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espace 1015

Please check here for our new post about Adrian G. Sierra and Valeria Cetraro at Artspace written by Caroline Rossiter

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this article has been moved to e1015.tk

nhwproject

Neighborhood Watch: Projection Walk

Artist Bios

facebook event origional post

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…

——————————————-

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.

Robin Margerin, Baggage, 2009.

100 bags. Each bag a visual feast of memories and symbols both particular to Margerin himself and yet strangely universal.

“This was when they started to take me seriously.” *

Being an American Artist in Paris is not always easy. The space where the two meet is often a battleground of contraditing aesthetics, expression, and theory. If you can stick with it you can experience some pretty beautiful things. In the case of Robin Margerin those beautiful things have the potential to include grief.

“My ex-wife gave me that tie. But it’s not necessary to go through each bag and explain,” he laughs.

Robin Margerin, Thanks for Nothing, 2009.

Robin Margerin, Provisions, 2009.

With his Fedora-clad bald head and sunken cheeks, he’s a dead ringer for Joseph Beuys. Although, he tells me, he mostly gets Tom Waits. His penetrating voice and musical interests confirm this, but his work connects him to the former.

A reference to Beuys is not necessary due to the  Beuys Effect in the Modern Art World. One could refer back to him in reference to almost any young artist these days. Beuys taught us to come from our own mythology and in that we would make it universal. He demanded an importance be placed on choice and symbol of material and that our work be authentic to our experience.

Margerin admits that this can be applied to his process, more or less. His most prominent material is wax, he explains, because for him it measures time.

“You know, they used to use candles to measure the duration of an act in Plays. There are so many examples.”

His work often centers around bringing form to Time itself and our experience of it. Margerin believes that time is not linear but elastic, connected by a nebulous of experiences and memories. Wax is a material that not only holds these properties but these historical attributes as well.

In his work we see the combination of craft materials, such as wax and yarn, with found objects. Found objects not only work to fulfill a memory deposit, but bring the element of surprise and often take the lead on directing the project.

“I was living in this industrial area and they had dumped all this wood, so I just collected it. Later I decided to gouge out the grain in the wood and replace it with yarn. Your fingers never felt such a lovely feeling! For me it was a chronical of my personal timeline, but I don’t think you have to know that going into it.”

Robin Margerin, Yarns, 2009.

2009 graduate of Ecole Nationale Superieur Des Beaux-Arts here in Paris, Margerin is continuing his studio work while looking for representation. For more information visit him @ Robin Margerin.

*all quotes are paraphrased.

Pour cette série des photographies j’ai utilisé le même tissu pour décrire trois façons d’habiller les femmes religieuses.

For this series of photographes, I used the same fabric to portray three religious dressing for women.

We will not grow old together – Nous ne vieillirons pas ensemble. When an interchangeable group of contemporary curators get together to form a collective (Label hypothèse), it’s not the sort of grim promise you’d like to hear. The hope in the title of this plural-exhibit is meant to imply a change in the relationship between the gallery, artist, and curator – that we will not grow old together. Instead, we will form new and more independent ways to bring art to the public.

Guillaume Abdi, Everything is Gonna Burn. Galerie Bertrand Grimont. Photo: Moshi Moshi Studio

Although Label hypothèse (beautiful hypothosis) claims “this is an exhibition without a theme,” there is continuity between the 60 works of 38 artists that fill each of the 5 galleries in this exposition. “Nous ne vieillirons pas ensemble” brings together different generations of artists, whose production methods question both the notion of authorship and the different models in which artworks exist.”

John Cornu, Thelma et Louise. Galerie Marion Meyer. Photo: Mushi Mushi Studio

When artists take materials such as spider webs, nails, door handles, matches, and elastic straps, – something already manufactured or designed by nature – re-appropriate them and bring them into the gallery it brings up a very good question. Who is the true author?

Linda Sanchez’s doesn’t make the spiderwebs, but she does carefully lift them from various places and weave them together to create a wall piece. Nelson Aires has a jeweler fashion nails out of sterling silver and plainly nails them into the wall. Aï Katahara’s drawings for a self-rotating door handle are actualized by a motor behind the opposite facing wall. Those matches that were carefully inserted into the wall to form the letters ‘EVERYTHING IS GONNA BURN’ were burned by Guillame Abdi. Julien Mijangos uses black elastic ribbon to cut gallery space horizontally and vertically in his site specific installation.

Lawrence Weiner, IN AND OUT. OUT AND IN. AND IN AND OUT. AND OUT AND IN. Galerie Odile Ouizeman. Photo: Mushi Mushi Studio

Works on exhibit at each of the spaces carry the same aesthetic mark – minimal, slick, and ironic. Although “there is no dominating medium” and works “range from one-off pieces to series,” there is a quiet residue of previous action. In their post-production state we can still feel the fire, gunshot, hammer and drill. If this is an example of the future of curating, art, and the gallery; it’s a kind of a relief that we will not grow old together.

through september @ Galerie Marion Meyer, Galerie Odile Ouizeman, and Galerie Nuke, and Galerie Bertrand Grimont

At first glance Benjamin Davies’ work reminds one of crayons, youth, and simple expressions. Under closer inspection of line quality and gesture, we begin to see something more mature – something more emotional and cubist. Always having drawn and self taught, we see his understanding of gesture in Self-portrait 01. The face is set at a three-quarters angle yet the torso is straight on, indicated by the shading on the neck. There is a defining general outline that is complimented by quick spurts of shading in a lighter stroke done by finger. The quality of the hair is yet another technique, bringing together a simple and yet complex range of emotion.

Benjamin Davies, Self-portrait 01

It’s not a surprise that the aesthetic of Davies’ work is influence by artists Pablo Picasso, Francis Bacon, and Jean Michael Basquiat. Although every-day life, moods, and feelings drive him. His goal is to capture and convey his feelings at the time of drawing.

“My preferred medium is charcoal and paint on paper or canvas with a tendency to use my fingers as much, if not more, than a brush to bring out the emotion in my work. I will, maybe, introduce a basic outline or image with a brush or charcoal and build on it from that with my fingers. Paint brushes seem a bit restrictive to me.”

Benjamin Davies, Self-portrait 02

His work is driven by feelings of “uncertainty, a little bit of anger and the tendency to ponder/dwell over things.” These “things” could be relationships, responses to politics or things that he sees on the news. Self-portrait 02 is a simpler take on the portrait shown in two sequential profiles. Again, there is a general outline complimented by a lighter finger gesture that gives the feeling of motion, leading one profile into another. We have the sense of someone being shadowed in either a menacing or helpful manner, depending on our take of the image.

Davies will debut his portraits at Artspace in September. Until then he continues to work with the portrait, “I still want to continue with portraits as i feel there is still more depth there. I also want to explore the female body, with there suggestive expression and emotion. Also, possibly, my take on certain landmarks (statue of liberty) and possibly some political messages. There’s lots of stuff floating about.”

Check out more of his work Artspace Galleries until the end of September and at www.benjamindaviesart.com or email any questions directly to the artist at benjamindaviesart@yahoo.co.uk