parapluie

parapluie
works 2009-2013
www.para-pluie.net > [email protected] > ++41 76 564 90 34
Le collectif parapluie, né en 2008 après une résidence à l’Institut Suisse de Rome, s’exprime avec plusieurs médias et il est en train d’investiguer sur des thèmes comme l’isolement, l’imposition des codes (sociales, sexuelles, architectoniques...), le féminin devenu
objet/victime (psichiatrie/hysterie, aggressions sexuelles, publicité...). Mais notre travail artistique est aussi une réflection sur la mémoire qui peux donner une narration possible.
Nos traveaux – qui mélangent techniques et sources réels ou fictives - parlent de l’absence, du rapport entre le vrai et le faux.
On construit des histoires qui peuvent remplir un espace, comme ils peuvent être juste une
photo dans un cadre.
Voilà pourquoi on c’est jamais limités à un seul moyen d’expression: on a utilisé la peinture, comme le son, la vidéo, la photo, la sculpture, les objets trouvés.
Domino
© 2010
c-prints on wood (each 26 x 34 x 4 cm)
stockings, steel, variable dimensions
Gertrude
© 2012
c-print, bed, curtain, sound, variable dimensions
installation view at Mact/Cact, Bellinzona, Switzerland, 2013
Disorder
© 2013
mixed media installation, sound,
variable dimensions
Blanc 1, 2, 3
© 2008
b/w print on canvas, acrilic,
each 100 x 150 cm
installation view at Laboratorio Kunsthalle, Lugano, Switzerland, 2011
Gianluca Monnier and Andrée Julikà Tavares (working together under the name of Parapluie)
also consider social codes, socio-anthropological contexts and their impact on individuals
and society the real pivotal points around which their work revolves, mainly utilizing video, photography and installation.
From personal results, yet originating by a meditation upon the same questions, they start
in 2008 a real common work as a couple, investigating this themes and giving form to a “metaphysics of the real and the unreal”: it is a reflection upon the relationship between
themselves and a world seen as ambiguous and unintelligible, where the boundary between
real and unreal, presence and absence, inside and outside evaporates; a world very difficult to connect with, since
everything in it is manipulated, contaminated, mixed up and in transformation. Concepts as
fragile identity, violence, the feminine in all its stereotypes are expressed through installations that can be read on different levels (ironical and provocatory, critical, historical, aesthetical, philosophical). The most recent works express a more rarefied and
esthetic dimension, that revisits, reinterprets and puts in discussion, often in a playful
and irreverent way, those very artistic and stylistic codes (sculpture for example, or a
certain conceptual art).
text by Paola Tedeschi-Pellanda
for «The Endless End»
parapluie, Elodie Pong, Ivana Falconi
29.1-12.03.2011
Laboratorio Kunsthalle
Lugano, Swtizerland
Untitled
© 2010
plaster sculptures, concrete
80 x 80 x ca, 50 cm
E’ soltanto un prelievo di sangue
© 2010
tiles on wood, red lipstick, 75 x 100 cm
Inner Escape
© 2010
3 b/w-prints (each 40 x 23 cm),
3 columns, sound, curtain, red velvet,
lights, variable dimensions
installation view at Museo Cantonale d’Arte, Lugano, Switerland, 2010
The Club
(on paper)
© 2010
fanzine, collage on paper, 41 x 28,5 cm,
limited edition, printed in 56 copies
The Club
1. Marie Varini 2. Paolo Varini 3. Ruth Metzger 4. Hans Metzger
5. Ludwig von Kennel 6. Gertrude von Kennel 7. Jacqueline La Fontaine
8. Jacques La Fontaine 9. Liliana Giorgi 10. Silvestro Giorgi 11. Albert Drosse
12. Maria Grazia Drosse 13. Elisabeth O’Hare 14. Jack O’Hare 15. Gaetano Gaetani
16. Elisabetta Gaetani 17. Giuseppina Bernasconi 18. Alfredo Bernasconi
Quando il club venne fondato, nella primavera del 1954,
in un ristorante sul lago, i suoi membri firmarono un patto di segretezza.
Non vennero definiti né statuti né scopi e non vi è traccia nei registri ufficiali.
L’unico documento è un album con foto e una lista di nomi.
E’ stato ritrovato, insieme ad alcuni indumenti, in via Lavizzari, a Lugano.
Il club è stato sciolto nell’autunno del 1964.
The Club
(installation)
© 2010
b/w-print (60 x 90 cm)
table (90 x 70 x 440 cm)
tablecloth, cutlery
installation view at ArsPolis 2011, via Lavizzari, Lugano, Switzerland, 2011
Peeping Tom 1 + 2, installation view at I Sotterranei dell’Arte, Monte Carasso, Switzerland, 2009
Peeping Tom 1
© 2009
sculpture, grass, variable dimensions
Peeping Tom 2
© 2009
stockings in original wrappings,
red sewing thread, variable dimensions
Peeping Tom 3
© 2009
2 channel audio & video installation,
b/w-print, 420 x 220 cm
Though the themes and methods used by Gianluca Monnier (1971) and Andrée Julikà Tavares (1971) may, at first glance, seem very distant, the two artists
have found a way to combine their activities, starting in 2008, under the name
parapluie. Gianluca Monnier has always concentrated on the visual stimulus to
which spectators are continuously subjected by the media and, in particular, by
television. Andrée Julikà Tavares. who works above all on the film and photographic productions, reflects instead on the image as a totally private matter.
This can be seen in the work «Realunreal» in which episodes from her family life
alternate with other, completely extraneous scenes. Thanks to the insertion of
these disturbances, her personal, historically authentic story is dismembered,
becoming like a fictional subject.
In I Sotterranei dell’Arte the two proceed along a middle path, while each making their own particular imprint. «Peeping Tom», in fact, proposes reflection
on memory and its mutable interpretations. A woman in a bathing suit is photographed in black and white as she runs toward us, smiling. She is framed, at
the sides, by two views of a forest. We might imagine it is the same forest frm
which the girl has just emerged, but that possibility is quite improbable, given
the fact that the snapshot - whose origin is difficult to retrace, at this point
- was purchased by the artists at a flea market in Berlin. Yet the mere juxtaposition of two images suffices to suggest a possible narrative, a path of memory
in which they might represent the salient features.
An English expression - «peeping Tom», namely a «voyeur» is the title of the
work. But the reference, more specifically, s to the film of the same name by
Michael Powell, in which a young filmmaker, after having been subjected to experiments conducted by his father, who put him into frightening situations to observe his reactions, begins to kill, capturing the look of terror of his victims
on film. The reminder of this film that even before Antonioni’s «Blow Up» approached the theme of the subjectivity of the camera and its partiality, alerts
us to the hypothesis that the objects shown at I Sotterranei dell’Arte might actually just be traces of a more extensive, different occurrence that what the
photo of a pretty girl, flanked by silk stockings and elegant shoes, might suggest. The viewer the realizes that the packaging of the hose has aged, that the
high-heeled shoes have a coarse form, and that these supposed tools of seduction wind up looking simply grotesque. The artists, therefore, encourage us to
construct a plausible hypothesis, making use of the all the clues available to
us. But because they do not allow a single interpretation to assert itself, they
keep our awareness focused on the deceptive nature of images.
text by Ada Cattaneo
for «100’000»
parapluie, Matteo Emery, Luisa Figini
18.10-15.11.2009
I Sotterranei dell’Arte, Antico Monastero delle Agostiniane
Monte Carasso, Swtizerland
Intimità
© 2009
2 issues of “Intimità della famiglia”,
N. 712 (15.10.1959) & N. 711 (8.10.1959),
each 21 x 30 cm
exibitions and awards
Awards
2012 2006 grant for a documentary screenplay
artists in residence at Swiss Institut, Rome
Personal Exibitions (selection)
2009 “Realunreal”, Cons Arc, Chiasso
“Lo stato delle cose”, Galleria Balmelli, Bellinzona
“Coltivazioni #1 + #2”, Laboratorio Kunsthalle, Lugano
2008 “Le stagioni dell’uomo”, Istituto Svizzero, Roma
2007 “Initial” Stadthausgalerie Munster Allemagne (catalogue)
Group Exibitions (selection)
2012 Brut: Beyound the outline, Mact/Cact, Bellinzona
2011 Fanzines! festival de l’autoédition graphique, Paris
Ars Polis, Lugano
The endless end, Kunsthalle, piccolo spazio per l’arte contemporanea,
(with Elodie Pong and Ivana Falconi), Lugano
2010 Ars Polis, sotterranei studio K10, Lugano
Festarte, Macro Testaccio, Roma
Che c’è di nuovo?, Museo Cantonale, Lugano (catalogue)
2009 100’000, I sotterranei dell’arte, Monte Carasso (catalogue)
2008 “Peste”, Bluvanoni, Chiesa di San Rocco, Losone
“2video”, www.undo.net, internet
“La fille avec la valise rouge”, Today Art Museum of Bejing, Bejing
“Frontières”, Musée d’art et histoire, Neuchâtel
“After the beep”, Galerie Dock 18, Zürich
2007 2006 2005 2003 “Le stagioni dell’uomo”, Auditorium Parco della musica, Roma
“Spazi aperti 5”, Accademia di Romania, Roma (catalogue)
Video Screening, MACRO, Roma
FotoGrafia, Festival Internazionale di Roma, Temple Gallery of Art, Roma
“Turtlesalon “ New York, Dusseldorf, London
“Laboratorio d’idee” Istituto Svizzero, Roma
10. vfg Nachwuchsförderpreis, Zurich, Lucerne, Bâle, Vevey
Galerie Heroik Korp, Lyon
“Realtà parallele…”, Centro d’arte contemporanea Ticino, Bellinzona
“Rencontre de la photographie” Arles
Premio città di Lissone, Museo d’arte contemporanea, Lissone (Milano)
“Le definizioni dell’invisibile”, Centro d’arte contemporanea Ticino, Bellinzona
“Y’a pas photos”, Dot Galerie, Genêve
“Liste ’03”, Basel
“Che c’è di nuovo?”, Museo cantonale, Lugano
parapluie
andrée julikà tavares & gianluca monnier
via camoghè 8
CH-6900 Lugano
www.para-pluie.net
[email protected]
++41 76 564 90 34