is a visual label Mécaniques Discursives AN INSTALLATION BY Fred Penelle & Yannick Jacquet
I N T R O Mécaniques Discursives AN INSTALLATION BY Fred Penelle & Yannick Jacquet While the passage of time seems to accelerate every day, Fred Penelle and Yannick Jacquet ofger a pause, a suspension, a breath. A strange mechanism stretches across the wall, populated with sha- dowy chimeras. They are mysterious and yet somehow fa- miliar. Is this a laboratory experiment or the plan for a future network? Minutely constructed like a fjne clock, it traces connections, routes, genuinely-false, looping itineraries, inviting escape, inviting dreams. The narrative is decons- tructed like a thousand-storied fjlm script. Every efgort is made to lead astray, to turn around, to forge ahead. Time is shredded, decomposed, lost...and yet everything references it. Mécaniques Discursives is like a parenthesis between two epochs: Gutenberg’s and Big Data’s. By contrasting the oldest form of image reproduction (woodcutting) with the most recent digital technologies, the installation straddles centuries and contracts time. video documentary: antivj.com/md project’s dedicated website: mecaniques-discursives.net vimeo channel: vimeo.com/channels/mecaniquesdiscursives photos: antivj.com/press/MD
L.E.V. festival / April 2016 - March 2016 / Gijon / ES
NEMO, Biennale Internationale Des Arts Numériques / Centquatre Paris/ December 2015 - January 2016 / Paris / F
Semaine Digitale / Cour Mably / May 2016 / Bordeaux / F
Video stills / Mécaniques Discursives documentary
Le Bon Marché / 2014 / Paris / F
A N I M A T E D C A N V A S Alongside their site specifjc installations, the artists have been exploring smaller standalone formats. Printed woo- den frames, steel objects, video projection.
P A S T E X H I B I T I O N S & A W A R D S 2016 . Concordia — Enschede / NL . Semaine Digitale — Cours Mably / Bordeaux / FR . BlueProject Foundation / Barcelona / ES . LEV-CCAI — Gijon / ES . Jerusalem Design Week — Jerusalem . Perte de Signal — Montreal / CA . Puzzle — Thionville / F 2015 . Némo Biennale Internationale Des Arts Numériques — Le Cenquatre / Paris / F . Lille 3000, Renaissance — Maison Folie Moulins / Lille / F . Graphic Design Festival — Breda / NL . I Belgi Barbari e Poeti — Vanderborght / Brussels / B . PatchLab — Gallery Bunkier Sztuki / Cracow / PL . PRINT - Art in print today — La Cambre / Brussels / B . I Belgi Barbari e Poeti — MACRO Museum of contemporary art / Rome / I . STRP Biennale — Eindhoven / NL . SAVE — Moscow / RU . LUX — Valence / F 2014 . Nuit Blanche Bruxelles — Brussels / B . Oddstream — Nijmegen / NL . National Taiwan Museum of Fine Arts / Wonder of Fantasy — Taichung / TW . Milan Design Week — Spazio Logotel / Milano / IT . Digital Choc — Institut français du Japon / Tokyo / JP . Atsuko Barouh Gallery — Tokyo / JP . Institut français — Kyoto / JP . Le Bon Marché — Paris / F . LKFF Gallery — Brussels / B 2013 . Mira — Barcelona / ES • Slick Art fair / Paris / F . Nuit Blanche — Metz / F . LKFF Art & Sculpture Projects Gallery — Brussels / B . Slick Art fair — Brussels / B . EMAF — Osnabrueck / D . Mirage — Lyon / F . Residency at Imal — Brussels / B 2012 . Nemo Festival — Paris / F . ShinyToys Festival — Mülheim / D . ElectroniK Festival — Rennes / F . Bozar Electronic Festival — Brussels / B . Scopitone Festival — Nantes / F . Mapping Festival — Geneva / CH AWARDS . Winner of the Milano Design Week Tech Award as part of the Timescapes exhibition (2014) . Winner of the Art Collector’s Prize - Slick Art fair 2013 / Brussels / B
B I O G R A P H Y Fred Penelle BLENDS WOODCUT PRINTING AND VIDEO PROJECTION TO PRESENT A SORT OF ABSURD AND POETIC MACHINERY “In just under ten years, Frédéric Penelle (Brussels 1973), winner of the Art contest prize at the end of 2007, has given engraving a sudden burst of energy through his novel use of it in a way that is funda- mentally original, malicious and as funny as it is serious. The installation of each exhibition places on a wall a swarm of characters and objects which mix, either play- fully or se- riously, times, epochs, drawing, painting, black, colour, old images and whatever else besides, to tell, not one, but a thousand tangled tales in which each will recognise his own according to his imagination, what he has lived through, his dreams or concerns. In a heterogeneous set astonishingly coherent in its linear weirdness like a frieze, starting from a personal mythology that brings together images known to all it holds up a portrait of the world that is surprising yet familiar at the same time. And this arrangement that is playful, amusing, inventive, sometimes threatening and also tragic in its device, constantly gives the impression that it might set itself in motion as if it was a vast comedy put on by actors who bear a strange resemblance to us. Mi- ght it be possible that we are taking part unawares? Very inspired and convincing.” (C.L.) ( L A L I B R E B E L G I Q U E 1 6 / 0 1 / 0 8 ) F R E D P E N E L L E . B E
B I O G R A P H Y Yannick Jacquet MECANIQUES DISCURSIVES IS LIKE A PARENTHESIS BET WEEN T WO EPOCHS: GUTENBERG’S AND BIG DATA’S Born in Geneva in 1980, lives and works in Brussels. Yannick Jacquet has spent ten years developing an visual arts project exploring how to reverse the deterioration in- herent in our exchanges with the world. His process of vi- sual creation draws on structural elements as disparate as the architecture of the Centre Pompidou-Metz and a Ravel string quartet. While the precise stratagem may vary, from the spectacular to the intimate, each undertaking is always rooted in the concept of resilience. This is art haunted by a discourse on the end of time. Jacquet makes no mystery of it. He invokes parallels with the Belgian artist Berlinde de Bruyckere’s work on mutations in living matter, the Ja- panese Ryoichi Kurokawa’s stellar visions, and his fellow Swiss artist Jean Tinguely’s sardonic laugh and his 1960s machines designed to self-destruct. The installation Mé- caniques Discursives, created in 2013 in collaboration with the artist and engraver Fred Penelle, is something of an ar- tist’s manifesto. A step in the dark. Sonar, alarms, and radio frequencies resonate in the shifting glow of vectorial im- pulses and cut-out silhouettes that reference pop culture. Yet the experience challenges expectations. The electronic signals lead nowhere. The sounds and fjgures have no refe- rent beyond themselves. The message fails in transmission. Yannick Jacquet developed a subtle kinaesthetic method that strips the viewer of his conditioning via an immersive process. 2016 has seen the creation of the generative work Flow on a fmoating building at the foot of the Alexandre III bridge in Paris. Jacquet’s twofold research into colour and the notions of time and natural cycles has led him to fmesh out a new paradigm: slowness. Slowness as one possible path to the urgently needed restoration of sensibility. Y A N N I C K J A C Q U E T . N E T
S E L E C T E D P R E S S R E V I E W S Web . E-limbo.org / April 2016 / (es) . Techniques-ingenieur.fr / August 2015 /(fr) . Industrie-techno.com / June 2015 / (fr) . Anti-utopias.com / November 2014 / (en) . The Creators Project Blog / November 2012 / (en) . Culturemobile.net / ArTeK / February 2013 / (fr) . The Creators Project Blog / March 2012 / (en) . Fastcodesign.com / March 2012 / (en) Print . SPACE #583 / South Korea / June 2016 / (COVER + 6 pages) . Artension #123 / January 2014 / Article by Marie Girault (fr) . Cover of Paris Art Week #3 / october 2013 TV France 3 Lorraine / Pourquoi chercher plus loin / October 2013 Original video / (fr)
C O N T A C T Nicolas Boritch — Director hello@antivj.com +32 (0)494 540 951 (BE) 30 quai des charbonnages 1080 Bruxelles ANTIVJ is a visual label initiated by a group of European artists whose work was originally focused on the use of projected light and its influence on our perception. Clearly stepping away from standard setups & techniques, artists of the label explore immersive installation formats, providing to the audience a senses challenging experience. Antivj was originally created by Yannick Jacquet, Joanie Lemercier, Olivier Ratsi and Romain Tardy around 2006. Thomas Vaquié has been composing music for most projects since 2008, with visual artist/creative coder Simon Geilfus joining in in 2009. The la- bel was co-directed by Joanie Lemercier and Nicolas Boritch until 2010, and is since then being managed by Nicolas Boritch. www.antivj.com
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