I AM A MERMAID
“Reality is a negotiated version of reality, where both the researcher and the participants bring their experiences to the negotiated reality” P.
Performance art is generally experienced live, but what documents it and ensures its enduring life is, above all, photography.
Alice Rosati’s performance is staged expressly for the camera, in some cases in presence of an audience in others not, with the result of images that are not just recordings of that specific event but also become autonomous work of art.
At the center of these pictures there is the performer, Alice Rosati, without a face, behind a mask, covered by a golden lamée mermaid suit. Performance in this context is seen as both a form of investigation and a form of representation where the photographs bring the viewer very close to the action.
The mermaid as a performative self-portrait, in which she emulates / reproduce poses, settings of our everyday life in different locations around the world.
Why a mermaid suit? Her transfiguration proposes us a dialectical vision of the absurdity of reality, debunking with irony contemporary art.
As Léa Chauvel-Lévy writes in the preface of Alice’s first edition I AM A MERMAID (published by Kahl Editions): “The mermaid surpasses the identity of a fantastic marine creature, because it is mainly disappearance that she is seeking at any price”.
The mermaid plays different roles and refers to different aspects of human condition, from questioning the reality of existence, to the difficulty to adapt and find a place in modern society, where the landscapes become the playground / theatre of Alice’s performance.
It’s the medium through which the artist is experimenting with her own identity and her surroundings. When an individual “plays a part” or “perform” he implicitly requests his observer to take seriously the impression that is fostered before them. By asking anyone to photograph / “freeze” the performance, Alice makes the viewer participant of her truth, with the final result of images that push the observer to ask himself which is the real world that surrounds him.
Alice Rosati, born in Milan in 1985 is a self-taught artist that forms her artistic personality in her father’s advertising studio where she absorbs the chromatic and aesthetic sense, that will be, together with the study of the artist’s egotism and of “the artness of art or artworks as embodied meanings” (Arthur Danto) the main part of the research. In 2011, together with her husband Tommaso Foggini she co-founded Sanssouci magazine, a multi format editorial project that embraces the best of contemporary art in all its forms and expression. Alice is a storyteller, a polyhedric artist using different media, such as photography, to have us travel in a hidden reality, where her personal diary becomes a performance allowing the viewer to enter her “never ending tale” (Nello Tajetti).
Her first edition I AM A MERMAID, published by Kahl Editions, will be released on the 19th of January with a book signing at 0fr gallery from 5pm to 8pm, followed by a personal exhibition at Gallerie Charredeau on the 25th of January from 6pm to 9pm.
Written by Sarah de Scisciolo.
THE WAY THE MORNING BROKE WAS QUITE UNUSUAL
Pour sa première exposition personnelle « The way the morning broke was quite unusual » à la galerie Charraudeau, l’artiste belge Ruben Boeren a travaillé sur le thème de la transformation et de l’impermanence de la matière. Accompagné d’oeuvres de sa précédente exposition « Arcane rumble », il continue son récit autour d’un épisode particulier qu’il a vécu un matin de l’été 2018. Cette expérience a apporté un nouveau sens à son oeuvre comme le montrent ses travaux les plus récents.
Ruben Boeren, né en 1988, vit et travaille à Anvers en Belgique. Il a étudié la peinture à l’Académie Royale des Beaux-arts d’Anvers avant d’obtenir un diplôme en Recherche artistique à l’École d’art Saint-Lucas d’Anvers.
Son travail explore l’équilibre entre le support et l’image en déplaçant des aspects hors de leur contexte d’origine. Il réalise ainsi une présentation manipulée à travers un croisement entre le montage analogique et numérique. Le résultat crée souvent de nouvelles couches de sens, d’associations et d’interactions.
Bien qu’il ait commencé avec la peinture, plusieurs éléments de sa pratique se chevauchent et commencent à se connecter différemment les uns aux autres, ce qui déclenche de nouvelles interventions picturales et ouvre des possibilités pour un travail plus tridimensionnel et in situ.
Le support et l’image sont constamment réinterprétés, provoquant un changement dans le processus de visualisation, caractéristique de son language visuel et de son travail.
For his first solo show at Galerie Charraudeau ‘The way the morning broke was quite unusual’ Belgian artist Ruben Boeren worked around the central theme of transformation and the impermanence of matter.
Combined with a selection of works from his previous show ‘Arcane Rumble’, he continues the narrative he is spinning around a particular experience which happened one morning during the summer of 2018. This experience generated new meaning in his art and can be felt in his most recent work.
Ruben Boeren (1988) lives and work in Antwerp, Belgium. He studied Painting at the Royal Academy of Fine Arts, followed by a post-graduate in Artistic Research at the Sint-Lucas School of Arts, both in Antwerp.
By placing aspects out of their original context, Antwerp based visual artist Ruben Boeren investigates the balance between medium and image. As such he creates a manipulated presentation through a crossover between analog and digital editing. Its result often generates new layers of meaning, associations and interactions.
Although he started as a painter, an overlap between several aspects of his practice now occurs. Elements start connecting differently to one another which triggers new ‘painterly’interventions or translations and open up the possibilities to the more 3-dimentional and in-situ work.
Both medium and image are constantly reinterpreted, causing a shift in the viewing process, which is characteristic for his visual language and work.
TILL NATURE DO US PART
Primarily nature conceived its own self-destructive future. This biological death brought us into new era of non-organic renaissance inspired by living organisms, life processes, genetic engineering and cloning. Biomimetics creates a system of the imitation of models and functions of various objects found in nature. In essence, it extends to all fields of biological research from physiology and molecular biology to ecology, and from zoology to botany.
Ilya Fedotov-Fedorov studies the relationships between man and nature, science and ritual. The pursuit of immortality originated the practice of ritual mummification, the physical preservation of human bodies.
Digital methods of data storing generate new rituals and preservation modes: metadata, 3D-scanning and modeling, and virtual reality become a digital version of Noah’s ark. Fedotov-Fedorov’s new work poses the question of whether digital images of animals and plants continue nature or manifest its death. The artist looks for connections in the chain nature-human-technology, where each subsequent link emerge from the previous one, gains autonomy, and then subjugates and destroys its antecedent.
The French artist Hugo Servanin during his whole career has been creating a world of Giants, evoking ancient myths about the divine creatures standing at the basis of the human origins. In his work he raises questions about the complexity of a being and his interaction with the environment.
For the exhibition « Till nature do us apart » Servanin introduces two of the central works, in which he questions the fragility and transformation of a human’s body by interacting with natural sources such as oxygen and water. During the exhibition, the sculptures made of steel and plaster breathe and live in order to reach their final condition.
Spaced in Lost II
Les formes délaissées d’un futur fantasmé et d’un présent hésitant
Julie Villard & Simon Brossard, Salomé Chatriot, Paul Creange, Antoine Donzeaud, Samuel Fasse, Mathieu Merlet Briand, Filip-Andreas Skrapic, Sabrina Ratte, Maxime Rossi, Jeanne Vicerial
Une proposition d’ Yvannoé Kruger
Pénates natales est une révélation idiomatique de deux artistes ukrainiens Anton Belinskiy et Nikita Sereda qui examinent les perturbations de la conscience sociale entre le break-down soviétique et l’établissement de la nouvelle ère en Ukraine.
If all you told turned to gold …
Si tu m’aimes, fais moi l’amour, si tu m’aimes pas, fous moi la paix
RITES DE PASSAGE
12 DECEMBRE 2018 – 12 JANVIER 2019
SPACED IN LOST
21 JUIN 2018 – 18 JUILLET 2018
18 OCTOBRE 2016 – 17 NOVEMBRE 2016