Jules Bernagaud, Matthieu Brion, Laurie Briche, Kamil Bouzoubaa-Grivel, Thelma Cappello, Alexis Chrun, Vincent Deleplanque, Caroline Delhom, Pierre Delmas, Arthur Dokhan, Alexandra Eguiluz, Amalie Eibye Brandt and Evelyn Plaschg, Gabriel Gauthier, Jonathan Joux, Boris Kurdi, David Richter, Winnie Rielly, Lucas Semeraro, Goscha Steinhauer
Curator: Boris Kurdi
Bétonsalon — Center for Art and Research invites students from the École des Beaux-Arts de Paris working at the Atelier Claude Closky to conceive an exhibition in its space for an evening and a day.
Opening June 1, 2016, 6pm — 9pm
The exhibition continued, the next day, June 2, from 11am to 7pm
The studio, directed by Claude Closky, aims to develop students thinking and practice through intensive, concrete experimentations that involve comparing the approaches of all students, regardless of their level of study, to make use of art history and the immediate environment of the artworks in process. There are approximately twenty hangings throughout the academic year. Each student presents to the group a piece of their own work that they consider finished, whether it be an old or new artwork. A different student is responsible for exhibiting their studio members work. It is up to the colleagues in the studio to suggest a direction for the group and design the hanging of the exhibition in response to the answers received.
Shortcuts and parables
In 1972, the space probe Pioneer 10 was launched from Cape Canaveral (Florida). In an attempt to combine scientific and artistic research, Carl and Linda Salzmann Sagan (astronomer and writer) proposed to NASA to etch a drawing on the structure of the probe. The drawing was etched into an anodized gold and aluminum plate. It represented the position of man in the solar system and the various relationships to scale between objects and figures.
The desire and the precise calculations permitted the measurement of the expedition—whether through the amount of fuel required, the number of kilometers travelled, or the material strength of the spacecraft. Alongside additional factors, born of contingency—the probability that they will reach extraterrestrial life or, furthermore their understanding of the engraved symbols. Yet, the most important consideration was present at the takeoff: the determination of the trajectory of information.
This trajectory of information is also the objective of the students of Claude Closky’s workshop at the Ecole Nationale Supérieure des Beaux-Arts de Paris in the framework of an invitation by Bétonsalon — Center for Art and Research.
For one month, various aspects of the project will be developed to become full objectives. The arrangement of the work in the space is defined in function to its implicated movements. The first movement is that of thought, which allows for us to understand the work as a unity, as a strength, the second one leads the process and trajectory of the work in the space.
Without hierarchy or priority of time, the two program schemes of movement are codified as hooks with each artistic approach in relation to the body and its aspirations. Outside of considering levels of education or the quality of the treatment or value of the employed materials, the exhibition invites us to consider the body and its propensity for knowledge through artistic approaches.
- Opening exhibition "Raccourcis et paraboles" - Studio Claude Closky. Bétonsalon - Centre for Art and Research, 2016
- "Raccourcis et paraboles" - Studio Claude Closky. Bétonsalon - Centre for Art and Research, 2016
- Jules Bernagaud, "Naked Voice (you make the effect)", 2016, audio device, promontory, prise de parole, Mercredi June 1 at 19h
- Lucas Semeraro, "AIOIA", 2016, mixed media.
- Matthew Brion, "Flower! you are like synthetic feelings", 2016, bouquet of craspédias and other flowers, table.
- Goscha Steinhauer, "Irrational exuberance", 2016, brass, polymethylmethacrylate, cotton.
- Jonathan Joux, "Mieux vivre", 2016, toilet paper and paper towel.
- Thelma Cappello, "Awakening of the samurai /dangerous matin set up", 2016, mixed media.
- Alexis Chrun, Filiation Baba, 2016, foam, metal and digital printing, variable dimensions.
- Pierre Delmas, "B-29 / 1945", 2016, aluminium.
- Kamil Bouzoubaa-Grivel, "Lineage", 2016, mixed media
The Académie vivante is supported by the Fondation Daniel & Nina Carasso.