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Supporting French-American Cultural Exchange in Education and the Arts

 

GRANTS TO ARTISTIC PROJECTS

 

Confinement

Franck Apertet, Annie Vigier, Till Roeskens, Jean-Michel Pancin, Myriam Mihindou, Nicolas Daubanes, Mathieu Pernot, Catherine Poncin.
Group Show

Contemporary Arts Center Cincinnati
November 22, 2019 – February 29, 2020

Curated by Valentine Umansky

Confinement is a direct response to Samuel Beckett’s Happy Days (1961), which sees a woman buried up to her neck in the sand. Under the blazing sun, Winnie is anchored in a mound, her belongings gathered in a black bag, which she treasures just as much as she does the daily routine of taking her belongings in and out of the pouch. A tribute to Winnie, this group exhibition highlights the ambiguities of a notion that evokes both the protection of the cocoon and the constriction of the enclosed space. The exhibition, which includes eight French artists, is divided into three sections spiraling around a central, core installation. Its four parts are: The core piece: Géographie. Uterpan. – Precedents – Seeking shelter. Which bodies/which refuge ? – Institutional constriction systems. On the (im)possibility of mapping out confinement.

 

The New Inflation

Liv Schulman
Solo Show

Bemis Center for Contemporary Art
Omaha, NE
October 2019 – June 2020

Curated by Sylvie Fortin.

The New Inflation is a performance in four episodes that combines several layers of narrative systems: through the use of a group of actors, staged sculptures, lecturing, a funny/depressing form of stand-up comedy, and other unimaginable ways, Schulman will try to dress the portrait of a disenchanted economy – one in which singularity is explored as a refugee of the universe – based on the principle of error. Using the idea of crisis as a resource, she follows the very well-known phenomenon of devaluation to explore a mythology: Inflation. She includes aspects of inflation that create new forms of relationships, new interior designs, new wallpapers, new relations to language, and new fantasies, but focuses mainly on inflation as a link between one and the universe. In a frantic form of storytelling, the narrative relies on global mistakes as a form of positivity, forming a system of thought based on the idea of error as opportunity, and allowing signifiers to slide into one another via similitude. Here, a mass of stories converge towards a possible reading of a form of economy that is as global as personal. The universe, and its expansion become a new name to singularity. Liv Schulman received the Prix Ricard Prize in 2018.

Tree Identification for Beginner

Yto Barrada
Solo Show

The CAC – Contemporary Art Center
New Orleans, LA
March 7, 2020 – June 4, 2020

Curated by : Andrea Andersson

Tree Identification for Beginners is an exhibition of film, sculpture, installation and performance. The film interweaves political and personal history and myth; a construction from archival materials, journals and textiles, it begins with a narration of Barrada’s mother’s participation in 1966 during a US-sponsored trip to the United States for “Young African Leaders”. The film and installation –comprised of textile, image and sculpture- appropriate structures and methodologies from ethnography, natural history and archaeology as well as educational theory, to examine both the systems and mythologies employed to identify and categorize people and objects. With her installation, Barrada will bring her attention and curiosity to the specific history of New Orleans, and its relationship to both France and North Africa. The exhibition will include a night of performance, in which the artist will provide a live soundtrack to her film, using found materials.

 

Tangier Requiem

Yto Barrada
Solo Show

Lower Manhattan Cultural Council @ Governors Island art center
New York, NY
September 11 – October 31, 2019

Curated by Omar Berrada.

Loosely structured around several abstract motifs that are anchored in specific historic moments, this exhibit will consider the military history of Governors Island, the colonial history of Tanger, Morocco, and the environmental predicament of Tangier, VA in the context of a playful investigation of how humans have dealt, and are dealing, with the possible end of the world. Curated by Omar Berrada, the installation will consist of a heterogeneous and poetic assemblages of sculptures, objects, and moving images. Aesthetic points of reference include native arrowheads, the craft of woodcarving, and the many geometric forms of crab traps. Hand-dyed linen shades will create atmospheric interactions of color and light, interplaying with the 17 light-filled windows that line the gallery space.

 

Waiting for Omar Gatlato

Massinissa Selmani, Karim Ghellousti, Djamel Tatah, FayCal Baghriche, Yazid Oulab, Hakima El Djoudi, Sara Sadik, Halida Boughriet, Dania Reymond, Louisa Barbari.
Group Show

The Wallach Art Gallery
New York, NY
October 26, 2019 – March 15, 2020

Curated by Natasha Marie Llorens

Following the curators’ previous Etant donnés curatorial fellowship in France and Algeria, Waiting for Omar Gatlato is conceived as a broad survey of both established Algerian artists and those from the generation now coming of age in a post-civil war Algeria and in its diaspora. Waiting for Omar Gatlato is –first- the title of a book published in 1979 by the Algerian lawyer, feminist, and film critic Wassyla Tamzali. Waiting for Omar Gatlato responds directly to the specificity of Algeria’s socio-historical context by bringing visibility to artists living and working in France and Algeria. The project’s methodology works against the country’s conflation with its more affluent neighbors, namely Dubai and Abu Dhabi in the Gulf, and against its marginalization by the international art world more broadly. The exhibition also responds to an aporia with regard to Algeria and its French diaspora specific to New York’s art world and academic departmental categories, which has a tendency to see North Africa together with the Middle East.

 

Frederik Douglas: A Narrative of Liberation

RaphaEl Barontini
Commission for a solo project

Savannah College of Art and Design (SCAD)
Savannah, GA
October 2019 – February 2020

Curated by: Storme Janse van Rensburg

After visiting Savannah, Georgia to research the site – as well as the collections of the museum and the African-American art and artifact collection of Dr. Walter O.Evans – the artist will develop a proposal for a site and theme-specific project. SCAD museum of Art annually commissions new works that consider and respond, among other things, to place and history –of our building, the city of Savannah, the South, and the United States- from nuanced local and international perspectives. Barontini’s practice consists largerly of layered textile-based installations with richly embellished surfaces, including new images constructed by the artist from existing sources. He draws from colonial and African art historical references, which he transforms through a process of collage to create new visual vocabularies. Installations also reference and present flags and objects associated with pageantry, ship sails and tent-like enclosures. Barontini also considers sound and performance to be integral to this commission. He will create a series of flags and epaulettes to accompany a local high school marching band which will perform at the exhibition’s opening night.

 

AS DEEP AS I COULD REMEMBER, AS FAR AS I COULD SEE.

Tarik Kiswanson
Solo show - Performance

Performa
New York, NY
November 20 – November 24, 2019

Curated by Charles Aubin 

Co-commissioned by Performa and Lafayette Anticipations in Paris, and based on his book of the same title, AS DEEP AS I COULD REMEMBER, AS FAR AS I COULD SEE is Tarik Kiswanson’s most ambitious work to date. Conceived of as a large-scale installation and performance, for its premiere in Paris in May 2018, Kiswanson cast a cohort of eleven-year old children to perform poetical texts combining fragments of childhood sensations and adult reflections that contemplate the turbulent world in which we live. For Performa 19, Kiswanson will expand the work into a new iteration produced specifically for New York. The work will bring together a group of 11 young NYC residents of various backgrounds and origins. Presented at a moment of great uncertainty and instability for immigrants, especially for those of Arab descent, the cosmopolitan thinking and pluralist values in the work aim to foster greater understanding and intercultural dialogue among participants and audiences alike.

 

Huguette Caland: Tête-à-tête

Huguette Caland
Solo Show

The Drawing Center
New York, NY
May 22, 2020 – September 13, 2020

Curated by: Claire Gilman

Embracing the instrinsic sexuality of the human body in her early canvases, Caland briefly came to international prominence in the 1970’s; yet, it is the explicit manner in which she expresses sensuality through drawing that has precipitated her recent resurfacing. Caland’s pencil and color pencil drawings from the 1970’s and 1980’s, for instance, at first appear empty or abstract, but closer observation of the artist’s decisively drawn lines reveals tender images of caressing lovers and whimsical portraits of smiling women. Often, Caland uses a single line to convey a body part or intimate gesture, and incorporates the white of the page as an integral part of the drawing process. Extending her drawing practice to fashion in the early 1970’s, Caland created a series of one hundred kaftans and embroidered many of these with schematic images of breasts and female genitalia. The tension between the nakedness of the human body and the fabrics that conceal It once again became a central theme in Caland’s drawing practice beginning in the early 1990’s, both in the artist’s delicately cross-hatched ink drawings that resemble woven textiles and in her series of nude mannequins that are embellished with these same designs.

 

Passages, a symposium, film, screenings, performances and talks.

Lili Reynaud Dewar, ValErie Chartrain, DorothEe Dupuis, Caroline Mesquita, Marie Angeletti, Emilie Pitoiset
Symposium

The Third Rail
Minneapolis, MN
September 28 & 29,2019.

Curated by Sandra Teitge / Petunia.

This project includes a weekend symposium of performances, screenings, readings and discussions over the last weekend of September 2019 at company projects/The Third Rail in Minneapolis and in various locations in downtown Minneapolis, including the city’s iconic skyway system, in which the Goethe Pop Up is situated.

 

“Language”: The Manuscripts of Pierre Guyotat

Pierre Guyotat
Solo show

Artists Space
New York, NY
March 2020 – May 2020

Curated by: Jamie Stevens

Pierre Guyotat’s project is one of the acute dissolution of language. Railing against conventional form, he has created a style that is both fragmented and syntactically complex. Guyotat’s writing is imbued with questions of sexuality and violence, and challenges normative bourgeois notions of morality through a provocative representation of libidinal desire. This exhibition will showcase archival materials, texts, and visual works produced by Guyotat over the course his lifetime, providing a broad and multifaceted examination of his important legacy.

 

 

CURATORIAL FELLOWSHIPs

 

David Familian
Artistic director, curator.
Beall Center for Art + Technology
Irvine, CA

Project title: Research on the work of Vera Molnar for an exhibition at the Beall Center for Art + Technology, UC Irvine.

The purpose of this trip will be focus on the breadth of Vera Molnar’s artistic practice in preparation for a comprehensive survey exhibition at the Beall Center for Art+Technology. David Familian’s interest in Molnar’s work derives from his initial research into computational art and music from 1950-1970’s that investigated both the aesthetic aspects of the work but also the computational techniques to create this art.

 

Denise Markonish
Senior curator, managing director of exhibitions
The Massachusetts Museum of Contemporary Arts (MoCA)
North Adams, MA

Project title: Laurent Grasso Research

The purpose of this trip is to prepare for Laurent Grasso’s new exhibition at the Mass MOCA.

Merging of the miraculous and the scientific is emblematic of Laurent Grasso’s work, which bends time, space and the immensity of the universe to create a vertiginous sense of history. In his series Studies into the Past, Grasso creates seemingly historic paintings, with the help of conservators, that transport us to the time of Flemish and Italian painters of the 15th and 16th centuries – Brueghel,  Piero Della Francesca, Fra Angelico, Boticelli. Grasso confounds the narrative here- a man on horseback looks skyward, but rather than the sun or other predictably celestial phenomenon, hovering above him is a large spiked ball. Grasso suggests that there can be parallel realities and that we still feel the ghosts of history.

 

 

ETANT DONNES RESIDENCIES

 

The Black Mountain

Sylvain Couzinet Jacques

Residency in collaboration with The Black Mountain College Museum + Arts Center. Asheville, NC

The artists will explore the history and specificity of the Black Mountain College and the elasticity of time through images of its past and utopian desires. The Black Mountain is a video project set on the historic place of the Black Mountain College in North Carolina, USA. The video will be based on stories, happenings and events which happened during the period of its activities (1933-1957). Reenacting moments fixed on photographs during its years of activity and designed as a tribute, the film will be looking for visual expression and freedom, frozen in time. Crossing boundaries between performance, documentary approaches and free form, the project is a collaboration with the BMC Art Museum in Asheville, North Carolina.
The story of Black Mountain College begins in 1933. It is a fascinating chapter in the history of education and the arts. Conceived by John A. Rice, Black Mountain College was born out of a desire to create a new type of college based on John Dewey’s principles of progressive education.. It was owned and operated by the faculty and was committed to democratic governance and to the idea that the arts are central to the experience of learning. Twenty minutes east of Asheville in North Carolina, the secluded environment fostered a strong sense of individuality and creative intensity. Life in community, self-management and the desire to be part of a rural reality partly define the project as it is conceived in its early days during the economic crisis. Legendary even in its own time, Black Mountain College attracted and created maverick spirits, some of whom went on to become well-known and extremely influential individuals in the latter half of the 20th century.  BMC has been the major laboratory of the most recent initiatives in the United States, on the artistic, educational and political fronts, and the center of a true revolution of minds. . Materials such as the photographic archives, the BMC Review, letters of correspondence or anecdotes reported a posteriori by the authors or students, are the subject of the project The Black Mountain. More than a reference in history of art, the BMC contains the philosophy of community and experimental daily life colored by prospective ideas which is also part of my Eden project. The artist will explore the elasticity of time through images of its past and utopian desires.
“There (in Back Mountain College), I would recreate “historical” moments, living sculptures which would be filmed and represented like tributes and ghostly appearances of our contemporary time mixed together”.

This Residency is made possible with the support of the Institut Français – Paris

 

Swallowing Surfaces; If They Swell

Laure Vigna

Residency in collaboration with  Yucca Valley Material Lab and FLAX LA
Yucca Valley, CA

Laure Vigna is a sculptor. Taking an interest on the history of materials, their interrelation and their modification through time and human’s work, Laure Vigna will train and experiment the technique of fused glass. Laure Vigna builds narratives in which matter is a subject.  Glass holds a special place in this set and body of work, from its materiality, being invisible and transparent, and its malleability.

During this residency that will unfold in two phases, the artists will explore the myths of body transformation, and existing (or potential) relationships between the living and the non-living, which can be applied to the principles of metamorphosis that are implemented in her sculptural work.
Within the work time at YVML and FLAX, the Mojave Desert and the practice of glass will be a full-fledged context for studying myths of transformation through the representation of bodies in Native American and contemporary legends related to the territory of South California. The desert, at first an empty space in constant motion, is simultaneously a surface charged with a single, tiny and dispersed material penetrating everything: dust (sand, earth) forming a thick crust serving as a backdrop on which are woven mythologies and vernacular beliefs.

The Mojave Desert is a land particularly rich in stories. It was originally occupied by several nations tribes that have almost all disappeared: Cahuilla, Serrano, Chemehuevi and Mojave; all oh which are intimately related to the region of Joshua Tree National Park by the abundance of its natural resources. In the nineteenth century, the Mojave Desert became a mining and oil exploitation territory and it natural ecology became endangered. At the same time, remoteness and isolation made it an ideal area for military and aeronautical tests, with fantasies of space conquest and interstellar travels towards new dimensions and other non-human worlds. But the desert is also a place of contemplation and meditation where the physical vastness has attracted as many utopian colonies, ufologists, artists and other people retreating from the world for mystical exoduses in spiritual quests; Consequently loading this territory of urban legends closely connected to its geography (as the telluric energies vortices) or experimental practices, as in architecture (organic, googie, etc.).
How did the ancestral myths anchor a territory and nourish contemporary narratives? How have these diverse communities evolved, coexisted and reinvented themselves in this environment?

The metamorphosis, space shifting or skin-walkers in Native American culture, illustrates the world inhabited by various species of human or non-human subjects thinking and living in the same continuity, and not in a nature – culture opposition as it is the case in our Western society.

This Residency is made possible with the support of the Institut Français – Paris

 

The Science of Cities Brooklyn/Maputo

Teo Betin

Residency at Residency Unlimited
New York, NY

Teo Bétin is a sculptor. Though this project, he will explore the special relationship between Maputo in Mozambique and Brooklyn: A history of colonization, waves of migration, that of identities to reinvent. Mostly using fragments of furniture and objects that he collects on the streets and in people’s homes, he builds new spaces. He also photographs buildings that he integrates into his assemblies. He also will paint and then burn his buildings. His sculptures are a way to question how spaces and their architectures influence the behavior of city dwellers and vice versa.  They are also a way to question how people transform cities and their buildings and divert their uses – Where are the «temples» and what are the rituals?

He will also organize a symposium within one of his sculptures to host a think-tank on spaces of the city and the possibility of a future already present, with Professor Mamadou Diouf (from Columbia University) and Senegalese artist Cheikh Ndiaye (based in New York) who have worked together on African cities. This sculpture will be a place to welcome rituals, individualities and their memories.

“I saw an image of Paul Auster’s book Sunset Park – in which, the story of these young people back in New York, who find themselves in a squat in Brooklyn, during the financial crisis of 2008 – leads me to the ruin down the building I used to live in Mozambique, a former store half destroyed in a fire, occupied by a group of young men who came from the province to work. I found the painting Untitled-Car crash of Basquiat, related to his car accident in front of his family’s home in Brooklyn. This strange relationship between the car and the anatomy came with this wave of suicide in Maputo: young people are killing themselves by swallowing large quantities of car battery fluid. A mixture of sulphuric acid and demineralized water. Which relationship could you have with your car to imagine killing yourself with the element that is precisely essential for starting it? What relation to Transhumanism to think of death in such a technical, chemical way?”

This Residency is made possible with the support of the Institut Français – Paris

 

Morphings

Sergio Verastegui

Residency at Praz Delavallade Los Angeles Gallery
Los Angeles, CA

Sergio Verastegui is a sculptor. His project is aimed at preparing a new series of sculptures, one of which will be exhibited at the show “The Sound of Silence’ taking place in at Praz-Delavallade Los Angeles gallery, then at the project space Solo Show at Unit 5 Space.

The artist will focus on the imaginary of the city in relation to cinema and Hollywood, which marks the unconscious of its inhabitants. He looks forward to finding the ghostly presence of spectacle and the ideology behind it.
The new pieces will also focus on the poetical relation between materials and objects, in order to create out of these fragmented narrative. The notion of “morphing” will be used as a modus operandi. Morphing is a special effect in motion pictures and animations that changes (or morphs) one image or shape into another through a seamless transition. Morphing is often used as part of a fantasy or surreal sequence.

“The idea of morphing could be extensive to any image, but usually is very used on human faces (celebrity’s faces for instance). Morphing is also linked to the notion of “face recognition” which is related to neuro-cognitive research. There is a neurological problem that happens when somebody’s facial recognition brain zone is damaged. This trouble is called “Prosopagnosia”, and people who suffer from it cannot recognize any faces, including their own.”

He will explore his idea of “morphing” with a bigger set of pieces that will amplify the initial ideas, causing collisions between faces, objects, volume and space.

These pieces will result in sculptures and videos.

This Residency is made possible with the support of the CPGA – Comité Professionnel des Galeries d’Art.

 

 



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