screen 1 . 2 . 3 .
screen 1 . 2 . 3 .
CCNOA center for contemporary non-objective art Brussels, Belgium, is pleased to
present a solo exhibition of new work by French artist Emmanuelle Villard: Paint it,
Black (main space), and a new video and multimedia program ‘screen’ featuring on a
bi-weekly basis experimental video and multimedia works by international artists:
‘Dumpster’ by John Beech & Einar Westerlund (UK/USA), ‘Moving Light: Spring
2005’ by Erika Blumenfeld (USA), and ‘Meanwhile in the same place No. 8’ by Else
Marie Hagen (N) (entrance).
Paint it, Black
Imagine an era in which artists working in the field of abstraction are considered
decorators and the primary quality of abstract painting is that it can be
transformed into wallpaper or packaging for shampoo. Imagine further that in this
era viewers have become accustomed to recognizing a picture before looking at it,
their gaze travelling across the surface of the canvas as it would across the
surface of an everyday world with which they feel totally familiar.
What would that leave painting?
The exhibition draws on a play on language constructed around the concept of what
remains, what is left. First, left in the literal sense of the term: for we know
that paint can be fluid, that it can run, trickle, drip, dislodge itself, spill over
and out of the frame of the picture; that in its descent it can form drops, drips,
diverse 'accidentals' extrinsic to the artistic intention; and that these remains,
the 'residue' as it were of the picture, become an integral part of the work. And
second, left in the figurative sense of the term: reflecting on the history of
abstraction and the various formal shifts that lead it to flirt with decoration and
design, I cannot but wonder what is there left of abstract painting today.
A dialogue between three propositions
The first, which gives the exhibition its title, is a triptych. The picture has
deserted the wall, leaving in its place a wall painting, 'disembodied', basic in
form and execution. The 'body' of the painting is transposed to the piece in
suspension, both design and baroque in its inspiration. It looks as if it has been
immersed in paint and then left to drip, to dry very slowly, before being put on
display. The floor piece is vertical to the suspended piece, marking the place taken
up below it by this hypothetical dispersion of matter. And yet this residue creates
on the floor a strange length of lace - something between a napkin and a carpet - as
if, on coming into contact with the exhibition space, these pictural remains have
been transformed into a composition that is essentially decorative. These shifts of
sense and form between the three elements are also acted out in spatial terms: the
composition as a whole, the quality of the different materials and the different
qual
ities of black change as the viewer moves around the exhibition space inciting him
to observe not just from one but from many view points.
The two other propositons are pictures which play ironically and without complex on
the seductive artifices associated with the fair, with show business. They draw on
two 'classical' registers - the drip and the stripe - highlighted here by the use of
glitter. Playing with the light and the angle of vision of the viewer the glitter
'illuminates' or 'extinguishes' the pictures as if they were everyday objects.
Each of the propositions aims to question the way in which the viewer 'views', by
multiplying his points of vision, both in the space itself but also by proposing a
to-ing and fro-ing between the field of the abstract painting and the field of the
object. But with special attention to the surface: as a 'trompe-l'oeil' or
'trompe-sens' and, by extension, as a tool for questioning perception. (Emmanuelle
Villard, 2007)
For additional information, please contact Sacha Goerg sacha@ccnoa.org
CCNOA
Center for Contemporary Non-Objective Art
Boulevard Barthelemylaan 5 - Brussels