FRAGMENTS AS A TOOL
Memory and Archeology in Contemporary Art

Projection de films d’artistes,
curatée par Lorenzo Bruni, critique d’art et curator,
dans le cadre d’ACROSS #15.

Vendredi 26 janvier 2018 à 20h00
Le Narcissio
16 rue Parmentier, 06 Nice

https://www.google.fr/maps/place/3+Rue+Delille,+06000+Nice/@43.7011289,7.2748299,17z/data=!3m1!4b1!4m5!3m4!1s0x12cddabac419dc33:0x53c4156c418ad6bc!8m2!3d43.7011289!4d7.2770186""

En 2015, thankyouforcoming met en place de courts temps de résidences critiques et curatoriales à Nice.
Le programme ACROSS (scènes de province) est un projet collaboratif, participatif et expérimental, qui donne une visibilité originale à des scènes artistiques et interroge les usages de la mobilité.

FRAGMENTS AS A TOOL – Memory and Archeology in Contemporary art

Cet événement organisé par Lorenzi Bruni est une proposition de lecture transversale d’un sujet récurrent dans l’art contemporain : l’utilisation des archives et de méthodes issues de l’archéologie adoptée par les artistes pour rendre compte non pas de l’identité d’une société du passé, mais bien de notre présent.

Lorenzi Bruni ouvrira la soirée en présentant sa recherche et les enjeux qu’elle soulève (intervention traduite en français par Lisa Costalbano). Le programme de projection rassemble quatre films (sous-titrés en anglais) abordant cette problématique d’une manière ou d’une autre, des artistes : Maria Thereza Alves, Rossella Biscotti, Uriel Orlow et Ulla Von Brandenburg, afin de susciter un moment de rencontres, de débat informel et de réflexion autour de ce sujet.

Entrée libre et gratuite, dans la limite des places disponibles.

Les artistes

Rossella Biscotti (b. 1978, Molfetta, Italy; based in Brussels, BE)

Rossella Biscotti uses montage as a gesture to reveal individual narratives and their relation to society. In her cross-media practice, cutting across filmmaking, performance and sculpture, she explores and reconstructs obscured moments from recent times, often against the backdrop of state institutions. In the process of composing her personal encounters and oral interrogations into new stories, the site of investigation tends to leave its mark on her sculptures and installations. By examining the relevance of the recovered material from a contemporary perspective, Biscotti sensibly weaves a link to the present.
Biscotti took part at major international exhibitions including 55th Venice Biennale and 13th Istanbul Biennale (2013), dOCUMENTA 13 (2012), and Manifesta 9 (2012). Her work has been presented in solo exhibitions at Museion in Bolzano (2015), Haus Lange Haus Esters in Krefeld (D), Wiels in Brussels, Sculpture Center in New York (2014) Secession in Vienna and e-flux in New York (2013) CAC Vilnius (2012); and between others she has exhibited in group exhibitions at the IMMA, Dublin (2015), ICA London (2014) MAXXI, Rome (2010–11), Museu Serralves, Porto (2010).
In 2013 she was recipient of the Mies van der Rohe Stipend. In 2010 she won the Premio Michelangelo at XIV International Sculpture Biennale of Carrara (IT), and the Premio Italia Arte Contemporanea 2010, Maxxi in Rome. In 2009 she was awarded the 2nd Prix de Rome (NL). She graduated from the Accademia di Belle Arti in Naples in 2002, and attended the Rijksakademie van Beeldende Kunsten in Amsterdam in 2010-2011.

Maria Thereza Alves (b. 1961 São Paulo, Brazil, based in Berlin and Naple, IT)

Alves has worked and exhibited internationally since the 1980s, creating a body of work investigating the histories and circumstances of particular localities to give witness to silenced histories. Her projects are researched-based and develop out of her interactions with the physical and social environments of the places she lives, or visits for exhibitions and residencies. These projects begin in response to local needs and proceed through a process of dialogue that is often facilitated between material and environmental realities and social circumstances. While aware of Western binaries between nature and culture, art and politics, or art and daily life, she deliberately refuses to acknowledge them in her practice. She chooses instead to create spaces of agency and visibility for oppressed cultures through relational practices of collaboration that require constant movement across all of these boundaries.
Recent exhibitions include: Documenta 13, Kassel, Germany, 2012; Par ces murs, nous sommes mal enfermés, Musée d’histoire de Nantes, Château des Ducs de Bretagne, Nantes, 2012; and 29th São Paulo Biennial, 2010

Ulla von Brandenburg (b.1974 in Karlsruhe, Germany)

Ulla von Brandenburg has a richly complex and multifaceted practice that is realised through a combination of black & white film, installation, performance, drawing, and painting. The vocabulary of von Brandenburg’s work comes from a basis of using approaches and methods of the theatre, the stage, and rules of performance to engage with cultural or social issues from different moments in history to explore how stories, rituals, and symbols of the past have constituted our societies. Permeated by recurring themes and images sourced from literature; expressionist theatre; early cinema, and pre-Freudian psychoanalysis, von Brandenburg’s practice cross-references back and forth between media creating a language that loops back on itself: endlessly repeating and developing. Concerned with ‘the borders of different consciousness: past and present, alive and dead, real and illusionary’, von Brandenburg creates work positioned uncertainly at the point at which reality ends and the illusion of life, emotions and events begins.
Recent solo exhibitions of her work include: It Has a Golden Sun and an Elderly Grey Moon, Pérez Art Museum Miami, Miami (2016); It has a golden red sun and an elderly green moon, Power Plant, Toronto (2016); It has a golden orange sun and an elderly blue moon, La Fonderie Darling, Montréal (2016); Manchmal Ja, manchmal Nein [Sometimes yes, sometimes no], Haus Konstruktiv, Zurich (2016); It has a golden sun and an elderly grey moon, ACCA, Melbourne (2016); Yesterday and Today is Tomorrow is also like this, Kasseler Kunsteverein, Kassel (2015); Ulla von Brandenburg: Wagon Wheel, Contemporary Art Museum St. Louis, St. Louis (2015); 24 Filme, Kein Schnitt, MAMCO, Geneva (2014); Inside is not Outside, Kunstverein Hannover, Hannover (2014); Innen ist nicht Außen, Secession, Vienna (2013); Kunstpreis Finkenwerder 2013, Kunsthaus Hamburg, Hamburg (2013); Vidéodanse, Le corps en jeu, Space 315, Centre Pompidou, Paris (2015); The Other Side, CAC, Vilnius (2014); Explore, Frac Île-de-France, château de Rentilly, Bussy-Saint- Martin (2014); 19th Biennale of Sydney: You Imagine What You Desire, Sydney (2014); The Crime was Almost Perfect, Witte de With, Rotterdam (2014); Film as Sculpture, WIELS Contemporary Art Centre, Brussels (2013); Tools for Conviviality, The Power Plant, Toronto (2012); Intense Proximite, La Triennale, Palais de Tokyo, Paris (2012); A Terrible Beauty is Born, 11th Biennale de Lyon, Lyon (2011).

Uriel Orlow lives and works in London and Zurich.

His practice is research-based, process-oriented and multi-disciplinary including film, photography, drawing and sound. He is known for single screen film works, lecture performances and modular, multi-media installations that focus on specific locations and micro-histories and bring different image-regimes and narrative modes into correspondence. His work is concerned with spatial manifestations of memory, blind spots of representation and forms of haunting.
Solo exhibitions include The Showroom, London; Castello di Rivoli, Turin; Depo, Istanbul; John Hansard Gallery, Southampton; Centre PasquArt Biel; Spike Island, Bristol; Jewish Museum New York.
Orlow’s work was presented at survey exhibitions including the 54th Venice Biennale, Sharjah Biennal 13, Manifesta 9, EVA International (2016, 2014), Edinburgh Art Festival, Recent British Artists Film and Video at Tate Britain, London (2015), Bergen Assembly and Aichi Triennale (2013); 8th Mercosul Biennial, Brazil (both 2011); 3rd Guangzhou Triennale.
Orlow’s work has also been shown in museums, galleries and film-festivals internationally including Tate Modern, Whitechapel Gallery, ICA and Gasworks, London; Palais de Tokyo, Maison Populaire, Bétonsalon, Paris; Les Complices and Helmhaus Zurich; Centre d’Art Contemporain and Centre de la Photographie, Geneva; Württembergischer Knstverein Stuttgart; Extra-City Antwerp; Alexandria Contemporary Art Forum (ACFA) and Contemporary Image Collective (CIC) Cairo; Casa del Lago, Mexico City; Kunsthalle Budapest, Museum of Contemporary Photography Chicago amongst others.

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