02/05/2016 § Leave a comment
Some images from my installation in the déchets at La Brousse, Sers. So wonderful to be amongst such an amazing bunch of avant guard artists.
I mentioned this in a previous post but would like to update and reiterate it again. Traditional methods of viewing art focused mainly on artists and their style. In contemporary thinking there is a move away from this cartesian model to a wider remit which encompasses many methodologies; how art is made; art as process; art theory, visual theory and cross disciplinary innovation. The result of this recalibration continues the discussion around ‘what is art’. There is a full scrutiny of the materiality of visual objects, of the corporeal effect, an architectural and spatial awareness, political and ecological considerations and most importantly the theory around its cultural reception.
This weekend the artists at ZOU#7 were part of this new contemporary thinking raising these issues through their work. By paring back materials, ideas and form to essentials the artists spark memories allowing the viewer in to complete the piece. For me the resonance of these works lingers after the exhibition is over and call on the ancient ancestors in the valley of the Eschelle where the exhibition was held. There was a huge sense of community in this edition of ZOU where performance and music were the stars. Some highlights were; the intensity of walking spatially in the dark as a group towards the spot light performance deep in the cave, the group dance outside in the grounds, the fun urinals with swimming fish and flying birds, the earth dye textile workshops, the creative musical concerts and chatting happy faces in the café. The grand themes of life and love were everywhere; in the gestural drawings on the walls to the stunning performance of movement and spoken word in the caves, all calling on the poetics and energy of the space. ZOU artists revitalises and stimulate our engagement and aesthetic experience and create new collective democratic kinds of cultural identification.
10/04/2016 § Leave a comment
One of my heros is Agnes Varda and it is such an honour to be screening along side her work at the Emporium Brighton 10th April 2016 at 6:30 pm
‘WOFFF are delighted to be preceding The Beaches of Agnès with a short film selected for show in last year’s WOFFF festival, Ban an Farriage (Woman of the Sea), by filmmaker Trisha McCrae.
THE BEACHES OF AGNÈS (2008)
(LES PLAGES D’AGNÈS)
CERT 18 / 110 MINS / FRANCE / DIR: AGNÈS VARDA
The film is a memoir documentary from Agnès Varda, one of French cinema’s most enduring directors. Originally part of the Rive Gauche contingent of the French New Wave, she made her name with Cléo de 5 à 7 (1962). Over half a century later, Varda has countless feature films, documentaries, and art installations to her name, many of which are revisited in this autobiographical portrait, which she made aged 80.
Join Agnès on this fluid, dreamlike, naughty and nostalgic stroll down the beaches of her memory.
Dreamland is excited to be joining forces with the Women Over Fifty Film Festival this month to bring you The Beaches of Agnès. WOFFF aims to put women over fifty on screen, or behind the camera, starting with monthly one-off screenings throughout 2016, leading up to their annual short film festival in October.
06/04/2016 § Leave a comment
I am pleased to be installing The Struggle at ZOU this month. The work is an installation piece where I will be screening a film on a sculptural form.
I have been very lucky to work with performance artist Barry Andrews and voiced by French artist Michel Gayout.
Samedi 30 avril de 14h à 21h30
Dimanche 1 mai de 11h à 19 h
au Hameau de la Brousse à Sers
05 45 24 95 72
21/11/2015 § Leave a comment
Saturday 28 novembre de 14 à 19 h
Sunday 29 novembre de 11 à 18 h
au Hameau de la Brousse à Sers
05 45 24 95 72
17/09/2015 § Leave a comment
Your art, our walls: the best artworks by Guardian readers
Giant crabs taking over the world, women morphing into crows and young stars wrapped in baby blankets … we knew Guardian readers’ artworks would be inspired, which is why we started a Readers’ Art project three years ago. Since then, thousands of submissions have been shared every month. Now, we are launching our inaugural exhibition. Here are your artworks handpicked by our judges, Guardian art critic Jonathan Jones and British Art Show 8 curator Gilly Fox.
At the Guardian, Kings Place, 90 York Way, London N1 9GU until 8 October, admission free
See the full selection here Guardian
30/08/2015 § Leave a comment
Lucy Lippard, once said that we can generally understand the history of modern art as a series of ‘escape attempts’ where the desire of the artist is to short-circuit and outwit the established modes of institutional display that sustain the bourgeois art system. These ‘escape attempts’ are employed to try and recapture a lost immediacy of experience and transcend materialisation which strangles our modern life with its various forms of distraction and deception. By circumventing the gallery or market, the work of art would be able to free itself of the corrupting influences of commodified reification and various ideological preconceptions and provide viewers with an unadulterated vision of the world otherwise unavailable in everyday life. LN Le Cheviller and Michel Gayout seeking this latitude set up the Hammeau de La Brousse in 1993 in the valley of the Échelle river, Sers. The perfect setting to bridge what Robert Rauschenberg called ‘the gap between art and life’.
Three times a year LN and Michel host ZOU an exhibition which celebrates art in all its forms. This year a talented group of artists came together to exhibit interventions, installations, land art, music, film, drawing, embroidery, painting, photography, sculpture and performance.
Now in its fifth iteration ZOU works like a collective with democratic governance. Every artist shares skills to make the exhibition come to fruition; from designing the artwork and creating a web site, to installing the works and the running of the bio cafe. There is a friendly welcome from everyone exhibiting in the gallery/cafe space, park and gardens.
The first exhibit is a work by LN Le Cheviller entitled Déchets (Waste) A large expertly clad building made from recycled bark. It is the ideal opening piece as it immediately tackles head on the tie between artistic creation and environmental issues. A sui generis eco-gesture which echoes through out the whole exhibition for those artists concerned with sustainability.
Zou installed a pop up cinema in a cave. Four diverse respected animators; Emma Vakarelova, Cécilia Pepper, Marie Bouchet and MIKA entertained audiences with engaging and compelling stop motion shorts the whole weekend. Screening the moving images in the cave was a nice nod to the valleys ancient ancestral past where images of horses and boars were discovered carved into the stone walls nearby.
Before her performance Brigitta Horváth prepared herself by meditating in a wooden shelter by the stream. She then signalled viewers to come in. She was lying on her shoulders with her legs overhead and arms resting on her ankles. She lay there quietly for more than five minutes. Then moving extremely slowly in organic evolving contortions she allowed her body to take different forms as she moved around the space. She occasionally twitched like an insect. Thoughts of birth and growth went through my mind as she nestled her face against the soil. Above all the artistic mediums the body is the best at portraying the immediacy of the emotional state. The performance which lasted 1/2 hour was a breathing space for the viewer and a comment on the peace to be had by really looking and being absorbed in the moment. Brigitte exited the shelter arms raised and spine arched as her body lead her to the stream. She slowly lowered herself down and crept amongst the foliage. The water flowed over her body as she sang. It was a stunning and intimate performance.
Traditional methods of viewing art focused mainly on artists and their style. In contemporary thinking there is a move away from this cartesian model to a wider remit which encompasses many methodologies; how art is made; art as process; art theory, visual theory and cross disciplinary innovation. The result of this recalibration continues the discussion around ‘what is art’. There is a full scrutiny of the materiality of visual objects, of the corporeal effect, an architectural and spatial awareness, political and ecological considerations and most importantly the theory around its cultural reception.
The artists at ZOU are part of this new contemporary thinking raising these issues through their work. By paring back materials, ideas and form to essentials the artists spark memories allowing the viewer in to complete the piece. For me the resonance of these works lingers long after the exhibition is over and speak of canonical themes: the embroidery treasures connotes the feminine; the glass circle of formalist gestures connotes ancient ceremonial stones; the hanging stars, the cosmos; the pool of coloured glass, the elements; an animated dissolving woman, transformation; the musical improvisation, the energy of the space. ZOU artists revitalises and stimulate our engagement and aesthetic experience and create new collective democratic kinds of cultural identification.
I was very happy to be amongst the exhibitors.
Amandine Arlot, Michel Bastian, Catherine Vagnat, Coline Gaulot, Michel Gayout, Mickaël Gréco, Brigitta Horvath, LN Le Cheviller, Trisha McCrae, Cécilia Pepper, Thomas Petit, Caroline Shmidt, Emma Vakarelova, Web Age, les miels Emile…
by Trisha McCrae