{"id":61606,"date":"2021-09-20T15:44:04","date_gmt":"2021-09-20T15:44:04","guid":{"rendered":"https:\/\/villa-albertine.org\/professionals\/grantees-2021-etant-donnes-contemporary-art\/"},"modified":"2023-08-23T07:54:40","modified_gmt":"2023-08-23T07:54:40","slug":"grantees-2021-etant-donnes-contemporary-art","status":"publish","type":"app_professional","link":"https:\/\/villa-albertine.org\/va\/professionals\/grantees-2021-etant-donnes-contemporary-art\/","title":{"rendered":"Grantees 2021: Etant Donn\u00e9s Contemporary Art"},"content":{"rendered":"<p><u><strong>Grants for Artistic Projects<\/strong><\/u><\/p>\n<ul>\n<li><strong><em>Orisons<\/em><\/strong><\/li>\n<\/ul>\n<p>Site-specific commission by Marguerite Humeau<\/p>\n<p><strong>Black Cube, A Nomadic Art Museum<\/strong><br \/>\nJune 2022<\/p>\n<p>Curated by\u00a0<strong>Cortney L.\u00a0Stell<\/strong><\/p>\n<p>French artist Marguerite\u00a0Humeau\u2019s\u00a0<em>Orisons<\/em>\u00a0is an unprecedented large-scale, newly commissioned earthwork\u00a0situated in rural Colorado. Measuring up to 10 acres in diameter, the earthwork is reminiscent of a gigantic crop circle and\u00a0is\u00a0visible from land or sky. The work itself consists of a repurposed center-pivot irrigation system that mechanically spins, collecting and distributing rainwater in a circular pattern to stimulate the growth of native, medicinal plants. Planted according to the changing seasons,\u00a0<em>Orisons<\/em>\u00a0visually transforms over time, inviting visitors to experience colorful blossoms in the spring and withering shades of brown in the winter.\u00a0<\/p>\n<p>Through a hypothetical and resonant narrative,\u00a0Humeau\u2019s\u00a0earthwork surfaces a vital question\u2014what happens when our aquifers dry up? In this work, the irrigation system is akin to an otherworldly being on a cosmic quest to produce rainfall, healing the soil and reviving vegetation, before becoming extinct. Using partially harvested rainwater as a sustainable water source, the center-pivot irrigation system is programmed to disperse water at an environmentally safe pressure rate on a plot of land that contains planted seeds. In this way, the earthwork explores the relationship between land and sky.\u00a0<em>Orisons<\/em>\u00a0connects a constellation of subjects,\u00a0including innovative regenerative farming practices, ancient plant medicine and contemporary mythologies, which altogether\u00a0highlight\u00a0the interconnections\u00a0between humankind and the environment.\u00a0<\/p>\n<ul>\n<li><em><strong><em>2021\u00a0Triennale: Soft Water Hard Stone<\/em><\/strong>\u00a0<\/em><\/li>\n<\/ul>\n<p>Group show including Alex Ayed and Ga\u00eblle Choisne<\/p>\n<p><strong>New Museum, NYC<\/strong><br \/>\nOctober 26, 2021\u00a0\u2013\u00a0January 23, 2022\u00a0<\/p>\n<p>Curated by\u00a0<strong>Margot Norton and Jamillah James<\/strong><\/p>\n<p>The title of the 2021 Triennial, \u201cSoft Water Hard Stone\u201d is taken from a Brazilian proverb:\u00a0<em>\u00c1gua\u00a0mole\u00a0em\u00a0pedra\u00a0dura, tanto bate\u00a0at\u00e9\u00a0que\u00a0fura<\/em>\u00a0(&#8220;soft water on hard stone hits until it bores a hole&#8221;). The proverb can be said to have two meanings: that if one persists long enough, the desired effect can eventually be achieved; and that time can destroy even the most perceptibly solid materials. The title speaks to ideas of resilience and perseverance as it evokes the impact that an insistent yet discrete gesture can have over time. It also provides a metaphor for resistance, as water\u2014a transparent, fluid, and often underestimated material that makes up the majority of both our bodies and the planet itself\u2014is capable of eventually dissolving stone, an inflexible substance associated with monumentality, yet also composed of tiny particles that can collapse under pressure.\u00a0In this moment of profound change, where structures that we once thought to be stable\u00a0are revealed to be precarious, not working, or on the verge of collapse, the 2021 Triennial acknowledges artists and collectives reimagining traditional models, materials, and techniques beyond established paradigms. Their works exalt states of transformation, calling attention to the malleability of structures, permeable walls, porous and unstable surfaces, and the fluid and adaptable potential of both technological and organic media. The works included in the exhibition recall a sensibility that is simultaneously prehistoric and post-apocalyptic, looking back toward overlooked artistic traditions and technological building blocks, while at the same time looking forward toward the immaterial and the transitory, and creative modes not yet imagined.\u00a0\u00a0\u00a0\u00a0<\/p>\n<p>French-Tunisian artist Alex\u00a0Ayed\u00a0will present a new body of sculptural works made specifically for the 2021 New Museum Triennial. Inspired by the exhibition\u2019s title and theme,\u00a0Ayed\u00a0will present works that respond to the architecture of the New Museum and experiment with material capabilities as their form changes throughout the duration of the show. The materials\u00a0Ayed\u00a0commonly uses, which range from found objects that he sources along his journeys to sand and Tunisian olive oil soap, each come with rich histories yet are not commonly used in a traditional art context, and point toward possibilities beyond those typically housed within the walls of the institution. As borders have been shut and travel has been limited due to the global pandemic,\u00a0Ayed\u00a0has turned much of his attention to researching modes of sea travel. The works\u00a0he will present in the 2021 Triennial will draw from this research and from the winds that both make nautical travel unpredictable and cause boats to move faster in order to reach their destination. For\u00a0Ayed, this metaphor of the wind speaks to our current moment of instability, which may cause chaos yet pushes us to realize necessary change.\u00a0<\/p>\n<p>The work of French-Haitian artist\u00a0Ga\u00eblle\u00a0Choisne\u00a0addresses many of the disorders that plague our society, from the climate crisis and the exploitation of natural resources to the structural remains of colonialism. For the 2021 New Museum Triennial,\u00a0Choisne\u00a0will develop a new video and sculptural installation responding to the exhibition\u2019s title and theme. As she often draws from Caribbean and European literary sources, her new work is inspired by Roland Barthes\u2019 1977 text \u201cA Lover\u2019s Discourse,\u201d as well as\u00a0her own ongoing research on systemic racism, violence, and surveillance. The installation incorporates found objects, some of which have been gathered by the artist for many years, as well as materials such as Plexiglas sheets often used for hygienic or safety purposes, and metallic objects made by the artist in a facility that manufactures weapons in the South of France.\u00a0Choisne\u2019s\u00a0project will also incorporate architectural elements using mycelium and draws connections between a fungus-like bacteria that can grow in the stomach of dogs and elicit violent behavior in the animal and propagating police brutality. In this work,\u00a0Choisne\u00a0expands from Roland Barthes\u2019 quote \u201cI am the one who waits,\u201d to add: \u201cI am the one who waits, for a new life, equal for everybody.\u201d\u00a0<\/p>\n<p>\u00a0<\/p>\n<ul>\n<li><strong>Solo Show by Iv\u00e1n Argote<\/strong><\/li>\n<\/ul>\n<p>\u00a0<\/p>\n<\/p>\n<p>Image of\u00a0Iv\u00e1n\u00a0Argote\u2019s Artpace Summer 2021 International Artist-in-Residence exhibition titled\u00a0<em>All Here Together<\/em>. Photo by Beth Devillier. Originally commissioned and produced by Artpace San Antonio.\u00a0<\/p>\n<p><strong>Artpace San Antonio<\/strong><br \/>\nJuly\u00a015 \u2013 September 15,\u00a02021\u00a0<\/p>\n<p>Curated by\u00a0<strong>Pilar Tompkins Rivas<\/strong><\/p>\n<p>Born in Bogot\u00e1, Colombia in 1983,\u00a0Argote\u00a0graduated from \u00c9cole\u00a0Nationale\u00a0Sup\u00e9rieure des Beaux-Arts de Paris in 2009 and has remained living and working in Paris since. His work explores the relationship between history, politics, and the construction of our own subjectivities. His films, sculptures, collages, and public space installations\u00a0attempt\u00a0to generate questions about how we relate to others, to the state, to\u00a0heritage, and to traditions. His works are critiques, sometimes anti-establishment, and deal with the idea of bringing affects to politics and politics to affects with a strong and tender tone.\u00a0He makes political and sociological critiques and proposals using affection, emotions, and humor as subversive tools with which he tries to generate spaces of dialogue away from polarization and confrontational rhetoric.\u00a0\u00a0<\/p>\n<p>Argote\u2019s\u00a0artistic career has gained significant momentum over the last several years, though his exhibition history in the United States remains limited. In a time when the United States is grappling with its own identity, history, and role in the global community, highlighted with the unprecedented insurrection of the US Capitol in January 2021, it is a pertinent time for\u00a0Argote\u00a0to explore the themes of his practice within the context and physical location of the United States, especially in the South, where these political and societal tensions often emerge most clearly.\u00a0\u00a0<\/p>\n<p>During his stay,\u00a0Argote\u00a0will be provided with a studio space and the support and resources he needs to fully focus on the work at hand, respond to his environment, and execute the project in whichever form he sees fit. Once the work is produced, his installation will be on display at\u00a0Artpace, addmission-free for the public to see, seven days a week for two months. The exhibition will also be accessible virtually through high-quality 3D scans that produce dynamic 3D tours of the space.\u00a0\u00a0<\/p>\n<p>\u00a0<\/p>\n<ul>\n<li><strong><em>Impossible Mediations: Silence and Oblivion are Information<\/em><\/strong><\/li>\n<\/ul>\n<p>Solo show by Cl\u00e9mence de Montgolfier<\/p>\n<p><strong>Los Angeles Contemporary Archive<\/strong><br \/>\nEnd of 2021 \u2013 April 2022<\/p>\n<p>\u00a0<\/p>\n<\/p>\n<p><strong>Cl\u00e9mence de Montgolfier<\/strong>, <em>Le pass\u00e9 est un autre pays<\/em> (<em>The Past is Another Country<\/em>), HD video (screenshot), 34 mn 24 sec, 2021. Production : La Fondation des artistes, Paris, France.<\/p>\n<p>Curated by\u00a0<strong>Hailey Loman<\/strong><\/p>\n<p>The\u00a0project will take the form of a solo exhibition and onsite\u00a0research by French artist\u00a0Cl\u00e9mence\u00a0de Montgolfier at the Los Angeles-based nonprofit Los Angeles Contemporary Archive, an\u00a0art archive, library, and exhibition platform that collects underexposed artistic modes of expression happening in our current moment, challenging the notion of archive and art space. De Montgolfier,\u00a0a doctorate in Media Studies from the Sorbonne University in Paris\u00a0whose work investigates the politics of public speaking, representation, and the mediations of speech, started working on this artistic research in 2020. Her project, entitled\u00a0<em>Les M\u00e9ditations impossibles\u00a0<\/em>(Impossible Mediations), originally supported by the Artists\u2019 Foundation (Paris), resulted in the production of a series of artworks examining conflict resolution, the government of the self and others (in the sense of Michel Foucault\u2019s eponymous book) and the concepts of the production of \u201ctruth\u201d and \u201creconciliation.\u201d In this project, the artist has chosen to investigate, almost as one would a case study, \u201cTruth and Reconciliation Commissions,\u201d a model of transitional justice commissions that have been organized in countries in democratic transition since the 1980s. Their aim is to publicly acknowledge and uncover human rights violations committed by authoritarian groups or regimes and to propose forms of reparation.\u00a0<\/p>\n<p>This multifaceted project is based on research, meetings, and filmed interviews conducted with former commissioners and staff who have served on truth and reconciliation commissions (TRCs) around the world, as well as with experts who have testified in these commissions or studied them. The artist will particularly look at the history of the South African Commission, the more recent case of the Canadian Truth commission on residential schools (2010-2015), and the ongoing\u00a0independent\u00a0commission on sexual abuse in the Catholic Church (2018-2021, Paris).\u00a0\u00a0<\/p>\n<p>\u00a0<\/p>\n<ul>\n<li><strong><em>Other Repercussions<\/em><\/strong><\/li>\n<\/ul>\n<p>Group show featuring Tarek\u00a0Atoui, Marcos Avila\u00a0Forero, Angelica\u00a0Mesiti, Laure\u00a0Prouvost, and Cyprien\u00a0Gaillard\u00a0<\/p>\n<p><strong>California Institute of the Arts \u2013 Wattis Institute<\/strong><br \/>\nSeptember 2022<\/p>\n<\/p>\n<p>Marcos \u00c1vila Forero \u201cAtrato\u201d (2014) HD video, 13\u201952\u201d Courtesy\u00a0of the artist<\/p>\n<p>Curated by\u00a0<strong>Anthony Huberman<\/strong>\u00a0<\/p>\n<p><em>Other Repercussions<\/em>\u00a0proposes \u201cthe percussive\u201d as an aesthetic and political concept. While percussive instruments have remained at the center of most musical traditions around the world for thousands of years, this exhibition moves beyond the framework of music and outlines a broader \u201cpercussive field\u201d as a model for art and politics.\u00a0<\/p>\n<p>Central to the exhibition will be works by French artists or artists living in France, each of which speaks to the exhibition\u2019s central themes in powerful ways. Tarek\u00a0Atoui, who has a longstanding practice related to sound\u2019s physical impact on bodies and surfaces, conceives a new piece for the exhibition. Shot with Indigenous people in the Colombian Amazon, Paris-based artist Marcos Avila\u00a0Forero\u2019s\u00a0<em>Atratro<\/em>\u00a0(2014) captures bodies in a river, communicating with each other, and with the river itself, by slapping the water in coordinated rhythms. Paris-based artist Angelica\u00a0Mesiti\u2019s\u00a0film\u00a0<em>The Calling<\/em>\u00a0(2013-2014) explores different rural communities whose inhabitants communicate via whistling. Laure Provost\u2019s early single channel video works, though they don\u2019t depict anything percussive or musical, turn sounds, images, and words into a percussive sequence of quick edits and sudden stop-and-starts.\u00a0Cyprien\u00a0Gaillard\u2019s early apocalyptic video\u00a0<em>Desniansky\u00a0Raion\u00a0<\/em>(2008) combines the clash between two groups of hooligans and the demolition of an apartment tower block to create forceful violence of different types.\u00a0<\/p>\n<p>With these and other works,\u00a0<em>Other Repercussions<\/em>\u00a0asks what the percussive can do: what does its abstraction mobilize and what does it threaten? What is a percussive gesture, a percussive shape, a percussive image, a percussive story? What is a percussive form of being together? Artists and writers have long used a musical vocabulary to talk about art and politics, and, borrowing from the writer and poet Fred Moten, the exhibition asks whether the percussive can be a way to assemble\u2014to become a political model where diverging perspectives don\u2019t agree, disagree, or even work towards a consensus but where they gather, co-exist, listen to each other, make something with each other, and mutually adapt to a context as it evolves, like an ensemble.\u00a0<\/p>\n<p>\u00a0<\/p>\n<ul>\n<li><strong><em>Southwind\u00a0<\/em><\/strong><\/li>\n<\/ul>\n<p>Solo show by Maxime\u00a0Berthou<\/p>\n<p><strong>Louisiana Museum Foundation \u2013 New Orleans Jazz Museum<\/strong>\u00a0<br \/>\nOctober 2021 (Prospekt New Orleans Triennial)<\/p>\n<p>Curated by\u00a0<strong>Amy Mackie<\/strong>\u00a0<\/p>\n<p>Artists Maxime\u00a0Berthou\u00a0(France) and Mark\u00a0Po\u017elep\u00a0(Slovenia) embarked on a practice-based research journey on the Mississippi River from September 2 to October 20, 2019. Their means of transportation was a hand-built 20-foot (6-meter) steam-powered paddle boat named\u00a0<em>Thumpa<\/em>. Their goal was to research and experience contemporary American life along this mythical river. Following the methodology and chronology of a research-action project, <em>Southwind<\/em>\u00a0is an investigation into personal experience, transcription, and disproportion through the production mechanisms of an artistic project. Endurance related to traveling on this specific vessel allowed the artists to interact with a diversity of social environments and realities along the 2,320-mile (3,730 km) long river. Though their role was\u00a0primarily\u00a0to document daily life along this infamous stretch of America, their personal interactions positioned them as active co-creators. The project was documented in the form of video, writing, photographs, sound recordings, and drawings. The artistic outputs are a film that includes interviews and portraits of the people and locals they encountered along the river, an artist book in the format of a journal, and an installation that includes drawings, photographs, and other ephemera. They continue to engage in educational workshops and presentations about the project in Europe and will conduct a similar educational initiative in the US.\u00a0<\/p>\n<p>The New Orleans Jazz Museum will present an outdoor screening of the film\u00a0<em>Southwind<\/em>\u00a0in October 2021 during the international triennial, P.5 (Prospect New Orleans). The film will be presented in the form of a \u201cCinema Concert.\u201d Live narration and voiceovers for the film will be performed by performance artist David Freeman, followed by live music by New Orleans jazz musicians. Screenings will include two nights of live performances. Several installations that include evidence and further documentation of this project will be presented inside the museum and will be on view throughout the triennial. The film will additionally be available online.\u00a0Amy Mackie is the curator of the presentation of <em>Southwind<\/em> at the New Orleans Jazz Museum, and PARSE NOLA, her nonprofit residency and art program based in New Orleans is serving as a collaborator and producer of this project.\u00a0\u00a0<\/p>\n<p>\u00a0<\/p>\n<ul>\n<li><strong><em>The Language in Common<\/em>\u00a0<\/strong><\/li>\n<\/ul>\n<p>Group show including Julien\u00a0Creuzet\u00a0\u00a0<\/p>\n<p><strong>Wesleyan University<\/strong>\u00a0<br \/>\nSeptember 14\u00a0\u2013\u00a0December 12, 2021<\/p>\n<p>Curated by\u00a0<strong>Benjamin Chaffee<\/strong>\u00a0<\/p>\n<p><em>The Language in Common<\/em>, a group exhibition planned for September 14 \u2013 December 12, 2021 in the Ezra and Cecile\u00a0Zilkha\u00a0Gallery at the Center for the Arts will feature the work of five artists working at the intersection of visual art, poetry, and performance, including\u00a0Julien\u00a0Creuzet\u00a0(b.1986, France),\u00a0Cecilia Vicu\u00f1a (b.1948, Chile), Tanya\u00a0Lukin\u00a0Linklater (b.1976, Alutiiq),\u00a0Jasper Marsalis (b.1995, US), and Alice Notley (b.1945, US).\u00a0Creuzet\u2019s\u00a0newly commissioned installation installation works are envisioned as a central element of this exhibition.\u00a0<\/p>\n<p><em>The Language in Common\u00a0<\/em>presents artistic practices that move in the space between poetry, visual art, and performance. Through an exhibition, public programming, and a chapbook publication series, the project aims towards what the poet Alice Notley calls, \u201cthe language that holds all being together.\u201d There is language that precedes us. Poetry that precedes us. Art that precedes us. Moving beyond the spectacle of their origination this project seeks to allow memory as a creative act in the process of making experience common, of making space for a new imaginary.\u00a0<\/p>\n<p>Julien\u00a0Creuzet\u2019s\u00a0work will create, with Cecilia Vicu\u00f1a\u2019s, a dynamic comparison sharing a focus on the injustices of Neoliberalism. The exhibition will include\u00a0Creuzet\u2019s\u00a0poetry, sculpture, wall-based photographic murals and video, as counterpoints to Vicu\u00f1a\u2019s exploration of the Andean quipu. While engaging similar ideas of resistance to hegemonic political narratives,\u00a0Creuzet\u00a0and Vicu\u00f1a work from very different diasporic positions, and\u00a0Creuzet\u00a0digs deeper in the nature of those very positions with this conceptualization of \u201cgeolocalization,\u201d and the different impact of Neoliberalism on individuals depending on social position, geography, history, race, gender\u2026 He raises the idea that we are global subjects, though hyperlocal in expression, with the influence of Edouard\u00a0Glissant\u2019s\u00a0<em>Le Tout Monde<\/em>\u00a0(Whole World, or One World).\u00a0<\/p>\n<p>\u00a0<\/p>\n<ul>\n<li><strong><em>Breaking Water\u00a0<\/em><\/strong><\/li>\n<\/ul>\n<p>Contemporary Arts Center (CAC) (Cincinnati, OH) for Breaking Water, a group show including works by Cecilia Bengolea, Paul Maheke, Jos\u00e8fa Ntjam, Marcos Avila Forero, and Saodat Ismailova.<\/p>\n<p>\nMay 6, 2022\u00a0\u2013 August 15, 2022<\/p>\n<\/p>\n<p>Installation view: Paul Maheke (b. 1985, Brive-la-Gaillarde, France; lives and works in London, UK),\u00a0<em>Le Fil d\u2019Alerte<\/em>, Fondation d\u2019entreprise Ricard, Paris, September 10, 2019 \u2013 October 26, 2019. Courtesy of the artist and Galerie Sultana, Paris. Photo: Aur\u00e9lien Mole.&#8221;<\/p>\n<p>Curated by\u00a0<strong>Amara\u00a0Antilla<\/strong>\u00a0and\u00a0<strong>Clelia\u00a0Coussonnet<\/strong>\u00a0<\/p>\n<p><strong><em>Breaking Water<\/em><\/strong> is a group exhibition<em> <\/em>bringing together works in installation, video, photography, painting, sculpture, and performance that offer a range of approaches to the subject of water, liquidity, and feminism. The exhibition will debut four new commissions by <strong>Paul Maheke<\/strong>, <strong>Jos\u00e8fa Ntjam<\/strong>,<strong> Claudia Pe\u00f1a Salinas<\/strong>,<strong> <\/strong>and a collaborative work by<strong> Calista Lyon<\/strong> and <strong>Carmen Winant<\/strong> alongside new and existing work by an international group of artists whose work explores themes of fluidity, connectivity, and resistance, and addresses timely concerns including water rights, climate change, and the effects of natural disasters. Co-curated by CAC Senior Curator Amara Antilla and independent curator and writer Clelia Coussonnet, <em>Breaking Water <\/em>will be on view at the CAC from May 6 through August 15, 2022. The exhibition will be accompanied by a parallel film screening program that extends the exhibition\u2019s central themes and a hybrid catalogue.<\/p>\n<p>\u00a0<\/p>\n<p>Full artist list:<\/p>\n<p>\u00a0<\/p>\n<ul>\n<li>Martha Atienza (b. 1981, Bantayan, Philippines; lives and works in Bantayan, Philippines)<\/li>\n<li>Marcos \u00c1vila Forero (b. 1983, Paris, France; lives and works in Paris, France)<\/li>\n<li>Cecilia Bengolea (b. 1979, Buenos Aires, Argentina; lives and works in Paris, France)<\/li>\n<li>Andrea Carlson (b. 1979, Grand Portage Ojibwe, USA; lives and works in Chicago, IL)<\/li>\n<li>Carolina Caycedo (b. 1978, London, UK; lives and works in Los Angeles, CA)<\/li>\n<li>Jes Fan (b. 1990, Ontario, Canada; lives and works in New York, NY)<\/li>\n<li>Cleo Fariselli (b. 1982, Cesenatico, Italy; lives and works in Turin, Italy)<\/li>\n<li>Saodat Ismailova (b. 1981, Tashkent, Uzbekistan; lives and works in Tashkent, Uzbekistan and Paris, France)<\/li>\n<li>Jaana Laakkonen (b. 1985, Joensuu, Finland; lives and works in Helsinki, Finland)<\/li>\n<li>Calista Lyon (b. 1986, Nagambie, Australia; lives and works in Charlottesville, VA) and Carmen Winant (b. 1983, San Francisco, CA; lives and works in Columbus, OH)<\/li>\n<li>Paul Maheke (b. 1985, Brive-la-Gaillarde, France; lives and works in London, UK)<\/li>\n<li>Jos\u00e8fa Ntjam (b. 1992, Metz, France; lives and works in Saint-\u00c9tienne, France)<\/li>\n<li>Claudia Pe\u00f1a Salinas (b. 1975, Montemorelos, Nuevo Le\u00f3n, Mexico; lives and works in Brooklyn, NY)<\/li>\n<li>Vian Sora (b. 1976, Baghdad, Iraq; lives and works in Louisville, KY)<\/li>\n<li>Nomeda and Gediminas Urbonas (collaborators since 1997; live and work in Vilnius, Lithuania and Cambridge, MA)<\/li>\n<\/ul>\n<p>Paul Maheke (b. 1985, Brive-la-Gaillarde, France; lives and works in London, UK),\u00a0Seeking After the Fully Grown Dancer *deep within*, 2016-2018. Documentation of performance at Blackwood Gallery, Toronto. Courtesy of the artist and Galerie Sultana, Paris. Photo: Henry Chan.\u00a0<\/p>\n<p>\u00a0<\/p>\n<p><em>Credits:\u00a0<\/em>Installation view: Paul Maheke (b. 1985, Brive-la-Gaillarde, France; lives and works in London, UK),\u00a0<em>Le Fil d\u2019Alerte<\/em>, Fondation d\u2019entreprise Ricard, Paris, September 10, 2019 \u2013 October 26, 2019. Courtesy of the artist and Galerie Sultana, Paris. Photo: Aur\u00e9lien Mole.<\/p>\n<ul>\n<li><strong><em>Who Speaks for the Oceans?<\/em>\u00a0<\/strong><\/li>\n<\/ul>\n<p>Group show including Marguerite Humeau, Jos\u00e8fa Ntjam, Jacques Cousteau, Chris Marker\u00a0<\/p>\n<p><strong>Mishkin Gallery\u00a0(Baruch College, CUNY), New York City<\/strong><br \/>\nSpring 2022<\/p>\n<p>Curated by<strong>\u00a0<\/strong><strong>Alaina Claire Feldman and David Gruber<\/strong>\u00a0<\/p>\n<p>Whale songs are like canaries in a coalmine. They are barometers of the health of our oceans. As we approach a crucial moment concerning the condition of our planet, listening to their vocalizations can bring us closer to understanding and encouraging action towards stewardship of the oceans. Engaging contemporary artworks, cultural artifacts, historical ephemera, and speculative futures,\u00a0<em>Who Speaks for the Oceans?<\/em>\u00a0will consider humanity\u2019s desire to experience and communicate with the non-terrestrial, specifically focusing on an epistemological and historical analysis of what we think we know about life in the ocean. Many of these ideas have been informed by colonial, racialized, gendered, and terra-centric conventions alongside the production of nature, which will be exposed and critiqued through the multiple perspectives of an international group of artists.\u00a0<\/p>\n<p>The history of oceanography has a deep connection to French culture, as the country has over 4,500km of coastline. As early as the 1880s, France hosted its first public exhibition exclusively dedicated to the previously unknown wonders under the ocean, titled\u00a0L\u2019Exposition\u00a0Sous-Marine du\u00a0Travailleur\u00a0et du Talisman and held at National Museum of Natural History in Paris. The exhibition was extremely popular and kickstarted the underwater craze which has since been a strong French tradition. The show aligns itself with this history and tradition by inviting a group of international artists, including four French artists: Marguerite Humeau, Jos\u00e8fa\u00a0Ntjam, Jacques Cousteau, and Chris Marker, to question what we think we know about life under the sea and contemporary human-animal relationships.\u00a0<\/p>\n<p>Using the so called \u201cwhale song\u201d as a primary example of the West\u2019s oceanic desires to externalize, taxonomize, and dominate nature and other species, artwork and materials in this exhibition will also consider how technology, assumed to be indexical and scientific, has informed imaginary and fantastical perspectives of non-terrestrial worlds. In order to understand and appreciate an entanglement with animals and the oceanic environment, we need to listen to their calls outside of patterns of consumption in order to develop meaningful relationships with them.\u00a0\u00a0<\/p>\n<p><em>Who Speaks for the Ocean?<\/em>\u00a0will take place at Mishkin Gallery at Baruch College, City University of New York and is curated by David Gruber, professor, marine biologist, and National Geographic Explorer and Alaina Claire Feldman, professor and Director\/Curator of the Mishkin Gallery. The gallery is located in central Manhattan and is dedicated to interdisciplinary education and the advancement of art appreciation through new lenses. New commissions will be displayed alongside existing works and historical objects. A series of student-initiated public programs including workshops, listening sessions and artist talks will be developed in parallel to the exhibition.\u00a0<em>Who Speaks for the Oceans?\u00a0<\/em>engagement with local and international artists and a drive to engage students will create affective empathy for the fragility of our environment and the creative ways in which listening to one another can lead to productive solutions.\u00a0\u00a0<\/p>\n<ul>\n<li><strong><em>Light&#8217;s New Measure<\/em> by<\/strong>\u00a0<strong>Etel\u00a0Adnan<\/strong>\u00a0<\/li>\n<\/ul>\n<p><strong>Guggenheim Museum, NYC<\/strong><br \/>\nOctober 2021 \u2013 January 2022\u00a0<\/p>\n<p>\u00a0<\/p>\n<\/p>\n<p><em>Credits: Journey to Mount Tamalpais<\/em> (detail; 2008), Etel Adnan. Private collection Courtesy Galerie Claude Lemand, Paris. Photo credit: Etel Adnan<\/p>\n<p>Curated by\u00a0<strong>Katherine Brinson<\/strong>\u00a0<\/p>\n<p>Opening October 22, 2021 and running through January 10, 2022, the Solomon R. Guggenheim Museum will present <em>Light&#8217;s New Measure,\u00a0<\/em>a\u00a0solo show\u00a0dedicated to the works of\u00a0Etel\u00a0Adnan, a famous Lebanese painter based in France.\u00a0<em>Light&#8217;s New Measure<\/em> will run alongside an exhibition dedicated to the works of Wassily Kandinsky. Operating much in the same way as the landmark <em>R.H.\u00a0Quaytman: + x, Chapter 34<\/em> and <em>Hilma\u00a0af\u00a0Klint: Paintings for the Future<\/em> exhibitions, Adnan and Kandinsky\u2019s work will mirror each other across the decades in these dual presentations, encouraging audiences to draw connections between these revolutionary, modernist artists.\u00a0\u00a0<\/p>\n<p>Etel\u00a0Adnan\u2019s show\u00a0will occupy the first three ramps of the Guggenheim\u2019s iconic rotunda with approximately 90 works of art, followed by the Kandinsky exhibition above. Adnan\u2019s work will be the first of three contemporary artists to be presented alongside the Kandinsky exhibition, which will run until August 2022.\u00a0<\/p>\n<p>This focused exhibition will survey Adnan\u2019s influential practice over the course of seven decades, encompassing paintings, tapestries, films, and her \u201cleporellos\u201d: accordion-fold paper books that straddle her linguistic and pictorial registers. The first solo presentation of an Arab American artist to be staged in the Guggenheim Museum\u2019s rotunda, the exhibition will elucidate the artist\u2019s longstanding fascination with the work of\u00a0Vasily\u00a0Kandinsky and the architecture of Frank Lloyd Wright. This exhibition is organized by Katherine Brinson,\u00a0Daskalopoulos\u00a0Curator, Contemporary Art, and Lauren Hinkson, Associate Curator, Collections.\u00a0<\/p>\n<p>Born almost a century ago in Lebanon,\u00a0Etel\u00a0Adnan (b. 1925, Beirut) has forged a creative language of singular power and lyricism. Her expansive career spans the mid-century to the present day and across multiple languages, continents, and disciplines. While Adnan\u2019s poetry, fiction, and journalism has offered searing political responses to events such as the Vietnam War (1961-75) and Lebanese Civil War (1975- 90), her visual art is intensely engaged with the transcendent themes of nature and memory. Characteristically modest in size, her paintings are created in a single sitting, their intense colors applied in decisive strokes with a palette knife. Obsessively iterating on recurring themes such as a mountain landscape, the rising and setting sun, and the ocean, they distill a sense of both the fleeting moment and the eternal.\u00a0\u00a0<\/p>\n<p><u><strong>Curatorial Fellowship<\/strong><\/u><\/p>\n<ul>\n<li><em><strong>Telepathies<\/strong><\/em><strong>\u00a0by Ana Iwataki\u00a0<\/strong><\/li>\n<\/ul>\n<p><strong><em>Independent Curator<\/em><\/strong>\u00a0<br \/>\nJune 2022<\/p>\n<p>In collaboration with\u00a0French curator Marion\u00a0Vasseur\u00a0Raluy, American artist Alexandra Grant, and\u00a0acclaimed writer\u00a0H\u00e9l\u00e8ne\u00a0Cixous, independent curator and\u00a0current\u00a0University of Southern California doctoral student Ana\u00a0Iwataki\u00a0will undertake\u00a0on-site research for a project\u00a0titled\u00a0<em>Telepathies<\/em>.\u00a0Following a year of remote collaboration, research, and preparatory work with contacts and partner institutions in France and the US,\u00a0the four\u00a0will\u00a0meet in\u00a0Paris to conduct research in H\u00e9l\u00e8ne\u00a0Cixous\u2019s\u00a0archives at the\u00a0Biblioth\u00e8que\u00a0Nationale\u00a0de France.\u00a0\u00a0<\/p>\n<p><em>Telepathies\u00a0<\/em>is a project emerging from a\u00a0long\u00a0history of\u00a0recurring\u00a0dialogic, transnational, and translational\u00a0collaborations\u00a0between the\u00a0contributors,\u00a0who\u00a0will also\u00a0use the\u00a0month\u00a0in Paris\u00a0to record\u00a0their\u00a0conversations and\u00a0conduct studio visits with\u00a0other\u00a0artists working in relational modes.\u00a0The\u00a0work will be a testament to\u00a0Iwataki\u2019s\u00a0extensive\u00a0and ongoing exploration of\u00a0translation,\u00a0fluidity, the porosity of boundaries, and\u00a0the potential of\u00a0mutual influence.\u00a0It will be\u00a0grounded in\u00a0Cixous\u2019s\u00a0writing and\u00a0will\u00a0bring\u00a0other artists\u00a0into dialogue with Grant\u2019s\u00a0art.\u00a0The vision for\u00a0<em>Telephathies\u00a0<\/em>is a work grounded in archetypes,<em>\u00a0<\/em>centered\u00a0on two objects\u2014a tarot deck and a book\u2014that will\u00a0embody a cosmology of deep listening and relation to the other,\u00a0enabling\u00a0live\u00a0performance, and participatory elements\u00a0on both sides of the Atlantic.\u00a0At the crossroad of various kinds of knowledge,\u00a0 <em>Telepathies<\/em> will forge connections and collapse the space separating the academy, art institutions and activist spaces.\u00a0The team plans to partner with institutions in both Paris and Los Angeles to act as hosts for workshops, readings, collective translation sessions, listening sessions, performances, and book launches.\u00a0<\/p>\n<p>A curator, translator, and activist,\u00a0Iwataki\u00a0often\u00a0investigates\u00a0the material and metaphorical properties of\u00a0water, as well as\u00a0processes of ingestion, digestion and deconstruction.\u00a0Her\u00a0work\u00a0reflects a commitment to reimagining creative and ethical ways of being with and for others, and her current role as a doctoral student at USC will allow\u00a0<em>Telepathies<\/em>\u00a0to be presented within the academy and in conferences, research clusters and other sites of exchange.\u00a0<\/p>\n<p><u><strong>Artist Residencies\u00a0<\/strong><\/u><\/p>\n<ul>\n<li>\n\tDuo Ittah Yoda (Kai Yoda and Virgile Ittah)\n\t<\/li>\n<\/ul>\n<p><strong><em>Chronos<\/em>, with ISCP (International Studio &amp; Curatorial Program), New York<\/strong><\/p>\n<p>Spring 2022<\/p>\n<p><em>Chronos<\/em>\u00a0is a three-phase, international project culminating in a residency with ISCP\u00a0and exhibitions\u00a0in New York and London.\u00a0During the\u00a0three-month\u00a0residency in New York,\u00a0artistic duo\u00a0Ittah\u00a0Yoda will conduct research with writers and researchers in AI, develop texts and publication material, host talks and exhibitions, research and produce new glass sculptures with\u00a0UrbanGlass, and present a solo exhibition with Foreign &amp; Domestic.\u00a0<\/p>\n<p>Ittah\u00a0Yoda is a duo formed in 2016 by Japanese-Swedish artist Kai Yoda and French artist\u00a0Virgile\u00a0Ittah. Hailing from diverse backgrounds, the two have developed their artistic identity through digitally-enabled cross-cultural creative collaborations. Focusing on the unconscious, insecurity and anxiety, they seek to unlock new understandings of the self through reenactment of trauma and repeated behavior. Real and virtual forms are created in an effort to connect with a shared human heritage and a universal unconscious. By encouraging the active participation of the public,\u00a0Ittah\u00a0Yoda highlight the performative dimension of their installations. The duo attempts to create a new reality under a rhizomic network of connections between the work and the viewer, bridging virtual and physical realities, forming new landscapes and shaping the world of tomorrow.\u00a0<\/p>\n<p>At the dawn of a new era, a post-anthropocentric society where human nature must be reset, the CHRONOS project questions the separation of object and subject as well as the very split between culture and nature with regard to our interdependence with other beings.\u00a0An immersive installation\u00a0will link the real and virtual worlds.\u00a0Physical and VR\u00a0sculptures will assume a\u00a0hybrid\u00a0form, juxtaposing\u00a0digital forms and 3D reconstruction from underwater flora and fauna.\u00a0Artificial intelligence will\u00a0allow\u00a0user-viewers to download\u00a0the installation\u00a0or watch it online from various places.\u00a0With this project,\u00a0Ittah\u00a0Yoda\u00a0seek to open up new\u00a0possibilities for\u00a0experimentation and communication by encompassing an ever larger and more\u00a0diverse audience\u2014an audience\u00a0ever more involved in the act of (co-) creation.\u00a0\u00a0\u00a0<\/p>\n<p>\u00a0<\/p>\n<ul>\n<li><strong>Marie Angeletti<\/strong><\/li>\n<\/ul>\n<p><strong><em>Artist space 202202 Delirious New York<\/em>, with MoMA PS1, New York<\/strong>\u00a0<\/p>\n<p>October 2021 \u2013 January 2022\u00a0<\/p>\n<p>During this four-month residency,\u00a0Marseille-born\u00a0artist Marie\u00a0Angeletti\u00a0will conduct research in four parts:\u00a0research into past alternative spaces; recorded interviews; photography (ongoing slide work); and research into forms of alternative arts education. She intends these four different modes of research to proceed apace: to research archivally at PS1 and MOMA library, in the hope of uncovering alternative models that thrived in the city\u2019s past; to engage with local communities via interviews; to research the city photographically, and to explore new ways of an alternative arts education.\u00a0<\/p>\n<p>She will be researching on a daily basis at the PS1 Library Archives in consultation with\u00a0the support of\u00a0Ruba\u00a0Katrib, curator at MoMA PS1. Her aim is\u00a0to\u00a0excavate\u00a0specific histories of public spaces in New York. Decentralization has been the goal of many artists and groups hoping to revitalize the art world and reach a broader audience, and each generation learns something from the last. These objectives are all too relevant as we face an unprecedented need for intelligent and effective art communities and education in 2021 and beyond.\u00a0As part of her research, she will list and visit private and corporate collections, alternative exhibition spaces, and art clubs to see what exists, how art is shown, structured, and financed. She\u2019s planning to visit the Ford Foundation; the DIA Foundation; the Foundation for Contemporary Arts; all the university art collections (NYU, Columbia, Hunter, Cooper, CUNY and some others); the Thomas Johnson Hill Collection; the National Arts Club; Issue Project Room; Blank Forms; the Poetry Project; the Wooster Group;\u00a0 and a few hotels in the city which own large art collections, like the Gramercy Hotel, where the Armory show began, the Chelsea Hotel, and Hotel 17, an important landmark for downtown history). She\u2019s also planning on visiting alternative spaces where art is present but not acknowledged, such the Tompkins Square Park public library, Woodhull Hospital in Brooklyn that has some Keith Haring murals on view, St John the Divine Cathedral and Judson Church, as well as the Port Authority bus terminal.\u00a0<\/p>\n<p>She would like to interview artists, writers, and musicians who have been involved or are still presently involved in these alternative scenarios. She will start to interview the previous generation of artists, like filmmaker Jeff Preiss and artist Karin Schneider, who were part of the artist-run space Orchard; artists Julie Ault, Martin Beck, Douglas Ashford, who founded Group Material; and existing art spaces like the members of Artists Space, Reena\u00a0Spaulings, or\u00a0Blankforms. She also intends to observe the city, documenting the everyday, using photography as a social and research practice. She will continue to work on a preexisting artwork, for which she already has two locations in mind (the windows of one of the NYU buildings around Washington Square, and the Whitney Museum windows on the Hudson River).<\/p>\n<ul>\n<li>\n\tEzra J\u00e9r\u00e9mie Teboul\n\t<\/li>\n<\/ul>\n<p><strong><em>Beyond Circuits<\/em> with The Computer Music Center at Columbia University<\/strong><\/p>\n<p>June 1st\u00a0\u2013 September 1st, 2021\u00a0<\/p>\n<p>The focus of this project is the Columbia Computer Music Center (CMC) and its history of homemade electronic art objects.\u00a0<\/p>\n<p>Ezra J.\u00a0Teboul\u00a0(born in Paris, 1991) is an artist and researcher focusing on the medium of electronic components and systems. In conjunction with sound and visualizations of voltages and other signals, the circuit, analog or digital, is used as a looking glass through which the public can obtain a close look at the systems which have allowed our lives to become so connected and electrifying. These circuits also propose alternative visions of utilizations for these components, asking: what would happen if we focused on the qualities of collective poetic experiences, rather than on the acceleration of exchanges?\u00a0<\/p>\n<p>His research\u00a0will result in four\u00a0\u201caugmented\u00a0sculptures\u201d\u00a0which bring attention to a selection of objects from the\u00a0Computer Music Center\u2019s history making their history and functionality accessible to an everyday audience. These sculptures will combine systems of electronic components, computer programs meant to be embedded alongside the circuitry, and augmented reality (AR) designs. While the physical aspects of the work offer an interactive experience highlighting the technological and musical developments of the center, the virtual elements provide information regarding the CMC\u2019s musical, historical and visual heritage.\u00a0\u00a0<\/p>\n<p>In an era where the robustness of our communication infrastructure has come under scrutiny, as millions telecommute to work amidst a global pandemic, the relationship between the technical underpinnings of art and of our everyday, and of real access to research on that relationship appears as a crucial point of examination for the theorist, the practitioner, and the public widely construed. If possible,\u00a0these objects will be introduced via an educational and interactive media\u00a0workshop.\u00a0<\/p>\n","protected":false},"featured_media":61604,"menu_order":0,"template":"","app_discipline":[218],"app_city_tax":[221,214,223,222,220,216,224,217,225,226],"app_professional_category":[258],"app_professional_content_type":[257],"class_list":["post-61606","app_professional","type-app_professional","status-publish","has-post-thumbnail","hentry","app_discipline-visual-arts","app_city_tax-atl","app_city_tax-bos","app_city_tax-chi","app_city_tax-hou","app_city_tax-la","app_city_tax-mia","app_city_tax-nola","app_city_tax-nyc","app_city_tax-sf","app_city_tax-dc","app_professional_category-art-design","app_professional_content_type-grants_programs"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Grantees 2021: Etant Donn\u00e9s Contemporary Art - Villa Albertine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/villa-albertine.org\/va\/professionals\/grantees-2021-etant-donnes-contemporary-art\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Grantees 2021: Etant Donn\u00e9s Contemporary Art - Villa Albertine\" \/>\n<meta property=\"og:description\" content=\"Grants for Artistic Projects Orisons Site-specific commission by Marguerite Humeau Black Cube, A Nomadic Art Museum June 2022 Curated by\u00a0Cortney L.\u00a0Stell French artist Marguerite\u00a0Humeau\u2019s\u00a0Orisons\u00a0is an unprecedented large-scale, newly commissioned earthwork\u00a0situated in rural Colorado. 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