02 n°92 déc 19/jan-fév 2020
02 n°92 déc 19/jan-fév 2020
  • Prix facial : gratuit

  • Parution : n°92 de déc 19/jan-fév 2020

  • Périodicité : trimestriel

  • Editeur : Association Zoo galerie

  • Format : (210 x 297) mm

  • Nombre de pages : 84

  • Taille du fichier PDF : 7,8 Mo

  • Dans ce numéro : Teresa Margolles, Peter Friedl et Corentin Canesson invités de ce numéro.

  • Prix de vente (PDF) : gratuit

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4 Interview Claire Le Restif 2 in 2016, and you’ve proposed 5 dans les murs (an invitation made to five curators to hold a show at Le Crédac : Chris Sharp, Hélène Meisel, Brice Domingues, Catherine Guiral, Sarah Tritz), and there’ll soon be a residency within the centre : how do you see the future of art centres in France ? Won’t the way they are labelled (which you’ve participated in) contribute to the standardization of artistic and curatorial proposals to the detriment of the inventive aspect of art centres, where people enjoy going to be surprised, and exercised ? As the artist Pierre Joseph put it, «art centres have a different centre of gravity to that of the outside world». Semantics have their importance—in the name «art centre» there is the word ‘centre’. But what is an art centre ? It’s an essential player in the ecosystem of contemporary art. Its DNA is what supports creation, research, distribution and mediation. It is above alla workplace for artists, a place, to put it more precisely, where they can experiment and permit themselves to do things. It’s rare and precious, but fragile. This is why we have collectively thought that a label might help to better identify, describe and strengthen art centres. This new label, «contemporary art centre of national interest», came into being in 2017, after a lengthy process. I was president of the d.c.a. network when we managed to sign the first ministerial circular associated with art centres in 2011, after which we embarked on a concerted line of thinking and decision-making hailing from the field, which led us to create this label, in discussion with the Ministry of Culture. I think it’s the first label that comes from the field and it quite precisely defines its brief in dialogue with partners and their commitments to artists. For my part, I think that it’s going in the right direction, even if we are not naïve, because all our programmes are boundup with political decisions. I think that this label will not standardize anything in terms of art. France’s art centres are forever questioning themselves, like no other artistic and cultural facility, probably because of their involvement in research and their accompaniment of artists. As the label suggests, art centres must be places akin to art surgeries. The Le Crédac programme, for example, is neither festival-like, nor ephemeral. The art project associated with a programme of constant support for audiences is a long-termproject : the living word uttered in front of works is a basic factor of it. Le Credac’s visitors department which is nothing less than the art centre’s «fan-belt», is forever re-examining its transmission tools with regard to the development of current art praxes, just as it strives to transmit vital knowledge about critical theory. The art centre is a place of active involvement, where works are, to be sure, on view to the public, but where the public is also on view to the works ! The art centre must remain an area of openness. Let us bear in mind, more than ever these days, that, since the postwar period in Europe, the doctrinal foundations of resistance to fascism have been formulated in a project about which everyone is agreed : education through art. An artistic and cultural project helps to enable the audience to understand that the works on view belong to the present context of their lives, and openup spaces of freedom, veering towards that «outside of art» represented by history, the city beyond the cultural place, and the field of politics, all places where the non-formatted individual can be fulfilled. I think that the artistic and cultural place must be conceived from «within», its point of origin, support and reflection being artists’projects. If it is bound to remain welcoming and hospitable, learning about artworks must take pride of place, squarely supporting the fact that culture creates projects. Can you tellus about yourupcoming programme ? Will 2020 be a year of majorupheavals for Le Crédac ? 2020 is a year of local elections which, I hope, will not bring too many majorupheavals with it. The life of an art centre is more madeup of continuity, patience, and diligence : a long distance runner rather than a sprinter. We’re starting the year 2020 with the exhibition «Winter Garden» showing the work of the German artist Jochen Lempert. He is designing an arrangement of display cases, in the manner of botanical cabinets containing photographic compositions describing the plant motif. The black-and-white silver prints are the result of a selection within a body of photographs taken on a daily basis on the spot, and developed in his own laboratory. With his painstaking and extremely erudite eye—biology, ethology, art history—he captures trivial phenomena of the world and brings them to our attention in a sober and poetic approach. Our loyalty to artists regularly involves us in extending our relationship by way of a solo show. We invited Jochen Lempert in 2014 for a group show jointly organized with Chris Sharp, «The Registry of Promise», organized in four sections in four European venues, including Le Crédac. In April 2020, we are inviting Kapwani Kiwanga who, for her part, studied anthropology before embarking on art. She has retained that methodology for settingup procedures for undertaking research. Somewhere between fiction and documentary, she questions hegemonic narratives and develops alternative propositions, formally conveyed by video, performance and photography, as wellas sculpture. Autumn 2020 will be devoted to the British artist Derek Jarman, who was born in 1942 and died of the consequences of AIDS in 1994. As a film director, scriptwriter, actor and gay rights activist, his visual work still remains to be discovered. We will be organizing his first show in France, which will be accompanied by a retrospective of the artist’s films at the Crédakino and the ‘art et essai’moviehouse in Ivry le Luxy, as wellas a performance programmedwith the Festival d’Automne in Paris. What is more, as part of the «artists’residencies programme» promoted by the Regional Council of Ile-de-france and with the backing of the city of Ivry-sur-Seine, Le Crédac is initiating a ten-month research project with Simon Boudvin. From his studio at Le Crédac, he will embark on a photographic project involving the city, dovetailing his interest in architecture and urban ecology.
4 Interview Claire Le Restif 3 Thu Van Tran, Pénétrable ; allégorie de la lune, la feuille d’hévéa et de la tortue (détail), 2019. Latex, pigment. Courtesy Thu Van Tran ; Meessen De Clercq, Bruxelles ; Rüdiger Schöttle, Münich. Vue de l’exposition/View of the exhibition « 24 heures à Hanoï », Centre d’art contemporain d’Ivry – le Crédac, 2019. Photo  : André Morin/le Crédac. Vue de l’exposition/View of the exhibition « J’aime le rose pâle et les femmes ingrates » de Sarah Tritz et 29 artistes invité.e.s/by Sarah Tritz and 29 guest artists, Centre d’art contemporain d’Ivry – le Crédac, 2019. Au premier plan/Foreground  : Liz Craft, Me Princess, 2008-2013, Centre national des arts plastiques. Photo  : André Morin/le Crédac. Vue de l’exposition/View of the exhibition Corentin Canesson « Retrospective My Eye », Centre d’art contemporain d’Ivry – le Crédac, 2017. De gauche à droite/From left to right  : Corentin Canesson, Messidor, 2016 ; Corentin Canesson, Présence humaine, 2014 ; Corentin Canesson, Prague, 2014. Photo  : André Morin/le Crédac. I



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