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四 2019

获奖 Contemporary Talents, François Schneider 基金会


The call for applications for the 8 th edition was held from 1 st September to 1 st November 2018. The names of the 47 finalists of the competition chosen by 4 Expert Committees were announced in February 2019 and a booklet with 47 pre works -selected has just been published.

The final selection will take place on 4 April 2019 at the grand jury meeting in Wattwiller.
The selection of the winners will be announced on April 5 at 11 am at the François Schneider Foundation by Jean-Noël Jeanneney, President of the Grand Jury.

The 2019 grand jury, chaired by Jean-Noël Jeanneney , is composed of renowned personalities from the world of the arts:
Felizitas Diering (FRAC Alsace Director)
Alfred Pacquement (Heritage Curator, France)
Ernest Pignon Ernest (artist, France)
Fabrizio Plessi (artist , Italy)
Roland Wetzel (Director of the Tinguely Museum, Switzerland)

Meeting in Wattwiller on April 4th, the grand jury chose 7 artists of 4 nationalities as winners of the 8 th edition of the contest.
> Rachael Louise Bailey (United Kingdom) Global, 2018 . Sculpture, 3m in diameter.
> Guillaume Barth (France) The Second World, Elina, 2015. Video, 4mn41.
> Olivier Crouzel (France) 18 curtains, 2015. installation, 11,520 x 3,240 cm.
> Hao Jingfang and Wang Lingjie  (China – France) Over the rainbow, 2016. Installation, variable dimensions.
> Eva Nielsen (France)Zode IV , 2018. Painting, 200 x 180 cm.
> Capucine Vandebrouck (France) Puddle , 2017. Installation, variable dimensions.
> Wiktoria Wojciechowska (Poland – France) Short Flashes , 2013. Photography, 80 x 768 cm.

The works of the laureates will be presented in a collective exhibition at the Foundation’s art center and will be part of their collection. Over the years, a unique set of forty pieces has been created by the acquisition of the works of the laureates – drawings, paintings, sculptures, videos, photos or installations – illustrating the theme of water from different angles (scientific, political, ecological, philosophical, etc.) and testifying to the diversity of artistic practices of the 21st century.



四 2019



Cosmos : 2019
Curator : Valerie Perrin
From 13th April till 20th July 2019

In the era of new technologies and the exploration of Mars, how do contemporary artists view, appropriate, interrogate the cosmos? Has the development and accessibility of certain data, initiated new artistic practices, new fantasies, new “alien” encounters? These are the questions that the exhibition’s Cosmos: 2019 would like to ask.
With : Susan Hiller, Cécile Beau, Venzha Christ, Guillaume Bertrand, les Éditions à Mort, David Guez, Jingfang Hao & Lingjie Wang, Esther Hunziker, Marie Lienhard, Silvi Simon, RYBN.ORG.

During the 1960s at the time of the Cold War, Space was an issue of national prestige, power and rivalry between the United States and the U.S.S.R. In reaction to the U.S.S.R. sending the first man into space (1961), the United States, sent the first man to the Moon. So, on July 20 1969, during the Apollo XI mission, man took his first step on the moon.
This historical event was broadcast globally, live via satellite, over television and radio, and reached an audience of more than 500 million people on this Blue Planet. A landmark event in media history, these images sparked a fertile imagination of space travel, confirming the aesthetic intuition of Stanley Kubrik’s film 2001 : A Space Odyssey, which had been released one year earlier. Where fiction anticipates reality…
Fifty years later, space became less about national conquest, more about scientific research and technological development with international collaborations like the International Space Station. Their images inundate the Internet and are quite accessible to all.
In the era of new technologies and the exploration of Mars, how do contemporary artists view, appropriate, interrogate the cosmos ? Has the development and accessibility of certain data, initiated new artistic practices, new fantasies, new “alien” encounters? These are the questions that the exhibition’s Cosmos: 2019 would like to ask.
Cosmos: 2019 is introduced by two codes: first, ‘Binary Stele’ by David Guez, which imprints the binary code of the iconic photo of man’s first steps on the moon onto material, thus retaining this image for eternity, second, an installation by Guillaume Bertrand, of the navigation software for the Apollo XI program, remembers Margaret Hamilton, the woman who created this software yet remained unknown for forty-seven years and because of whom, men were able to walk on the Moon.
The art works presented in the exhibition Cosmos: 2019 propose another journey in space: in the literal sense by experiencing flight with Logics of Gold by Marie Lienhard, and also by discovering the poetic and fictitious galaxies of Cécile Beau, solar and martian traces of Jinfang Hao and Lingjie Wang, Ester Hunziker and Silvi Simon. Cosmos: 2019 is also an opportunity to meet those who observed unidentified flying objects in the sky through the installation of Susan Hiller, the pop up book of Editions à Mort which gives a voice to ufologists. And, with the researches of Venzha Christ and RYBN.ORG to ask whether the cosmos might now be a new territory for intervention by artists.
Cosmos: 2019 towards another space conquest?
Opening on Saturday 13th October at 5 p.m in Espace multimédia Gantner

二 2019


affiche cocosmo

Les recherches de Jingfang Hao et Lingjie Wang sont le fruit d’une « exaltante alliance des contraires ».

Leurs oeuvres puisent aux racines de la culture chinoise et sont nourries de références à l’histoire de l’art occidentale. A la fois
conceptuelles et sensuelles, objet et processus.

Cette bipolarité, que l’on retrouve dans le taoïsme mystique originel sous la forme du Yin et du Yang, est davantage une façon d’être au monde qu’un système.

Chacune de leurs oeuvres repose sur un dialogue entre une conception cartésienne et mathématique, héritée de leur formation d’ingénieurs et d’un intérêt pour l’art conceptuel occidental, et une vision sensuelle et poétique du monde et de la nature liée à leur culture chinoise et à leur connaissance de la matière qui compose les objets qui nous entourent.

十二 2018




自 2010 年起,“滚动中的雪球”项目由中国欧洲艺术中心发起,至今已经举办了十一届。滚动中的雪球展将中外各界艺术家汇聚一堂,他们在世界各地都曾开展研究,发表作品及展出。这种文化交流与合作大大丰富了各国艺术家的文化,思想和观念,并帮助他们提炼艺术观点及重新定义他们在本土与艺术的关系。这种跨文化交流可谓是其思想的一部分,对他们在国内及国际的工作和联系大有裨益。



九 2018

山 水 江 湖











在重庆这两个词都是具体的:首先,这座城市素以“一山两水”而形成的地理格局而知名,“山水”地形构造的奇观,塑造了重庆独特的日常生活面貌。与此同时,“江湖”又是重庆的另一个关键词,是由袍哥文化演绎来的戏剧性的社会关系和地方风俗。两个词共同勾勒出了地方人情的“构造”和“起伏”,直抒胸臆地表达出景观社会更隐秘的“基础设施” (infrastructure)。它让重庆在显得非常“后现代”的时髦的同时,实则又极其“前现代”的丰满。



受到这种局面的启发,“山·水·江·湖”想把最形而上学的和最日常的联系在一起,赋予诗意的东西以物质化的形体,为时代前列的文化做具体而微的注脚。它希望是一个“跨文类”但是又同时高度情境化(transtextural and contextual)的展览,既有“典型”的新媒体(运用计算、灯光、声音、机械装置的)艺术家,又包括传统上不被定义为新媒体艺术家的参与者,既有直观的针对重庆地方景观的再现性艺术,又包括理论化的装置与模型。它应该是一次严肃的对话,尽管谈论者往往使用着对方不能理解的语言。



八 2018






这次群展的另一个关键词是“极少的” ,它恰如其分地体现在马立华的艺术创作中。艺术家将白色和沙子这两种基本语言相结合,通过穿插的笔迹,从而组合出深层次的空间,近而形成节奏和情绪的表达。马立华通过一种适当的抽象形象来表达真正的精神世界。