calendario eventi  :: 

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7/6/2004

Rien ne presse

Mamco, Geneve

Slow and Steady/Festina Lente,
7th and last part

Valie Export (4th floor)
curator : Caroline Bourgeois
with: le Centre national de la photographie, Paris ; le Centro Andaluz de Arte Contemporáneo, Séville ; le Camden Arts Center, Londres
Born in Austria, in 1940, Valie Export graduated from Vienna's Technical School for Textile Industry in 1964 with a degree in textile design. Her early performative art demanded the involvement of the audience on a visceral level. Unlike her contemporaries, the Viennese actionists, her work was distinctly feminist in nature—intended to provoke social change and to overturn prevailing attitudes toward women. She used her body as a medium—as a challenge to erotic hypocrisy, as a way of perceiving and codifying information and countering the horrifying political realities of the past.

Stéphane Magnin (3rd floor)
Deeply influenced by science fiction, situationism, and the culture of the sixties and seventies, Stéphane Magnin (Paris, 1965) creates environments in progress in which to live, in an aesthetic of recycling, from which everyone can draw references. On our Plateau des Sculptures, the artist will show a new work next to 1,3 G (2002-2003) and Th8kosmos-index I (Gravité zéro) on show since October 2003 and February 2004.

Adel Abdessemed (2nd floor)
Born in Constantine (Algeria) in 1971, this young artists creates videos, happenings and installations about the fracture betwenn eastern and western cultures. The show gathers recent works and news productions.

L'après 1968 (1st floor)
Around 1968, the field of politics was a source of inspiration for many artists. The relative desillusion that follows gave birth to new means of artistic production and ways of criticism highlighting the communities, instead of searching a global vision of humanity. The show gathers works produced between 1968 and 1972 that study the forms and symbolic functions of the collective clothes (James Lee Byars, Lygia Pape, etc.) or the dining table (Moonlanding, Judy Chicago, etc.)

Jean-Luc Blanc (1st floor)
With regard to a series of five drawings dealing with the same character, Jean-Luc Blanc recalls some supporting roles in John Cassavettes 'films, the photograph of a child after a bombing, Delphine Seyrig in 'L'Année dernière à Marienbad', Cinderella's one legged prince charming, and also a strange phrase that haunts him: "a caress despite hands"(...) This archeological discourse held by an artist on the strange sketches he draws is not the usual complementary anecdote offered to the spectator out of charity : on the contrary, this preambule reveals all the layers of imagination of the drawings and shows the consistency and depth of a creative process.
Nicolas Bourriaud, Extrait de - extract from 'Jean-Luc Blanc's secret', Villa Arson, Art : Concept, Galerie Jennifer Flay.

Depara (1st floor)
In collaboration with the C.A.A.C The Pigozzi Collection, Genève
Depara (1928-1997) is the photographer of the night-clubs in Kinshasa-the-Joy, during the great period where the capital of the Democratic Republic of the Congo, resounded every hours et every days with Cha cha cha, Rumba and Mambo, where money was easy as beer and diamants, where love was easy. Depara has photographied the day-life in Kinshasa in 1950-60, in the day, near the swimming pool or in the street, and in the night, he "flashes" the teenagers who devilish dancing on the Zairian Rumba music, the love girls waiting in the nights or naked, and the young and beautiful Franco and his orchestra OK-Jazz.

John Miller | le milieu du jour, 1994-2004 (1st floor)
An exhibition proposed by the Cabinet des estampes, Genève
John Miller (Oklahoma City, 1954) captures images of life in the cities from noon to 2 pm : workers buying a quick lunch, façades of empty houses, sleepers on public benches, New York snowbound streets, as many hardly definable empty moments. The third volume of the publication started in 1996 will be published for this show.

and new presentation of permanent collections

opening Tuesday 8 June, 6:00 pm
with a Nicola L.'s performance, The Blue Cape, at 8 pm.
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ROYAL WEDDING
A video essay on relationships with reality in contemporary practices in art, infotainment and other associated formats.

The title of this project references a media event, namely the wedding of a prince, which is symptomatic of the degree to which events are scripted for live TV broadcast. Mallarmé once wrote, 'The world [was] made to end up as a book.' The broadcast of this marriage similarly implies, in its own way, that the British Empire was made to end up as a television broadcast (see Umberto Eco's famous 1983 book, 'Television: The Lost Transparence').

ROYAL WEDDING is an exhibition in the form of a video essay presented on a monitor in Ghislain Mollet-Viéville's 'apartment' at the MAMCO in Geneva. This think piece was made by means of postproduction curation. Excerpts and quotations of video work by artists of different generations (among them Douglas Gordon, Dan Graham, Pierre Huyghe, Jonas Mekas, Philippe Parreno, Wolfgang Staehle, Barbara Visser and John Williams) are brought to bear on material from various sources, mainly from the sphere of infotainment (reality TV as it might be called today, in the broad sense: documentaries, movies, etc.).

In its endeavor to restore a 'raw' reality, art finds itself on a path parallel to that taken by formats generally associated with infotainment. Live broadcast and its simulation, an obsession with real time, the disappearance of the whole concept of off-camera, the use of shots from different angles and the choice of subjects such as daily life and the disclosure of the intimate come together to produce a reality effect. Contemporary art seems to have seized upon this effect to produce a critical discourse.

Art's borrowings from realist fiction, reality TV and documentaries do not content themselves with operating a passage from an archaic form of realism to a revamped form of hyperrealism. They provoke the sensation that what we are seeing is an aesthetic hallucination of reality. This is the starting point for the production of situations, for the production of the real rather than its presentation or representation.

ROYAL WEDDING is a project produced by Session13 of L'Ecole du Magasin
(the international curatorial training program run by the Magasin) :
Katia Anguelova, Julien Blanpied, Albane Duvillier, Thierry Leviez, Guillaume Mansart and Clément Nouet, supervised by Vincent Pécoil, art critic and independant curator.

9th June - 12th September, opening 8th June 2004
3rd floor, in the "apartment" of Ghislain Mollet-Viéville, Mamco
10 rue des Vieux Grenadiers, 1205 GENEVA, Switzerland
Open from Tuesday to Wednesday : 12 pm - 6 pm, on Saturday and Sunday: 11 am - 6 pm,
closed 1st August and 9th September

information about L'Ecole du Magasin:
Tel: +33 (0) 4 76 21 64 75

Mamco, Musée d'art moderne et contemporain
10 rue des Vieux-Grenadiers
1205 Genève

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