Este sábado, os esperamos en La Catorce Quince para un encuentro con José Luís Alexanco. Todas las infos aquí: http://artbanchel.com/actividades/jose-luis-alexanco/
5 de mayo de 17:00 a 19:00.
Los talleres abrirán a las 16:00.
En La Catorce Quince, avenida Pedro Diez 25 4º derecha, en Carabanchel, Madrid.
11 January – 5 March 2017
c/Antonio Nebrija s/n, Madrid
When exile is internal, that which is intimate is denied. The depersonalization or even dehumanization of a being takes on many aspects that are not necessarily the fact of individuals making History(ies) but also the fact of individuals transmitting History(ies), which although it is always taught in the singular form, is in fact plural.
But while memory can disappear, the impression, the one written in the flesh, is indelible. It is transmitted in spite of time and place.
It is in the folds of what is intimate that the impression is revealed and summons the individual to manifest it.
And when the past becomes real time again despite its forced marriage to silence, it becomes likeness and image must become repentance.
November 2015 – April 2016 (both inclusive)
Museo – Centro de Artes de Vanguardia – Residencia artística Internacional –LA NEOMUDÉJAR– calle Antonio Nebrija s/n 28007 MADRID – SPAIN
Le Maschere Nude – On family, individual and collective memory, stories and history. “[…] from one painted [portrait] to another, it is a plural collective memory that newly finds physical expression. A senso comune where the flesh of one joins the flesh of the world.”*
Disorient – What happens when we lose our perimeters, our orientating devices, our socio-cultural or emotional pillars? (in collaboration with performer-artist Valentina Lacmanovic)
*L. ALLEGUE. (2012) « senso comune », in L’intime, le privé, le public dans l’art contemporain. E. Chiron, A. Lelièvre (Dir.). Paris. Publications de la Sorbonne, p.p. 165-173. ISBN 978-2-85944-700-7
Hubo un lugar [there was a place] is an art project and an art research on the potential of the investigation of individual cases to progressively build a collective and composite memory. It starts from a site specific work in Spain, which in turn starts from the testimony of a former Spanish republican refugee.
I will focus on the question of the reconciliation between the objective and subjective approaches within an art and research project that embraces testimony, historical research, creative process and personal involvement, and I will envisage potential methods for the purposes of such reconciliation.
20 June 2014, Amphithéâtre I, Place du Panthéon, Paris.
Colloque international « Le processus créatif dans les arts performatifs, visuels, sonores et littéraires »
19 & 20 juin 2014 à l’université Paris 1 Panthéon-Sorbonne
Parution de mon article “senso comune“, dans L’intime, le privé, le public dans l’art contemporain. E. Chiron, A. Lelièvre (Dir.). Paris. Publications de la Sorbonne, p.p. 165-173. ISBN 978-2-85944-700-7.
Les auteurs ainsi que les directrices de l’ouvrage, Eliane Chiron et Anaïs Lelièvre, ont présenté le contenu du livre lors de la journée d’étude organisée au centre Panthéon, à Paris, à l’occasion de sa parution.
october. was shot at Tiananmen, Beijing (China) in 2007 and Granada (Spain) in 2009 with mobile phones. The sound was recorded the same way at Granada. It is a first approach within a wider project on historical memory reconstruction.
Video can be watched here: http://vimeo.com/34926603
Stills here: http://senso-comune.com/2012/02/12/video-art-october-online/
DIMENSIONS AND MATERIALS USED
october. Digital video. Colour. 3:27 minutes
Material used: Sony Ericsson K610i (images, Beijing), Nokia 2630 (images and sound, Granada)
The video is exhibited at the Gospel Hall Gallery by means of a 9.3″ digiframe.
All my work is part of a single project. I don’t see a great shift. In Il Ritorno d’Ulisse I was looking at the body as a metaphor for our relationship to memory and the unconscious, acknowledging that there are things happening under the surface, which we hope will be well contained by our skin. We hope that our skin will not erupt, that parts of us will not collapse inside. The body in this sense is other to us; we shepherd it along like an ox, hoping it will come quietly to market and not run away. In recent works such as stereoscope I’m interested in the co-existence of all those contradictory strands, and what it means to synthesize them into one subjectivity.
Stereoscope is about the cost of trying to bring these disparate parts of oneself together.
In Cameron, Christov-Bakargiev, Coetzee. “William Kentridge” (1999) London, Phaïdon, p.23.
To watch Kentridge’s Stereoscope, click HERE.
The CAC of Málaga (Spain) is exhibiting Kentridge’s work until 13 May 2012. I just can’t wait to go, see it and meditate. (http://cacmalaga.org/?p=5046)
Hubo un lugar [reconstructed] 2012
« 3.
No, this isn’t me, someone else suffers,
I couldn’t stand it. All that’s happened
They should wrap up in black covers,
The streetlights should be taken away…
Night. »
1939. Requiem, Anna Akhmatova.[1]
[1] A. Akhmatova, Requiem. English translation by Lyn Coffin. New York/ London, W.W. Norton & Company, 1983, p. 84.
Ludivine Allegue 