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nhwproject
nhwproject
Neighborhood Watch: Projection Walk
Artist Bios
Haydee Alonso
Haydee Alonso. Putrefaccion, 2009. cardboard, oatmeal, coffee grains, fungi
After many frustrated and pain-staking attempts at imitating nature’s beauty, I finally came to terms with my art. I understood that in order to reach the next level, I could no longer keep imitating, but decided to help create instead. Needless to say, it is next to impossible for human hands to re-create nature’s perfection in all its magnificence. Therefore, instead of trying to re-create my plan was to nurture. Nurture all those things deemed worthless or dirty, but nonetheless natural and beautiful.
Haydee Alonso. Nature has more value than a human body,or 1,000,000,000, 2009. casted silver seeds, textile, grass.
Johann Arens
‘The Shortage of Being’
2006, NL
16mm/DigiBeta, 12’50 min
Whilst scouring in the wood with a metal detector a young man stumbles across another world. His suppressed wished occur in shape of a clown character in a colourful parallel space. On this journey the story crosses the borders between a natural setting and the comical artifice. Interrupted by photographic elements the edge of the real protagonist and his alter ego start to blur.
Johann Arens. The Shortage of Being. 2006.
The work explores the grey area of artistic film without classical narrative structures. Other than in a general media experience, the viewer is not taken by the hand and dictated what to think. The work asks the responsibility of the recipient to fill in this ‘unguided symbolic space’.
johannarens@gmail.com
www.johannarens.com
Pauline Borca
Pauline Borca. Gilberte. Video. 2009
“Gilberte”, 2009.
vous regardez gilberte,
mais c’est elle qui vous connait!
bout a bout, toutes vos vie ont remplie la sienne,
c’est donc gilberte qui vous regarde.
Avantia Damberg
Avantia Damberg. Untitled. Paper. 2009
Another way for me to make art accessiblefor me is by making street art. As there is a saying in Dutch: you can just pick it up from the street. No need to own the art, but to just reflect temporary on it, in that moment. To get a glimpse into my thoughts the moment you rush to go your dentist appointment. Take and let go.
Olivier Degorce
BARRIO MULLER project 2009
J’ai toujours tenté d’inventer, d’échafauder des systèmes d’échange entre le public d’une part, l’artiste d’autre part et le lieu d’exposition. La notion participative est centrale dans mon travail. Depuis 2007, j’utilise comme supports les enveloppes reçues dans ma boite aux lettres et je dessine principalement sur celles envoyées par les galeries d’art et les ONG Ces dessins sont comme des petits voyages télépathiques, une sorte d’écriture automatique.
Le but : ne surtout pas penser que je suis en train de dessiner. Peut-être suis-je inspiré ou guidé inconsciemment par l’auteur du courrier, son écriture ou la typographie utilisée…
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Dorénavant je ne veux plus être dépendant essentiellement d’un échantillon restreint d’expéditeurs, de ces « mailings ». J’ai besoin de nouvelles enveloppes et je souhaite élargir le cercle des expéditeurs. L’idée est aussi de faire intervenir un lieu pour y déposer le temps d’une journée (une semaine ?) une boite aux lettres créée pou l’occasion et servant a recueillir de nouvelles enveloppes.
Sont présentés au public : Une boîte aux lettres (dont seul j’ai la clé), des enveloppes, des petits papiers, le tampon du lieu et des dessins agrandis sur papier ou toile et phosphorescent (s’il n’y a pas trop de lumière dans la rue)…
avant de glisser une enveloppe dans la boite aux lettres, les expéditeurs devront y inscrire :
> mon nom et adresse (le destinataire) :
Olivier DEGORCE 46 rue de Clignancourt 75018 Paris
> leur nom en haut à gauche (l’expéditeur)
(s’ils ont envie de rajouter un mot dans l’enveloppe des petits papiers sont à leur disposition)
> et ne pas oublier d’apposer le tampon sur l’enveloppe qui atteste du lieu de dépôt (la galerie, boutique… ect) : en haut à droite
cette mention importante certifiera l’identité et le rôle essentiel de l’intermédiaire. Je relèverai le courrier régulièrement pour avoir de nouvelles enveloppes sur lesquelles dessiner. Par la suite une série d’agrandissements sur différents supports de dimensions variables sont ensuite réalisés. il s’agit de créer une collection d’enveloppes quartier par quartier, événement pas événement
Toutes les enveloppes ainsi tamponnées par la galerie ou lieu d’accueil seront régis par le même principe :
En cas de vente des œuvres, la répartition sera
10% pour l’expéditeur
45% pour la galerie ou le lieu d’accueil de la boîte
45% pour le destinataire des enveloppes, soit l’artiste
lieu de présentation envisagé :
- devant (ou dans) la boutique O Concept (chez Victoria)
http://olivierdegorce@wanadoo.fr
06 60 60 15 62
Libertad Gills
http://libertadgills.weebly.com/neighborhood-watch-paris.html
- Filmmaker from New York City
“Un Après-Midi à L’Orangerie”
Duration: 17 mins
Comment voit-on l’art?
Tourné dans le musée parisien, “Un Après-Midi à L’Orangerie” nous fait découvrir les rapports des visiteurs avec les oeuvres et l’espace du musée.
La prochaine fois que vous serez vous-même dans un musée, peut-être vous reflechirez-vous à votre propre comportament vis-a-vis les ouevres et les autres spectateurs à vous autour.
How do you look at art?
Un Après-Midi à L’Orangerie, a video filmed in the museum in Paris, shows how spectators interact -and don’t interact- with the works of art around them. This video was inspired by an article in the New York Times titled “At the Louvre, Many Stop to Snap but Few Stay to Focus” from August 2nd. The camera observes as hundreds of tourists stop to look, take a picture or pose for one, sit to think, stop to scratch an itch, or merely walk past Monet’s Les Nymphéas at the Orangerie. Perhaps the most surprising for the filmmaker was people’s obliviousness to the video camera in front of them.
Pauline Haller
Pauline Haller.
L’exposition Neighborhood Watch propose d’introduire l’art dans notre voisinage. C’est à dire, non seulement de s’adresser à son entourage, mais aussi de passer outre les institutions artistiques ou galeries d’art. J’ai donc décidé d’en profiter pour laisser la parole à des personnes qu’on écoute rarement, par indifference ou mépris. Ma démarche s’inscrit dans une volonté de dépasser les formalités et les normes sociales qui cadrent notre quotidien…Je me base sur le même principe formel que mon installation vidéo sur les Sans Papiers sud-américains de l’église Saint-Alène de Bruxelles (projection vidéo sur un tapis de photocopies de papiers administratifs collés sur une vitre transparente).
Philip Tonda Heide
Philip Tonda Heide. Nightsculpture Reinterpreted. 2009.
“Nightsculpture Reinterpreted”
I have asked the dancer Taylor McLaughlin to reinterpret my video work “Nightsculpture” from 2007 and perform it live as an improvisation dance piece.
The original work deals with transformation from one state of being to another, and with physical presence as well as the absence of it. I’m interested in the relation between idea and material; between thought and body. This, I find, connects a lot to dance, which is an art form that has fascinated me for years. I’m interested in seeing what happens when I let a dancer interpret a work of mine, and thereby “translate” it into a different art form. I see this as a research piece and communication between two art forms. I’m curious to see to which extend the thoughts and qualities from the original work remains, and what new elements the dance will bring to it.
Taylor McLaughlin is trained as a ballet dancer as well as a contemporary dancer.
www.philiptonda.com
p.tonda@gmail.com
Mamadou Amine Kébé
Mamadou Amine Kébé. Untitled. Installation. 2009
Dans cette installation je choisie de mettre en confrontation l’intimité et l’excentricité. Une accumulation d’objets industriels d’origine asiatique dont la fonction première ne change pas. Le tout installer au sol ( car je considère l’espace comme partie intégral de l’oeuvre ) dans une forme géométrique simple : le cercle.
La surpopulation, la monopolisation et une investigation sociaux-politique ont été pour moi la source de mes recherches. Nous percevons une scène statique pouvant nous faire penser à une discutions qui est à la fois dans l’intimité et dans l’échange. Dans le faite où les objets sont en confrontation pour créer un action théâtral qui ne fonctionne que conceptuelement, le regard du publique envers l’accumulation ou même le regard d’un publique envers un autre publique donnant à l’objet sa définition d’oeuvre d’art.
Le tout exposé amène à la réflexion suivante : à partir d’où commence l’oeuvre ?
Lana Ključarić
Her drawings are characterised by using a less frequently applied technique – ballpoint pen, the technique based on experimental strokes, exploration of the techniques and the process of making works of art through non conventional methods.
The starting point and the basic idea from which her work is developed and created is exploring and visually improving the ability to draw. Her basic interest is researching into the drawing process by using modern, less common techniques such as a ballpoint pen.
Lana Kljucaric. 5 minutes before the dream. Ballpoint Pen. 2008 -2009.
Most of all, what her works of art put on display are the artist’s drawing abilities.
The starting point and the final goal of her work of art is to put stress on the aesthetic effect of the creation. In addition, every work of art is meant to produce an edgy feel about it.
Speaking of style, drawings are free from linguistic expression, political comment or psychological tension. The power comes from the technique complexity, and the attention paid to every detail. The subjects of these works are empty, and the basic idea demonstrated completely, is a plain surface.
The interpretation and the meaning of drawings change according to the observer’s cultural environment.
Amber Lauletta
Amber Lauletta. The Cedar Revolution. Installation. 2009
“The Cedar Revolution, ثورة الأرز”
An localised installation of glass jars of honey. The jars were emassed over a period of time as donations from friends. They were then filled with honey, a material symbolising healing.
The Cedar Revolution was a chain of demonstrations in Lebanon (especially in the capital Beirut) triggered by the assassination of former Lebanese Prime Minister Rafik Hariri on February 14, 2005.
The primary goals of the original activists were the withdrawal of Syrian troops from Lebanon and the replacement of a government heavily influenced by Syrian interests with more independent leadership, the establishment of an international commission to investigate the assassination of Prime Minister Hariri, the resignation of security officials to ensure the success of the plan, and the organization of free parliamentary elections. The demonstrators demanded the end of the Syrian influence in Lebanese politics. At the start of the demonstrations, Syria had been maintaining a force of roughly 14,000 soldiers and intelligence agents in Lebanon. Following the demonstrations, the Syrian troops completely withdrew from Lebanon on April 27, 2005. The Pro-Syrian government was also disbanded, accomplishing the main goal of the revolution. (wikipedia)
Thierry Micouin
Lewis Morison
– Saxophone and Composition
Lewis Morison began studying guitar at an early age and soon took up the saxophone. He studied Music and Sound Recording (“Tonmeister”) at the University of Surrey, UK, where he won the Joyce Dixey Composition Award in 2004. Whilst playing around the London Jazz scene, he studied with Tim Whitehead, Iain Ballamy, Tony Woods and Terry Evans before moving to Paris to work with acclaimed composer Gabriel Yared. He also writes and plays with his Jazz band and several other ensembles. He has a keen interest in Composition and Cinema and has worked and performed on soundtracks to a number of films, including: Adam Resurrected, The Number One Ladies’ Detective Agency, Harry Potter and the Goblet of Fire, As You Like It and Le Hérisson.
He will perform a series of original solo compositions on saxophone, guitar and laptop. These draw influence from jazz and electronica and are partly inspired by the great abstract painters of the 20th Century.
Antoine Joshua Wilmott
Antoine Joshua Wilmott. Growing up Charles. Video. 2009
Growing up Charles
Duration: 1 min —
Found Footage
2009
NHWproject meeting
rue Muller is a street in the 18è of Paris that connects a densely populated area of immigrant-owned shops to the the touristic mound atop which sits Basilique Sacré-Coeur. It is on this diverse street where artists and volunteers sit outside a Gallery/Studio, run by Philip Tonda, to discuss who and what they need to get and do for the Neighborhood Watch Project.
Brought to Paris by small-metals sculptress, Haydee Alonso of Mexico, Neighborhood Watch: Projection Walk is making it’s 3rd appearance. Originally conceived and practiced in Tampa Florida by artists Chelsea Goodwin and Jaime Carrejo, it was in it’s second city when Haydee learned of the project.
Haydee Alonso
“I heard about nhw when jaime carrejo came to el paso, to UTEP, to give ceramic classes. One day, him and another student (Xochitl Rodriguez) announced that they were doing this NHW thing. I had really no idea what it was, so I attended and I totally loved it!!! I, then, got to do some more talking with Xoch, and another student (Andres Payan) and they explained the whole concept of NHW and i just fell in love, really, with it. I tried to help as much as I could last semester when this took place. It was soo much better than the one before … it grew. At first it seemed like it was just a bunch of friends displaying their art out on the street but this time a lot more artists participated.
Traditionally the American concept of Neighborhood Watch is one where inhabitants of a small community come together to literally watch the Neighborhood. What they are looking for are suspicious people or occurances in order to report them before they turn into crimes. The habit of keeping your eyes on your neighbors and neighborhood also makes you a potential witness in the event that a crime does occur. NHWproject wants to make you a witness as well – only of art in place of crime.
“I got accepted to this program here in Paris and I thought .. NHW + PARIS = HELL YEAH! So I contacted Xoch and Andres and said, ‘Hey, I’m thinking about doing NHW over here in Paris, ya down?’ FO’SHOW! Since then I have contacted Jaime Carrejo and showed him the website we’ve done, the flyers, the press release, etc. He is so proud :) and I am so proud :)”
NHWproject meeting
Any group of artists in any city can take over a street or section to put on a NHWproject. The core of the project is community involvement, participation from artists, and volunteers. This temporary collective forms, talk to business owners and residents of the area and invite them to open their store fronts, courtyards, building facades, and equipment to facilitate the event. They also use their personal resources to obtain equipment and other materials.
Our event here in Paris is scheduled for the night of 11 September 2009. Artists thus far include: Haydee Alonso, Christina Amezquita, Pauline Borca, Avanti Damberg, Olivier Degroce, Libertad Gills, Pauline Haller, Lana Kljucaric, Amber Lauletta, Rachel Monsov, Mao Tamura, Philip Tonda Heide
check the bios post for more detailed information.
There’s still room for more as well as a need for helping hands and equipment. Respond to this post or email lauletta.amber@gmail.com to lend a hand in this community projector learn more.
amberlauletta