calendario eventi  :: 

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9/4/2014

Two exhibitions

le Credac Centre d'art contemporain, Ivry-sur-Seine

Estefanía Peñafiel Loaiza
l'espace épisodique (episodic space)

Estefanía Peñafiel Loaiza, born in Ecuador in 1978, came to France in 2002 to continue her art studies, initially at the Beaux-arts school in Paris and subsequently Lyon.

She has constructed her work around the tension between the visible and the invisible. Invited to exhibit at Le Crédac in 2007, for example, she produced an almost imperceptible piece entitled mirages(s) 2. ligne imaginaire, équateur (2007), a long rubber line on the wall at eye level running parallel to the floor. Like the way one indicates the horizon, this line, radical and precise at one and the same time, conjures up the imaginary line of the equator in her native Ecuador.

Peñafiel Loaiza has continued to adhere to this esthetic position and the striking economy it shows in the means it employs. There is a play of appropriation and subversion that takes shape, for instance, in acts of destruction (pages with holes, erased ink, rubbed out images) and reconstruction (backwards reading and rewriting) which are perpetrated against images and language. This plastic dimension, however, does not exclude a political position that generates meaning. A vector of memory, the invisible mass of nameless persons—demonstrators, immigrants, extras and supporting roles in movies—is brought to light through traces that are themselves imperceptible.

At the Manufacture des Œillets, the former eyelet factory that is now home to Le Crédac, Peñafiel Loaiza intends to conjure up the earlier use of the site, that is, labor, the noise of machines, mechanical operations. In this building, constructed in 1913 from the American “Daylight Factory” model, daylight once punctuated the machine pace of the work. The artist is focusing on this aspect of the venue, which is inseparable from the world of the working classes, and will be doing art work in the center’s exhibition galleries, as well as the oldest part of the site (the Manufacture’s Main Hall), specifically its clock. The large clock that parceled out the working day of the laborers is now stopped and only its light continues to function.

L’espace épisodique will feature completely new works by Estefanía Peñafiel Loaiza as well as a cycle of films programed by the artist and screened at Ivry’s Le Luxy cinema, including Georges Franju’s Eyes Without A Face (1960), Pedro Costa’s Casa de Lava (1994), and Yorgos Lanthimos’ Canine (2009).

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Benoît-Marie Moriceau,
Rien de plus tout du moins (Nothing More At Least)

In 2007 in Rennes, at the art center 40mcube’s invitation, Benoît-Marie Moriceau used black paint to completely cover the old house where the center was then located. That first intervention can be considered Benoît-Marie Moriceau’s masterful entry into the world of contemporary art. Taking its highly filmic title Psycho from the movies, this masterpiece could have “crushed” the young artist. He has since convinced attentive viewers of his ability to evolve through the formats of a wide range of interventions, from the most spectacular to the most invisible, while always infusing the chosen venue with an atmosphere, a climate of uncanniness, oddity, something inexplicable or eerie.

Moriceau begins with a context, a given place in which he integrates the mechanisms of representation. He seems to be attempting to carry out one of the rules laid down by certain artists starting in the 1970s, that of the “total installation.” He deploys a wealth of means to modify and dramatize the site he is taking over. During his last exhibition in September 2013, for example, at the Galerie Mélanie Rio, a possible film scenario was playing out between the lines, as it were, during the show’s run. It involved reviving a domestic dimension to the town house where the gallery was located, notably with the artist’s reinstalling a dining table in the reception hall, and inviting children to play a building game in front of a chimney fire. Visitors to the show played the main role simply by their presence.

Following a process of careful observation of the space occupied by Le Crédac and the center’s daily workings, the artist will arrange “exhibition situations,” like so many shifts back and forth between the inside and the outside. Moriceau will be working with the large hall, which is almost entirely enclosed in glass, a veritable promontory that affords a priceless view of the city.

It is a sure bet that with Benoît-Marie Moriceau’s work, a venue is never a guarantee that it will respect the function it was originally designed for, quite the opposite. In this case the standard white cube may be but an excuse for an appointment with the unexpected, a place where fiction and reality meet, making possible what the artist is constantly in search of, revelation.

Image: Estefania Peñafiel Loaiza, compte à rebours, 2005 - 2013. Performance, séances de lecture, vidéo / lectures inversées des 18 constitutions politiques de l’Équateur / son ; env. 76h. Courtesy Galerie Alain Gutharc

Opening on Thursday 10 April From 5 to 9 P.M

Centre d'art contemporain d'Ivry - le Crédac
La Manufacture des Œillets
25-29 rue Raspail, 94200 Ivry-sur-Seine
Open every day (except Mondays and bank holidays) from 2 to 6 PM,
weekends from 2 to 7 PM
Free admission

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