâtre. Cette vidéo se terminait par les images de migrants attendant le «bon moment» pour essayer de pénétrer dans cette enclave bien gardée de Melilla.

Un œil coupé par une lame de rasoir

L’œuvre d’Ávila Forero proposée pour ce Prix de la Fondation d’entreprise Ricard avait été présentée dans une exposition collective rassemblant, sous le titre «le fil d’alerte», un ensemble d’artistes sélectionnés eux aussi pour ce prix. Parmi ces derniers, nous avions également plus particulièrement apprécié les artistes suivants : Simon Boudvin (né en 1979), qui exposait plusieurs œuvres sur le thème de l’ailante, plante exotique se développant en Europe, où elle pousse de façon sauvage. Boudvin avait réalisé, notamment, des photographies de cette plante en banlieue parisienne, ainsi qu’un meuble en ailante. Gaëlle Choisne (née en 1985), qui proposait plusieurs œuvres, notamment : 1) un moulage de pied en savon commandé par l’artiste à une usine d’Alep en 2016, en pleine guerre civile syrienne ; 2) sous le titre «Survival kit», une couverture de survie à laquelle étaient accrochés, en particulier, une paire de lunette et un téléphone portable ; 3) sous le titre «War of images», une œuvre dans laquelle cohabitaient de vieux dessins de crâne et des images du corps de l’artiste, et ce sur une même feuille d’aluminium ondulante. Paul Maheke (né en 1985), qui présentait notamment : 1) des objets en verre dans lesquels des dessins avaient été gravés au laser 3D ; 2) sous le titre «The river asked for a kiss», une œuvre à base de rideaux transparents réalisée en hommage à un migrant gambien suicidé à Venise. Estefania Peñafiel Loaiza (née en 1978), qui exposait en particulier la vidéo d’un œil dans lequel était projetée la célèbre séquence de l’œil coupé par une lame de rasoir dans le film «Un chien andalou» (1929). Sarah Tritz (née en 1980), qui, entre autres, proposait : 1) une course de petites silhouettes de chevaux en carton posée sur des cartons d’emballage ; 2) un train miniature également en carton et coloré dans des teintes vives et enfantines.

[micaramel]

Artist: Shimabuku

Venue: Le Crédac, Ivry-sur-Seine

Exhibition Title: For Octopuses, Monkeys and People

Date: September 14 – December 16, 2018

Note: An additional publication is available for download here.

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Le Crédac, Ivry-sur-Seine

Press Release:

The real world is not an object – it is a process.[1]

John Cage’s thinking has profoundly influenced and moved a whole generation of artists and has participated in defining conceptual art. In the exhibition tout le monde in 2015, we presented a work by William Anastasi entitled Sink (1963-2010). This work, a square steel plate of 50 cm wide and 2 cm thick, was given by Anastasi to John Cage for his bir- thday, with the protocol of putting water on its surface every day until his death. Gradually, rust would alter and erode the steel plate.

Introducing living things into art is a way of anchoring creation in the real world, which is “not an object”. Shimabuku’s work began in the 1990s and followed the work of Joseph Beuys or Jannis Kounellis, who in Europe introduced live animals in art in the 1960s and 1970s, or Ágnes Dénes, on the American continent, who placed the protection of the environment at the centre of her actions, or Robert Smithson concer- ned about the idea of entropy and growing disorder.

“To discover the meaning that circulates among things, between what composes them and what they compose, in us, outside us, with or without us […].” [2] This is the promise of Shimabuku’s work, who, by choosing the unpredictable as to the final form that his work will take, defines the process as a priority over the formal result. Meticulously produced and documented, his sculptural works, writings and photographs, videos and performances, articulated together or separately, reveal the modalities of their design and the important part left to chance. The works produced by Shimabuku are based on a profound attention to his environment, to Japan where he lives and works, but also to the different contexts in which he is invited to exhibit.

Shimabuku’s actions are positive. These are gestures of care, offering, and sometimes even reconstruction, which are not without evoking kintsugi, a traditional Japanese technique known since the 15th century, which consists in restoring ceramics or porcelains with gold or silver. These scars thus sublimate the accidents that have punctuated the life of objects. In the larger room, through an action he carried out

on the Japanese coast, Shimabuku straightens up the landscape after it has been devastated. He creates a conversation between the film of this action, Erect and fragments of two houses destroyed in July in the Gagarin social housing estate in Ivry-sur-Seine. Where Robert Smithson’s Upside Down Tree (1969) was a transcendental gesture (which consisted in replanting a tree in the ground with the roots towards the sky), Shimabuku sets up the possibility of a second life. Concern about climate change and the need to become aware of our natural environment remind us of the fragility of ecosystems. Also the question of the living world and of animism is central today and regularly finds its place at the heart of the Crédac project. Mathieu Mercier had made in 2012 Untitled (couple of axolotls), a kind of diorama, at the crossroads of the vivarium and aquarium, which raised the question of the evolution of species; in 2015 we invited Michel Blazy to showcase his Collection of avocado trees (started in 1997) in the collective exhibition tout le monde. In 2017, Nina Canell introduced slugs into the heart of one of her installations made of “disarmed” electrical cabinets, for her solo show.

for more than twenty years, Shimabuku has been one of the most recognized among this generation of artists interested by the living and animism. For him as for Pierre Huyghe, Tomás Saraceno or Nina Canell, the exhibition space has been transformed into a refuge for a new ecosystem of organisms.

Claire Le Restif, Exhibition curator

[1]  John Cage, Pour les Oiseaux (Entretiens avec Daniel Charles), L’Herne, Paris, 2002

[2]  Tristan Garcia, Forme et Objet. Un traité des choses, PUF, Paris, 2010..

Link: Shimabuku at Le Crédac

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2E4f9vU

[unepenseepourlaculture-blog]

Taubira Présidente ! « La Culture c’est la règle, l’art c’est l’exception », disait Jean-Luc Godard, et bien cette règle est actuellement l’angle mort de la campagne présidentielle tant elle est absente des discours de tous les candidats sans aucune exception ! Là aussi le fossé se creuse entre la population civile, de plus en plus impliquée et attentive à toutes formes de Culture et les politiques de moins en moins attentifs à la production de la pensée dans notre pays. Sauf lorsque vraiment tout va mal ! La culture ne doit pas être citée uniquement en cas d’urgence. C’est un manque de considération terrible pour les chercheurs, les intellectuels, les artistes, les équipes engagées dans les établissements culturels ainsi que les personnes nombreuses impliquées dans le tissu associatif si intense et passionnant en France. J’apprends que Christiane Taubira, ex-garde des Sceaux du gouvernement de François Hollande, à l’invitation d’Olivier Py, artiste et directeur du festival d’Avignon, lira 14 textes pour 14 rendez-vous avec le public qui pourra ainsi assister gratuitement à l’écoute de textes de Hugo, Malraux, Morrison, Condorcet, Césaire….pour réfléchir vraiment à la Démocratie ! Christiane Taubira Présidente ! Vite ! Très Vite !

Claire le Restif, Directrice du Credac,

[itsourplayground]

Vegetal Passion - Flyer

Design : Mathias  Schweizer 

Villa Saint Clair, Sète. Photos : Claire Le Restif

[lutzhuelle]

The exhibition La pensée corps brings together the work of Alexandra Bircken and Lutz Huelle, both of whom are linked to questions of identity, intimacy, permeability and vulnerability of the human being. What links them is a style with forms that are alternately fractured and assembled, cut and sutured, and a long history of friendship.

This exhibition is not about the relationship between art and fashion, even though it is a natural one. The focus is on the mechanisms, the gestures, the thinking of the contemporary body and our experience of it as human beings. Both sectionalise and fractionalise objects and clothes as adjustable models for new ways of living, feeling and representing. This essential relationship to the body…

[lutzhuelle]

"Working on a project with a close friend is usually the kind of thing you dream up over drinks and hardly ever get to put into reality. Not so for Berlin-based Alexandra Bircken — a former designer and present-day artist creating “non-functional objects” — and Paris-based Lutz Huelle, who launched his eponymous label in 2000 after working for Martin Margiela for three years. Friends since they were teens, the two were shaped by the same music, by the magnitude of the Berlin Wall coming down, and by the desire to move to London to study fashion. Alexandra has modelled for Lutz since she was a student, and been in his official défilés too. Their friendship is rounded out by Wolfgang Tillmans, with whom they form a sort of loose creative throuple." Sarah Moroz in conversation with Alexandra Bircken and Lutz Huelle for iD Magazine

to read the whole interview please click here

[micaramel]

Artist: Alexandra Bircken

Venue: Le Crédac, Ivry-sur-Seine

Exhibition Title: STRETCH

Date: September 8 – December 17, 2017

Click here to view slideshow

  Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Le Crédac, Ivry-sur-Seine. Photos by André Morin.

Press Release:

The skin is our largest organ and at the same time it’s what we see when we look at ourselves. Michel Serres says the deepest thing we have is our skin. Our vulnerability becomes visible in it. Pain. Our skin moves with every one of our movements. S-T-R-E-T-C-H. For our entire life. That’s something we should think about. Our lips stretch to utter every word we speak. We’re used to seeing our bodies and objects as things that are whole and wrapped in a covering. And if we ever lose this thing that protects, clothes, covers and represents us, or if something is ever cut in two and we get to glimpse inside, then we get a big shock. That’s odd, don’t you think? I’m interested in the structure, the texture, the function that then becomes visible. That reveals the truth. That is real. That’s when it gets really interesting. When you cut your skin, you can sew it up again. The body heals and goes on working. But what remains is a scar that will remind you of the wound forever. So the body is an Other. »

« Alexandra Bircken, interview with Claire Le Restif, Kathleen Rahn and Susanne Titz » (excerpt) in Alexandra Bircken, STRETCH. Catalogue of the shows at Kunstverein Hannover, Museum Abteiberg, Mönchengladbach, Le Crédac, Ivry-sur-Seine, ed. Walther König, Cologne, 2017.

Alexandra Bircken (born in 1967, Cologne) places the body and its enveloppes at the heart of her sculptural practice. Trained in styling at St. Martins College in London, sewing, weaving, knitting, assembling, and connecting all come into play, as do cutting, separating, dissolving, tearing, and disassembling. In the exhibited body of works, the apparent brittleness of soft and transparent materials – wool, nylon, hair – stands alongside the permanence and resistance of bronze and steel. Female organ casts as well as damaged motorcycle suits are transformed into autonomous body fragments. Archetypes of power, motorcycles and guns are sculpted and cut, desabling and revaluing their iconic performance.

STRETCH is Alexandra Bircken’s first solo show in France, it has been jointly conceived by Kunstverein Hannover, Museum Abteiberg, Mönchengladbach and Crédac. The exhibition is supported by IFA.

Alexandra Bircken is born in 1967 in Cologne en Allemagne, where she lives and works. She is represented by galleries BQ, Berlin and Herald St., London.

Link: Alexandra Bircken at Le Crédac

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2yseQog

[worldfoodbooks]

BACK IN THE BOOKSHOP: ALEXANDRA BIRCKEN - STRETCH (2017) STRETCH is a comprehensive retrospective of work by artist Alexandra Bircken, showing both early and new pieces. A fundamental parameter of her work is experimentation with materials, with the body as a key point of departure. Her multi-layered, meticulously-constructed sculptures explore skin as covering, as an organ and a cellular structure, but also as a boundary between inside and outside. Materials used in her objects are notable for their strikingly diverse, often contradictory qualities: plaster models, waxes, mannequin fragments and pieces of clothing stand in for body parts; structures packed with wool are used as set pieces and interwoven with one another. Texts by Alexandra Bircken, Thomas Brinkmann, Friedrich Wolfram Heubac, Kathleen Rahn, Claire Le Restif, Michael Stoeber, Susanne Titz. Available via our website and in the bookshop tomorrow. #worldfoodbooks #alexandrabircken (at WORLD FOOD BOOKS)

[worldfoodbooks]

BACK IN THE BOOKSHOP: ALEXANDRA BIRCKEN - STRETCH (2017) STRETCH is a comprehensive retrospective of work by artist Alexandra Bircken, showing both early and new pieces. A fundamental parameter of her work is experimentation with materials, with the body as a key point of departure. Her multi-layered, meticulously-constructed sculptures explore skin as covering, as an organ and a cellular structure, but also as a boundary between inside and outside. Materials used in her objects are notable for their strikingly diverse, often contradictory qualities: plaster models, waxes, mannequin fragments and pieces of clothing stand in for body parts; structures packed with wool are used as set pieces and interwoven with one another. Texts by Alexandra Bircken, Thomas Brinkmann, Friedrich Wolfram Heubac, Kathleen Rahn, Claire Le Restif, Michael Stoeber, Susanne Titz. Available via our website and in the bookshop tomorrow. #worldfoodbooks #alexandrabircken (at WORLD FOOD BOOKS)

[worldfoodbooks]

OPEN TODAY 12-4PM. NEW IN THE BOOKSHOP: ALEXANDRA BIRCKEN "STRETCH" (2017) STRETCH is a comprehensive retrospective of work by artist Alexandra Bircken, showing both early and new pieces. A fundamental parameter of her work is experimentation with materials, with the body as a key point of departure. Her multi-layered, meticulously-constructed sculptures explore skin as covering, as an organ and a cellular structure, but also as a boundary between inside and outside. Materials used in her objects are notable for their strikingly diverse, often contradictory qualities: plaster models, waxes, mannequin fragments and pieces of clothing stand in for body parts; structures packed with wool are used as set pieces and interwoven with one another. Texts by Alexandra Bircken, Thomas Brinkmann, Friedrich Wolfram Heubac, Kathleen Rahn, Claire Le Restif, Michael Stoeber, Susanne Titz. Published on the occasion of the exhibition, Alexandra Bircken: STRETCH at Kunstverein Hannover (1 October – 27 November 2016); Museum Abteiberg Mönchengladbach (26 March – 25 June 2017); and Centre d’artcontemporain d’Ivry – le Crédac (8 September – 17 December 2017). English and German text. Available in the bookshop today and via our website. #worldfoodbooks #alexandrabircken (at WORLD FOOD BOOKS)

[worldfoodbooks]

OPEN TODAY 12-4PM. NEW IN THE BOOKSHOP: ALEXANDRA BIRCKEN "STRETCH" (2017) STRETCH is a comprehensive retrospective of work by artist Alexandra Bircken, showing both early and new pieces. A fundamental parameter of her work is experimentation with materials, with the body as a key point of departure. Her multi-layered, meticulously-constructed sculptures explore skin as covering, as an organ and a cellular structure, but also as a boundary between inside and outside. Materials used in her objects are notable for their strikingly diverse, often contradictory qualities: plaster models, waxes, mannequin fragments and pieces of clothing stand in for body parts; structures packed with wool are used as set pieces and interwoven with one another. Texts by Alexandra Bircken, Thomas Brinkmann, Friedrich Wolfram Heubac, Kathleen Rahn, Claire Le Restif, Michael Stoeber, Susanne Titz. Published on the occasion of the exhibition, Alexandra Bircken: STRETCH at Kunstverein Hannover (1 October – 27 November 2016); Museum Abteiberg Mönchengladbach (26 March – 25 June 2017); and Centre d’artcontemporain d’Ivry – le Crédac (8 September – 17 December 2017). English and German text. Available in the bookshop today and via our website. #worldfoodbooks #alexandrabircken (at WORLD FOOD BOOKS)

[worldfoodbooks]

OPEN TODAY 12-4PM. NEW IN THE BOOKSHOP: ALEXANDRA BIRCKEN "STRETCH" (2017) STRETCH is a comprehensive retrospective of work by artist Alexandra Bircken, showing both early and new pieces. A fundamental parameter of her work is experimentation with materials, with the body as a key point of departure. Her multi-layered, meticulously-constructed sculptures explore skin as covering, as an organ and a cellular structure, but also as a boundary between inside and outside. Materials used in her objects are notable for their strikingly diverse, often contradictory qualities: plaster models, waxes, mannequin fragments and pieces of clothing stand in for body parts; structures packed with wool are used as set pieces and interwoven with one another. Texts by Alexandra Bircken, Thomas Brinkmann, Friedrich Wolfram Heubac, Kathleen Rahn, Claire Le Restif, Michael Stoeber, Susanne Titz. Published on the occasion of the exhibition, Alexandra Bircken: STRETCH at Kunstverein Hannover (1 October – 27 November 2016); Museum Abteiberg Mönchengladbach (26 March – 25 June 2017); and Centre d’artcontemporain d’Ivry – le Crédac (8 September – 17 December 2017). English and German text. Available in the bookshop today and via our website. #worldfoodbooks #alexandrabircken (at WORLD FOOD BOOKS)