Short presentations by the artists
was born in 1977. She lives and works in Paris.
After studying photography in Chicago (Columbia College) and New York (ICP), Marcelline Delbecq graduated from the Beaux-Arts school in Caen (France) and received a Masters degree in curatorial studies from Université de Paris X (Nanterre).
Her work has gradually moved away from photography to focus on the cinematic potential of writing through installations, films, readings and publications. She uses both narrative and narrator (the voice) to create an uncanny world where texts generate mental images shifting from description to fiction, from past to present. Voices act like voice-overs to cinematic narratives where words, transformed into visions, call the whole act of beholding into question.
Marcelline Delbecq was in residency at Pavillon in Palais de Tokyo in 2005 and was the French resident at Triangle in Brooklyn in 2007-2008. She has showed and performed internationally in venues including: Palais de Tokyo, Fondation Ricard, Fondation Cartier, Kadist Art Foundation, Galerie Xippas, Centre Pompidou, Paris; Centre Pompidou, Metz; CCS Bard; Dispatch; Art in General; e-flux; School of Visual Arts, New York; Johan Koenig Gallery; Chert Gallery, Berlin; Malmö Konstmuseum, Malmö; Fri Art, Fribourg; Mudam, Luxemburg; Beirut Art Center, Beirut.
She has contributed to many art and cinema magazines (http://www.marcellinedelbecq.net/?cat=64
) and has also published seven books with different publishers. Her most recent one is Oublier, voir [Forgetting, seeing] published by Fondation Cartier and Manuella editions in 2015 (http://www.marcellinedelbecq.net/?cat=9
(b. 1982, Victoria, BC) is an artist and filmmaker who lives and works in Vancouver. She graduated in 2010 with a Meisterschülerin from the Städelschule in Frankfurt, Germany. She has recently exhibited Kitchen, at the Grunt Gallery in Vancouver, (2014) and Escape Scenes at the Western Front in Vancouver (2014). Other recent solo exhibitions include (in collaboration with Tamara Henderson) Consider the Belvedere, at the ICA Philadelphia (2015), Bottles Under the Influence, at Walter Phillips Gallery, Banff (2013). Alternatives and Opportunities, Catriona Jeffries, Vancouver (2012), Irregular Time Signatures, Johan Berggren Gallery, Malmö (2011) and The Poodle Dog Ornamental Bar, Artspeak, Vancouver (2010). Her work has been included in the following group exhibitions Geometry of Knowing, SFU Gallery, (2015), The Intellection of Lady Spider House, AGA Edmonton (2013), Phantasmagoria, Presentation House (2012), Children’s Films, Contemporary Art Gallery, Bielefelder Kunstverein, & International Project Space (2011 - 2013). Julia is also the co-editor of the audiozine Spoox (www.spooxaudiozine.org) and author of a series of artist books from Perro Verlag press.
Nothing in this world can last forever, everything is changeable and fleeting. The sense of pain lurks in every lovely thing. It is not easy to understand even ourselves and we struggle in ambiguity.
While walking from nowhere to nowhere, it always gives me energy and relief to meet with something new and nostalgic at the same time. It can be a landscape, ruins and old weathered buildings or a work of art. Through my art, I aim to create a space in which viewers experience this feeling-encountering something in between memory, afterimage, the unknown and the future.
I often work with fragments of smashed glass. For me glass is a multi-faceted material; it is sharp and fragile, beautiful and painful, hot and cold during the process. It shows different reflections and shadows depending on the light.
In recent years, I have worked a lot on projects involving women's clothes such as dresses, shoes and lingerie made of sheets of fragmented glass. What we choose to wear tells a lot about ourselves, our situation and our attitude towards life. Creating those works using glass which has both strength and fragility is like contemplating the paradoxes and struggle in ourselves.
Besides those sculptures, I also work with abstract installations using transparent material to create a space which is affected by changes of light, reflection and shadow. Basically I see the world as changeable and unstable and characteristics of those materials, showing different aspects and effects depending on light, lend themselves well to work within these themes.
(b. 1982, New Brunswick) lives and works in Vancouver, Canada. Henderson studied at the Nova Scotia College of Art and Design, Halifax (2000-2004), Städelschule Staatliche Hochschule für Bildende Künste, with Prof. Simon Starling, Frankfurt (2004-2007) and Royal Art Academy Masterʼs Degree, Stockholm (2012). Tamara Henderson’s work spans film, furniture, sculpture and painting. Sprouting from her personal notations and experiences in altered states of dreaming or hypnosis, Henderson’s creations become tools for communication between the conscious and unconscious. Her works assume a dream-like,
sometimes nonsensical quality; concoctions of colour, material and texture spread over the canvas, the film set, the structure as if channelled directly from the artist’s mind to her hand.
Solo exhibitions include: Consider The Belvedere (With Julia Feyrer), Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2015); Sans Tete au Monde (with Santiago Mostyn), Kunsthall Stavanger, Norway (2014); Charmer Scripture, Rodeo, London (2014); Tapped Out And Spiralling In Stride, Grazer Kunstverein, Graz (2014); Sleep Walk (With Alfred Boman), Galerie Nordenhake, Stockholm (2014); Bottles Under The Influence (With Julia Feyrer,) Walter Philips
Gallery, Banff (2013); Evergreen Minutes Of The Phantom Figure, Kunstverein Nürnberg - Albrecht Dürer Gesellschaft, Nürnberg (2013).
Group exhibitions include: This Sentence (curated by Public Fiction), China Art Objects, Los Angeles (2015); Ashes of Roses and the Smell of Birch, Rupert, Vilnius (2014); The Hypnotic Show, Toronto Kunstverein, Toronto (2014); Burn These Eyes Captain, And Throw Them Into The Sea!!, Rodeo, Istanbul (2013); Jahresgaben-Show, Kunstverein Nürnberg, Nuremberg (2013); Sobeys Prize Shortlist Exhibition, Art Gallery of Nova Scotia, Halifax (2013); On The Tip Of My Tongue, Magasin 3, Stockholm (2013); dOCUMENTA(13), Kassel (2012).
was born in France in 1977. He lives in Paris and Lille.
Since 2005 he has created successively Arnold versus Pablo (duet), Archives (sextet), domestiqué coyote (solo), Atteindre la fin du western (quintet), Dispositions (solo), Chevreuil (quintet), Facing the sculpture (quartet), une étendue (quartet), Jeux chorégraphiques (co-signed with Laurent Pichaud), Another version (co-signed with Marcelline Delbecq), Percée Persée (duet).
In these different pieces, Rémy Héritier involves in his choreographic writing the reoccurrence of temporal, spatial strata in places, developing the depth of the past to reach the present. This archaeological excavation in a given context, his personal history of dance as well as that of his collaborators, enables him to shift towards notions linked to other disciplines such as intertextuality, re-enactment or the Third landscape, and thereby to convoke a new poetics of gesture.
His work was shown in France, Europe and the USA, at Centre Pompidou, Spectacles Vivants, Paris; Fondation Cartier pour l’Art Contemporain, Paris; Les Subsistances, Lyon; Laboratoires d’Aubervilliers; La Villette, Paris; Le plateau frac idf, Paris; Montpellier Danse festival; ImpulsTanz, TanzQuartier, Wien; Çati Dans, Istanbul; Pact Zollverein, Essen; Festival Latitudes Contemporaines, Lille; Festival Mettre en Scène, Renne; Kaaistudio, Brussels; Tempe Art Museum at Combine Studio, Phoenix, Arizona; C.L.U.I., Wendover, Utah; Kadist Art Foundation, San Francisco...
Since 1999 he has been performing or collaborating with artists such as Philipp Gehmacher, Mathilde Monnier, Jennifer Lacey, Loïc Touzé, Laurent Pichaud, Christophe Fiat, Sylvain Prunnenec, Matthieu Kavyrchine, Guillaume Robert, Laurent Chétouane...
He has also taught numerous workshops at Université de Paris VIII, Beaux Arts de Bourges; School for Landscape Design of Versailles and Lille; TanzQuartier, Vienna; Arsenic, Lausanne; EXERCE Centre Chorégraphique National de Montpellier; Çati Dans, Istanbul; Tsekh Dance Summer School, Moscow. In February 2013 he created Time Based Exhibition together with the artists in residency at Le Pavillon NeuflizeOBC, Palais de Tokyo, Paris.
He was an associate artist to Les Laboratoires d’Aubervilliers, France in 2008-2009. He was Laureate of the programme “Hors les Murs” from the Institut Français for the year 2013 and was awarded a Iaspis Grant (The Swedish Arts Grants Committee) together with Marcelline Delbecq for the creation of Here, then.
(b. 1985, Sundsvall, lives and works in Stockholm).
As a drawer, I am sensitive to the meaning of small gestures, precise in my execution and concerned about the poetic dimensions. My ambition is to unify drawing, object and language, both interdisciplinary and spatially, and observe how the overlapping that arises gives and takes, both materially and conceptually. For me drawing is a way to tangibly approach unknowable or distant phenomena, where, by being fully concentrated, I can bring to attention small details and allow symbolic additions to transform a preconceived interpretation. I often return to geological and surgical observations, photographs and descriptions. Likewise, I have an ongoing relationship with the moon and a preoccupation with cancer, volcanic ash and detailed studies of specific subjects. I think that my work is at its best when it is simultaneously intensely intimate and spatially anchored. An excitingly dry meeting between concept, materiality, three-dimensionality, visuality, symbolism and poetry, in which drawing, text and object are combined and treated beyond ingrained forms and hierarchies. It is about precision: to respond to the world through thought, gaze and hand gestures.
Cecilia Hultman was educated at Konstfack, University College of Arts, Craft and Design in Stockholm, (BFA and MFA) in 2008–2014. She has exhibited at, among others, Galleri Box (Gothenburg), Bror Hjorths Hus (Uppsala), GIG Green is Gold (Copenhagen), Sjögatan Sju (Sundsvall), Trailer Gallery (Umeå), Cornelia Sojdelius Gallery, (Stockholm, via Galleri 1:10) and Galleri Blunk (Trondheim). In 2012 she was awarded the Bror Hjorth Drawing Grant. She has also participated in Artist-in-Residency programmes at DNK, Dale Nordisk Kunstnarsenter, Norway and at Skaftfell – Center for Visual Art, East Iceland.
Interview on Swedish television:
In approach as much as in the resulting aesthetics, the practice of Jenny Lindblom reflects an interest in contemporary image culture. Her works are equally influenced by the filtered realities in the canon of Instagram, as by the aestheticized ones framed in art history. She allows visual motifs of commercial and non-commercial sources merge, and timely references suggest eternal questions. In her work the serious and existential is never far from banal humour. Primarily using the media of painting and sculpture, Lindblom observes the images that surround us: how they affect our perceptions, habits and ideals, how we express and expose ourselves in the economy of likes and attention that has made “personal branding” and “impression management” strategies relevant in increasingly private spheres.
While at Iaspis, Lindblom will continue to work on the series “Very peasant [sic!] stay” (2013–). The title originates from a spelling mistake found on the travel review website TripAdvisor and connects with the issues of class addressed throughout the series. Departing from images of travels as well as the travelling of images, the focus is on our worldly and spiritual needs; the social and the private; success and failure; self-fulfilment and frustration.
Born in 1981 in Eskilstuna (SE), Jenny Lindblom studied at the Gerrit Rietveld Academie and the Sandberg Instituut in Amsterdam. She has recently completed residencies and solo exhibitions at Künstlerhaus Bethanien (DE) and CCA Andratx (ES). She has also held solo exhibitions at Galerie van Gelder (NL) and Eskilstuna konstmuseum (SE), and been included in group exhibitions at Bonniers konsthall (SE), Museum SCHUNCK (NL) and Jan van Eyck akademie (NL). This year she was awarded the High Coast grant (SE), and in 2010 she received the Royal Dutch painting prize, Koninklijke prijs voor vrije schilderkunst.
(1974), was born in Belgrade (Serbia). His art work is technically narrowed mostly to video, but it deals with a wide scope of subjects. In his earlier work, Nikolić explores the mechanisms of ritual submission to religious authority, or it deals with the authority of art tradition/history. Throughout his work he constantly exercises institutional critique, and questions the artist’s general purpose in the world of art. By doing so, Nikolić is critical about himself, as much as about any other matter. Common to all these works is a pursuit of reality behind the images. However, from 2011 to 2014, he reverses this approach, so that his video works represent an attempt to hunt the images behind the ‘reality’. During this period Nikolić explores visual perception and the ways it is affected by new technologies.
His most recent work represents a complex 16 mm film installation, that operates as a mechanism recreating some of the key concepts of capitalism, at the same time exposing its consequences
Nikolić has an M.A. degree from the Faculty of Fine Arts, University of Belgrade (2005). He attended the School for History and Theory of Image at the Centre for Contemporary Art in Belgrade (2001). Since 2014 he is teaching at the Department for New Media at the Faculty of Fine Arts, Belgrade. He exhibited works internationally both in solo and group exhibitions and was an artist in residency at Foundation for a Civil Society (New York, 2003), Recollets (Paris, 2007), Otto Prod (Marseille, 2008), 24cc (Rome, 2011), Times Museum (Guangzhou, 2014)
I see the main possibility of my role as an artist as a way in which I can invent and swap roles. By entering into various roles I can devise a space for freedom of action, which allows me to be both Myself and Something Else.
Employing techniques such as text, music, textiles, object, performance, theatre, publications, video, I frequently explore issues of community and the creation of meaning in my works.