performance

As Long As ~ Drawing
Glow-in-the-dark paint on A4 Xerox copies
Performance, Installation, Sequence of drawings
Variable dimensions and presentation formats
Since 2006

#2, As Long As (Sequence 09), 2011

#4, As Long As (Sequence 09), 2011

#7, As Long As (Sequence 09), 2011

#13, As Long As (Sequence 09), 2011

Installation view during Durational Boundaries, ICA, Philadelphia, 2014 (Photo: Aaron Igler / Greenhouse Media)

Overall view, As Long As (Sequence 09), 2011

Overall view, As Long As (Sequence 04), 2011

As Long As ~ Drawing
Glow-in-the-dark paint on A4 Xerox copies
Performance, Installation, Sequence of drawings
Variable dimensions and presentation formats
Since 2006

The space is dark.
One copy machine, one standard piece of paper, glow-in-the-dark paint and a brush.The lid of the copy machine is open and it’s going to stay that way for the duration of the event. A brushstroke is applied to one piece of paper, crossing it horizontally. The paint is wet. When the paper is placed on the machine it’s done without touching the scanning surface – a few millimeters above the glass so as not to leave a trace.Once the copy button is pressed, the scanning light briefly illuminates the space, and charging the glow-in-the-dark paint. A copy is made. Let’s call it: Copy no. 1. The original piece of paper is placed aside. It glows in the dark space.Now a glow-in-the-dark brushstroke is applied to Copy no. 1, which is then placed on the copy machine – without touching its scanning surface. A flash of light illuminates the space once more as the scan-charge-copy happens. The glowing Copy no. 1 is placed next to the original piece of paper.This repetitive process continues, as a sequence of drawings emerges. Each one depending on its predecessor. Each in its own fading countdown. The last copy remains with no glow-in-the-dark layer on it: the promise of an infinite process.

Durational Boundaries, ICA, Philadelphia, PA, USA (2014)
Soul Seek, Internet Opera, slsk.nl (2012)
Attachment, Galerie Gabriel Rolt, Amsterdam, NL (2011)
As Long As, Seminar with Christian Bernard, ENSBA, Paris, FR (2006)

#performance #drawing #installation #light #glowinthedark #workonpaper #twodimension #variableduration #cycle #series #sequence #countdown #DurationalBoundaries #Attachment

As Long As ~ Tote,

As Long As ~ South of Somewhere,

Ongoing Collection,

In Dependent
Video, sound, 5’43”
2006

Installation view during Attentifs Ensemble, Attitudes, Geneva, 2006

Video still

In Dependent
Video, sound, 5’43”
2006

Timpanists are commonly required to tune their instruments in the middle of a piece of music. They obtain a reference pitch from a note played by another instrument in the course of the performance and then use musical intervals to arrive at the desired note. IN DEPENDENT shows a timpanist performing a written symphony – the 4^thmovement of Tchaikovsky’s 4^thsymphony op. 36. No orchestra is visible or audible on the scene. Hence the context, the melody, is absent. The orchestra is playing merely in the timpanist’s head as she is performing her written role in the piece; fragments of pulses. The timpanist becomes the soloist.

Attentifs Ensemble, Attitudes, Geneva, CH (2006)

#video #performance #audio #erase #system #dependency

Everybody Loves Somebody Sometime,

Intervention,

Point of Reference,

Leaving Living,

Leaving Living
Video installation, 10’30” loop
Variable dimensions
2005

View of location during shooting

View of location, day-time

Installation view during Durational Boundaries, ICA, Philadelphia, 2014 (Photo: Aaron Igler / Greenhouse Media)

Leaving Living
Video installation, 10’30” loop
Variable dimensions
2005

The film frames and follows a mise-en-scène I created: a structure – the façade of which is decorated by a light garland –, a carpet in front of the entrance door, and a white plastic fence that surrounds its territory, its non-existent garden. The structure is located on a one-way street. The string of lights turns on for few seconds each time a car approaches the structure. The illumination is short, lasting only for the duration of the passage of the car. Elsewhen, the scene is dark, quiet, with no indications for when the next illumination will occur. The car did not choose its role, nor is it informed as to the consequence of its act. It penetrates the zone controlled by a movement detector and thus forces the facade-house to turn on. From the vehicle’s point of view, the structure is always illuminated, always animated. The camera, which documents the scene, captures the full sequence of events. It is programmed on night-shot and on automatic focus. The image does not have colors and oscillates between focused and blurry, without any human control.

Durational Boundaries, ICA, Philadelphia, PA, USA (2014)
Grandfather Paradox, On-Off Artprojects, Hamburg, DE (2010)
Grandfather Paradox, Chelouche Gallery, Tel Aviv, IL (2010)
Who’s Missing, Galerie Gabriel Rolt, Amsterdam, NL (2008)
Abstraction Surface Air, Le Georges, Centre Georges Pompidou, Paris, FR (2008)
La Fabrique du Dessin, Galeries d’exposition ENSBA, Paris, FR (2006)
Je Partage Votre Point de Vue, La Générale, Paris, FR (2005)
Stationary, Beaux Arts de Paris, Paris, FR (2005)

#video #performance #intervention #publicart #sitespecific #system #interactive #dependency #light #anticipation #lightbulb #DurationalBoundaries

Still Fata Morgana,

In Dependent,

Everybody Loves Somebody Sometime,

Absolute Countdown,

EDUCATION

SOLO AND TWO-PERSON EXHIBITIONS

GROUP EXHIBITIONS

CURATORIAL projects

RESIDENCIES and PROGRAMS

AWARDS and GRANTS

OTHER

EDUCATIONAL and ORGANIZATIONAL

TALKS

PUBLICATIONS and CATALOGUES

As Long As ~ Drawing Glow-in-the-dark paint on A4 Xerox copies Performance, Installation, Sequence of drawings Variable dimensions and presentation formats Since 2006

As Long As ~ Drawing Glow-in-the-dark paint on A4 Xerox copies Performance, Installation, Sequence of drawings Variable dimensions and presentation formats Since 2006

In Dependent Video, sound, 5’43” 2006

In Dependent Video, sound, 5’43” 2006

Leaving Living Video installation, 10’30” loop Variable dimensions 2005

Leaving Living Video installation, 10’30” loop Variable dimensions 2005

As Long As ~ Drawing
Glow-in-the-dark paint on A4 Xerox copies
Performance, Installation, Sequence of drawings
Variable dimensions and presentation formats
Since 2006

As Long As ~ Drawing
Glow-in-the-dark paint on A4 Xerox copies
Performance, Installation, Sequence of drawings
Variable dimensions and presentation formats
Since 2006

In Dependent
Video, sound, 5’43”
2006

In Dependent
Video, sound, 5’43”
2006

Leaving Living
Video installation, 10’30” loop
Variable dimensions
2005

Leaving Living
Video installation, 10’30” loop
Variable dimensions
2005