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20/8/2013

Fanny Zaman / Evi Vingerling

Wiels - Contemporary Art Center, Bruxelles

Fanny Zaman: Inhabiting the Surface

Former artist in residency Fanny Zaman presents her new film entitled Local (Draft Version), alongside a series of photographs from her earlier film DplusOne.

Premiered at FIDMarseille 2012, DplusOne is a portrait of a newly installed electronic trade system set in Addis Ababa, Ethiopia: the Ethiopian Commodity Exchange (ECX). The camera closes in on the traders slowly observing people, interiors, comments and gestures up to the point where details start to reveal alternative layers, noise and complexity. DplusOne portrays the economic subsurface of this particular set and engenders an ambivalent image.

Local (Draft Version) is like an extension of DplusOne, except that the film is more staged and fictionalized, and focuses on another character, the "local". Based on conversations with market maker Elie Ayache, the film moves from reality to fiction.

On the occasion of her exhibition, the artist will launch her new publication which includes a booklet and a dvd with the 2 films DplusOne 2012 and Local (Draft Version) 2013.

Residency
D plus one is a portrait of a newly installed electronic trade system set in Addis Ababa, Ethiopia. The Ethiopian Commodity Exchange (ECX), for coffee, sesame and beans is in its initial stage. At the time of shoot ECX is only 4 years old. It is a central system set-up according to international standards (i.e. linear, rational, logical, clean and technical). The camera settles itself amongst the traders (the set) slowly observing people, interior, comments and gestures until details reveal alternative layers, noise and complexity. D plus one portrays the economics within this particular set and produces an ambivalent image.

"From Surface (FID 2008 competition) to Song-Mountain Area (FID 2010), Fanny Zaman has largely proved her curiosity which is always devoted to invisible and ungraspable processes. This time we are at the Agricultural Exchange in Addis Ababa. It is a new adventure for Ethiopia, and more widely for a part of Black Africa, equipped with a system of electronic commerce aimed at the exchange mostly of coffee and corn, and she tracks secrets there. Fanny Zaman slowly unwinds from a geography of bodies and terri- tories to screen languages while preserving, with her usual sense of mystery, the complexity of relationships generated by this grafting of modernity." (FID 2012 catalogue)

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Evi Vingerling

Evi Vingerling’s paintings are not a hole in the wall or a portrayal of a fictive world. The paintings are mostly two colors, one color functioning as background and one as foreground.

“Vingerling says that sometimes, when she is not purposely looking, the world appears around her as a series of planes, patterns, and colors. Her paintings are a result of this in cohesive perspective. The object of the painting is freed of its symbolic and historic meaning.”*

“The unique ‘range’ of Vingerling’s work lies in this open dispersal of the viewer’s attention. Looking at the work, you are not staring obsessively at thick or incomprehensible layers of paint, as in traditional modern painting – your attention is in fact scattered and dispersed. Both substantively and physically the area you are looking at and thinking about as you look keeps expanding. This is also a very subtle but not to be disregarded social or ethical component in the work, because this quietly expanding movement lets you see the world in a cohesive way. It sounds rather grandiose, but if you were to distil a worldview from Vingerling’s works, this is not a view that starts from a centre, but one in which a variety of things exist alongside and in conjunction with one another. The motifs that interest Vingerling reflect this complex cohesion. Bushes, plants, or landscapes, which are not identifiable in their totality as bush, plant or landscape on the canvas, but are primarily to be seen as a cohesion of visual relationships.”**

“There are many drawings and studies necessary to come to the point, in which she is able to make that image, the sensual experience of that one moment, come together so purposely and direct, on the canvas. What is the experience that Evi Vingerling is looking to pass on through her paintings? “I don’t know what it is but that it is grand and that it is happiness.” She cites from Walt Whitman’s Leaves of Grass. Whitman was a transcendentalist in the 19th century who thought we should stay more aware of our actual surroundings. That we should be conscious of those perceptible sensations, which are brief and at the same time material, as her work shows.” *

Evi Vingerling (Gouda, 1979) lives and works in Amsterdam and Eindhoven. She has exhibited her work widly within the Netherlands and abroad. Recent exhibitions include solo shows at Stedelijk Museum Schiedam, and Ellen de Bruijne Projects in Amsterdam. In 2012 she won the Koninlijke Prijs voor Vrije Schilderkunst in the Netherlands. Vingerling’s work is in the collections of several museums in the Netherlands, including Stedelijk Museum Schiedam and Boijmans van Beuningen.

Excerpts by Janneke Wesseling (NRC 24/05/13)* and Steven ten Thijen**

Image: Fanny Zaman

Press & communication:
Micha Pycke +32 (0)2 3400051 micha.pycke@wiels.org

Opening Wednesday 21.08.2013, h 18:00.

WIELS, Contemporary Art Centre
Av. Van Volxemlaan 354, 1190 Brussels
Opening hours
Wednesday – Sunday: 11.00 – 18.00
Nocturne: every 1st and 3rd Wednesday of the Month: 11.00 – 21.00
Closed: Monday – Tuesday
Tickets
8 € Individual visitor
5 € Students (+18), teachers, seniors (+60), groups (> 10 pers)
3 € Students (12–18), schoolgroups, unemployed
1,25 € Ticket ‘Article 27’
0 € Children (12 years old), accompanied by their parents
0 € Every first Wednesday of the month

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