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Septembre/Octobre 2012
ARTISTE EN RESIDENCE - EVAN BROENS (CANADA) The theories presented by Goethe and his topic of intuitive consciousness as a way of understanding has become central to my working methodology. Drawing has operated as a grounding moment in my creative process and there are aspects of my practice and my work which includes drawing. Yet this way of working has not fully become a secure element in my portfolio. The DRAWinternational residency is an important opportunity to initiate drawing as its own entity in my practice, rather than being supplementary; bridging practice and theory and, as the website indicates, to locate a contextual framework. Evan Broens
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Juin/ Juillet 2012
ARTISTE EN RESIDENCE - MIO HANAOKA (JAPON) One of the biggest subjects of my works is how to grip relationships in durational time. I want spectators to feel that everything changes all the time, even now. All objects, including myself, are transforming in order to adjust ourselves to every present moment. We tend to look for a place to stay to make us comfortable, but there is nowhere to stay same. So, I’d like to show the variable present which contains a trace of past and also a smell of future. Mio Hanaoka
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Avril/Mai/Juin 2012
ARTISTE EN RESIDENCE - DAVID GRIFFIN (CANADA) Project title: Ut pictura poesis My drawing practice has centred on articulate notations (the music notation, for example) as hybrid representation systems that allow users to write to a conjunctive space-time of performance, rather than merely mapping spaces, or logical relations. The potential of systematic notations will be critically pushed in my residence at DRAWinternational, where I will adapt the simple node-link graphic -- a vital class of technical drawing adapted for use across professional contexts, and develop a time-space notation as an aesthetic-scientific query, rather than a future-subjunctive performance drawing. David Griffin
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Avril/Mai 2012 (rescheduled)
ARTISTE EN RESIDENCE - DAVID NECHAK (CAN) David Nechak has taught for many years and exhibited extensively in the United States of America. He has also exhibited his quirky and humerous ideas in Canada, Ireland and Scotland. He continues to explore these ideas through installation and sculpture with continuing wit and integrity.
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dates now pending 2011/12
ARTIST EN RESIDENCE - MANOHAR CHILUVERU (INDE) I have been working with the theme of exploring live art in a public context and I like the process of making art itself as 'art' rather than that of the finished product. A direct dialogue within a public context - time - art and action, the making of live art is mind mapping between imagination, execution, spontaneity and public visual interaction. The body movement is like a performance in relation to art production in live art, the direct articulation with the public in the context of making art is an important aspect of action, and at the same time one discovers one's own self. Manohar Chiluvera lives and works in Hyderabad, India, he has been involved in live art events since 2002 in the following cities: Warangal , Hyderabad , London , Spain and New York.
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Septembre 2011-2012
Open Call - A Social Science and Art and Design Collaboration with Prof. Graham Button and Dr John McNorton Human beings think in the concepts of language, but how they express what they know transcends talking or writing. People perform actions and interact together in language but action and interaction is not confined to language. Therefore if we want to explore what and how people know things, the world we live in, and peoples' relationships to it and to each other we need to do this in modes of communication other than the conventional written form. Movement, colour, form are other ways to those of text and talk through which people can communicate with one another, or can be used in conjunction with one another to express what someone knows or wishes to convey. Consequently they can all be used to explore our world. This means that the traditional academic boundaries that separate art, human sciences and the natural sciences can hinder our understanding of our world and how we communicate that. We thus see that the meeting of minds from different disciplines is an open and dialectic opportunity for progress in the way we reflect upon and make reflective decisions about our world and how life actually might be at any particular time. Drawing for instance, is an activity which now is considered as an art form in its own right, yet can actually offer many variables in first order observation, which is, again traditionally thought of as the provenance of the human sciences, and in how one might convey these related reflective outcomes. Through breaking down the barriers between traditional disciplinary perspectives and through other creative opportunities, ideas can collide and may motivate fresh, energetic and rigorous exploration. John McNorton is an artist and educator who considers mind and body issues through the everyday and more conscious creative action. This world is not one encountered by the eye alone, but through the whole human interactive corporeal sensorium through which we are inexorably a part. This is a body for others, as it exists in its habitual state and focusses on how creative intervention can foster change in ones gesture to possibly result in new form. Graham Button is a sociologist whose interest in ordinary practical action and interaction is grounded in the relationship between mind and language. He has investigated how people reason about their world and display and use that reasoning in their interactional performances with one another in a diverse range of social settings. For the past few years he has focused upon how people reason about the work they do, and how that can be traded into the design of computer systems. These two seemingly disparate approaches have come together in reflections that have revealed mutual concerns and interests and provide opportunities to push the boundaries of traditional expression. Both John and Graham are committed in making some difference in how things are and towards how they might possibly be. It is the intention to research the content and methodology of a selected number of artists at DRAWinternational during their residency. Artist, therefore, who are willing to have their work and processes carefully scrutinised and discussed in preparation for publication can apply stating this in their application. A small selection of artists will be chosen during the 2012 according to the type of work produced and the availability of each person involved to mutually agreed dates.
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Septembre/Octobre 2011
ARTISTE EN RESIDENCE - KAZUKI NAKAHARA (JAPAN) I am interested in 'Line'. I learnt Japanese calligraphy from my father who works as a professional Calligrapher in Japan. I learnt the strict rule of handwriting and expression from the different forms of Japanese characters. Sometimes I practised the same line all day long. This experience has influenced my interest to draw on paper. The drawings are made by adding repetitive strokes with a coloured pencil on paper. I form one or many circles which mostly symbolises the Woman with Pigtails. It is not only the humorous form which interests me, but also the long meditative process of drawing. Stroke by stroke, I try to repeat the line with the same quality with a consciousness in the act of drawing itself. I am also interested in making rules with simple mathematics in drawing. Some round forms stand in a straight line, some make a group with others or make a triangle and some go around regularly. So I amuse myself with the arrangement of motifs and try to express rhythms on paper. www.kazukinakahara.com
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Juillet 2011
ARTISTE EN RESIDENCE - CHERIE BENNER DAVIS (USA) I propose to make works by chopping up and rearranging maps and world globes. These will be collected, some prior to arrival and others while in France (both in Paris and possibly also in the local villages near the residency site, if available). These works will reconsider relationships of the individual to place, space and current geopolitical events through a conflation of the physical and psychological systems used to map our world, lives and movement. The pieces will be reconfigured to become three-dimensional forms that mimic things like natural phenomena (ex. the shapes of hurricanes in motion), and the globes will be altered in various ways such as a rearrangement of the countries and continents and in ways that distort/destroy their usually round form. Source materials that are France-specific like Paris metro maps for instance, might be reconfigured to relate specifically to the approaches to map-making, and concepts of locus, space, and movement there.
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5 Juin 2011
Atelier ouvert / Bâtir des murs sur papier - SARA SCHNECKLOTH (USA) Partie à la découverte du paysage local Sara n'a pas pu manquer d'être attiré par le nombre de constructions en pierre qu'elle a rencontré sur les chemins ruraux. En particulier les murs en pierre sèche qui dessinent eux même les routes etles chemins. Inspirée par la similarité qu'elle a reconnu entre sa façon de créer un dessin et la composition d'un mur en pierre sèche elle s'est décidée de participer à un chantier de restauration. Cette expérience donne naissance à de nombreux dessins. "Les murs en pierre sèche comportent la notion de la structure, la superposition, la stabilité et de la grâce, toutes ces qualités qui je le crois peuvent se traduire entre trois et deux dimensions, et vice-versa. Dans l' effort de comprendre le travail et la tradition de la construction des murs en pierre sèche j'ai participé au chantier organisé par l'association APICQ. Nous avons passé deux jours à reconstruire une longueur du mur dans le hameau de Jonty. Qu'on travaille avec une grosse pierre pour trouver un ajustement le plus satisfaisant, ou qu'on collecte des cailloux pour remplir et fortifier, j'ai trouvé que les préoccupations de la paroi se traduisent directement par l'activité de dessin. Qu'on utilise la pierre, l'encre ou du charbon de bois, le caractère des matériaux suggère la technique. Le processus de trouver et placer intuitivement pierre après pierre reflête la façon dont un dessin se construit, marque par marque, la structure évolue par le temps et par un travail de patience. Travailler entre le site du chantier et mon atelier a également donné un aperçu sur des idées de la collaboration et de la propriété, le travail de chaque individu est devenu une partie de la grande structure, un accumulation d'efforts, d'intentions, et de techniques. Lorsque je me suis mis à construire des murs sur papier, en utilisant du matériel pour dessiner au lieu de la pierre, j'ai trouvé que les mêmes préoccupations sont essentielles à la construction. De quoi les murs ont ils besoin pour devenir stable? Quelle marque pour fortifier l'ensemble? Comment construire couche après couche dans l'espace, en n'utilisant que l'intuition et la touche? Le rôle du mur dessiné est diffèrent de ce qui sépare les pâturages ou qui définit la propriété, le dessin fonctionne comme un dossier de travail et d'expérience, une énigme sur la structure et l'équilibre, et une poursuite prometteuse de l'intégrité". Sara Schneckloth
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Mai/Juin 2011
ARTISTE EN RESIDENCE - SARA SCHNECKLOTH (USA) How do we hold memory? How do memories hold us? I pose these questions as the starting point for my work, as I strive to embody moments of remembering, and consider the relationship between the body’s physical performance of memory and inscriptive practice. My work deals primarily with imagined microbiological systems rendered on a macro- scale. I envision and create cells, organs, fluids, and tissues, and seek to assemble the elements into new systems of organic relationship and connection. I work in a variety of mediums and look for ways to take drawing beyond its traditional definition of “mark on paper.” I believe that the act of drawing is a way of residing in multiple states of awareness – of present, past, future – of what one is, has been, and hopes to become – of the physical, the mental, and the formal. I draw as a way to see more deeply, both inside and out, and to elevate the act of seeing to a process that is fully engaging of both body and mind. In the gesture of a drawing, there abides the question of how human beings hold memory. I care about how the body holds its history, and how that recollected history can be performed through the act of making embodied signs. Sara Schneckloth teaches drawing and critical practice at the University of South Carolina in Columbia. www.saraschneckloth.com
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16 avril au 21 mai, 2011
Exposition - Digital Dialogues JASON DAVIES/DARREN WILLIAMS (WALES) The origin of this collaboration was borne out of the desire to be more creative with electronic communicative technology, whereby the process of production is central to the project. Given our socially and personally shared limitations and imposed parameters regarding time, space and finance, we wished to develop a collaborative art form in which issues of geographical distance, finance, leisure time and working space, could be traversed by the mediation of commonplace technology- the home computer suite. We are currently engaged in a long distanced collaborative project utilizing the generic email system and creative packages within the home computer suite. Drawing occupies a central role in the work, often being both the initial drawn component scanned into the PC, and an integral part of the images development as it zips back and forth between collaborators in file format. The mark making is directed using either a drawing tablet or the mouse itself, and drawings are instigated by either collaborator. Although this form of pictorial communication is itself the primary subject matter, each individual dialogue is representative of concerns, expressions and incidents based on our own particular experiences and personal histories. We literally draw out the threads of our daily lives, ritually recording the most pertinent in sketch form. These ‘diaristic’ sketches are then worked upon and expanded until each subsequent e-drawing reaches completion. The sleeping partner in all of this is the machine, or program itself, for as expansive as the possibilities within each program may be, our choices are still confined within its parameters. A recent development has seen the project website develop beyond a mere depository for the dialogues into an arena where live works can be instantly uploaded, providing a visual blog. This has coincided with the utilization of photographic imagery collected with the ubiquitous mobile phone. digitaldialogues.co.uk
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Mars/Avril 2011
ARTISTE EN RESIDENCE - BEN SHEPPARD (AUS) IDEA OBJECTS – Lineal sculpted forms that appear as if drawn into space. These can also be ‘traditionally’ drawn onto photographic images in a larger scale to appear as if in real space. Halfway between the idea and the realised object, these forms present a proposition of a potential form imagined by the viewer. My process often involves the production of 3D drawings or ‘Idea Objects.’ These objects operate as drawings whereby the concept that ‘the thinking happens in the making’ is at the core of their creation. Lines are edited during manufacture in a way similar to those made and erased with charcoal or graphite and an eraser. The lineal aesthetic affects a feeling of an artefact that operates somewhere between the idea of something and the object that it represents.
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Decembre 2010
Exposition - YANN LESTRAT - Current works (FR) Artiste émergent Yann Lestrat présente ses dernières œuvres. Il réalise des formes invariablement simples, qui prétendent à une perfection absolue pourtant inatteignable : sphère en acier poli, peintures monochromes laquées, plaque de plexiglas transparente… Le choix de Yann Lestrat de recourir aux techniques et compétences issues de l'univers de la production industrielle participe à cet intérêt pour la finition de l'œuvre, mais aussi paradoxalement à son détachement du réel. Sa démarche créative investit souvent des paysages, des espaces publics ou des objets domestiques familiers, dans lesquels il introduit des perturbations inattendues qui troublent leur usage commun et l'ordre établi. 9 photographies Il s'agit d'un travail photographique qui s'attache depuis plusieurs années à produire des images d'éclairages domestiques (lampes, plafonniers, lustres), au hasard des visites et déplacements. Ces images sont ensuite sélectionnées et retravaillées, afin de faire ressortir pour chacune d'elles l'étrangeté que peuvent parfois receler ces équipements communs, auxquels on ne prête pas forcément attention. Ces éléments de confort ainsi appréhendés revêtent alors l'apparence de créatures bioluminescentes des abysses, ou de vaisseaux spatiaux tout droit sortis de la science-fiction. Il est d'ailleurs question dans ces deux cas d'abîmes, qu'ils soient marins ou inter-stellaires, évoqués avec humour au vu de la modestie de l'origine de ces images, porteuses de poésie et d'imaginaire. Nevroz Un objet condensant et exacerbant avec cruauté le principe des tableaux à niveaux : « Nevroz » est un niveau en bakélite créé par l’artiste . De forme sphérique, l’outil de précision est en perpétuel déséquilibre, objet de mesure impossible et surréaliste, entre objet usuel et sculpture. Oeuvre co-produite par La Criée, centre d'art contemporain, Rennes, avec le soutien du Sepa / Bon Accueil, Rennes La boule niveau « Nevroz » Réédition améliorée et illimitée en 2010, en partenariat avec Tamawa (Bruxelles) « Et in arcadia ego/Islande » Il s'agit d'un projet mené par l'artiste depuis 2003, visant à installer et à photographier dans des paysages naturels une bonde d'évacuation en acier inoxydable de 100 cm de diamètre. Le voyage en Islande, entrepris en septembre 2007, est la première concrétisation de ce projet à l'étranger. Ce livre, sans texte ni commentaire, présente trois séries de photographies montrant l'installation de la bonde dans les paysages islandais, les à-côtés du voyage, et un ensemble de polaroïds pris après l'extraction de la bonde. Un DVD en insert présente deux films documentaires de Nicolas Touzalin. 2009 : publication du livre «Et in Arcadia ego, Islande», accompagné d’un dvd, chez Zédélé Editions (Brest) COLLECTIONS PUBLIQUES
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Octobre/Novembre 2010
ARTISTE EN RESIDENCE - BRITT SALT (AUS) My current practice exercises a multitude of ephemeral lines and the transparency of mesh to create works that reposition the way we know and experience space. I work both three dimensionally making objects, and two dimensionally in drawing. It is between these two practices that my work mediates between form and space, and defines itself as Monoform; a term I have created to describe the merge of form and space in my practice. These current works shift between interior and exterior, positive and negative, seen and unseen spaces. As the viewer moves, the layers of these forms merge and separate. The distinctions between the spaces inside and outside of these built forms blur, and the possibility for a new interaction and experience of space occurs.
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