Traverses
Events
Traverses runs through concurrently with Anywhere But Here exhibition at Bétonsalon – Center for Art and Research (September 14 – November 5, 2016) et Tomorrow is an Island / Demain est une île (October 1 – December 23, 2016) at Villa Vassilieff.
Tuesday, September 20, 2016 at 7:30 pm
at the auditorium of the Cité internationale des arts
Vera Mey’s talk: Shaking & moving in South-East Asia
- Sooshie Sulaiman, Chanta, Chanta, 2005 - ongoing. Courtesy of the artist.
Independent curator Vera Mey will draw upon a few case studies from a paper she delivered at the APT8 Conference in Brisbane about artists in Southeast Asia and their relationship to social change and artistic production. This has formed part of wider research she is conducting as co curator on SEA Project (working title), due to open in July 2017 at the Mori Art Museum and National Art Centre Tokyo in Japan.
Despite intense social change and upheaval within Southeast Asia over the recent decades, often which has resulted in a wider cultural amnesia, artists continue to show continuity between the aesthetic histories of the past and the present. Not only are artist using aesthetic devices in a continuous manner but also using history itself as a material to be constantly revised, re performed and re enacted in order to excavate dormant histories and to show continuity as a counter to forgetting. The practices of Amanda Heng, Khvay Samnang, Shooshie Sulaiman and Vuth Lyno all contain elements of performance in relation to histories which are under represented within dominant meta narratives around key moments in nation building and can be even be read as alternative histories.
The ideas of moving and shaking will be looked taking cue from the Mahabharata’s Book of the Beginning (8th– 9th Century BC) and ideas around circular time, change and overlapping histories through their practices although the respective histories are not necessarily in direct conversation. These ultimately map a history of overlapping interest and interaction through mutual historical events that impact on a social and regional scale. Even the notion of Southeast Asia as a region, more confidentally defining itself as a socio political spatial and temporal zone has had incredible change over the last fifty years.
Artists in Southeast Asia are often framed within conditions of newness and regeneration despite notions of history and continuity being ever present within the aesthetic histories of different parts of the region. Perhaps change is the only constant.
Vera Mey (Born in 1987 in Wellington, New Zealand) is an independent curator based in London. She was part of the founding team of the NTU Centre for Contemporary Art Singapore led by Ute Meta Bauer from 2013. For 2015-2016 she is guest curator at Sa Sa Bassac and Bétobsalon –Center for Art adn Research, grantee of SOAS, University of London and Getty Foundation as part of Ambitious Alignments: New Histories of Southeast Asian Art.
- era Mey’s talk: Shaking & moving in South-East Asia at Cité internationale des arts, as part of the program Traverses, Paris, 2016.
- Vera Mey’s talk: Shaking & moving in South-East Asia at Cité internationale des arts, as part of the program Traverses, Paris, 2016.
Thursday, October 6, 2016 from 6 to 9 pm: Tran Minh Duc’s open-studio at the Cité internationale des arts (studio 8109, 1st floor)
- 1st day of Tran Minh Duc’s workshop, 3D DIY modelling and artistic creation. All rights reserved.
During his open studio, Tran Minh Duc will present the on-going research that he conducts in France notably in the archive of the Paris Foreign Missions Society. The artist addresses the history of the relationship between Vietnam and France, within the destiny of the Prince Canh who at the age of seven, in 1785, was sent by his father the Emperor Gia Long (the founder of the Nguyen dynasty, the last dynasty of Vietnam) with the French Catholic Father Pigneau de Béhaine to Paris to ask for an alliance with King Louis XVI. This treaty marked the beginning of colonization of Vietnam by France. The little prince spent five years in Paris, where he took an interest in Catholicism and started to wear French clothes. When he returned to Vietnam, he couldn’t completely fit in the life and culture of his own country. The prince’s destiny symbolizes the split between time and space, between political power and borders, religious belief and freedom of belief. He inherited his Vietnamese Prince title from one the most renowned dynasty of Vietnam but ended up his life, melancholic, dwelling on his memories of the West.
For Anywhere But Here in Bétonsalon – Center for Art and Research, Tranh Minh Duc presented an artwok also linked with the Prince Canh history.
Tran Minh Duc (1982, Hô-Chi-Minh-Ville, Vietnam) is a Vietnamese artist. His interest lies in the Past, its fragmentary modes of diffusion and the way it interacts with our present time. With his artistic practice, he investigates Vietnamese urban life characteristics. In order to do so, he studies the interaction between individual and collective spheres, between ideas such as the local/ internal and foreign/external.
He was invited in Japan, Myanmar and Cambodia for residencies and participated to the following exhibitions (selection) : Global Cities, Center Stage, Baltimore, United-States, 2014 ; 15th Anniversary : Nha San Duc, Hanoi, Vietnam, 2014 ; Beyond Pressure : Festival of Performance Art, Yangon, Myanmar, 2012 ; Poetic Politic, Kadist Art Foundation, San Francisco, United-States, 2012 ; Tokyo Story, TWS Shibuya Gallery, Tokyo, Japon, 2012 ; Open Edit : AAA Mobile Library, San Art, Hô-Chi-Minh City, Vietnam, 2011.
- Tran Minh Duc’s open-studio at the Cité internationale des arts, as part of the program Traverses, Paris, 2016.
- Tran Minh Duc’s open-studio at the Cité internationale des arts, as part of the program Traverses, Paris, 2016.
- Tran Minh Duc’s open-studio at the Cité internationale des arts, as part of the program Traverses, Paris, 2016.
Tuesday October 25, 2016 from 6pm to 9pm, room 8509, 5th floor : Vuth Lyno’s open-studio at the Cité internationale des arts (Marais).
- Image of documentation of ’Keeping Peace’, a project led by Vuth Lyno. Courtesy of the artist, all rights reserved.
For his open-studio, Vuth Lyno will present his ongoing project, Keeping Peace, which explores the implementation and consequences of the United Nations’ operations for maintaining peace in Cambodia. By combining personal and national tales that contributed to the writing of this moment of history, the artist aims at shedding light on the tensions and contradictions which are inherent to these years driven simultaneously by violence and by a deep aspiration to peace.
Vuth Lyno (b. 1982, Phnom Penh) is an artist, curator and artistic director of Sa Sa Art Projects, Phnom Penh’s only artist-run space, located in the historic and presently endangered neighborhood known as the White Building. Vuth’s practice is primarily participatory and collaborative in nature, engaging specific Cambodian communities and the cultures unique to them. Vuth holds a Master of Art History from the State University of New York, Binghamton, supported by Fulbright fellowship.
Vuth is an artist-in-residence at the Cité internationale des arts through the “Traverses” program created with Bétonsalon - Center for Art and Research, Paris (2016) and was a participant of International Art Residency, Para Site, Hong Kong (2015).
- Vuth Lyno’s open-studio at the Cité internationale des arts, in the framework of the program Traverses, Paris, 2016.
- Vuth Lyno’s open-studio at the Cité internationale des arts, in the framework of the program Traverses, Paris, 2016.
Tuesday, December 6, 2016, from 6pm to 10pm: Gaëlle Choisne, Camille Trapier and Théo Deporté’s open-studio at the Cité internationale des arts (Marais).
Gäelle Choisne : studio 2016
Trapier Duporté : studio 2012
Indoor Open studio : from 5 p.m. to 7 p.m. followed by an outdoor event (n the courtyard of the Cité internationale des arts) from 7.30 to 10 p.m..
Gaëlle Choisne and Trapier-Duporté opens the gates of their respective studios for you. Between affinities and divergences, the artists invite you to gauge two distinct art practices united by their authors’ friendship.
A river of Ricard, eulogy to escape,
A surexposition self-portrait.
Light amphora, a dash of animism.
Cric Crac.
A Peau de chagrin erected to the glory of colonial retention
fists up and vase in wax, werewolf !
Mute image of rubber
documentary fossil. And the remains of the world, between dogs and worlf, the kingdom of artifice.
Gaëlle Choisne lives and works in Paris. After graduating (DNSEP) from the Ecole Nationale Supérieure des Beaux-Arts in Lyon in 2013, she exhibited sculptural installations on several occasions : a solo show at the Halle des Bouchers in Vienne at the invitation of Marc Bembekoff and at Galerie La Centrale (located) in Montreal. She participated in various residences in France and foreign countries : OPTICA and Art3 Valence in Montreal, Astérides at la Villa Croce in Gênes, at la Cité internationale des Arts in Paris. She also took part to the Biennale of La Havane in 2015, the Biennale of Lyon and Rendez-Vous at the IAC. Her trajectory has been punctuated by interventions in notable institutions such as the Museum of Contemporary Art of Lyon, the MAMO of the Cité Radieuse of Le Corbusier, or at the musée Fabre of Montpellier. In January 2017, she will join Amsterdam’s RijksaKademie.
Trapier Duporté is a duo of artists founded in 2014. Their practice, they define as plural, has the particularity of using diverse organic elements as a medium in dialogue with other materials of their pieces. Construction sites, greenhouses, visible electric cables are as much elements and objects they turn into sculptures and installations responding to a patch-up aesthetic. The environment they produce are immersive and polysensual. Smell occupies a central position as they explore the notions of odoriferous aura and olfactory overflowing. A territory around the artwork, the odoriferous aura marks a space of apprehension. Its edge is the perceptive threshold of this same space. Trapier Duporté questions the notion of the tragic in our contemporary world. The work of the duo speads out between taste and distaste, longing and fatigue. Gravity, flow, chiaroscuro: their shapes are located halfway between hope and despair in the redeeming zone of the tragicomic.
Share