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13/9/2012

Bruno Serralongue and Aaron Flint Jamison

Air de Paris, Paris

Bruno Serralongue
Histoire des avant-dernières luttes

Bruno Serralongue’s new solo show at Air de Paris presents a selection of photographs from his recent series: South Sudan 2011, on the official commemoration of the country’s independence; Kosovo 2009, still in preparation, on the construction of a new country in Europe; and Florange 2012, the working title for a series on the industrial dispute at Arcelor Mittal in France.
Serralongue subverts both the procedures of conceptual photography – revealing the complexity of the real more than exhausting its forms – and a certain dematerialisation at work in contemporary art. Triggering a reversal of the usual state of affairs, he renders visible things which otherwise would be no more than media prompts. Despite the overt construction of his images, however, his intention is neither simply formal or even visible. His way of seeing focuses very much on the veritable historical nature of the events he covers, on the contingency of events which are not self-contained but rather, as he puts it, "endless constructions of possible conflicts via the resolution of the preceding ones."
Here he borrows and tweaks the title of Siegfried Kracauer’s unfinished historical writings, History: The Last Things Before The Last, in images that reveal the full complexity of things and their history: things that are paradoxically intangible in that they reference the endlessly postponed end of history.

Bruno Serralongue was born in Châtellerault in 1968. He lives and works in Paris, and since 2004 has been teaching at the Geneva University of Art and Design. Since completing his studies at the National School of Photography in Arles and Villa Arson in Nice in the 1990s, he has produced a uniquely important body of work that has been exhibited in France and abroad, most recently at the San Francisco Art Institute. He has also had retrospectives at WIELS in Brussels, the Jeu de Paume in Paris, and La Verreina Image Centre in Barcelona. His work is part of many private and public collections, including the Musée d’Art Moderne de la Ville de Paris, Tate Modern in London, the Fotomuseum in Winterthur, the Centre Pompidou and the Cité Nationale de l’Histoire de l’Immigration, Paris. His latest series South Sudan is on show at this year’s Rencontres de la Photographie in Arles. Monographs on his work have been published by Presses du Réel (2002 and 2011) JRP/Ringier (2011).

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Aaron Flint Jamison

Aaron Flint Jamison demonstrates that publishing can be intransitive –without an external purpose – without necessarily being self-reflexive. He does this not only with his splendid magazine Veneer, but also in his works, which in some cases include his books (A Floating Brand, 2012). Like his publications, his works reflect a high level of conceptual and formal mastery. At once artisanal (in their making) and technological (in their workings), they combine the aesthetic with the functional and the autonomous with the indicial. The descriptions are implicitly oxymoronic. While words might be missing, the same can also be said of chances to see his work. But we can confidently predict that this void will soon be filled.

Aaron Flint Jamison (b. 1979, lives and works in Portland, Oregon) has most recently exhibited at the Centre d’Edition Contemporaine in Geneva. In 2011 he had a solo show at castillo/corralès. His work has been seen at MoMA (Print Studio), Culturgest (Porto), Midway Contemporary Art (Minneapolis), Isabella Bortolozzi (Berlin) and the Zentrum Paul Klee in Bern. Aaron Flint Jamison was the instigator of the artist-run centre Department of Safety (2002-2010, Anacortes, Washington State, USA) and co-founder of the YU art centre in Portland.

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in the Vitrine
Jean-Marie Appriou
Ginger Succubes


As a guest at the Air de Paris Vitrine, Jean-Marie Appriou will be presenting a selection from two new series of ceramic sculptures devoted to vampires and dwarfs.
Observing the principle of analogy between subject and method, he gives his ceramics a frankly telluric dimension, never hesitating, for example, to complement mineral matter with fur or other items from the living world. This is sculpture that involves shaping, firing, transformation and intermingling in terms of meaning as well as materials. Just as his flamboyance finds expression in raw technique, folklore leads him to formal subtlety and profundity, notably in the beings on show here: vampires and mythological figures.

Since graduating from the Regional School of Art in Rennes in 2010, Jean-Marie Appriou has been living and working in Paris. He has exhibited in group shows at the Salon in Montrouge, the Palais de Tokyo in Paris (BYOB, curator Rebecca Lamarche-Vadel), the White Projects gallery (curator Stéphane Corréard), Le Commissariat (curator Caroline Mesquita), Galerie Semoise, and the Cité Internationale des Arts (curator Laetitia Paviani). A first solo exhibition is planned for Piacé-le-Radieux in autumn 2012.

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Image: Bruno Serralongue, SOS #1, Série Florange, octobre 2011, Ilfochrome print mounted on aluminium, 126 x 157 cm © photo DR courtesy Air de Paris, Paris

Opening on September 14th from 6pm to 9 pm

Air de Paris
32 rue Louise Weiss - Paris
The gallery is open from tuesday to saturday, from 11 am to 7 pm.
Free admission

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