- Gabriel Acevedo Velarde.
Escenario, 2004. Video. Courtesy of the artist and Galeria Leme, São Paulo
“Occasionally, during moments of clarity, one takes a decision to make radical changes. One naturally begins to recognize, without pomposity or heroism, that the time has come to cease being an accomplice. When I made this animation I wanted to describe the time that passes until this moment arrives – if it does”. Gabriel Acevedo Velarde
Born in 1976 in Lima (Peru), lives and works in Berlin (Germany). + information
- Zbynek Baladrán.
Model of the Universe, 2009. Video HD. 2’45”. Collection of the artist
With just a sheet of paper, a pencil and a few diagrams, Zbynek Baladrán turns the exhibition into an experimental field and potential model for the creation of various hypotheses about what reality actually is. The work embodies the paradoxical impossibility of its goal: the artist offers models, ranging from the extremely simple to the highly complex, which might be used to come to some kind of understanding of reality (of the exhibition, of the world).
Born in Prague (Czech Republic), 1973, where he works and lives. + information
- Ernesto Ballesteros.
Vuelos de interior, 2011. Video. Collection of the artist
Gabinete de curiosidades, 2012. Collection of the artist
Ernesto Ballesteros’s practice moves beyond the realm of art to incorporate notions from astronomy, mathematics, engineering and other sciences. His quest is to render the invisible visible: movement, time, the fragility of the present moment. For the Biennale de Lyon, he has been invited to relocate one of his ongoing projects for the entire duration of the show: his indoor flights (which entail the building of ultra light airplanes, flying them, and the organization of competitions). Fundación Proa presents recordings of this experience, some airplanes and related documents. Referring to his work, he says: “The application of lines to create atmospheres, the projects with self-propelled cars and the indoor flights generate other invisible lines: the path of the plane flying in circles, the predetermined routes and the different intensities – revealing time as the principal object of study.”
Born in 1963 in Buenos Aires (Argentina), where he lives and works. + information
- Eduardo Basualdo.
Untitled, 2012. Transparent plastic bags, wood, engine. Collection of the artist. Site-specific work for Air de Lyon -Fundación Proa
On his work, the artist says: “Salvation is hidden behind a name. The name is hidden in the alphabet. Guess is impossible. The only way is naming one by one, each and every word in universe. Alamo, slurp, flag, fixation…”
Born in 1977 in Buenos Aires, Argentina, where he lives and works. + information
- Erick Beltrán.
Nudo Perikhórein, 2011. Sculpture. Courtesy of the artist and Galería Joan Prats, Barcelona. Creation 11th Biennale de Lyon
Erick Beltrán explores the concept of the encyclopedia: its structure and use and its factual and potential applications. For the Biennale de Lyon 2011 he has constructed a sphere reminiscent of the 17C apparatuses that enabled kings to conceive of the world as an object and geographers to create an iconic map of knowledge, in both their exterior and interior. In his Perikhórein Knot – Greek for the concept of dwelling within – Beltrán presents the viewer with a multilayered notion that involves “the circular rotatory movement which turned matter in the cosmos, the impossibility of a precise localization and the relationship between multiple elements inhabiting each other simultaneously.” While on the exterior we are presented with a map documenting (and critiquing) the political and social forces involved in the presentation of the world as a measurable historical image (the acquisition of “objective” knowledge), on the inside Beltrán offers an approximation to its opposite; a “subjective” struggle between forces striving to form an image of the world.
Born in 1974 in Mexico City, Mexico, where he lives and works. + information
- Diego Bianchi.
Sin causa aparente, 2012. Installation. Collection of the artist. Site-specific work for Air de Lyon -Fundación Proa
Born in 1969 in Buenos Aires, where he lives and works. + information
- Katinka Bock.
Buenos Aires Balance (Balada de Buenos Aires), 2012. Courtesy of Meyer Riegger Karlsruhe, Berlin
Aussicht zu Zweit, 2008
Atlantic Sculptures I, 2012
Atlantic Sculptures II, 2012
Atlantic Sculptures III, 2012
Courtesy of Jocelyn Wolff, Paris
Born in Frankfurt (Germany) 1976, lives and works in Paris and Berlin. . + information
- François Bucher.
El hombre que desapareció, 2011. Video HD, color, sound. 20’. Collection of the artist
Born in 1972 in Cali, Colombia, lives and works in Berlin. + information
- Virginia Chihota.
Fruit of the Dark Womb, 2011. Series of 50 drawings. Collection of the artist. Creation for the 11th Biennale de Lyon
For Virginia Chihota, the doll is the subject of a series of impossibilities: the impossibility of speaking, reacting, hitting and hitting back if necessary. Universally associated with women, the doll can be seen as a symbol of surrender, of submission, of a no-way-out situation. “You can do anything to a doll”, says Chihota, speaking quietly in her hometown of Harare. She further reveals that the dolls, depicted in a series of spontaneous drawings in her notebook, were used in fertility rituals.
Born in 1983 in Chitungwiza (Zimbabwe). Lives and works in Libya. + information
- Lenora de Barros.
Utopy, 1996. Audio. 3’33”. Text and performance: Lenora de Barros. Sound: Cid Campos MC2 Studio
Tempinhos, 2008. Videoperformance. 10’. Courtesy of Galeria Millan, São Paulo
Cortesía de la Galeria Millan, São Paulo
Umas, 1993-1996. Pages of the newspaper Jornal da Tarde (São Paulo) and performative readings. Collection of the artist
In Air de Lyon, Lenora de Barros presents diverse works. A series of weekly columns entitled Umas, published by the Jornal da Tarde (São Paulo, Brazil) between 1993 and 1996, in which, in a space that we could might today call “pre-blog”, the author published innumerable photo-performances, visual poems, and poetic texts proposing unique relationships between text and image while commenting on the status of art, photography, poetry, etc. Secondly, she presents the more recent Tempinhos/Tiny Times in which the artist explores what she refers to as “improbable times, the absurd hours, and the possible and impossible moments.”
Born in Sao Paulo (Brazil) 1953, where she lives and works. + information
- Augusto de Campos.
Series of visual poems, 1955-2002
Courtesy of the artist
In 1952, Augusto de Campos, his elder brother Haroldo de Campos, and Décio Pignatari, launched the literary magazine Noigandres and so introduced the international movement of Concrete Poetry to Brazil. These were years dedicated to the study of works that had been marginalized by the critics of the time, such as Un Coup de Dés (Mallarmé), The Cantos (Pound), Finnegans Wake (Joyce) or the poetry of E.E. Cummings. Invoking Apollinaire, the young poets searched for a "verbivocovisual” poetry, a radical fusion of the most advanced experimental techniques so as to enable a “poetry of invention,” in which conventional syntax and versification would be abandoned and the materiality of poetry accentuated. In this exhibition, several poems written at different times by Augusto de Campos are exhibited in dialogue with the diverse artists in the exhibition. In his extensive poem Bestiario (1955), translated by Gonzalo Aguilar, from which we present two fragments in this space, De Campos poignantly refers to the solitude underlying the poet’s artistic practice.
Born in São Paulo (Brazil) 1931, where he works and lives. + information
- Marina De Caro.
Hombre semilla o el mito de lo posible, 2011.
Un hilo de voz, 2011
Works created for 11th Biennale de Lyon. Collection of the artist. Courtesy of Galería Ruth Benzacar, Buenos Aires
On the sculpture Hombre semilla o el mito de lo possible, the artist said: “For reasons related more to chance and intuition than design, I found myself confronted with these plaster structures resembling gigantic seeds from which people, or beings with a human quality, were born. I thought at the time that they were man seeds – a metaphor for a new man in a state of rebirth, who can reappear with a new way of doing things. Everything begins with a birth. Our world needs new forms for new beginnings: political, economic, social and emotional. We need the rebirth of a new kind of subjectivity. It is a myth of the possible: a new way of seeing things which, I believe, will enable new utopias, or at least make the creation of new projects possible. The man seed is inherently involved in and connected to the natural world. And that’s a good (and necessary) point of departure.” On the series of drawings, De Caro stated: “There’s always something you never knew existed until you actually see it, like a whisper that becomes an incredible song or as if our silence sheltered many different voices.”
Born in 1961 in Mar del Plata (Argentina), lives and works in Buenos Aires. + information
- Julien Discrit.
The Day Trip Project, 2011. Video, color, DV/DVD. 2’47”. Courtesy of the artist
The Day Trip Project depicts a strange machine, a combination of mobile sculpture and unidentified prototype. Throughout the film, this geometrical shape, built from mirrors, which reflect only the sky and the ground, advances through a tree-filled landscape from sunrise to sunset. Employing very limited resources, Julien Discrit conjures up the symbolic motif of the speculum, a Latin term, which refers to both the mirror, and the image it reflects. The result is a hypnotic vision in which space and time are captured by the concerted movement of the sculpture and the camera recording its progress.
Born in 1978 in Épernay (France), lives and works in Paris. + information
- Marlene Dumas.
Serie de dibujos, 1979-2004
The Rejects, 1994-present.
Collection of the artist
Nothing is more abstract or innocent than a line on paper, anyone might think. But let the same line be traced on the ground, and everything is changed. This becomes inescapably clear when viewing Marlene Dumas’s recent Territory Paintings on the wall diving Israel and Palestine. At the Biennale de Lyon 2011, we presented one hundred drawings created by Dumas between 1979 and 2004, in regards to which these other lines in her poem Contra o Muro (2010) might prove fitting
“The first mark is the worst.
The drawing of a line cuts the paper in two.
The drawing of maps and borders turns neighbors into foreigners.
Within military cultures whole generations of children
have grown up, thinking only in enemy-images.
Art is a way of sleeping with the enemy.”
(Marlene Dumas, Contra o Muro, May 2010 ; originally published in Contra o Muro.
Marlene Dumas 2010, exh. cat., Porto: Museu Serralves, 2010, p. 57)
Born in Cape Town (South Africa) 1953, lives and works in Amsterdam (The Netherlands). + information
- Aurélien Froment.
La tectonique des plaques, 2011. Video HD. 14’25”. With Judith Plas and Laurent Talon. Courtesy of the artist, Motive Gallery, Amsterdam and Galerie Marcelle Alix, Paris. Co-produced with Musée Departamental d’Art Contemporain de Rochechouart and the Biennale de Lyon 2011
This film by Aurélien Froment documents an exhibition built on the same scale as its open-air setting. The two main characters traverse the countryside as though they were touring an exhibition: the universe has effectively become their gallery. Aurélien Froment’s fictional approach highlights behaviors, which are common in our reactions to both art works and landscapes, our tendency towards labeling the things we see and the time it takes us to properly appreciate them.
Born in 1976 in Angers (France), Lives and works in Dublin, Ireland. + information
- Michel Huisman.
No. 84 (Document 2000 Hiroshima), 2000.
No. 74 (Surrendering Birds), 1999.
No. 46 (The Secret Garden), 1990.
Collection of the artist
Michel Huisman’s universe of mechanically-based dreamlike sculptures is continually unfolding. Each work draws the viewer’s attention towards a specific scene that proposes a reflection on universal feelings: love, understanding, solitude, pain… No. 84 (Document 2000 Hiroshima) is more exception than rule in that here, the artist is addressing a very precise reference: it was created for the exhibition Document 2000 Hiroshima in Japan.
On No. 46 (The Secret Garden), the artist says: “The soap in the bucket is only a few centimeters deep; a watertight glass bottom is fitted two thirds of the way up the bucket. Hidden underneath is a garden. A berth can be created by pulling the cloth draped under you smooth. Here, lying on your back, you can slide your head into the hollow space underneath the bucket and rest it on a pillow. The head is hidden from view by a second, smaller cloth.”
Born in 1957 in Heerlen, Netherlands, where he lives and works. + information
- Christoph Keller.
Retrograd: A reverse chronology of the medical films made at the Berlin hospital Charité, 1999-2000. Video DVD. 32’. Courtesy of the artist and Esther Schipper Gallery, Berlin
From the very beginnings of film until the dismantling of its Film Institute, the Berlin Charité hospital produced approximately 1000 educational, medical, documentary and experimental scientific films. There is no cinematic footage of the Charité itself. There are scraps: fragments in the form of notes, articles, a few photos and the films that have survived. How can one tell a story that does not exist, that appears only intermittently in a context of images and documents full of gaps?
Born in 1967 in Freiburg (Germany), lives and works in Berlin (Germany). + information
- Irina Kirchuk.
Link, 2012. Iron, wood, acrylic, aluminum, stone
Rayo Z, 2012. Electrical appliance, wood, iron, aluminum
A cielo raso, 2012. Electrical appliance, iron, plastic
Escapes, 2012. Plastic, iron, zinc
Interferencia, 2012. Plastic intercom, iron
Ventiladora, 2012. Iron, fan. 143 x 25 x 15 cm
Site-specific works for Air de Lyon - Fundación Proa
Born in 1983 in Buenos Aires, where she lives and works. + information
- Eva Kotátková.
The Re-education Machine, 2011. Installation. Courtesy of the artist. Site-specific work for Air de Lyon - Fundación Proa
Eva Kotátkova’s imaginary Re-education Machine continues her ongoing exploration into restrictive and manipulative regimes and the ways in which they affect individuals. She is particularly interested in education’s role in social control and abuse. In her installations and drawings, the body is subjected to mechanisms that, according to the artist, “serve only to unify communication patterns and force opinions; allocating specific social norms to people.” The individual is “trapped in the net of mutually repressive dependencies which are no longer invisible – they become wooden cages, metal scaffolding, isolated rooms, and rope shackles.”
Born in Prague 1982 where she lives and works. + information
- Robert Kusmirowski.
E.M.A S.A., 2012. Installation. Collection of the artist. Site-specific work for Air de Lyon - Fundación Proa
Robert Kuśmirowksi’s oeuvre is haunted by the weight of memory. The respect tinged with mistrust, which the artist feels for history, leads to the creation of a solemn, critical space for discussion.
Born in Lodz (Poland) 1973, lives and works in Lublin (Poland). + information
- Luciana Lamothe.
Cuadrado, 2012. Iron. Performer. Collection of the artist
Born in 1975 in Buenos Aires (Argentina), where she lives and works. . + information
- Guillaume Leblon.
Notes, 2007. Video, color, sound. 7’22”. Collection of the artist
Guillaume Leblon´s work presentations are constructed as an arrangement of abstract, self-contained and open forms. Materials are, to the artist, vehicles for ideas. His universe is heterogeneous, he creates site-specific installations, sculptures, films or works on paper. With minimal interventions he succeeds in constructing a space of multiple readings, he charges the objects of his presentations with metaphorical meanings, introducing a certain uneasiness that affects and stimulates our perception. In his video Notes (2007), the camera moves around an experimental space, the artist’s studio, that after being overrun with clay and water, is metamorphosed into a scenario where landscape and interior space blend, while a set of objects and fragmented actions are sketched.
Born in Lille (France) 1971, works and lives in Paris. + information
- Christian Lhopital.
Serie de dibujos, 2002-2011. Collection of the artist. Courtesy of Polaris Gallery, Paris
An absurdist caricature of our society, a sharp-edged critique of the human condition masked by apparent lightheartedness: in Christian Lhopital’s drawings contradictory worlds in a state of permanent tension conjure up both the innocence of childhood and the perverseness of nightmares. For the Biennale the artist is presenting, among other works, a series of drawings from his 4 à 5 Gouttes de Sauvagerie (“Drops of Savagery”): a mix of the grotesque and the tragic in family portraits of prancing, dancing hybrid monsters.
Born in Lyon, 1953, where he lives and works. + information
- Laura Lima.
Payasos, 2005-2012. From the series “Monte de Irônicos”. Courtesy of the artist
Born in 1971 in Governador Valadares, Brazil, lives and works in Rio de Janeiro, Brazil. + information
- Jorge Macchi.
10:51, 2009. Video DVD, color. Collection of the artist
Born in 1963 in Buenos Aires (Argentina), where he lives and works. + information
- Cildo Meireles.
La bruja 1, 1979-81. Wooden broom, 3.000 km of thread. Collection of the artist. Site-specific work for Air de Lyon -Fundación Proa
La bruja 1 employs some 6000 kilometers of thread to invade the entire exhibition space. In Cildo Meireles’s own words: “I first exhibited this work at the Sao Paulo Biennal in 1981, using 2500 kilometers of thread which ran through all three floors of the building. It was my take on... a kind of chaos when order is suddenly imposed upon it, giving it meaning, a sort of explanation. The broom is ambiguous, it can be seen as the start; the source of an enormous expansion, or perhaps the final point where everything is contracted and compressed. And there is also another paradox in the fact that, instead of cleaning, the broom produces a chaotic mess. At the Sao Paolo Biennal, the cleaning staff got very frustrated because they couldn’t keep the area properly clean!” For Air de Lyon, Meireles accepted a challenge: to install La bruja 1 in such a way that it would structure an entire exhibition floor in which other artists would also be exhibiting.
Born in Rio de Janeiro, Brazil, 1948, where he lives and works. + information
- Garrett Phelan.
Interruption (Interrupción), 2012.
Bloody Mynahs, 2012.
Holier tan Thou, 2012.
Site-specific works for Air de Lyon - Fundación Proa. Courtesy of the artist
“Someone asked me recently what I thought of conspiracy theories about 9/11 and I answered: ‘The way I look at things is that I am on a planet, in the middle of the universe, spinning endlessly, at 1000 mph and no one is in charge and I am liberated by that image and belief.’ With my work I want to present my experience of confusion, contemplation, uncertainty, formlessness, the infinite and the meditative. These are the subjects that are important to me and together they become a personalized politics of feeling, rationalization, contradiction and response and inform my reactions to the world outside. They become a ‘Politics of the Self’.”
Born in Dublin 1965, where he lives and works. + information
- José Alejandro Restrepo.
El arte de la retórica manual, 2010. DVD b/w, sound. 7’. Collection of the artist
When asked about his thoughts for conceiving the exhibited film, Restrepo signaled to a most eloquent fragment from Montaigne’s Essays: “We use our hands to question, promise, call, say our farewells, make threats, beg supplicate, refuse, reject, question, admire, recount, confess, regret, fear, express shame, doubt, instruct, give orders, incite, encourage, swear, bear witness, accuse, condemn, absolve, insult, disdain, defy, scorn, offer adulation, applaud, bless, humiliate ourselves, mock, reconcile, recommend, exalt, celebrate, rejoice, complain, express sadness, exclaim, reprimand, what do we not do, and with such a wealth of expression that the tongue is made envious?” (Essais, II, 12).
Born in Bogotá 1959, where he works and lives. + information
- Tracey Rose.
San Pedro V, 2005. Video, color, sound. 6’
Lucie’s Fur: The Prelude (El pelaje de Lucy: el preludio), 2004. Video, color, sound. 6’10”
In The Castle Of My Skin, 2011. Video, color, sound. 4h9’. Creation 11th Biennale de Lyon
Collection of the artist
In 2005 Tracey Rose decided to fly to Jerusalem to address the political situation of which the wall dividing Israel from Palestine is a symbol. As she recalls, “earlier in the day there are fewer patrols. I painted my body and we hired a car and drove up to the wall at sunrise”. Once there, Rose got out of the car and played the Israeli national anthem on a guitar – badly. Simultaneously comic and brave, Rose’s masquerade was undertaken, she says, “to create humor and to provoke a reaction, to point out the absurdity of the situation,” but her outrageous performance might well have landed her in an Israeli jail. Although a guard in a watchtower can be seen in the background of one of Rose’s images, she left the scene without being arrested. Only her engaging video and the photographs taken at the scene live on to bear witness to the moment.
In Lucie’s Fur, Tracey Rose addresses the issue of the archetypal Western version of Genesis that is the Garden of Eden. In her video performance piece, the artist fleshes out a carnivalesque character based on Lucie, the first female African hominid that was discovered in 1974 and was long considered the mother of humankind. With a bright costume, a garden, a donkey, low-tech esthetics and broad swathes of bawdy slapstick humor, Tracey Rose questions the myth of Eden and wonders: was Adam actually a black woman?
In residence in Feyzin as part of the Veduta program, Tracey Rose creates a fictional cast featuring nearly thirty people. In what could be seen as a reality-show, the artist questions the assignment of individuals to compartmentalized cultural representations, according to a willfully xenophobic typology based on a chapter of Franz Fanon’s book Black Skin, white Masks, in which the author is terrorized by a small French boy who exclaimed upon seeing him: “Look, a Negro! Mama, see the Negro! I’m afraid!”.
Born in 1974 in Durban, South Africa. Lives and works in Johannesburg, South Africa. + information
- Alexander Schellow.
Ohne Titel (Fragment) ), 2007. Video HD, 16:9, b/w. 5’21” (loop). Production Films de Force Majeure / Alexander Schellow. Courtesy of the artist
In his drawing practice, Schellow reconstructs from memory specific encounters seen in everyday urban settings several days, or even months, previously. At Air de Lyon, we present one of his most ambitious animation projects. Untitled (Fragment) is a work in progress based on several visits to a 96-year-old woman who lives at a clinic for Alzheimer’s patients in Berlin. In his studio the artist meticulously recreates the subtle movements of her face after-the-fact. Overall, Schellow’s work is the result of a combination of what remains of the seen and an obsessive attempt to recover what the consciousness shields from us, thus challenging the usual process of memory in which specific details sink into oblivion forever.
Born in 1974 in Hanover (Germany), he lives and works in Berlin (Germany). + information
- Javier Téllez.
O Rinoceronte de Dürer, 2010. Digital film transferred to video HD, color, sound. 41’10”. Fundación Calouste Gulbenkian – CAM (Centre de Arte Moderna), Lisbon, 2010. Courtesy of the artists and Peter Kilchmann Gallery, Zurich
O Rinoceronte de Dürer was filmed entirely on location at the panopticon of the Miguel Bombarda Hospital in Lisbon and made in collaboration with psychiatric patients of the outpatient’s clinic, who form the main cast of the film. Built in 1896 on the grounds of the largest Psychiatric Hospital in Lisbon, the panopticon was designed as a prison for the criminally insane, following the original plans of Jeremy Bentham.
The fragmentary narrative of O Rinoceronte de Dürer was written by the patients in a series of workshops conducted prior to the shooting of the film, where they imagined themselves as inhabitants of the former insane asylum and acted out fictional scenarios within their assigned cells. This reconstruction of the everyday life of a mental institution is complemented by voice-overs quoting texts such as Jeremy Bentham’s letter presenting the Panopticon, Plato’s Cave, and Kafka’s short story The Burrow.
Born in 1969 in Valencia (Venezuela), lives and works in New York, United States. + information
- Erika Verzutti.
O Burro, 2008. Bronze, porcelain and wood
São Francisco, 2008. Wood, rope
Neo Rex, 2008. Concrete, porcelain, wood, acrylic
Courtesy of the artist and Galeria Fortes Vilaça, São Paulo
Painted Lady, 2011. Bronze, acrylic. Collection Tetê Pachech, Brazil
Macumbinha, 2008. Bronze, porcelain, acrylic.. 14 x 60 x 60 cm.
Private collection, Brazil
From the series “Pet Cemetery”
Burro, Neorex and Sao Francisco belong to Erika Verzutti’s series of sculptures entitled Pet Cemetery, in which the pedestals form an integral part of the works. In them, the artist fantasizes about the death and burial of different animals in order to create sculptures in their honor in complete freedom, independent of considerations of style or art history. In exploring these diverse ambiguities, the artist casts a critical eye over different aspects of exhibition dynamics and language, asking the question: Why would anyone propose a pedestal for a gravestone?
Born in 1971 in São Paulo, Brazil, where she lives and works. + information
- Kemang Wa Lehulere.
Hang Katswa Madi 2 (Even if I Bleed 2), 2011. Collection of the artist. Creation 11th Biennale de Lyon
Kemang Wa Lehulere’s body of work is based on a series on narratives taken from interviews and texts written by the author that approach themes of memory and forgetting, amnesia and/or erasure. When asked about his relationship to such issues, Kemang says: “These works are united by a personal interest in and fear of such matters.”
Born in 1984 in Cap Town, South Africa. Lives and works in Johannesburg, South Africa. + information
- Judi Werthein.
Cosa, 2009-2012. Courtesy of the artist and Figge Von Rosen Gallery, Cologne / Berlin
“Cosa arrives in Buenos Aires after an international journey which started in August 2009 and has included sojourns in Stockholm, Banja Luka, Miami, Madrid, Mexico City, Köln, New York, and Lyon. At each exhibition venue, Cosa inhabits its negative space, never displaying its complete form. It was intentionally made in China; it was ordered over the phone, with one very simple instruction: that the weight of the piece should be no larger than FedEx’s maximum package weight.”
Born in Buenos Aires 1967, where she lives and works. + information