In a society saturated by images, Eric Baudelaire is interested in political events that have not found their representation.
Since 2005, Charles Avery has devoted his practice to the perpetual description of a fictional island. Replete with its own population and constantly shifting topography, Avery’s intricately conceived project amounts to an ever-expanding body of drawings, sculptures, installations and texts which evince the island. Exhibited incrementally these heterogeneous elements serve as terms within the unifying structure of the island – as multiple emissions of an imaginary state, and as a meditation on the central themes of philosophy and the problems of art-making.
It is with the eye of a sculptor that Charlotte Moth records modernist architecture and its copies which she encounters during her trips and residences. Photographed in black and white, these architectures seem empty, out of time, and open to any interpretation.
The artist creates a classification of her species of spaces, called the “Travelogue”, which is both artwork and tool since it allows her to ceaselessly generate new works. The “Travelogue” creates a toing and froing between images, experiences, interpretations and histories.
LaToya Ruby Frazier is an artist and a militant; her photos combine intimate views of her relation with her parents and grandparents with the history of the Afro-American community of Braddock, Pennsylvania, where she grew up and where her family still live.
She reports upon the decline of this steel-producing town, which was once prosperous and where the local population today is devastated by poverty, unemployment and health problems linked to pollution.
Escultura publica en la periferia urbana de Monterrey is a public sculpture on the periphery of the city of Monterrey. It consisted of a concrete foundation that was free to use by the people of Monterrey. Apart from being used as a platform for a political rally, it was transformed among others into a marketplace, a hangout, until eventually becoming claimed by a man who built his house on it. The house remains there to this day.
Fathers #18 and Fathers #27 is part of a series of photographs and videos made in recent years in Gaza. Batniji addresses the representation of the over-identified human and physical space with the geographical and political situation in the region. He distinguishes himself from the fictions that have been previously created in the Middle East and offers a quieter and more retained vision of the of the intertwining tensions and oppositions in this area.
Gabriel Kuri has created a series of works in which he juxtaposes perennial and ephemeral materials. Untitled (Ticket Roll) belongs to this group of sculptures and consists of three smooth ornate marble elements and a roll of public transport tickets. The artist poetically associates finesse and fragility as in a number of these works. Here the line of the ticket roll, partly unraveled, is held down by the balancing marble elements thus creating an interdependence between elements de different natures.
Ciprian Mureşan asked a group of protagonists to wear a monk's robe and copy a certain number of artworks and texts from exhibition catalogues. Here it is no longer the Bible that is reproduced but works by Malevich, Mondrian, Beuys, Duchamp. These artists represent a certain form of utopia in art and are themselves quasi-mythical figures.
The video I am protesting against myself presents a puppet in a garbage can citing numerous reasons why one should protest against it. Cyprian Mureşan utilizes the comic effects typical of popular culture and the media. Progressively during the video, one appropriates the reasons for this characters discontent. This work has particular resonance at the moment in the midst of globalization and Capitalist excesses, since indignant voices are rising.
The script was written in collaboration with Gianina Carbunariu, a contemporary Romanian author.
Lydia Gifford composes her work between pictorial expression and its inscription within an exhibition space. This particular approach implies the performative aspect of her in situ painting. The artist takes the entire environment into consideration from the canvas to the exhibition walls. Time and attention are required to allow the subtleties of the work to reveal themselves in all their complexities in order to find a focal distance which is appropriate to experience the composition.
For several years now, artists Pauline Boudry and Renate Lorenz have been conducting research on the heritage of cultural and gender studies, concentrating primarily on gender discourses and the notion of queer. They are interested in historical figures who were marginalized because they incarnated a sexual “perversion” and who went on stage to seek some recognition in their time. These stigmatized characters are made visible once again by Boudry and Lorenz who revisit archives as a base for their films, installations and texts.
The work is a speech composed of excerpts from autobiographies of well-known political characters. From each book an excerpts that describes a childhood event and one that describes a political event or statement was selected. The former, in most cases, functions as an alibi or explanation of the latter. A professional speech writer brought the excerpts brought the excerpts together and three actors delivered the speech live for an audience. The autobiographies comprise historical figures such as Malcolm X, Hillary Clinton, Margaret Thatcher and Ariel Sharon.
Chitti Kasemkitvatana is an artist, independent curator, and teacher; he presents an art program on the radio and is the co-editor of the magazine Ver with Rirktit Tiravanija. From 1995 to 2001, he was very active on the artistic scene in Bangkok. Then he became a Buddhist monk for seven years and retired in the northern forests of Thaïland before coming back to his artistic work, exploring the porosity between art and spiritual life, through a minimal and conceptual approach.
Asier Mendizabal explores political subjects and their symbols. His work is based on a formalist approach using abstract forms which recall Russian constructivism in painting, in sculpture as well as in cinema. He rethinks the relations between abstraction and the representation of politics. He was born in 1973 in the Basque Country and he uses the history of Basque politics as a background for his work.
Daniela Ortiz was born in 1985 in Peru, and is currently living in Spain.
Rather than "making" a film, Zhou Tao declares that he "looks for it", through various places, architectures, people or communities, as their gradually catch his sight. Zhou Tao’s films borrow a certain stillness and contemplative posture from the documentary, while introducing actions that relate to a scenario.
Arseniy Zhilyaev (born 1984 in Voronezh, Russia) is an artist, writer and political activist who lives and works in Moscow and Voronezh. Zhilyaev’s artistic practice poses questions about the сultural production in the postsoviet condition.
The Paris Collection, established in 2001, is not bound by geography or media and consists of works by artists from many different regions. Its particularity is also to support artists through commissioned productions.
Besides the founding family members, and the Kadist-Paris staff, the Paris Collection committee comprises Jeremy Lewison, advisor, critic and curator, Rozenn Prat, Professor of Visual Arts, and Jean-Marc Prevost, director of the Carré d’Art, contemporary art Museum of Nîmes.