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Le monde est tout ce qu'il est

© Hicham Berrada, Présages, 2020 ; Taipei Fine Art Museum
© Hicham Berrada, Présages, 2020 ; Taipei Fine Art Museum

La grande halle [109]

2022

89 route de Turin, 06300 NICE

Opening on Friday 18 November from 6pm (open to all)

 

The OVNi – edition 2022 statement is an imaginary of the possibilities of follies as places and ideas. The proposal « The World is All That Is », which is deployed in the Grande Halle of 109-Pôle de cultures contemporaines, is a collective layout that is part of a critical relationship between humans being and the Earth and the biological.

Far from an inventory, the artistic projects presented share some conceptual experiments of our environment and its ability to absorb disorder. Artworks formalized thinking nature or the devouring of this one and refer to organic or inorganic, floral, mineral, aquatic or aerial vulnerabilities. Works also relate the hypotheses of a balance between the environments, the resources and the presence of the living beings.

Philosophers and scientists agree on this Zone of Uncertainty that we have just penetrated. They say the disruptions resulting from the interactions of the technosphere on the biosphere. They talk about the metasystems born from the New Technologies and their hybrid forms. But when they tell us that « 90 % of the vegetal biodiversity has been able to operate the greatest conquest of the terrestrial space » they also tell us about the resilience of the living.

© Sky Hopinka, Mnemonics of Shape and Reason, 2021
© Sky Hopinka, Mnemonics of Shape and Reason, 2021

Sky Hopinka

Mnemonics of Shape and Reason

HD video, stereo, color, 04:13, 2021

OVNi

Hopinka’s video Mnemonics of Shape and Reason (2021) traverses the memory of a place and space visited by the artist. Employing an original syntax of storytelling, the artist interweaves scattered and reassembled landscapes with layers of captured audio, poetic text, and music. A rhythmic account of the spiritual implications of colonial plunder, Hopinka’s fluid reflections transmute ideas of spiritual malleability tied to land, sky, sea, myth, place, and personhood.

© Claudia Hart - The Ruins - 2020
© Claudia Hart - The Ruins - 2020

Claudia Hart

The Ruins

2020 - 10'' - color

OVNi

The Ruins is an audiovisual animation in which a viewer is trapped in a maze, tracking through a claustrophobic game world in which the music, composed by Edmund Campion with vocals and lyrics by Hart, inform one another. The Ruins is a memento mori, creating a space of contemplation reflecting on the canons of a patriarchal western civilization: a world filled with still-life paintings and scored with lyrics that are manifestos of failed political utopias.   

 

For this work, Hart has produced very low polygon models – poor copies or “images,” to borrow a term popularized by Hito Steryl. The models imitate copyright-protected paintings by Matisse and Picasso, canonical painters whose careers mark the onset of Modernism. As the setting for these models, Hart has built a low-polygon game-style labrinth, covering its walls with animations that also infringe on copyright protections – for it is copyright that also marks the beginning of Modernism, responding to the emerging technology of that era (photography).  Hart tracks through this historical labyrinth from which there seems to be no escape.

 

Equally important to The Ruins is its music, by Edmund Campion. Campion is a celebrated composer and the director of CNMAT, the Center for New Music and Audio Technology, at the University of California, Berkeley. Campion created music and custom software programming specifically for The Ruins, including an algorithmic sound engine. For the work, Hart read four texts expressing the ideologies of four failed Utopias: Thomas Jefferson on American liberty, the Bauhaus Manifesto by Walter Gropius, Fordlandia – Henry Ford’s failed suburban rubber plantation in the Amazon rainforest – and Jim Jones sermon, the “Open Door.” Campion has processed and mixed each of Hart’s vocal performances, using them as instruments in a piece that is both an independent audio installation but also serves as the soundtrack to the animation.