Curated by Florence Derieux and Antoine Marchand
Whether using or showing photocopies, magazines, or film posters, Clément Rodzielski questions the conditions of the appearance, production and circulation of images in his work. On the occasion of his exhibition in the Chapelle de l’Ancien Collège des Jésuites, Rodzielski has chosen to bring together an ensemble of works that all revolve around notions of appropriation. Indeed, he has appropriated a heterogeneous array of objects and materials that he manipulates and modifies according to various operations. Whether cut out, reframed, painted or recovered, all are ways of questioning the visitor about the very nature of the objects presented.
In this way, the exhibition posters are in the format of JCDecaux. The poster, as a medium of communication, is by essence a reproducible object. Clément Rodzielski’s intervention therefore makes of it a unique object that accumulates the functions of presentation in addition to those of communication. It then goes from being a device of peripheral announcement to being an element wholly independent of the exhibition.
Similarly, on the central platform, the busts borrowed from the display cases become the support structures for miniscule paintings.
Finally, with the ensemble of A4 format sheets of paper presented at the back of the Chapelle, Rodzielski summons a repertoire of forms, fragments of internet pages, bits of scrap in a sense, generated by the very memory of computers.
Clément Rodzielski (born in Albi in 1979; lives and works in Paris) graduated from the Ecole nationale supérieure des beaux-arts in Paris. He is represented by the Chantal Crousel gallery in Paris and the Campoli Presti gallery in London. His work was recently exhibited at the Fondation Ricard and at the Palais de Tokyo in Paris, at the GAMeC in Bergamo and at the Bielefelder Kunstverein. Furthermore, from November 2011 to January 2012, Rodzielski was invited by the FRAC Champagne-Ardenne for a residency in liaison with the Lycée Val de Murigny. There, he also created an exhibition between May 16th and June 15th 2012, as part of the PAG Espaces de l’œuvre, which links together the Campus scolaire Jean-Baptiste Colbert, the Lycée Val de Murigny, the Collège Pierre Brossolette and the Collège Trois-Fontaines.
With support from Champagne Pommery
Opening on saturday 19 May at 6pm
Performance at 7pm15
Exhibition Curator: Antoine Marchand
Thomas Dupouy’s work explores the often porous frontiers between sound art and contemporary art by integrating sound as a medium or as a simple referent. Indeed, he approaches the figurative dimension through a sculptural representation that is distinct from strictly sonorous considerations per se. The temporality related to the very nature of sound and perceptual conditions is a means of opening up his work to different fields of experimentation. The idea of sending and receiving is omnipresent in his work.
The Chapelle de l’Ancien Collège des Jésuites is powerfully symbolic, in defiance of a classic exhibition site. Our way of looking at it is unquestionably conditioned by its singular history and architecture. In this exhibit, Thomas Dupouy thus calls into question what we project onto this kind of building. He does so by focusing on its acoustic qualities, especially the highly symbolic elevation of sound.
Echoing his Harmonie des spheres (Harmony of Spheres) exhibit on the Colbert School Campus, presented simultaneously, Thomas Dupouy uses Pythorean theorems, such as the idea according to which equilibrium – or harmony – keeps the earth functioning, a theory often qualified as the “harmony of the spheres”. He has thus created a work of sound that maintains a balance of audio “feedback” (the Larsen Effect), played by an amplifier and guitar. This feedback is treated so that it’s composed of a suite of “true” notes (also called a Pythagorean suite), infinite and perfectly ordered, each oscillating with the other. It is a work recalling the polyphonic character of sound divided into several voices; a meditative piece questioning the scales of time and space.
Thomas Dupouy was born in Versailles in 1981. He graduated from the ESAD in Reims in 2008, and also studied electro-acoustics at Césaré, National Centre of Musical Creation in Reims, between 2004 and 2007. His work has notably been exhibited at Tripostal in Lille, at the Plateau / FRAC Île-de-France and at the Centre Pompidou in Paris. During the 2011-2012 school year, at the invitation of the FRAC Champagne-Ardenne, Thomas Dupouy was guest artist in residence in mediation at the Jean-Baptiste Colbert School Campus, as part of the PAG Espaces de l’oeuvre programme.
With support from Champagne Pommery
Opening: April 4 2012 from 6 pm
Curator: Florence Derieux
Materials and their modification are both the point of departure and the culmination of the artistic process for Nicola Martini. His work leans toward the creation of sculptural forms and installations, but its real specificity resides in its development. Martini stages the physical changes in states, which may be linked to the very nature of materials used (resin, synthetic fibres, cement), and provoked by their interaction, or through the use of chemicals. In this way he examines the impossibility of containing matter. Whether it is about adding or removing, or the addition and subtraction of matter, each gesture is laden with meaning.
Though the materials used unquestionably evoke the Arte Povera movement, Martini’s work distances itself from its famous antecedents by the fact that it is not in a poetic or sensitive rapport with the materials, but instead its singularity lies in the very possibilities of a material. It is a permanent experiment leaving room for chance and the unexpected. Thus the chemical principals developed by this young Italian artist lead to a reflection on the role of the artist and the paternity of a work of art, insofar as the works presented metamorphose through time to exist in the beyond, even independently of the presence of the artist himself.
For his very first exhibition in France, Nicola Martini proposes a series of unknown works whose installation resonates directly with the architecture of the former Jesuits school and its very unusual light. Though the three sculptures presented were simultaneously created during his three-month residency at the FRAC Champagne-Ardenne, Nicola Martini nevertheless considers them as independent works. Each is free to acquire connections with each of the others. By the same token, in a clear concern for neutrality, all the works exhibited are entitled Senza Titolo (Untitled), enabling the visitor to attest to their own experience of the work without being influenced by other prior information. Only the exhibition title, About Multiple Events, carries keys to understanding. It allows the possible connections between the different works to appear, and enables the idea of different rhythms, temporalities and levels of reading.
Nicola Martini was born in Florence in 1984. He lives and works in Florence and Milan, where he is a member of the collaborative structure, Laboratorio. His work has been exhibited notably at Macro - Museo d’Arte Contemporanea in Rome in 2012, as part of the Lido Festival, organised in parallel with Artissima in Turin; at Les urbaines festival in Lausanne and at Viafarini DOCVA in Milan in 2011; he also exhibited at the Brown Project Space (Milan) in 2010. He received the Ariane de Rothschild Prize in 2011 and is currently working on the publication of a project on his work entitled Su molteplici manifestazioni, to be co-published by the FRAC Champagne-Ardenne and the Galleria Kaufmann Repetto, and appearing through Kaleidoscope Editions.
Supported by Champagne Pommery