I see (and other ways of saying I see what you mean)

Julie Sas
October 5-6 2019

I see (and other ways of saying I see what you mean) is an installation referring to a historic fact: at the end of the 17th century, in New France (present-day Canada), playing cards were used as payment currency. At that time, to compensate for the rarity of coins, the absence of printing as well as that of paper, ordinary playing cards, either whole or cut in two or four, with the word “good” written on their reverse acted as money. This financial instrument demonstrated the first appearance of French and North American fiduciary money. It also marked the rise of falsifications of currencies.

At the crossroads of installation, writing and performance, the practice of Julie Sas arranges spaces and situations around games of meaning, norms and identities that demonstrate a tension with linguistic or social data. Her recent works feature objects and bodies engaged in codified situations, particularly concerning the production of public discourses, forms of self-representation and quotation exercises. Through games of setbacks and tilting of values, they engage in processes of disembodiment, artificiality and desubjectivation that are part of a reflection on issues of identity and representation.

Julie Sas is an artist and a writer. She lives and works in Paris. Graduated from HEAD-Geneva in 2015, her work has been presented among other places at the Geneva Contemporary Art Center, the Palais de Tokyo, the Innsbruck Kunstpavillon, the Yvon Lambert bookstore, art3, Villa Bernasconi and Salon Jeune Création. She is the author of Notes de la rédaction, published in 2017 by Héros-Limite, Winner of the “New Heads Art Awards 2015” and “Yvon Lambert's Coup de Cœur” (awarded as part of the Jeune Création 2013 exhibition), she took part in residency program at the Geneva Contemporary Art Center, Air Berlin Alexanderplatz (Pro Helvetia) and The Watch in Berlin, as well as DOC in Paris. In 2018, she participated in the “Fellowship Program for Art and Theory” at the Künstlerhaus Büchsenhausen in Austria. Since January 2017, she is a member of The Cheapest University, an experimental school created by artists. 
 

 

t y p e [à dire]  :

La composition des billets de banque est un secret. Les euros sont actuellement constitués à 100 % de fibres de coton, les mêmes que celles qui composent les vêtements. C’est cette matière qui leur confère une texture ferme et craquante, également très résistante à l’usure. Depuis 2013, une couche de vernis protecteur a même été ajoutée afin d’allonger la durée de vie des billets. Dans le courant des années 1980, sont apparus dans certains pays des billets de banque en polymères, c’est-à-dire plastifiés. Mis d’abord en circulation en Australie, ils ont été repris par le Canada ou le Mexique, et prochainement par le Royaume-Uni. Deux fois plus chers à la produire, ils sont très difficiles à déchirer et seraient censés durer jusqu’à trois fois plus longtemps.

Sur une échelle de 1 à 5, vous diriez :

excellent rapport qualité/prix, très bon rapport qualité/prix, bon rapport qualité/prix, faible rapport qualité/prix, mauvais rapport qualité/prix

1/7

In the heart of time dwells frost
Vanja Smiljanić 

May 18-19 2019 

 

In the heart of time dwells frost is a landing of the Vanja Smiljanić long-term research about a UFO spiritual movement called the Unarius Academy of Science.

The Unarius Academy of Science was founded by Ruth and Ernest Norman in 1954 in El Cajon, California. It belongs to a long tradition of metaphysical groups, that have clairvoyant founders, believe in principles of reincarnation and interacts with other worldly beings (angels, robots, inter dimensional scientists, leaders of higher dimensional planets, etc.). However, what distinguishes Unarius from other UFO movements is their particular practice of Past Life Therapy through which they are redefining the space-time-matter continuum.

The channel is open to those who are willing to undergo the practice of Past Life Therapy, or witness it, during a two-day appearance on May 18th - 19th 2019. Liquid and live components are building up a stage-environment where one can perceive this choreography of becoming, where the concept of oneself is constantly being reinvented and fleetingly undergoes the cyclical-time swirl.

Vanja Smiljanić has been exploring the complex configuration of identity, nationalism and body politics, by engaging with different religious movements over the last 8 years. By focusing on marginalized communities that operate on the fringes of “socially acceptable norms”, she is commonly performing a collective re-visiting of their particular practices, with a goal to re-apply them as empowering tools within the current socio-political context. With this act she is placing in practice alternative methods for critical thinking that, instead of judgmentally stigmatizing, are allowing for new viewpoints, consciousness, hopes and actions to emerge.

1/6

EVAPORARIUM 

April 7 2019

With Estelle Delesalle, Juliette-Andréa Elie, Florencia Grisanti, Marie-Luce Nadal, Lei

Saito

A proposal of Lei Saito

A discussion of five that started a long time ago, and one could see no end to it. This is a talk about vanity, the one that is a synonym of smoke in some languages. This is a reflec- tion on evaporated vanity. It is about seizing smoke. It is about evanescence. It is about bringing evidence. It is about performing disappearance. It is about manifesting presence. It is about conservation for no specific reason. It is about hoping. It is about letting a psy- che out of material dimension and trying to catch it and put it into a bottle. It is about checking the weather forecast every second while the weather, as such, doesn’t exist anymore. It is about living in a steam room. It is about smelling roses with no odor. It is about having dinners with pharaohs. It is about experiencing sweetness that makes you fall asleep. It is about wearing windy landscapes, being a completely empty, hollow form, letting the wind come in and out. It is about trying to escape, because in some sense we are all mouses swallowed by a boa.

1/8

Photo by Jakob Liu Wächter - de Zordo

Fantastic Illusion: A Remix of Complacency

February 17 2019

With Baptiste César, Camille Laurelli, Cécile Serres, Laurence Vauthier, Mélanie Villemot and Alto Clark in partnership with LAP, Simon Zaborski, and someone else.

Fantastic Illusion: A Remix of Complacency is launching a 2019 program of artist-curator-run time-space All the best. The five hours lasting show features 6 time-based artworks reflecting the dry decadence of Sunday afternoon and being an after party of the All the best opening celebration that never took place. 

These controversial creative acts of dissolution combine stillness and the intimation of motion, leading us to the very edge of identifiable form and playfully subverting minimalist concerns. Blurring the boundaries between reality and fiction they simultaneously deconstruct the approach to hyper objects and neo meteriality. 

As the revolutionary Vladimir Lenin stated, the issue of quotes found on the internet is that we don’t question their authenticity. Fantastic Illusion: A Remix of Complacency springs from a belief that interesting art creates forms whose particular character and delineation raise questions. The heterogeneity of post-media conditions is revealed in this immersive happening that explores the limits of anthropocene, cyber-feminism, and the meta-octopus issue. A spiritual and intellectual quest situated between disciplines and experiences will challenge different ways of seeing, perceiving and being with others.

1/16
logo1.jpg