https://lailamelchior.cargo.site lailamelchior Fri, 06 Dec 2024 10:28:41 +0000 https://lailamelchior.cargo.site en https://lailamelchior.cargo.site/Info Thu, 24 Oct 2019 00:05:38 +0000 lailamelchior https://lailamelchior.cargo.site/Info &nbsp;lailamelchior@gmail.com CV Laila Melchior is an independent curator working with various fronts in contemporary art and thought. She considers non-dominant perspectives in her writing, exhibition-making and other collaborations with artists and institutions. Interested in the threshold of individual takes and the creation of collective bodies, her curatorial practice inquiries about new forms of connection to the environment and the territory, communitarian approaches and narration at large. Melchior, together with Koi Persyn, won the 2021/2022 Lichen Prize for Emerging Curators, established by Jester (former CIAP/FLACC) and Curatorial Studies at KASK&amp;Conservatory to foster and support curatorial experimentation in Belgium. They carried out the exhibition Three Tropes for Entropy in Genk as part of the prize's outcome. Her other recent projects include the collaboration with Ailton Krenak and Suely Ronik for Another Ghost Party, a publication retracing the partnership between artist Manon de Boer and choreographer and performer Latifa Laâbissi. She has also curated L'ordre des choses (Espace Krajcberg, Paris, 2023), Dear Yves, (KIOSK, Ghent, 2022), Atelier Suspensions (Komplot, Anderlecht, 2021), Superfícies Sensíveis (Caixa Cultural, RJ, 2018) and the public programme Aventuras do Pensamento (Caixa Cultural, RJ, 2016-2019), among others.Melchior holds a BA in Audiovisual and a Master’s in Media Technologies and Aesthetics from the Federal University of Rio de Janeiro. She also obtained a postgraduate degree in Curatorial Studies from KASK&amp;Conservatorium, University College Ghent. Between 2014 and 2017, she was an assistant lecturer in the Film and Digital Media undergraduate course at the Higher Education Institute of Brasília —IESB.She currently lives and works between Brazil and Belgium. Laila Melchior é curadora independente e trabalha em várias frentes no campo da arte e do pensamento contemporâneos. Ela considera perspectivas não dominantes na sua escrita, exposições e nas outras formas colaborações com artistas e instituições que estabelece por meio de seu trabalho. Interessada no limiar entre a produção individual e a criação de corpos coletivos, sua prática curatorial indaga sobre novas formas de conexão com o meio ambiente e o território, abordagens comunitárias e a narração em geral. Melchior recebeu,&nbsp;juntamente com Koi Persyn, o Prêmio Lichen para Curadores Emergentes 2021/2022,&nbsp;criado pelo Jester (antigo CIAP/FLACC) e pelo departamento de Curatorial Studies do KASK&amp;Conservatory para promover e apoiar a experimentação curatorial na Bélgica. Como parte do resultado do prêmio, os dois realizaram a exposição Three Tropes for Entropy&nbsp;na cidade de Genk. Alguns de seus outros projetos recentes incluem a colaboração com Ailton Krenak e Suely Ronik para Another Ghost Party, uma publicação que retrata a parceria entre a artista Manon de Boer e a coreógrafa e performer Latifa Laâbissi. Ela também foi curadora das exposições&nbsp;L'ordre des choses (Espace Krajcberg, Paris, 2023), Dear Yves, (KIOSK, Ghent, 2022), Atelier Suspensions (Komplot, Anderlecht, 2021), Superfícies Sensíveis (Caixa Cultural, RJ, 2018) e o programa público Aventuras do Pensamento (Caixa Cultural, RJ, 2016-2019), entre outros. Graduada em Audiovisual e Mestre em Tecnologias Midiáticas e Estética pela Universidade Federal do Rio de Janeiro. Pós-graduada em Estudos Curatoriais pela KASK &amp; Conservatorium, University College Ghent. Foi professora assistente do curso de graduação em Cinema e Mídias Digitais do Instituto de Educação Superior de Brasília - IESB entre 2014 e 2017. Atualmente vive e trabalha entre o Brasil e a Bélgica. https://lailamelchior.cargo.site/Als-een-leeuw-in-een-kooi Fri, 06 Dec 2024 10:28:41 +0000 lailamelchior https://lailamelchior.cargo.site/Als-een-leeuw-in-een-kooi Als een leeuw in een kooi&nbsp;Exhibition at CC Strombeek Elen Braga, Solo Show25 Oct 2024 | 26 Jan 2025 [Scroll down for FR and NL] <img width="2738" height="1825" width_o="2738" height_o="1825" data-src="https://freight.cargo.site/t/original/i/f91cbb3f6eeec556d07b3ddf12288c0ee36fcbdefbe4507cd51539469d9851ef/20241031_CCStrombeek5675_web.jpg" data-mid="222982036" border="0" src="https://freight.cargo.site/w/1000/i/f91cbb3f6eeec556d07b3ddf12288c0ee36fcbdefbe4507cd51539469d9851ef/20241031_CCStrombeek5675_web.jpg" /> Presenting her first institutional solo exhibition in Belgium, Elen Braga reflects on themes and formats that have traversed her practice since its early stages. “Als een leeuw in een kooi” explores the topic of power in various forms and narratives, examining its manifestations and embodiments, as well as its implications on the individual. Transitioning between different media, Braga presents new works in video, ceramics, and digitally printed matter alongside tapestry. <img width="2738" height="1825" width_o="2738" height_o="1825" data-src="https://freight.cargo.site/t/original/i/4d84c492f2e1682dc87cc2e01522642eeb874f5a3f30057ae2ac6a23d588ec88/20241031_CCStrombeek5688_web.jpg" data-mid="222981978" border="0" src="https://freight.cargo.site/w/1000/i/4d84c492f2e1682dc87cc2e01522642eeb874f5a3f30057ae2ac6a23d588ec88/20241031_CCStrombeek5688_web.jpg" /> <img width="2738" height="1825" width_o="2738" height_o="1825" data-src="https://freight.cargo.site/t/original/i/9b1f073621d67f64774648dcad855e33fe9c8ca189de0400c9b014fa067e1622/20241031_CCStrombeek5652_web.jpg" data-mid="222981979" border="0" src="https://freight.cargo.site/w/1000/i/9b1f073621d67f64774648dcad855e33fe9c8ca189de0400c9b014fa067e1622/20241031_CCStrombeek5652_web.jpg" /> <img width="2738" height="1825" width_o="2738" height_o="1825" data-src="https://freight.cargo.site/t/original/i/68d8c06814c3b7cd1f30eedf7cc897af5458da3c5a5d95adc5a68de240e88055/20241031_CCStrombeek5676_web.jpg" data-mid="222981973" border="0" src="https://freight.cargo.site/w/1000/i/68d8c06814c3b7cd1f30eedf7cc897af5458da3c5a5d95adc5a68de240e88055/20241031_CCStrombeek5676_web.jpg" /> <img width="1936" height="2582" width_o="1936" height_o="2582" data-src="https://freight.cargo.site/t/original/i/99970789e4fe4cd077744cec5b43efdc9b7d517888a58eb756a33bb4d933d957/20241031_CCStrombeek5667_web.jpg" data-mid="222981976" border="0" src="https://freight.cargo.site/w/1000/i/99970789e4fe4cd077744cec5b43efdc9b7d517888a58eb756a33bb4d933d957/20241031_CCStrombeek5667_web.jpg" /> The show draws inspiration from the tales associated with Nebuchadnezzar, the ancient Babylonian king, best known for his military campaigns, architectural feats, and for having foreshadowed the apocalypse in a dream. Imagining Belgium as an “entrance door” to Europe, at least on a political level, the artist interrogates totalizing discourses and their promises of unity, happiness, security, and goodness. She challenges the audience with works that reflect both the viewpoint of a typical community on the outskirts of Brussels, but also adopt the perspective of its newcomers. <img width="2738" height="1825" width_o="2738" height_o="1825" data-src="https://freight.cargo.site/t/original/i/ea7b9d4d9f9a7048a891e60ccd78bbbbd6dd37465f1895464c995824404d5b6e/20241031_CCStrombeek5773_web.jpg" data-mid="222981966" border="0" src="https://freight.cargo.site/w/1000/i/ea7b9d4d9f9a7048a891e60ccd78bbbbd6dd37465f1895464c995824404d5b6e/20241031_CCStrombeek5773_web.jpg" /> <img width="2738" height="1825" width_o="2738" height_o="1825" data-src="https://freight.cargo.site/t/original/i/8afc7b4191033f97baf4b212c5735fb214b51fee216745821980084185f2bd78/20241031_CCStrombeek5830_web.jpg" data-mid="222981967" border="0" src="https://freight.cargo.site/w/1000/i/8afc7b4191033f97baf4b212c5735fb214b51fee216745821980084185f2bd78/20241031_CCStrombeek5830_web.jpg" /> <img width="2738" height="1825" width_o="2738" height_o="1825" data-src="https://freight.cargo.site/t/original/i/0f1688f1e50232f8a8a80bb40e010deb35f030aeedd9e7d52f4c5b4ff21a7d8e/20241031_CCStrombeek5745_web.jpg" data-mid="222981968" border="0" src="https://freight.cargo.site/w/1000/i/0f1688f1e50232f8a8a80bb40e010deb35f030aeedd9e7d52f4c5b4ff21a7d8e/20241031_CCStrombeek5745_web.jpg" /> <img width="2738" height="1825" width_o="2738" height_o="1825" data-src="https://freight.cargo.site/t/original/i/4634208d7fa43ecaa9ff0ac6a1920aaecd346d345900275abfbdc18141eefa14/20241031_CCStrombeek5815_web.jpg" data-mid="222981970" border="0" src="https://freight.cargo.site/w/1000/i/4634208d7fa43ecaa9ff0ac6a1920aaecd346d345900275abfbdc18141eefa14/20241031_CCStrombeek5815_web.jpg" /> <img width="2738" height="1825" width_o="2738" height_o="1825" data-src="https://freight.cargo.site/t/original/i/e9258b890e6a98e575bf1ae0c0ec0154be9ec636f2d0946e11fcecabd56fdeec/20241031_CCStrombeek6002_web.jpg" data-mid="222981980" border="0" src="https://freight.cargo.site/w/1000/i/e9258b890e6a98e575bf1ae0c0ec0154be9ec636f2d0946e11fcecabd56fdeec/20241031_CCStrombeek6002_web.jpg" /> <img width="1936" height="2581" width_o="1936" height_o="2581" data-src="https://freight.cargo.site/t/original/i/4f9ada10fede5fee9b74b80fbf31b1ffa02c710571ca098dab5965a4c685f6e6/20241031_CCStrombeek5794_web.jpg" data-mid="222981971" border="0" src="https://freight.cargo.site/w/1000/i/4f9ada10fede5fee9b74b80fbf31b1ffa02c710571ca098dab5965a4c685f6e6/20241031_CCStrombeek5794_web.jpg" /> The exhibition borrows its title from a song by Flemish singer Willy Somers. It approaches the lamentations of the infatuated speaker in the lyrics to confront it with the lion as a heraldic symbol of stateliness, the same that stands in the Belgian and the Flemish coats of arms. “Als een leeuw in een kooi” delves into these multiple, and often concurrent or overlapping, forces that shape everyday life where local politics, grand state affairs, myth and other beliefs intertwine. Recognising the diminishing influence of long-established actors in history, as well as the decay of so many of our systems, Braga lingers over traditional emblems of power to elaborate on the moment of their fall. <img width="2738" height="1825" width_o="2738" height_o="1825" data-src="https://freight.cargo.site/t/original/i/2475a1f755adf4f2dd35363086c042fdec335fd62419a9a2e85f4ddd70ed3500/20241031_CCStrombeek5912_web.jpg" data-mid="222981975" border="0" src="https://freight.cargo.site/w/1000/i/2475a1f755adf4f2dd35363086c042fdec335fd62419a9a2e85f4ddd70ed3500/20241031_CCStrombeek5912_web.jpg" />Project realised with the support of the Friends of Strombeek Cultural Centre Fund, managed by the King Baudouin Foundation. [NL]Voor haar solotentoonstelling in Cc Strombeek zal Elen Braga reflecteren over beelden die verband houden met het construeren en belichamen van utopische idealen. In haar eerste institutionele solotentoonstelling in België reflecteert Elen Braga over thema’s en formats die haar praktijk vanaf het begin doorkruisen. “Als een leeuw in een kooi” verkent het concept ‘macht’ in verscheidene vormen en narratieven. Het is een onderzoek naar haar manifestaties en belichamingen, alsook haar implicaties voor het individu. Gebruikmakend van verschillende media toont Braga nieuw werk in de vorm van video, keramiek, digitale prints en tapijten.De tentoonstelling is geïnspireerd op verhalen die in verband staan met Nebuchadnezzar, de antieke Babylonische koning, bekend om zijn militaire acties, architecturale prestaties en voor het voorspellen van de apocalyps in zijn dromen. Door België als een “toegangsdeur” tot Europa te verbeelden, op z’n minst op politiek niveau, bevraagt de kunstenaar totaliserende discourses en hun beloftes tot eenheid, geluk, veiligheid en het goede. Haar werk is uitdagend omdat het zowel het gezichtspunt van een typische gemeenschap in de rand van Brussel, als het gezichtspunt van diens nieuwkomers, in overweging neemt. De tentoonstelling leent haar titel aan een liedje van de Vlaamse zanger Willy Somers. Het neemt de klaagzang van de verliefde zanger over en confronteert het met de leeuw als een heraldisch symbool van statigheid, dat ook in het Belgische en Vlaamse wapenschild opgenomen is. “Als een leeuw in een kooi” duikt in deze talrijke, overlappende en vaak tegenstrijdige krachten die het dagdagelijkse leven vorm geven. In het alledaagse namelijk verstrengelen lokale politiek, staatszaken, mythes en andere geloven met elkaar. Door de verminderende invloed van de sinds lang gevestigde historische spelers en het verval van onze systemen te erkennen, meandert Braga tussen traditionele emblemen van macht en diept zo het tijdstip van hun val uit.Project gerealiseerd met de steun van het Fonds vrienden van Cultuurcentrum Strombeek, beheerd door de Koning Boudewijnstichting. [FR]Dans le cadre de sa première exposition institutionnelle solo en Belgique, Elen Braga se penche sur les thèmes et les formats qui ont jalonné sa pratique depuis ses débuts. Als een leeuw in een kooi, qui ouvrira ses portes au CC Strombeek le 25 octobre, explore le thème du pouvoir sous ses multiples formes et discours, ainsi que son impact sur l’individu. L’exposition approfondit sa recherche artistique sur le concept de pouvoir, ses manifestations et ses incarnations à travers le spectre de l’utopie et du paradis. Elen Braga s’inspire des contes associés à Nabuchodonosor, ancien roi de Babylone, connu pour ses campagnes militaires et ses perles d’architecture, comme la porte d’Ishtar et les jardins suspendus de Babylone, mais aussi pour son rêve prophétique d’apocalypse. Elen Braga jongle avec différents médias. Ses nouvelles œuvres comprennent une tapisserie, la forme d’art qui lui vaut sa renommée en Belgique, ainsi que des vidéos, des céramiques et des impressions numériques. En envisageant la Belgique comme une « porte d’entrée » de l’Europe, du moins sur le plan politique, l’artiste s’interroge sur les discours totalisants et leurs promesses d’unité, de bonheur, de sécurité et de moralité. Elle interpelle le public avec des œuvres qui reflètent tantôt le point de vue d’une communauté typique de la banlieue bruxelloise, tantôt la perspective des nouveaux arrivants. Braga réfléchit aux diverses échelles et manifestations du pouvoir, qui se chevauchent ou se confondent souvent, et qui façonnent le quotidien, ainsi qu’aux désirs qu’elles éveillent. De ce point de vue, la politique locale et les grandes affaires de l’État ainsi que les croyances religieuses, les mythes, les aspirations personnelles et les histoires d’amour, s’imbriquent tous profondément dans la matérialité de notre environnement, et génèrent constamment des images et des projections. Elen Braga admet le déclin de nos systèmes actuels et aborde leur chute : des ruines de la statue de Nabuchodonosor à la perte progressive d’influence des acteurs traditionnels au fil de l’histoire.Projet réalisé avec le soutien du Fonds des Amis du Centre Culturel Strombeek, géré par la Fondation Roi Baudouin. https://lailamelchior.cargo.site/Lordre_des_choses Fri, 20 Oct 2023 18:46:09 +0000 lailamelchior https://lailamelchior.cargo.site/Lordre_des_choses L'ordre des choses Exhibition at the Espace Frans Krajcberg - Centre d'Art Contemporain et Nature, Paris Lívia Melzi &amp; Emílio Azevedo21 Sept | 18 Nov 2023 &nbsp; &nbsp; &nbsp; &nbsp; <img width="1920" height="1440" width_o="1920" height_o="1440" data-src="https://freight.cargo.site/t/original/i/7e14e929d85c559319aa39b06b9334e48cbfb1735607731326049f70acfc0ad6/DSCF2610-Editar.JPG" data-mid="198706984" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/7e14e929d85c559319aa39b06b9334e48cbfb1735607731326049f70acfc0ad6/DSCF2610-Editar.JPG" /> <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/dc04dce60c3bdc75bfda6f85ffa4cb292cd6bbe6509449bcfc2ebf8abc6312f5/IMG_2578.JPG" data-mid="198707175" border="0" src="https://freight.cargo.site/w/1000/i/dc04dce60c3bdc75bfda6f85ffa4cb292cd6bbe6509449bcfc2ebf8abc6312f5/IMG_2578.JPG" /> <img width="1920" height="1536" width_o="1920" height_o="1536" data-src="https://freight.cargo.site/t/original/i/7b467213b2f532f508700b0934b0e5f8f9da8b45653d6d184d8019ba6ba71806/IMG_2559-Editar.JPG" data-mid="198707174" border="0" src="https://freight.cargo.site/w/1000/i/7b467213b2f532f508700b0934b0e5f8f9da8b45653d6d184d8019ba6ba71806/IMG_2559-Editar.JPG" /> <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/3b44d8f27a22015f23b16bbddebb4965d499734a875450011ca42a38c7d52274/IMG_2485.JPG" data-mid="198706978" border="0" src="https://freight.cargo.site/w/1000/i/3b44d8f27a22015f23b16bbddebb4965d499734a875450011ca42a38c7d52274/IMG_2485.JPG" /> <img width="1920" height="1440" width_o="1920" height_o="1440" data-src="https://freight.cargo.site/t/original/i/f649ccdbf061242a543caf39449e7fdd4a561c90c8eab7f59b00dc7ea6634378/DSCF2619-Editar.JPG" data-mid="198706981" border="0" src="https://freight.cargo.site/w/1000/i/f649ccdbf061242a543caf39449e7fdd4a561c90c8eab7f59b00dc7ea6634378/DSCF2619-Editar.JPG" /> <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/95adfb49dab9229de02f6b1eca59c967a955defc7d501dd86b6151b36b49bed5/IMG_2596-Editar.JPG" data-mid="198707176" border="0" src="https://freight.cargo.site/w/1000/i/95adfb49dab9229de02f6b1eca59c967a955defc7d501dd86b6151b36b49bed5/IMG_2596-Editar.JPG" /> L'ordre des choses, installation views. Image: Emilio Azevedo [Text in FR and PT bellow] L'ordre des choses - The Order of Things In botany, leaves are exchange organs. By increasing the plants' surface contact with light, these living, translucent sheets retain certain atmospheric substances and release others. Perhaps the best-known image in the iconography of "Brazilian nature", Forêt Vierge du Brésil (Comte de Clarac, 1819), shows how diffuse rays of sunlight penetrate the canopy formed by towering trees. The drawing was inspired both by sketches made by the artist while accompanying a diplomatic mission to Brazil and by his study of tropical species in a greenhouse in Germany. Both the original and the engraved plate on which it was reproduced are kept in the reserves of the Musée du Louvre. But a quick search for the image on the Internet reveals one of its "survivals" in today's world: an advertisement from a company offering its reproduction as wallpaper. Glued to the wall of an interior, the image transports its inhabitant into this so-called virgin forest, just as the woven tapestries adorning the castles and palaces of the noblesse used to. L'ordre des choses results from Lívia Melzi and Emilio Azevedo's research and creative residency at the Espace Frans Krajcberg. During this period, they cohabited intensely with the archives and works conserved by this art centre and sought to create a dialogue with the work of Frans Krajcberg (1921-2017), who, like them, lived and worked between Brazil and France (and Belgium, in Azevedo's case). They looked for links between their own artistic gestures and the way Frans Krajcberg translated his experience of the forest in a body of work intimately linked to a singular way of life; through the natural elements used as his material and subject matter, his work never ceased to question the relationship between human life and the multiplicity of non-human lives. The research undertaken by Melzi and Azevedo began with the works and the very space of the residence, which was one of Frans Krajcberg's workplaces in Paris. Constructed from materials salvaged from the 1900 Paris World Fair, the building that houses the Espace Frans Krajcberg is fringed with glass windows, suggesting a greenhouse. This bio-architectural device, designed to enable the transplantation of plant species far from their geographical origin, is covered by glass, a transparent substance that we tend to imagine as a neutral material. On the one hand, glass constitutes the "seeing, speaking and doing" of Western botany; on the other hand, it is an essential element of museographic discourse. Much more than an invisible material, glass allows things to be exhibited - while imposing distances at the same time. Seemingly transparent, the display cases of museums and scientific institutions constitute the first layer of opacity in these settings, before those of technical repositories, for example, or contracts of sometimes dubious provenance. These layers structure institutional practices, creating distances or even removing many artefacts and collections from public view, and are essential in providing a framework for certain forms of access to objects whose circulation they nevertheless prevent, thus prolonging their "exile". Photography, of which glass and the light that passes through it are fundamental materials, has traditionally been understood as a resource for faithfully capturing reality. The image itself has always been central to the process of objectifying, translating and importing forest lifestyles according to the norms of extractivist colonisation of territories. Melzi and Azevedo's approach seeks to consider the place of the image as a tool of knowledge and power (in a historical moment when the question of the legitimacy of institutions such as "universal museums" is more relevant than ever) while taking into account a paradigm shift regarding the precedence of the rights of humans (some humans) over non-humans (and other humans). Thanks to the rich detail preserved on its hard support, the chambered (large-format) image represents the documentary form par excellence. Before any enlarged image, diapositive slides contain vast quantities of information recorded in colour (positive), rather than in negative, as is the case in industrial and commercial photography. Melzi and Azevedo use this technique in a particular way to produce virtual archive files, in potential, without necessarily updating them on other carriers. These "archives" are not only the result of cropping and rearranging images; they contain a critique elaborated through the choice of scale and latency. Exploring the power of enlarging an image is an editorial gesture that expresses political choices. The relationship between the image, the creation of an archive and the choice to focus on a particular area of interest, for instance, is directly linked to the idea of exploring a territory. The myth of the virgin forest is as old as the invention of the forest as a living space in its own right. The idea of a green, moist and tangled territory, where no one has ever penetrated, seems to have been born at the same time as the figure of its explorer. It is he who enters and explores it, ready to move forward, assess, measure and report to extract resources that will be used to accumulate goods in another context. Translucent as the leaves of a tree, presented on modular glass structures, the diapositives exhibited here require the engagement of the body. It is with the body that one must negotiate in order to experience: one must seek the right contrast and light to see. Visitors are invited to enter into a dance between matter and sight. May this dance evoke the grace of a different relationship with images and living things, as in a forest, for instance, if we recognise it as a space already inhabited. Laila Melchior September 2023 [FR] <img width="1280" height="1920" width_o="1280" height_o="1920" data-src="https://freight.cargo.site/t/original/i/8daf6773292c016071132cc0f93d637bd3259c305bc957822a8ef1ec2f5a2535/IMG_2513-Editar.JPG" data-mid="198706975" border="0" data-scale="44" src="https://freight.cargo.site/w/1000/i/8daf6773292c016071132cc0f93d637bd3259c305bc957822a8ef1ec2f5a2535/IMG_2513-Editar.JPG" /> <img width="1417" height="1920" width_o="1417" height_o="1920" data-src="https://freight.cargo.site/t/original/i/71fb4693de807ebdbd1ff9166ecd8c7639b65e49b88b6f3e58984a0de4e60a57/IMG_2529.JPG" data-mid="198707181" border="0" data-scale="48" src="https://freight.cargo.site/w/1000/i/71fb4693de807ebdbd1ff9166ecd8c7639b65e49b88b6f3e58984a0de4e60a57/IMG_2529.JPG" /> L'ordre des choses, installation views. Image: Emilio Azevedo L'ordre des choses En botanique, les feuilles sont des organes d’échange. En augmentant la surface de contact des plantes avec la lumière, ces plaques vivantes et translucides retiennent certaines substances atmosphériques et en libèrent d’autres. L’image, peut-être la plus connue dans l’iconographie de la «nature brésilienne», Forêt Vierge du Brésil (comte de Clarac, 1819), montre la manière dont les rayons diffus de la lumière du soleil traversent la canopée formée par des arbres imposants. Le dessin s’inspire à la fois des croquis réalisés par l’artiste alors qu’il accompagnait une mission diplomatique au Brésil et d’espèces tropicales réunies dans une serre en Allemagne. L’original et la plaque gravée pour sa reproduction sont tous deux conservés dans les réserves du musée du Louvre. Mais une recherche rapide de l’image sur in- ternet nous fait découvrir l’une de ses «survivances» dans le monde d’aujourd’hui: l’annonce publicitaire d’une société qui propose sa reproduction sous forme de papier peint. Collée sur le mur d’un intérieur, l’image pourrait transporter son habitant dans cette forêt dite vierge, comme le faisaient autrefois les tapisseries tissées ornant les châteaux et palais de la noblesse. L’ordre des choses est le résultat de la résidence de recherche et de création que Lívia Melzi et Emilio Azevedo ont menée au sein de l’Espace Frans Krajcberg. Durant cette période, ils ont cohabité intensément avec les archives et les œuvres conservées par ce centre d’art et ont cherché à créer un dialogue avec l’œuvre de Frans Krajcberg (1921-2017) qui, comme eux, a vécu et travaillé entre le Brésil et la France (et en Belgique, dans le cas d’Azevedo). Ils ont cherché des rapprochements entre leurs propres gestes artistiques et la façon dont Frans Krajcberg traduit son expérience de la forêt, dans une œuvre intimement liée à un mode de vie singulier et ne cesse pas d’interroger, au moyen des éléments naturels qui en sont la matière, la re- lation entre la vie humaine et la multiplicité de vies non-humaines. La recherche entreprise par Melzi et Azevedo a commencé par les œuvres et l’espace même de la résidence, qui était l’un des lieux de travail de Frans Krajcberg à Paris. Construit avec des matériaux récupérés de l’Expo- sition Universelle de Paris de 1900, le bâtiment qui abrite l’Espace Frans Krajcberg est bordé des baies vitrées, faisant penser à une serre. Ce dispositif bio-architectural destiné à permettre la transplantation d’espèces végétales loin de leur origine géographique est recouvert par le verre, substance transparente que l’on a tendance à imaginer comme un matériau neutre. D’une part le verre constitue le «voir, parler et faire» de la botanique occidentale, d’autre part il est un élément essentiel du discours muséographique. Bien plus qu’un matériau invisible, le verre permet que des choses soient exposées – tout en imposant des distances. Transparentes en apparence, les vitrines des institutions muséales et scientifiques constituent la première des couches d’opacité de ces lieux, avant celles des dépôts techniques par exemple ou des contrats de provenance parfois douteuse.Créant des distances ou même soustrayant grand nombre d’artefacts et de collections à la vue du public, ces couches structurent les pratiques institutionnelles et s’imposent comme incontournables en ce qu’elles encadrent cer- taines formes d’accès à des objets dont elles empêchent cependant la circulation et dont elles prolongent ainsi l’«exil». La photographie, dont le verre et la lumière qui le traverse sont des matières fondamentales, a traditionnellement été comprise comme une ressource permettant d’enregistrer fidèlement la réalité. L’image elle-même a toujours été centrale dans le processus d’objectivation, de traduction et d’importation des modes de vie de la forêt selon les normes de la colonisation extractiviste des territoires. La démarche de Melzi et Azevedo cherche à penser la place de l’image comme outil de connaissance et de pouvoir (dans un moment historique où la question de la légitimité d’institutions telles que les «musées universels» est plus que jamais d’actualité), tout en prenant en compte un changement de paradigme quant à la préva- lence des droits des humains (certains humains) sur les non-humains (et sur d’autres humains). Par la richesse des détails préservés sur son support dur, l’image faite à la chambre (grand format) représente la forme documentaire par excel- lence. Avant toute image agrandie, la pellicule des diapositives contient de très grandes quantités d’informations enregistrées en couleur (positif), plutôt qu’en négatif comme c’est le cas dans la photographie industrielle et commerciale. Melzi et Azevedo se servent de cette technique d’une manière particulière pour proposer des fichiers d’archives virtuelles, en puissance, sans nécessairement les actualiser sur d’autres supports. Ces «archives» ne sont pas seulement le résultat d’un découpage et d’un réarrangement des images, elles contiennent une critique qui s’élabore à travers le choix des échelles et de la latence. Car explorer le pouvoir d’agrandir une image est un geste éditorial qui exprime des choix politiques. La relation entre l’image, la création d’une archive et le choix de privilégier par exemple une zone d’intérêt particulière est direc- tement liée à l’idée d’exploration d’un territoire. Le mythe de la forêt vierge est aussi vieux que l’invention de la forêt comme lieu de vie à part en- tière. L’idée d’un territoire vert, humide et enchevêtré, où l’on n’a jamais pénétré, semble être née en même temps que la figure de son explorateur. C’est lui qui y pénètre et qui l’explore, prêt à avancer, à évaluer, à mesurer et à rendre compte pour extraire des ressources qui serviront à accumuler des biens dans un autre contexte. Translucides comme les feuilles d’un arbre, présentées sur des structures modulaires en verre. Les diapositives exposées ici requièrent l’engagement du corps. C’est avec le corps que l’on doit négocier afin de faire une expérience: il faut rechercher le bon contraste et la lumière pour voir Le visiteur est invité à entrer dans une danse entre la matière et le regard.Puisse cette danse lui évoquer la grâce d’un autre rapport aux images et aux choses vivantes, dans une forêt, par exemple, lorsqu’on la reconnaît comme un espace déjà habité. Laila Melchior Septembre 2023 ___ <img width="1920" height="1440" width_o="1920" height_o="1440" data-src="https://freight.cargo.site/t/original/i/7e0cea5ee5e5c48d1953a3beb193d1f33fbcb5981b287d1c4d44c87754bb8851/DSCF2609-Editar.JPG" data-mid="198706985" border="0" src="https://freight.cargo.site/w/1000/i/7e0cea5ee5e5c48d1953a3beb193d1f33fbcb5981b287d1c4d44c87754bb8851/DSCF2609-Editar.JPG" /> L'ordre des choses, installation views. Image: Emilio Azevedo [PT]L'ordre des choses - A ordem das coisasNo campo da botânica, as folhas são órgãos de troca. Ao aumentar a área de superfície em que as plantas entram em contato com a luz, essas lâminas vivas e translúcidas retêm certas substâncias atmosféricas e liberam outras. Talvez a imagem mais conhecida da iconografia da "natureza brasileira", Forêt Vierge du Brésil (Comte de Clarac, 1819), mostra como os raios difusos da luz do sol penetram no dossel formado por árvores imponentes. O desenho foi inspirado tanto em esboços – feitos pelo artista enquanto acompanhava uma missão diplomática no Brasil – quanto em seu estudo de espécies tropicais em uma estufa na Alemanha. Tanto o original quanto a placa gravada usada para sua reprodução estão guardados nas reservas do Museu do Louvre. Uma rápida pesquisa pela imagem na Internet revela uma de suas "sobrevivências" no mundo atual: um anúncio de uma empresa que oferece sua reprodução como papel de parede. Colada na parede de um ambiente interno, a imagem transportaria seu habitante para a chamada floresta virgem, assim como faziam as tapeçarias que adornavam os castelos e palácios da nobreza. A exposição L'ordre des choses é o resultado da residência de pesquisa e criação que Lívia Melzi e Emilio Azevedo realizaram no Espace Frans Krajcberg. Durante esse período, eles conviveram intensamente com os arquivos e as obras conservadas por esse centro de arte e buscaram criar um diálogo com a obra de Frans Krajcberg (1921-2017) que, como eles, viveu e trabalhou entre o Brasil e a França (e na Bélgica, no caso de Azevedo). Eles buscaram ligações entre seus próprios gestos artísticos e a maneira como Frans Krajcberg traduziu sua experiência da floresta em um corpo de trabalho intimamente ligado a um modo de vida singular e que não cessava de questionar, por meio dos elementos naturais que eram seu material de trabalho, a relação entre a vida humana e a multiplicidade de vidas não humanas. A pesquisa realizada por Melzi e Azevedo tem como ponto de partida as obras e o próprio espaço da residência, que foi um dos locais de trabalho de Frans Krajcberg em Paris. Construído com materiais recuperados da Exposição Universal de Paris de 1900, o edifício que abriga o Espace Frans Krajcberg é revestido de janelas que lembram uma estufa. Esse dispositivo bioarquitetônico, projetado para permitir que espécies de plantas sejam transplantadas para longe de sua origem geográfica, é coberto por vidro, uma substância transparente que tendemos a considerar como um material neutro. Por um lado, o vidro constitui o "ver, falar e fazer" da botânica ocidental. Por outro lado, ele é um elemento essencial do discurso museográfico. Muito mais do que um material invisível, o vidro permite que coisas sejam exibidas ao mesmo tempo em que impõe distâncias. Transparentes à primeira vista, as vitrines dos museus e das instituições científicas são a primeira camada deuma série de esferas de opacidades que compõem e definem esses espaços, e são colocadas à vista ao contrário dos depósitos técnicos, por exemplo, ou dos contratos de procedência muitas vezes duvidosa. Essas camadas estruturam práticas institucionais, criando distâncias ou até mesmo removendo um grande número de artefatos e coleções da vista do público. Elas são essenciais na medida em que fornecem uma estrutura para determinadas formas de acesso a objetos cuja circulação elas impedem e cujo "exílio", muitas vezes, elas prolongam. A fotografia, para a qual o vidro e a luz que o atravessa são materiais fundamentais, foi tradicionalmente entendida como um recurso para registrar fidedignamente a realidade. A imagem em si sempre foi fundamental para o processo de objetivação, tradução e importação de modos de vida na floresta, de acordo com as normas da colonização extrativista dos territórios. A abordagem de Melzi e Azevedo busca considerar o lugar da imagem como uma ferramenta de conhecimento e poder (em um momento da história em que a legitimidade de instituições como os "museus universais" é mais premente do que nunca), ao mesmo tempo em que leva em conta uma mudança de paradigma na primazia dos direitos dos humanos (alguns humanos) sobre os não humanos (e outros humanos). Devido à riqueza de detalhes preservada em seu suporte, a imagem da câmera de grande formato é a forma documental por excelência. Antes da ampliação de qualquer imagem, o slide diapositivo contém uma quantidade muito grande de informações registradas em cores (positivas), ao invés de negativo, como é o caso da fotografia industrial-comercial. Melzi e Azevedo usam essa técnica de uma maneira particular para propor um arquivo virtual, em potência, sem necessariamente atualizá-los em outros suportes. Esse "arquivo" não é apenas o resultado das operações de corte e rearranjo das imagens; eles contêm uma crítica que é elaborada por meio de uma escolha que diz respeito à escala e e à latência. Explorar o poder de ampliar uma imagem é um gesto editorial que expressa escolhas políticas. A relação entre a imagem, a criação de um arquivo e a escolha de se concentrar em uma determinada área de interesse, por exemplo, está diretamente ligada à ideia de explorar um território. O mito da floresta virgem é tão antigo quanto a invenção da floresta como um lugar desconectado do mundo. A ideia desse território verde, úmido e complexo, onde ninguém jamais teria penetrado, parece ter nascido junto da figura de seu explorador. É o explorador que entra e explora a floresta, pronto para avançar, avaliar, medir e relatar para extrair recursos que serão usados para acumular bens em um outro contexto. Translúcidos como as folhas de uma árvore, apresentados em estruturas modulares de vidro, os diapositivos exibidos nesta exposição exigem o envolvimento do corpo. É com o corpo que se tem de negociar para ter uma experiência: buscando o contraste e a luz para poder ver. Os visitantes são convidados a entrar em uma dança entre a matéria e o olho. Talvez essa dança possa evocar neles a graça de uma relação diferente com as imagens e os seres vivos, como em uma floresta, por exemplo, quando a reconhecemos como um espaço já habitado. Laila Melchior. Setembro 2023 https://lailamelchior.cargo.site/three-tropes Thu, 13 Jan 2022 17:53:51 +0000 lailamelchior https://lailamelchior.cargo.site/three-tropes Three Tropes for EntropyExhibition at CIAP | JESTER, Genk mountaincutters, Angyvir Padilla &amp; Daniel Steegmann Mangrané05 Feb | 03 Apr 2022 <img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/36f9cc23dc0e0315ec88ce0bbed60bf82febb4f80b1ef50fb4a509cf0d6ee518/1_Three_Tropes_for_Entropy_36-1.jpg" data-mid="158669983" border="0" src="https://freight.cargo.site/w/1000/i/36f9cc23dc0e0315ec88ce0bbed60bf82febb4f80b1ef50fb4a509cf0d6ee518/1_Three_Tropes_for_Entropy_36-1.jpg" />Three Tropes for Entropy,&nbsp;installation view. Image: Chantal van Rijt&nbsp; With works by mountaincutters (FR), Angyvir Padilla (VZ) and Daniel Steegmann Mangrané (ES), Three Tropes for Entropy delves into three distinctive artistic practices, presenting their singular approaches towards notions of flux, energy, and transformation.Laila Melchior and Koi Persyn — laureates of the second edition of the Lichen Curatorial Prize — present a transformative exhibition connecting three artistic practices and methodologies to the unique site of the former Winterslag coal mine. Having hosted an industrial complex of coal exploitation for approximately a century, this former mine site embodies the capacity to generate and process energy not only through its history but also in its recent transformation into a creative hub. <img width="1335" height="2000" width_o="1335" height_o="2000" data-src="https://freight.cargo.site/t/original/i/d53dce5205f6dcf2db24f9e277e174534016d3e84e1b11500ff69173941a3eba/1_Three_Tropes_for_Entropy_44.jpg" data-mid="158669984" border="0" src="https://freight.cargo.site/w/1000/i/d53dce5205f6dcf2db24f9e277e174534016d3e84e1b11500ff69173941a3eba/1_Three_Tropes_for_Entropy_44.jpg" /> <img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/c31e6b2d87b6e91901a828eb87f5bcce5fbbc346498ed77d17d5615da446874e/1_Three_Tropes_for_Entropy_07.jpg" data-mid="158669986" border="0" src="https://freight.cargo.site/w/1000/i/c31e6b2d87b6e91901a828eb87f5bcce5fbbc346498ed77d17d5615da446874e/1_Three_Tropes_for_Entropy_07.jpg" /> <img width="1500" height="2248" width_o="1500" height_o="2248" data-src="https://freight.cargo.site/t/original/i/a6c54511e32687568828764b772861ccad1e6ee451bb1d17aca7943e9b3647b6/1_Three_Tropes_for_Entropy_01.jpg" data-mid="158669987" border="0" src="https://freight.cargo.site/w/1000/i/a6c54511e32687568828764b772861ccad1e6ee451bb1d17aca7943e9b3647b6/1_Three_Tropes_for_Entropy_01.jpg" /> <img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/26da3f9b6d5cf1adc6baa3c3beec064462322542268b33335c7d533271dce351/1_Three_Tropes_for_Entropy_05.jpg" data-mid="158669985" border="0" src="https://freight.cargo.site/w/1000/i/26da3f9b6d5cf1adc6baa3c3beec064462322542268b33335c7d533271dce351/1_Three_Tropes_for_Entropy_05.jpg" /> <img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/6b36ab9362e6267df8b7745255107f5b368a43708b1a0b2da7987a668b0ecacc/2_Three_Tropes_for_Entropy_25.jpg" data-mid="158669992" border="0" src="https://freight.cargo.site/w/1000/i/6b36ab9362e6267df8b7745255107f5b368a43708b1a0b2da7987a668b0ecacc/2_Three_Tropes_for_Entropy_25.jpg" /> <img width="1335" height="2000" width_o="1335" height_o="2000" data-src="https://freight.cargo.site/t/original/i/abff411bb7097842c8f3f0e945f58db20308e0bed5d195f730c070eb05af8421/2_Three_Tropes_for_Entropy_04.jpg" data-mid="158669988" border="0" src="https://freight.cargo.site/w/1000/i/abff411bb7097842c8f3f0e945f58db20308e0bed5d195f730c070eb05af8421/2_Three_Tropes_for_Entropy_04.jpg" /> <img width="1335" height="2000" width_o="1335" height_o="2000" data-src="https://freight.cargo.site/t/original/i/5e191b507dcd467a29aac28812ac9da93e966629de10058d2c053eb173c85912/2_Three_Tropes_for_Entropy_22-1.jpg" data-mid="158669991" border="0" src="https://freight.cargo.site/w/1000/i/5e191b507dcd467a29aac28812ac9da93e966629de10058d2c053eb173c85912/2_Three_Tropes_for_Entropy_22-1.jpg" /> <img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/76a283fd37b86158045f85f30c2b969a96ce341842d216f955d727ecc4b458d1/2_Three_Tropes_for_Entropy_15.jpg" data-mid="158669990" border="0" src="https://freight.cargo.site/w/1000/i/76a283fd37b86158045f85f30c2b969a96ce341842d216f955d727ecc4b458d1/2_Three_Tropes_for_Entropy_15.jpg" /> <img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/3cb0dcd390b63484025e45931f9b221cc086abbcbad0d449c9f9bc346a733b81/2_Three_Tropes_for_Entropy_10.jpg" data-mid="158669989" border="0" src="https://freight.cargo.site/w/1000/i/3cb0dcd390b63484025e45931f9b221cc086abbcbad0d449c9f9bc346a733b81/2_Three_Tropes_for_Entropy_10.jpg" /> Three Tropes for Entropy, installation view. Image: Chantal van Rijt ‘Trope’ and ‘entropy’ share the same ancient Greek root in the word τροπή, evoking the ideas of turn and transmutation. Tropes are literary motifs that use figurative forms of language to increase the tangibility of meaning, stimulating associative perceptions. Entropy is a term that has gained momentum in current times. A scientific concept that stems from thermodynamics, it indicates a transmission process within a closed circuit. Drawing from this specific usage to a more general one, it has been widely used to exemplify the irreversibility of time, of processes that have a clear start but no defined end and that can become quite invisible, as much as they are omnipresent. In parallel with and inspired by such a mixture of possible approaches to the phenomenon of transformation, the exhibition itself undergoes a change over its course. Three Tropes for Entropy opens with clusters of works highlighting each participating practice and gradually evolves towards an intermingled diffusion of particles. These transformations will be marked by three activated moments or chapters – identified by the curatorial duo as exhibition’s ‘tropes.’ These gradual changes allow for interactions between the works themselves and the space, modulating intensities to render visible the mutability that circulates inside the engines of practices. <img width="1748" height="1240" width_o="1748" height_o="1240" data-src="https://freight.cargo.site/t/original/i/683906e86cfd9716c05ded15c7d237aafa3dd78ceab02e7e5c8938c0dfad2c95/21-ANOS-DE-MALA-SUERTE-21-YEARS-OF-BAD-LUCK-Angyvir-Padilla-video-still-2014-1.jpeg" data-mid="130061489" border="0" src="https://freight.cargo.site/w/1000/i/683906e86cfd9716c05ded15c7d237aafa3dd78ceab02e7e5c8938c0dfad2c95/21-ANOS-DE-MALA-SUERTE-21-YEARS-OF-BAD-LUCK-Angyvir-Padilla-video-still-2014-1.jpeg" /> <img width="2048" height="1534" width_o="2048" height_o="1534" data-src="https://freight.cargo.site/t/original/i/cc3d841a02a80febfaf9e10d5aa1f605a039b6b43af6558a22f9784001ac3615/Daniel-Steegmann-Mangrane-2048x1534.jpeg" data-mid="130061486" border="0" src="https://freight.cargo.site/w/1000/i/cc3d841a02a80febfaf9e10d5aa1f605a039b6b43af6558a22f9784001ac3615/Daniel-Steegmann-Mangrane-2048x1534.jpeg" /> 21 AÑOS DE MALA SUERTE (21 YEARS OF BAD LUCK), Angyvir Padilla, video still, 2014 &amp; Daniel Steegmann Mangrané, Phasmides.16mm film transferred to HD video, color, mute, 22’41”, 2012, Courtesy Mendes Wood DM, São Paulo and Esther Schipper, Berlin. The artists mountaincutters (FR, °1990)&nbsp;is a hybrid identity, living and working in Brussels. Their duo-practice consists mainly of site-specific sculptures that reconfigure the space where they are exhibited. Through poetic texts and analogue photographs, the duo often finds historical and/or material leads that form the basis of their sculptural installations. These constellations of glass, ceramic, copper and metal objects are in constant flux, forming a closed circuit between the different entities. The in-situ works balance on the threshold of inactive and dynamic, present and invisible, rough and refined. Like an echo of this confused identity, the installation adds an aesthetic uncertainty, favouring transitory situations and unfinished forms for seemingly fortuitous compositions. mountaincutters unifies phenomena that are considered incompatible into one coherent volume, therefore pushing the boundaries of the sculptural into conflict. Angyvir Padilla (VZ, °1987) lives and works in Brussels. In her practice, she invites the viewer to look closer at the places we inhabit by examining how we embody memory. Padilla proposes that the traces of our past seep into a persistent present. Her immersive installations distil the concept of ‘home’ as an intimate, secluded place and relate this notion to people and nature. Padilla’s practice explores the discrepancies and intervals between identity, material and space. Her work turns around the sense of otherness one encounters once presence enters into a dialogue. Angyvir Padilla often works presenting objects and processing materials in relation to the spatial environment in order to connect emotionally with the viewer. Daniel Steegmann Mangrané (ES, °1977) lives and works in Rio de Janeiro. His research is composed of subtle yet crude experiments that question the relationship between language and the world. Although primarily conceptual, his installations engage with the spectator’s imagination and exhibit a strong concern with the existence of everything we see, but especially on everything that we do not see. Mangrané’s work often traces the boundary where nature meets artifice. Lines, circles and rhombuses are drawn, cut and projected onto leaves; the delicate symmetry of branches is split in two. These precise interventions hold a powerful force of attraction: a moment of uncertainty between what is contrived and what is natural. In each of Steegmann Mangrané’s intricate compositions, we get to experience that, far from being distinct, the organic and the geometric, the vital and the abstract, define each other. 𝘓𝘪𝘤𝘩𝘦𝘯 𝘪𝘴 𝘢 𝘱𝘳𝘪𝘻𝘦 𝘧𝘰𝘳 𝘦𝘮𝘦𝘳𝘨𝘪𝘯𝘨 𝘤𝘶𝘳𝘢𝘵𝘰𝘳𝘴, 𝘦𝘴𝘵𝘢𝘣𝘭𝘪𝘴𝘩𝘦𝘥 𝘣𝘺 Jester (former FLACC/CIAP) 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘥𝘦𝘱𝘢𝘳𝘵𝘮𝘦𝘯𝘵 𝘰𝘧 𝘊𝘶𝘳𝘢𝘵𝘰𝘳𝘪𝘢𝘭 𝘚𝘵𝘶𝘥𝘪𝘦𝘴 𝘢𝘵 𝘒𝘈𝘚𝘒 𝘚𝘤𝘩𝘰𝘰𝘭 𝘰𝘧 𝘈𝘳𝘵𝘴 𝘵𝘰 𝘧𝘰𝘴𝘵𝘦𝘳 𝘢𝘯𝘥 𝘴𝘶𝘱𝘱𝘰𝘳𝘵 𝘤𝘶𝘳𝘢𝘵𝘰𝘳𝘪𝘢𝘭 𝘦𝘹𝘱𝘦𝘳𝘪𝘮𝘦𝘯𝘵𝘢𝘵𝘪𝘰𝘯 𝘪𝘯 𝘉𝘦𝘭𝘨𝘪𝘶𝘮. 𝘞𝘪𝘵𝘩 𝘵𝘩𝘦 𝘴𝘶𝘱𝘱𝘰𝘳𝘵 𝘰𝘧 𝘵𝘩𝘦 𝘍𝘭𝘦𝘮𝘪𝘴𝘩 𝘊𝘰𝘮𝘮𝘶𝘯𝘪𝘵𝘺, 𝘵𝘩𝘦 𝘊𝘪𝘵𝘺 𝘰𝘧 𝘎𝘦𝘯𝘬, 𝘢𝘯𝘥 𝘵𝘩𝘦 Jester 𝘮𝘦𝘮𝘣𝘦𝘳𝘴. For further info check CIAP's website&nbsp;here https://lailamelchior.cargo.site/Eu-era-gases-puro-ar-espaco-vazio-tempo Fri, 11 Nov 2022 00:55:32 +0000 lailamelchior https://lailamelchior.cargo.site/Eu-era-gases-puro-ar-espaco-vazio-tempo Eu era gases puro, ar, espaço vazio, tempoLimited edition&nbsp; 33 copies + AP produced in collaboration with CIAP | JESTER | FLACC, Genk&nbsp;mountaincutters, Angyvir Padilla &amp; Daniel Steegmann Mangrané May 2022A collective edition marking the dissolution of the transformative exhibition Three Tropes for Entropy, the outcome of the Lichen Curatorial Prize 2021-22, organized by JESTER (former FLACC/CIAP). This final gesture of launch introduced an indetermination to the exhibition process, which had no fixed end date but keeps existing in different forms, like molecules of gas once compressed into a condensed space, suddenly freed into the ambient. <img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/9c6b7382c2a311817faa268170b11560e0246ede10668c74274e600b1c9817b8/LR_CIAP_Three_Tropes_Publication_02.jpg" data-mid="158667846" border="0" src="https://freight.cargo.site/w/1000/i/9c6b7382c2a311817faa268170b11560e0246ede10668c74274e600b1c9817b8/LR_CIAP_Three_Tropes_Publication_02.jpg" /> <img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/713256dce17f717d713924d3af185e453c9f345e45818663c9eefa757a312cfe/LR_CIAP_Three_Tropes_Publication_06.jpg" data-mid="158667870" border="0" src="https://freight.cargo.site/w/1000/i/713256dce17f717d713924d3af185e453c9f345e45818663c9eefa757a312cfe/LR_CIAP_Three_Tropes_Publication_06.jpg" /> <img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/e729a9b16cc88ef51e7c0f670d71394e3aafb7dfcd8efed02d061ea59e45529b/LR_CIAP_Three_Tropes_Publication_03.jpg" data-mid="158667860" border="0" src="https://freight.cargo.site/w/1000/i/e729a9b16cc88ef51e7c0f670d71394e3aafb7dfcd8efed02d061ea59e45529b/LR_CIAP_Three_Tropes_Publication_03.jpg" /> <img width="1335" height="2000" width_o="1335" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6b98917bfa3bbf4d3cbb95a545a352c1421cb82edd20ffe30044254ba8ff034f/LR_CIAP_Three_Tropes_Publication_17.jpg" data-mid="158667874" border="0" src="https://freight.cargo.site/w/1000/i/6b98917bfa3bbf4d3cbb95a545a352c1421cb82edd20ffe30044254ba8ff034f/LR_CIAP_Three_Tropes_Publication_17.jpg" /> <img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/dc7e95f99542373f4182f635812b8c7b2ee428c1d668cf724f9bde05d4021f14/LR_CIAP_Three_Tropes_Publication_18.jpg" data-mid="158667847" border="0" src="https://freight.cargo.site/w/1000/i/dc7e95f99542373f4182f635812b8c7b2ee428c1d668cf724f9bde05d4021f14/LR_CIAP_Three_Tropes_Publication_18.jpg" /> <img width="2000" height="1335" width_o="2000" height_o="1335" data-src="https://freight.cargo.site/t/original/i/7478295bcba21d914006c6a39e0c0fb3f457f9d0080b5fb45979bf5a4eac9750/LR_CIAP_Three_Tropes_Publication_20.jpg" data-mid="158667877" border="0" src="https://freight.cargo.site/w/1000/i/7478295bcba21d914006c6a39e0c0fb3f457f9d0080b5fb45979bf5a4eac9750/LR_CIAP_Three_Tropes_Publication_20.jpg" /> Eu era gases puro, ar, espeço vazio, tempo. Collective edition by Angyvir Padilla, mountaicutters and Daniel Steegmann Mangrané The collective edition includes three printed pieces. Created by Angyvir Padilla, mountaicutters and Daniel Steegmann Mangrané, all prints stem from the textual practice embedded in the artists' processes:- Executed in reflective, translucent ink and supplemented with a handmade match that activates the reflection effect in the dark, the silkscreen print by Angyvir Padilla borrows verses from the poetry of Argentinian writer Alejandra Pizarnik. The final result is a print that can be activated as an instalative piece.- The inkjet prints by mountaincutters were presented in the exhibition - first in Jester's exhibition space and later moved to C-mine's compressor's hall for the second trope of the exhibition. Every print carries a unique poem written by the artist duo and is supplemented with magnets for hanging.- Executed in graphite ink, the recto-verso silkscreen print by Daniel Steegmann Mangrané shows an excerpt originally from Stella do Patrocínio's oral poetry, defined by her as acts of gabbling. Compulsorily admitted into a mental asylum, Stella do Patrocínio was a maker of poems that were never written down but took visual form through the interpretation of Steegmann Mangrané. Mirrored, oblique, fractured, and incised, the typography chosen by the artist remains translucent and void—as light as thin air, like gas, as the empty space and time evoked by the self-description of Stella do Patrocínio. All silkscreen pieces are exquisitely printed by Camping Penrose / Liselotte van Daele.𝘓𝘪𝘤𝘩𝘦𝘯 𝘪𝘴 𝘢 𝘱𝘳𝘪𝘻𝘦 𝘧𝘰𝘳 𝘦𝘮𝘦𝘳𝘨𝘪𝘯𝘨 𝘤𝘶𝘳𝘢𝘵𝘰𝘳𝘴, 𝘦𝘴𝘵𝘢𝘣𝘭𝘪𝘴𝘩𝘦𝘥 𝘣𝘺 Jester (former FLACC/CIAP) 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘥𝘦𝘱𝘢𝘳𝘵𝘮𝘦𝘯𝘵 𝘰𝘧 𝘊𝘶𝘳𝘢𝘵𝘰𝘳𝘪𝘢𝘭 𝘚𝘵𝘶𝘥𝘪𝘦𝘴 𝘢𝘵 𝘒𝘈𝘚𝘒 𝘚𝘤𝘩𝘰𝘰𝘭 𝘰𝘧 𝘈𝘳𝘵𝘴 𝘵𝘰 𝘧𝘰𝘴𝘵𝘦𝘳 𝘢𝘯𝘥 𝘴𝘶𝘱𝘱𝘰𝘳𝘵 𝘤𝘶𝘳𝘢𝘵𝘰𝘳𝘪𝘢𝘭 𝘦𝘹𝘱𝘦𝘳𝘪𝘮𝘦𝘯𝘵𝘢𝘵𝘪𝘰𝘯 𝘪𝘯 𝘉𝘦𝘭𝘨𝘪𝘶𝘮. 𝘞𝘪𝘵𝘩 𝘵𝘩𝘦 𝘴𝘶𝘱𝘱𝘰𝘳𝘵 𝘰𝘧 𝘵𝘩𝘦 𝘍𝘭𝘦𝘮𝘪𝘴𝘩 𝘊𝘰𝘮𝘮𝘶𝘯𝘪𝘵𝘺, 𝘵𝘩𝘦 𝘊𝘪𝘵𝘺 𝘰𝘧 𝘎𝘦𝘯𝘬, 𝘢𝘯𝘥 𝘵𝘩𝘦 Jester 𝘮𝘦𝘮𝘣𝘦𝘳𝘴. https://lailamelchior.cargo.site/dear-yves Thu, 13 Jan 2022 17:53:46 +0000 lailamelchior https://lailamelchior.cargo.site/dear-yves Dear Yves,Exhibition at KIOSK, Ghent&nbsp;Elen Braga, Sofia Caesar, Fernando Marques Penteado22 Jan | 20 Mar 2022 Dear Yves, is an exhibition presenting works by Elen Braga, Sofia Caesar, and Fernando Marques Penteado. All three are Brazilian artists based in Belgium, yet their practice and works cannot be subject to a labeled reading in terms of national affiliation. More than a coherent group, they could be described as a bubble of contacts, a fluid crowd of porous connections and various insertions, not very different from the bubbles we have all had to establish with people around us during COVID. Instead of a systematic thread, formative school, or consistent consensus uniting the group, it is an affective assemblage of people with a loose shared culture and some references in common. Such approximations and discrepancies permeate the new body of works presented in the exhibition. <img width="2400" height="1602" width_o="2400" height_o="1602" data-src="https://freight.cargo.site/t/original/i/f1e8aa19bcbcdacce4db180130e396bd4f58be5906eff346f025bdb9a51e7cf1/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_57.jpeg" data-mid="158669300" border="0" src="https://freight.cargo.site/w/1000/i/f1e8aa19bcbcdacce4db180130e396bd4f58be5906eff346f025bdb9a51e7cf1/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_57.jpeg" /> <img width="2400" height="1602" width_o="2400" height_o="1602" data-src="https://freight.cargo.site/t/original/i/b833952d1874f47b78d4e9630e4741db2873fd4a5adb0d2f0d393e6df93ed830/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_62.jpeg" data-mid="158669289" border="0" src="https://freight.cargo.site/w/1000/i/b833952d1874f47b78d4e9630e4741db2873fd4a5adb0d2f0d393e6df93ed830/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_62.jpeg" /> <img width="2400" height="3596" width_o="2400" height_o="3596" data-src="https://freight.cargo.site/t/original/i/2986da8f80039232be30c3942a85cc312ed05a78121ac65f66e95fd8684b9850/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_11.jpeg" data-mid="158669303" border="0" src="https://freight.cargo.site/w/1000/i/2986da8f80039232be30c3942a85cc312ed05a78121ac65f66e95fd8684b9850/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_11.jpeg" /> <img width="2400" height="3596" width_o="2400" height_o="3596" data-src="https://freight.cargo.site/t/original/i/db21966f0f085230c62135e8e7ac9dd318ed7ce875d69f52f3303b90f6ed19a1/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_24.jpeg" data-mid="158669322" border="0" src="https://freight.cargo.site/w/1000/i/db21966f0f085230c62135e8e7ac9dd318ed7ce875d69f52f3303b90f6ed19a1/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_24.jpeg" /> <img width="2400" height="1602" width_o="2400" height_o="1602" data-src="https://freight.cargo.site/t/original/i/b3080168ef132f583344e4dc37b8f96ddc45a6e0e211227f50e5dbed7d420d66/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_58.jpeg" data-mid="158669410" border="0" src="https://freight.cargo.site/w/1000/i/b3080168ef132f583344e4dc37b8f96ddc45a6e0e211227f50e5dbed7d420d66/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_58.jpeg" /> <img width="2400" height="1602" width_o="2400" height_o="1602" data-src="https://freight.cargo.site/t/original/i/014b26459398d5a5ed66373d692ee14ada673d642da6fbb5157e2bfe9e9f9562/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_18.jpeg" data-mid="158669362" border="0" src="https://freight.cargo.site/w/1000/i/014b26459398d5a5ed66373d692ee14ada673d642da6fbb5157e2bfe9e9f9562/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_18.jpeg" /> <img width="2400" height="1602" width_o="2400" height_o="1602" data-src="https://freight.cargo.site/t/original/i/42d6597fa5ab73e6fdc3ecd15c9b56da1dd8cf7d94d4b0d647b639a033fe4263/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_01.jpeg" data-mid="158669330" border="0" src="https://freight.cargo.site/w/1000/i/42d6597fa5ab73e6fdc3ecd15c9b56da1dd8cf7d94d4b0d647b639a033fe4263/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_01.jpeg" /> <img width="2400" height="1602" width_o="2400" height_o="1602" data-src="https://freight.cargo.site/t/original/i/565d5d1a64d51e6730f6f07b89b766ec327321c83792f5070ce9277984fafff3/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_04.jpeg" data-mid="158669346" border="0" src="https://freight.cargo.site/w/1000/i/565d5d1a64d51e6730f6f07b89b766ec327321c83792f5070ce9277984fafff3/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_04.jpeg" /> <img width="2400" height="1602" width_o="2400" height_o="1602" data-src="https://freight.cargo.site/t/original/i/fdd6228f6c5e21f7fb5dd56aa273decff0bd6aa2355a75815897737def2a88ad/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_56.jpeg" data-mid="158669356" border="0" src="https://freight.cargo.site/w/1000/i/fdd6228f6c5e21f7fb5dd56aa273decff0bd6aa2355a75815897737def2a88ad/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_56.jpeg" /> <img width="2400" height="3596" width_o="2400" height_o="3596" data-src="https://freight.cargo.site/t/original/i/0a707fd627b2d309eedbfc1ecb9bcc2dac304214f5c6c9d39fd1fc9b56c221e2/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_41.jpeg" data-mid="158669402" border="0" src="https://freight.cargo.site/w/1000/i/0a707fd627b2d309eedbfc1ecb9bcc2dac304214f5c6c9d39fd1fc9b56c221e2/KIOSK_Dear_Yves_2022_cIsabelle_Arthuis_41.jpeg" /> Images: Isabelle Arthuis If nationality was one of the most important markers of belonging for people over the last centuries, in contemporary times it has become a more complicated concept. Other factors have also been brought to the fore and into discussion, such as gender and skin color. While artists, and the arts more generally, have been somehow prophetic in anticipating gazes and offering daring sensitivities around such categorizations and how to blur them, most of us still remain attached to national belonging. An interesting phenomenon happens with language, though. For instance, take nouns of assemblage: these are words that appear in the singular form to denote a group of individuals or objects—a litter, a herd, a troupe. It is probably not by chance that there are no nouns of assemblage to indicate groups of people from given nationalities. This might be the result of an acceptance to the fact that people move and migrate, changing who they are and how they perceive themselves and others in this process. Moving countries, one invariably acquires new habits while preserving the most subtle, unexpected, and intimate aspects brought from home throughout life. <img width="764" height="1074" width_o="764" height_o="1074" data-src="https://freight.cargo.site/t/original/i/e6756400de48a8da4671e589d14b74d7a3fe5de2700f125b4fde26f1e621669b/Captura-de-Tela-2022-01-13-as-12.15.50.png" data-mid="130062827" border="0" data-scale="86" src="https://freight.cargo.site/w/764/i/e6756400de48a8da4671e589d14b74d7a3fe5de2700f125b4fde26f1e621669b/Captura-de-Tela-2022-01-13-as-12.15.50.png" /> <img width="762" height="1078" width_o="762" height_o="1078" data-src="https://freight.cargo.site/t/original/i/cf2e140f30f904e9086e649bf32426c17dc789ab40075f1abd499ed7b7f1a02e/Captura-de-Tela-2022-01-13-as-12.15.31.png" data-mid="130062825" border="0" data-scale="85" src="https://freight.cargo.site/w/762/i/cf2e140f30f904e9086e649bf32426c17dc789ab40075f1abd499ed7b7f1a02e/Captura-de-Tela-2022-01-13-as-12.15.31.png" /> In this sense, Dear Yves, is an exhibition occasioned by a desire to be together and experiment. Assuming direct address, as in a letter with no particular message to transmit beyond the desire to communicate, the show is a salutation for an imaginary Yves. It positions a common name in Belgium—common at least among a certain generation—as its addressee. Our fictional Yves could be that critic that writes for a Flemish art magazine. He could be the person after whom the song Ive Brussel by Jorge Ben Jor was written, as it happens, in remembrance of someone who affectionately hosted the singer in Brussels during one of his tours through Europe in the 1970s. He could alternatively be a psychoanalyst whom many foreign artists in Belgium have actually consulted during their sojourns in the country. The story of this psychoanalyst’s practice tells us many things about a bubble of contacts, but also about how physical displacement can entail a necessity not only for looking around, but for looking inside oneself.Warmest regards,Laila Melchior Co-curated with Simon Delobel, KIOSK.For further info click here https://lailamelchior.cargo.site/Which-films-do-you-watch-late-at-night Fri, 11 Nov 2022 01:09:28 +0000 lailamelchior https://lailamelchior.cargo.site/Which-films-do-you-watch-late-at-night Which Films Do You Watch Late At Night?Screening at Kask Cinema, GhentIn collaboration with KIOSK&nbsp;Manon de Boer and Suely Rolnik16 March <img width="1500" height="847" width_o="1500" height_o="847" data-src="https://freight.cargo.site/t/original/i/2d66370c125b8e3d922970e99e5e83f2085108507d21b48d8fa580b0f4a24ce9/Dear_Yves_WHICH-FILMS-DO-YOU-WATCH-AT-NIGHT.jpeg" data-mid="158668597" border="0" src="https://freight.cargo.site/w/1000/i/2d66370c125b8e3d922970e99e5e83f2085108507d21b48d8fa580b0f4a24ce9/Dear_Yves_WHICH-FILMS-DO-YOU-WATCH-AT-NIGHT.jpeg" /> On March 16, 2022, on the occasion of the final week of the group exhibition Dear Yves, KIOSK and KASK CINEMA&nbsp;organized&nbsp;Which films do you watch late at night? The&nbsp;double bill featured&nbsp;Resonating Surfaces (2005) &amp; Lygia Clark, from Object to Event: Guy Brett (2011) We started off the evening in collaboration with Manon de Boer’s Resonating Surfaces (2005). The film&nbsp;interweaves a conversation with psychoanalyst, art critic and curator Suely Rolnik and scenes from São Paulo as viewed by de Boer. Rolnik recounts personal stories during the Brazilian dictatorship in the 1960s and 1970s, a period when she went to Paris in exile and began to develop her early professional life in close exchange with Gilles Deleuze and Felix Guatarri. The programme continues with Suely Rolnik on the other side of the camera, as an interviewer for the memory-building project Lygia Clark, from Object to Event (2011), for which she conducted over 65 interviews in the frame of an investigation on the late work of artist Lygia Clark (Brazil, 1920 - 1988). In the interviews, Rolnik talks to professional acquaintances from many fields, including former 'patients' of Lygia Clark’s therapeutic practice of Structuring the Self. KASKcinema will present her conversation with art critic, writer and curator Guy Brett (UK, 1942-2021) about his long-standing professional involvement with the artist. The evening will be introduced by independent curator Laila Melchior and artist Vijai Maia Patchineelam, a team member of KIOSK. For further info click here https://lailamelchior.cargo.site/Atelier-Suspensions Thu, 18 Nov 2021 22:39:37 +0000 lailamelchior https://lailamelchior.cargo.site/Atelier-Suspensions Atelier SuspensionsPublic Programme at Komplot, Brussels&nbsp;Pascale Barret, Aurélie Belair, Elen Braga, Sofia Caesar, Delphine Corre, Stan D'Haene, Micha Goldberg, Simon Masschelein, Maurice Meewisse, Hélène Moreau, Juan Pablo Plazas, Angyvir Padilla, Edouard Pagant, Koi PersynJuly and August 2021 ATELIER SUSPENSIONS was a mini summer festival of the arts. Over five Saturdays between July and August 2021, artists developed works, research and performed activities in the framework of an outdoor studio organized in the surroundings of the Square Miesse, just behind KOMPLOT, in Anderlecht. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/78c4d34bcd103537653c41443e946c801d993e301314a13d07a8e95b3eb8613c/Atelier-Suspensions-curatedby-LailaMelchior-July17_5352.JPG" data-mid="125023711" border="0" src="https://freight.cargo.site/w/1000/i/78c4d34bcd103537653c41443e946c801d993e301314a13d07a8e95b3eb8613c/Atelier-Suspensions-curatedby-LailaMelchior-July17_5352.JPG" /> <img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/1c52d4c79612ae263880a2be7268c3fc5ca8199053d94dcd636b767a6dc79f53/Atelier-Suspensions-curatedby-LailaMelchior-photos-AlexandraColmenares-July31_1647.jpg" data-mid="125023964" border="0" 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src="https://freight.cargo.site/w/1000/i/60f6aaa6024457310d0ba0948364e16170cffc98ea564adfe46d8c2037efdf2e/Atelier-Suspensions-curator-LailaMelchior-pt-AlexandraColmenares_2358.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/1cc3193846765633fd6a1b9283a99b93c2f3dce8206d6315d0feb8a1bb330d7c/IMG-7079.jpg" data-mid="125028798" border="0" src="https://freight.cargo.site/w/1000/i/1cc3193846765633fd6a1b9283a99b93c2f3dce8206d6315d0feb8a1bb330d7c/IMG-7079.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/981841fbb081c901578ae619785727ade0276c18dac9342c2377683e9c87a732/IMG-7115.jpg" data-mid="125028791" border="0" src="https://freight.cargo.site/w/1000/i/981841fbb081c901578ae619785727ade0276c18dac9342c2377683e9c87a732/IMG-7115.jpg" /> Photos: Alexandra Colmenares Situated behind Komplot the square was named in 1954 after the owners of an automobile factory historically founded in the neighborhood. ATELIER SUSPENSIONS momentarily suspended the normal car circulation in the area. It invited everyone to stop and look again at this unique place on the edge of urban Brussels, experiencing it from the perspective of contemporary artists and their practices. With: Pascale Barret, Aurélie Belair, Elen Braga, Sofia Caesar, Delphine Corre, Stan D'Haene, Micha Goldberg, Simon Masschelein, Maurice Meewisse, Hélène Moreau, Juan Pablo Plazas, Angyvir Padilla, Edouard Pagant, Koi Persyn Organized by Komplot Curated by Laila Melchior Many thanks to Kobe Matthys, Zenne Garden, Vivian Melchior and Natalia Barczynska&nbsp; <img width="4500" height="5625" width_o="4500" height_o="5625" data-src="https://freight.cargo.site/t/original/i/fea64b881de5b6e0951a293ed72c3796e30c486042de2ed9c9e986ff9c9b5fa8/atelier-suspensions-feed_format-maincomunication.jpg" data-mid="125026696" border="0" data-scale="41" src="https://freight.cargo.site/w/1000/i/fea64b881de5b6e0951a293ed72c3796e30c486042de2ed9c9e986ff9c9b5fa8/atelier-suspensions-feed_format-maincomunication.jpg" /> En partenariat avec / In samenwerking met het / In partnership with: l'Institut de la Vie, PCS Albert Avec le soutien de / Met de steun van / With the support of Bruxelles Mobilité, de la Fédération Wallonie Bruxelles, de la Vlaamse Gemeenschapscommissie, Commune d'Anderlecht https://lailamelchior.cargo.site/Trojan-Horse Thu, 01 Apr 2021 11:35:58 +0000 lailamelchior https://lailamelchior.cargo.site/Trojan-Horse Trojan Horse Behind GlassPerformance and Exhibition in two chapters&nbsp;at NICC, Brussels Elen Braga and Lyz Parayzo 06 May | 26 Jun 2021 <img width="5484" height="3656" width_o="5484" height_o="3656" data-src="https://freight.cargo.site/t/original/i/da84b82d84a15c2c27290e6639404a90e6aa45f4af4f1d26bae752b4db6e289d/_MG_6904.jpg" data-mid="110980497" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/da84b82d84a15c2c27290e6639404a90e6aa45f4af4f1d26bae752b4db6e289d/_MG_6904.jpg" /> <img width="874" height="1240" width_o="874" height_o="1240" data-src="https://freight.cargo.site/t/original/i/3c5e84007794d8d356a453a46db1a3a0051f99dcc02cc8b35f0e20c283365c54/trojan.gif" data-mid="110980339" border="0" data-scale="43" src="https://freight.cargo.site/w/874/i/3c5e84007794d8d356a453a46db1a3a0051f99dcc02cc8b35f0e20c283365c54/trojan.gif" /> Trojan Horse Behind Glass is a program between brackets. Together with artists Elen Braga and Lyz Parayzo, curator Laila Melchior proposes a takeover of two months of the NICC vitrine in Brussels. The two chapters of the program propose a dialogue with the urban emplacement of the vitrine and its broader context discussing issues of transparency, visibility, diversity, neighborhood, and strategies for cohabiting. Chapter I - Salt Statues, by Elen Braga 06/05/2021 - 25/05/2021 <img width="5375" height="3583" width_o="5375" height_o="3583" data-src="https://freight.cargo.site/t/original/i/076c9ca67cc2ed68a2c863e0b012a528817184b8604142918d9246ee1d5e8ea8/nicc_elenbraga-01.jpg" data-mid="110980514" border="0" data-scale="69" src="https://freight.cargo.site/w/1000/i/076c9ca67cc2ed68a2c863e0b012a528817184b8604142918d9246ee1d5e8ea8/nicc_elenbraga-01.jpg" /> photo: silvia cappellari A woman directs us an over-the-shoulders gaze. Next to her, anthropomorphic forms burn in a stony set. A bright scene discloses ahead, where three figures raise their arms in a gesture of adoration. Specially made for the NICC vitrine in Brussels, the hand-tufted panel by Elen Braga reinterprets the biblical story of Lot fleeing Sodom from the perspective of “Lot’s wife”. The nameless woman, known to have been transformed into a pillar of salt for having looked back at the burning city, looks right at us through the glass of the vitrine at Rue Lambert Crickx 1. By choosing a new angle for an old and over-represented scene, Braga lends her own face for the depiction of the infamous woman. The new take connects Lot’s wife’s look to that of Orpheus, the mythological poet and musician who visited the underworld to save his beloved, failing on the single condition of not looking back. The pose of the woman also recalls Walter Benjamin’s famous angel of history, who looked at the fallen while pulled away by the winds of progress. Who is doomed in this story?Trojan Horse Behind GlassPerformance by Elen Braga &amp; Lyz Parayzo27/05/2021 A new performance by Elen Braga and Lyz Parayzo, presented at the transition from Chapter I to Chapter II. The artists presented an experiment mixing gospel music to a posthumous homage to Claudia Wonder, Brazilian writer, performer and militant for the LGBT rights. Chapter II - Cuir Cuir, by Lyz Parayzo 27/05/2021- 24/06/2021 <img width="4199" height="2799" width_o="4199" height_o="2799" data-src="https://freight.cargo.site/t/original/i/42d0c2cad5198724c3a14eb5050b2649035a9f02cbe11ccd006518035c09f798/_MG_7019.jpg" data-mid="110980417" border="0" data-scale="69" src="https://freight.cargo.site/w/1000/i/42d0c2cad5198724c3a14eb5050b2649035a9f02cbe11ccd006518035c09f798/_MG_7019.jpg" /> photo: silvia cappellari In the occasion of her first exhibition in Belgium, artist Lyz Parayzo proposes new installations for a vitrine of shiny saw blades covered in smooth pink leather. The coldness of the metal and softness of the leather blend into this new series of sculptures. Mixing desire and violence, attraction and repulsion, her works will be shown hanging from the ceiling, but will also be submitted to the audience for holding and handling in accordance to the propositions of Lygia Clark.&nbsp; The forms derive from a previous work, Bixinhas, a series of sculptures whose title translates in Portuguese both as little critters and as the faggots. Referencing Clarks much-known Critters– milestones of the Brazilian Neoconcretism. Parayzo’s Bixinhas are structures similar to Clark’s Critters, only their circular shapes nestle saw blades. For the presentation at the NICC&nbsp;vitrine in Brussels, the addition of leather in works that carry some of the forms referencing Clark’s sculptures point a subjacent step towards a pop aesthetics that also refers to the practice of Italo-Brazilian artist Waldemar Cordeiro. The new series highlights a duplicity that is not binary as the materials alternate indefinitely, and the folds and interstices look like flesh. Parayzo’s prosthetics is set forth through her shields, gutty-like structures that are defensive and protective at once. Cuir Cuir deals with this non-binarism bringing together the Latin American version of the Queer Theory in its attempt to decolonize and phoneticize the term into Castellano and Portuguese notion of cuir. It also contemplates the material in the sculptures, the link to the dynamics of power, violence, and desire referencing to erotic fashion, such as BDSM, in which leather garments are present. -- Elen Braga (°1984 – Brazil) Lives and works in Brussels. Elen Braga is a multimedia artist. Interested in issues related to the self, she researches themes such as strength, ambition and resilience. Her practice often involves self-imposed tasks, as well as intense labor-requiring endeavors. She delves into mythological narratives, revisiting them to examine the ways in which they survive in contemporary behavior and beliefs.Lyz Parayzo (°1994 – Brazil) Lives and works in Paris. Many thanks to Philippe Van Damme For further info click&nbsp;here https://lailamelchior.cargo.site/Wide-Ecologies Thu, 01 Apr 2021 11:41:32 +0000 lailamelchior https://lailamelchior.cargo.site/Wide-Ecologies Wide EcologiesMasterclass in the framework spring project week, KASK, Ghent in collaboration with Netwerk Aalst&nbsp;15 Mar | 19 Mar 2021 <img width="2848" height="1596" width_o="2848" height_o="1596" data-src="https://freight.cargo.site/t/original/i/439f1d00c30d7ddccb8d7a992e94abd2aeffc69a2c6e564c772b1e7f9978c697/Cover-still.png" data-mid="103954047" border="0" data-scale="77" src="https://freight.cargo.site/w/1000/i/439f1d00c30d7ddccb8d7a992e94abd2aeffc69a2c6e564c772b1e7f9978c697/Cover-still.png" /> In times of the current sanitary crises, a growing necessity to invent new forms of interaction challenges the ways in which art institutions engage with audiences and local communities, also putting the architectural ensemble of the museum at stake. As an outdoor activity and a communitarian practice, gardening may offer many useful clues to twenty-first-century cultural practices, even beyond the defies imposed by the emergence of Covid-19.During the week of March 15-19, 2021, Curatorial Studies will investigate the garden as a methodology that not only traverses the works of artists but that also can be found in new approaches for art initiatives. We will delve into the possibilities of artistic and curatorial practices departing from the terrain, as well as from the principle of cultivating as a gesture of awareness and care towards the surroundings.One of this research's main goals will be to chart a network of agents, actors, and initiatives on the field to draw a better idea of how gardens can be inscribed into the contemporary art scene at a local level. The group will visit various initiatives experimenting with the format of the garden according to a comprehensive understanding of ecology. Some of them are Bart Backaert, head of the Green Implementation Department of the City of Aalst; Komplot, in Brussels; Flor Maesen and his Land of the Confused; the Garden at Wiels; Lise Duclaux; Kobe Matthys; the Zenne Garden; Filip Van Dingenen and his Platform for Algae Diplomacy; and Wendy Morris.Our field research and discussions are expected to contribute on a theoretical level to the deliberations and debate currently held by Netwerk Fabriek, in Aalst. Apart from the documentation of the research conducted during the week, a practical proposition curated by Curatorial Studies in the context of Netwerk Fabriek in the next few months would be a possibility for a tangible outcome of this project week. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/fcca67e4e9dde1cb662f196b1e8aea80063f49490627650a0792c51200848d90/IMG_0323---copia.JPG" data-mid="103954153" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/fcca67e4e9dde1cb662f196b1e8aea80063f49490627650a0792c51200848d90/IMG_0323---copia.JPG" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/e4f696ece8a61dd8a4f6edf6161c2e6321ac48c60496b385a09e7a450777979f/IMG_0338---copia.JPG" data-mid="103954157" border="0" src="https://freight.cargo.site/w/1000/i/e4f696ece8a61dd8a4f6edf6161c2e6321ac48c60496b385a09e7a450777979f/IMG_0338---copia.JPG" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/23bd0f14bb06293700dcc6df5354a7fdb6bfa0a5fc67e3f33dea2f1d9a2a8683/IMG_0428---copia.JPG" data-mid="103954155" border="0" src="https://freight.cargo.site/w/1000/i/23bd0f14bb06293700dcc6df5354a7fdb6bfa0a5fc67e3f33dea2f1d9a2a8683/IMG_0428---copia.JPG" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/101f2cf22c44f070d3b4376f7198a6de404d430040e0bc4ac9ccda5f1a4ed147/IMG_0397---copia.JPG" data-mid="103954158" border="0" src="https://freight.cargo.site/w/1000/i/101f2cf22c44f070d3b4376f7198a6de404d430040e0bc4ac9ccda5f1a4ed147/IMG_0397---copia.JPG" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/f417d6569eaf03bf1197ce27effcfdcf6f7f5e641c04c99758b21acb1628d7a8/IMG_0392.JPG" data-mid="103970647" border="0" src="https://freight.cargo.site/w/1000/i/f417d6569eaf03bf1197ce27effcfdcf6f7f5e641c04c99758b21acb1628d7a8/IMG_0392.JPG" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/015e3fa2faa62fd991fc74bc25888a3c55b77e4d40addbb011cc0395a31171c9/IMG_0505---copia.JPG" data-mid="103954181" border="0" src="https://freight.cargo.site/w/1000/i/015e3fa2faa62fd991fc74bc25888a3c55b77e4d40addbb011cc0395a31171c9/IMG_0505---copia.JPG" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/220995d9efd413bb30021199cc8e5336df0fd0db73a9a32c984e385a1e6dd8bb/IMG_0507---copia.JPG" data-mid="103969893" border="0" src="https://freight.cargo.site/w/1000/i/220995d9efd413bb30021199cc8e5336df0fd0db73a9a32c984e385a1e6dd8bb/IMG_0507---copia.JPG" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/610ea7e67b0982f86338e26fefe4202989738761982a66ea3bf0da99a35db21a/IMG_0523---copia.JPG" data-mid="103954183" border="0" src="https://freight.cargo.site/w/1000/i/610ea7e67b0982f86338e26fefe4202989738761982a66ea3bf0da99a35db21a/IMG_0523---copia.JPG" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/2ac039215105b273a0b6caf4e8d2b416db82e814d00bcb92fe1c1590d900b2c1/IMG_0557---copia.JPG" data-mid="103954979" border="0" src="https://freight.cargo.site/w/1000/i/2ac039215105b273a0b6caf4e8d2b416db82e814d00bcb92fe1c1590d900b2c1/IMG_0557---copia.JPG" /> <img width="1125" height="1500" width_o="1125" height_o="1500" data-src="https://freight.cargo.site/t/original/i/41c26513a0ef16f45adc55ceb1f7e7877d472b65bbe3e7a16186c99d872ea7b7/Kobe.jpeg" data-mid="103959045" border="0" src="https://freight.cargo.site/w/1000/i/41c26513a0ef16f45adc55ceb1f7e7877d472b65bbe3e7a16186c99d872ea7b7/Kobe.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/e045d7d02f5fed4a3a2d02f554b5d2f463b013d0cd938c3a62553150b137c885/IMG_0615---copia.JPG" data-mid="103969858" border="0" src="https://freight.cargo.site/w/1000/i/e045d7d02f5fed4a3a2d02f554b5d2f463b013d0cd938c3a62553150b137c885/IMG_0615---copia.JPG" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/3695bd3db9aec585a3e02f385526d6b2c0f6863e3e6f8c4a956151f7779189b4/IMG_0611---copia.JPG" data-mid="103969848" border="0" src="https://freight.cargo.site/w/1000/i/3695bd3db9aec585a3e02f385526d6b2c0f6863e3e6f8c4a956151f7779189b4/IMG_0611---copia.JPG" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/066e80aaf0d4beaa66afd951d85449aa291059d8d93673c9efe705804f452745/IMG_0622---copia.JPG" data-mid="103954925" border="0" src="https://freight.cargo.site/w/1000/i/066e80aaf0d4beaa66afd951d85449aa291059d8d93673c9efe705804f452745/IMG_0622---copia.JPG" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/b2f2f052adda7c08de0fd7f3a02dc228b39c835cf5f4321c1b0d9b59cc7bef0f/IMG_0666-2---copia.JPG" data-mid="103954990" border="0" src="https://freight.cargo.site/w/1000/i/b2f2f052adda7c08de0fd7f3a02dc228b39c835cf5f4321c1b0d9b59cc7bef0f/IMG_0666-2---copia.JPG" /> For more info, please check: Netwerk Aalst's website and Kask's Curatorial Studies' website