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  • Bétonsalon - Center for Art and Research

    9 esplanade Pierre Vidal-Naquet

    75013 Paris
    +33.(0)1.45.84.17.56
    Postal address
    Bétonsalon - Center for Art and Research
    Université de Paris
    5 rue Thomas Mann
    Campus des Grands Moulins
    75205 Paris Cédex 13
  • Something More Than a Succession of Notes
  • Events
  • Images
  • BS n°15
  • Events

    Tuesday 21th May 2013, 8pm
    Andrew Norman Wilson, "Materials and What We Can Do", 2012
    Lecture-per­for­mance

    The work of Andrew Norman Wilson explores the mate­ri­ality of media, and the pro­cesses, tech­niques and labour that com­pose it. The artist spent one year working on the site of Google’s head offices in California, taking par­tic­ular interest in the day-to-day of employees in the "ScanOps" depart­ment, who dig­i­tize printed matter for Google’s Books pro­ject.
    For the series of pho­tographs "ScanOps" (2012), Andrew Norman Wilson col­lected anoma­lies found on Google Books over the years: images that have been dis­torted or badly scanned, ones in which the hands or fin­gers of the employees are vis­ible, etc. The human pres­ence of these anony­mous workers con­fronts tech­nical cogs, as well as the social system
    of inter­na­tional busi­ness’ machinery. The artist has made no touch-ups or mod­i­fi­ca­tions to the format of the images. Once again for their framing, he has put sev­eral steps of pro­duc­tion in place: work is sent to the framers; a paint is made to mea­sure at a hard­ware store and then sprayed onto the frames by an auto­body spe­cialist. “Mis­take” scans and pho­tographs become “image-sculp­tures”. The per­for­mance "Materials and What We Can Do" (2012) fol­lows from this pro­ject with a pre­sen­ta­tion employing cor­po­rate, aca­demic and artistic lec­ture tech­niques in order to address labor, cap­ital and the status of images: from the pas­sage from one medium to another, to the re-mate­ri­al­i­sa­tion of the vir­tual. (M.Be.)

    Andrew Norman Wilson cur­rently lives and works in New York. He is a 2011 recip­ient of the Dedalus Foundation MFA fel­low­ship and the Edward Ryerson Fellowship. His work has been pre­sented at the Images Festival in Toronto, the San Francisco International Film Festival, the Museum of Contemporary Art Chicago, the De Young Museum in San Francisco, the trans­me­diale in Berlin, the Eastern Bloc Center in Montreal, Yaffo 23 in Jerusalem, the School of the Art Institute of Chicago, Parsons, UCLA, Reed College and Tensta Kunsthall in Sweden.


    Saturday 29th June, 11am
    Guided tour and per­for­mance

    Guided tour of the exhi­bi­tion by Mélanie Bouteloup, curator of the show and director of Bétonsalon - Centre for art and research

    Performance by Violaine Lochu

    How do we remember oral forms? What trans­for­ma­tions occur during the retelling of a story that was not con­ceived in writing? The artist and singer Violaine Lochu pro­poses two new takes on the ques­tion: a video and a per­for­mance. Chinesewhispers takes the pop­ular game of broken tele­phone as its point of depar­ture. A French nursery rhyme is repeated from one person to the next by non-fran­co­phones; mis­takes of artic­u­la­tion and pro­nun­ci­a­tion slip easily into the telling and erode the meaning. In the video, the artist has com­piled the mate­rial of these sto­ries and repeats the trans­formed nursery rhyme as a ritor­nello. The per­for­mance Fabula pur­sues the same line of inquiry by pre­senting oblivion and fix­a­tion as two other fac­tors in the alter­ation of an oral cul­ture. Violaine Lochu takes up the tale of the Red Riding Hood, which has been tran­scribed from the oral tra­di­tion by numerous authors, including the Brothers Grimm and Charles Perrault. In a play of into­na­tions, silences, and recita­tion from memory, the artist reveals the rough patches, fis­sures and grey areas that form the fluc­tu­ating iden­tity of all nar­ra­tives of oral sto­ry­telling, and which become lost in the writing pro­cess. She puts into effect a com­plex dynamic of the inter­min­gling, dis­ap­pear­ances and reap­pear­ances, specific to folk­tales. Violaine Lochu poet­i­cally updates and redou­bles the acci­dents inherent to all forms of oral trans­mis­sion: obliv­ions, defor­ma­tions and sudden appear­ances which make up the uncer­tain­ties of a thought that is at once alive, con­tin­gent and shared. (F.K)


    Within the frame­work of the pro­ject « Les Narrateurs » for the 2013 edi­tion of Hospitalités 2013 / tram
    Bétonsalon – Centre d’art et de recherche, CAC Brétigny, YGREC ENSAPC, la maison rouge

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