jeudi 29 mars 2018

Autobiographie, Filiou

Robert Filliou, 1983
Mixed Media, 78 x 28 x 10.4 cm.
Materials: wood, bricks, mirror, paper

Fireworks against depression, Mike Mills

Fireworks, Mike Mills, 20 Pages, 19.5 x 25.5 cm, Color Offset, 2008

« Some things that may or may not relate to these drawings: A professional suggested I take anti-depressants. I declined. About the same time I started drawing fireworks. I didn’t know what they meant or why I was drawing them. I was confused and embarrassed by this lack of meaning, but they kept coming. I could draw them no matter how I felt. I read that fireworks were first used in China in the 12th century to scare away negative spirits. I envied a world that not only recognized spirits, but scared the negative ones away with small man made explosions. About the same time, I read in a magazine that antidepressants have a hard time performing better than the placebo pills they are tested against. Scientist cannot explain it, but almost as many people who take the fake pills say they feel relief from their depression. The blood flow in their brains actually changes in the same positive way that it does for the people who take the real pills. I felt a connection between the Chinese fireworks and the placebo effect, and some relief in all the things we don’t understand. At some point the fireworks grew more and more abstract, and messy, and complicated, and I became if not content then at least willing to make things that didn’t have any apparent meaning.» Mike Mills

Source: Nieves

Mister Blue from Day-to-Day de Robert Filliou

21 x 29.7 cm, language : English, German, publisher : Lebeer-Hossmann, Hamburg/Brussel, 1983
A children's book about Mister Blue and his weekly chores originally written in English in 1963 by Filliou for his children Bruce and Marcelle, and translated into German in 1968, featuring illustrations by Dieter Roth, Stefan Wewerka, Björn Roth, Jan Voss, Emil Schult and André Thomkins.

vendredi 23 mars 2018

stealing art, pendant une résidence à Imago

À l'atelier Imago de Moncton où je fais une résidence, il y a tout un tas de papiers de brouillons sur lesquels d'autres artistes ont essayé des choses qu'ils ont laissées là parce que les essais n'étaient pas concluant. Alors on pioche au hasard dans le tas pour faire ses tests de sérigraphie, et les premiers dessins s'abiment sous les suivants, ou alors peut-être qu'ils se parlent.

Depuis que je suis arrivée, cette pile de papier est mon sapin de noël. Je m'agenouille à ses pieds pour découvrir chaque jour des petits cadeaux sérigraphiés : un gros citron d'un jaune éclatant, un raton laveur et un ours, des étiquettes de vêtements, une histoire de soeurs et de deuil... Chaque fois, j'en prends un petit échantillon que je range dans mon tiroir, et je me dis que ce qui me restera de cette résidence, ce sera peut-être ce petit tas de papiers volés que je relierai en un zine sur lequel j'écrirai «sorry» ou «merci», je ne sais pas.

Crédit : les artistes membres et les artistes qui ont effectué une résidence à Imago

mercredi 21 mars 2018

L'amoureuse en deuil, Anne de Gelas

Anne de Gelas. L'Amoureuse. Éd. Le Cailloux.

In her book “L’amoureuse“, she describes the death of her partner. In order to write it, she held a diary every day, which was “an emergency-chanting discipline” as she says, and she mixed texts, drawings and pictures in an elliptical and tense layout, intending to seize “the vibration of life” and cause “an emotional shock”. 

Dans son livre «L'amoureuse», elle décrit la mort de son partenaire. Pour être capable de le faire, elle a tenu un carnet tous les jours, comme une «discipline de scansions d'urgence». Elle mélangeait et superposait textes, dessins et photos de manière elliptique, afin de capturer «la vibration de la vie» et provoquer «un choc émotionnel». 

mardi 20 mars 2018

Just like me but different by Fiona Struengmann

Just like me but different by Fiona Struengmann
45 pages, hardcover, colour; limited edition publication of 250 copies

"I recently came across an archive of around 7000 photographs that a woman had been collecting over a duration of 50 years. Whilst I’ve often admired the ephemera of photographs from the past, there was something particular about this collection that spoke to me. These photographs carried messages of families, places and moments of time -fragments of lost memories in Germany from the first half of the 20th century documented by what was the first generation of citizen photographers.

Amidst these silent memories, I found myself drawn to fragments within each photograph itself: objects, hand gestures and even, shadows. In many ways, elements within each photograph spoke more clearly to me than its entire composition. Thus began my interest in selecting photographs from the archive, reframing them and through a chemical process isolating the respective elements within each image. By eclipsing the remainder of the image and through the process of elimination, it revealed a more granular narrative from the past. Working on this archive of photographs has awoken in me another way of seeing. Through this work, the past and the present merge into a cumulative experience of fragmented memories that, if shared with others, whether it be through story, song or image, somehow shed new light on parts that seem more whole than the original. These works put me in conversation with the past, held at the present time."

lundi 19 mars 2018

Mail exchange, Laura Watson

Mail Exchange de Laura Watson.

« Every few months I send out a handmade care package of art, made up of zines, postcards, posters, drawings, badges, paper dolls, mixed CDs, and other printed things. If you want to receive this parcel, just send me a small something in the mail. This could be anything that you’ve made or found - a letter, a postcard, a recipe, a drawing, a photograph, a magazine clipping, something knitted, something glue-gunned together, something you read, anything legal. It doesn’t need to be big. At the end of every few months, I send out my care package to everyone who’s sent me something for exchange at that time. If you’d like to receive the current parcel, please send something for exchange to:

Laura Watson
P.O. Box 6462
Sackville, NB
E4L 1G6

Don’t forget to include your return address.»

Dans l'atelier miniature de Katrien de Blauwer

Katrien de Blauwer - When I was a boy
Seasons Series #2 | Summer
21,5 cm x 27,5 cm.
Color offset printed paperbound hardcover.
Typography on cover in white foil.

Entrer dans l'atelier d'un.e artiste est une sorte de privilège pour moi. C'est là que les choses se passent, avant que le vernis, l'encadrement, la sélection ou l'expsition ne viennent censurer certains essais, valider la démarche. Le carnet, c'est un peu un atelier miniature. À la différence du mur qui expose tout d'un simple coup d'oeil, il opère une sélection. Chaque page tournée fait apparaître de nous essais tout en faisant disparaître ceux de la page prédédente. Katrien de Blauwer parle de ses carnets comme d'une collection d'essais sur lesquels elle aime revenir quand elle cherche l'inspiration. 
« I have a special relation with my notebooks. In them you'll find sketches, collage doodles or scrapbooks. This is where a lot of ideas and techniques take form and are used for the first time. The notebooks are my laboratories. »