rendez-vous Singapore catalogue

international of the young artists exhibition

20 june / 2 august 2015

Entirely digital, the catalogue catalogue of rendez-vous singapore in English can be downloaded FREE OF CHARGE FROM www.lasalle.edu.sg/ institute-of-contemporary-arts-sg/publications/

3

contents

rendez-vous Singapore 6 5 institutions 13 25 artists + 1 graphic designer contents

7 4 artistic directors 1 4 – Lina Adam 6 6 – Charles Lim & 2 GUEST CURATORS 1 8 – Mathilde Barrio Nuevo 70 – Guillaume Louot 22 – Sophie Bonnet-Pourpet 7 4 – Lu Yang 2 6 – Thibault Brunet 7 8 – Angelica Mesiti In collaboration with 30 – Chun Kaifeng 82 – Paribartana Mohanty 10 10 directors & curators 34 – Jean-Alain Corre 86 – Nicolas Momein of international 38 – Hasan & Husain Essop 90 – Nelly Monnier biennials 42 – Dan Finsel 94 – Sherman Ong 4 6 – André Fortino 98 – İz Öztat 50 – Joo Choon Lin 102 – Ruben Pang 5 4 – Nikita Kadan 106 – Part-time Suite 58 – Karim Kal 110 – Mathilde du Sordet 62 – Paula Krause 114 – Camille Garnier

117 colophon

From left to right: – Lina Adam, Karim Kal, Nelly Monnier, Mathilde du Sordet, Camille Garnier, Sophie Bonnet-Pourpet, Nicolas Momein, Guillaume Louot, Alexandre Col, André Fortino, Thibault Brunet, Jean-Alain Corre, Isabelle Bertolotti, Marilou Laneuville, Bala Starr, Jennifer Kwok, Melanie Pocock, Fyerool Darma, Ramesh Narayanan, Joo Choon Lin

5 rendez - vous S ingapore 5 institutions

Left, from top to bottom: – Institute of Contemporary Art, Villeurbanne/Rhône-Alpes Antony Ward, Work, Work, Work, My Fingers to the Bone, 2011 Exhibition view of Rendez-vous 11 © Blaise Adilon – Museum of Contemporary Art of Lyon © Blaise Adilon ­– La Sucrière, Michael Lin, Biennial of Lyon, 2005 © Blaise Adilon

Right, from top to bottom: – Institute of Contemporary Arts Singapore at LASALLE College of the Arts of Singapore © All rights reserved – National School of Fine Arts of Lyon © ENSBA Lyon

6 guest curators 4 2 artistic directors & artistic directors 4 institutions / 2 5 guest curators

– Created in 2002 by the Museum of Contemporary Art – Though the confrontation of places and cultures may not of Lyon, with support from the Région Rhône-Alpes, be anything new, Rendez-vous allows 25 artists to benefit Rendez-vous is an international platform dedicated from a first important exhibition in a renowned institution to young creation, that has, for the first time in France, by way of an international dialogue, with each edition brought together four institutions: the Biennial of Lyon, being more fruitful than the last. the Museum of Contemporary Art of Lyon, the Institute of Contemporary Art, Villeurbanne/Rhône-Alpes – Isabelle Bertolotti, Curator, and the National School of Fine Arts of Lyon, that make up Museum of Contemporary Art of Lyon its artistic direction. Made possible by the complementarity – Nathalie Ergino, Director, of these institutions, Rendez-vous wants to reinforce Institute of Contemporary Art, Villeurbanne/Rhône-Alpes the connections between different domains of competence, – Melanie Pocock, Assistant Curator, in this way opening increased perspectives to the chosen Institute of Contemporary Arts Singapore artists. Since 2009, ten curators from ten international – Thierry Raspail, Artistic Director, biennials have been invited to contribute to Rendez-vous. Biennial of Lyon Each edition is the opportunity to invite new biennials. – Bala Starr, Director, – A biennial exhibition... that takes place each year: Institute of Contemporary Arts Singapore Rendez-vous is exhibited at the IAC during the Biennial – Emmanuel Tibloux, Director, of Lyon, and the following year, in a different form, National School of Fine Arts of Lyon outside of Europe. So in 2008, Rendez-vous is presented in the Shanghai Art Museum, with residencies in Moscow, Beijing, Miami, and Buenos Aires; in 2010, Rendez-vous features in the Biennial of Shanghai; in 2012, Rendez-vous is presented in the South African National Gallery of Cape Town; and in 2015, Rendez-vous is exhibited at the Institute of Contemporary Arts Singapore, LASALLE College of the Arts.

Rendez-vous Singapore: – 10 French artists, or artists living in France – 10 artists proposed by 10 biennials around the world – 5 Singaporean artists proposed by the Institute of Contemporary Arts Singapore – 1 invited graphic designer

7 rendez - vous S ingapore

rendez-vous Singapore

– Institute of Contemporary Arts Singapore © Olivia Kwok

8 guest curators 2 artistic directors & 4 institutions / 5

– There has been a great deal of anticipation already this year – Many intercity relationships are borne and fostered in response to exhibitions, residencies and performances in complex relations between partner institutions. by artists from Southeast Asia staged across France. I cannot overstate the commitment macLyon has made As Singapore celebrates fifty years of independence in 2015, to Singapore with this project, for which we express it is timely to remember the many longstanding collabora- our warmest gratitude. Remarkably too, nine French tions between France and Singapore. The Singapore Festival artists—Sophie Bonnet-Pourpet, Thibault Brunet, in France, involving cultural institutions in both countries, Jean-Alain Corre, André Fortino, Karim Kal, Guillaume is the most recent example. Louot, Nicolas Momein, Nelly Monnier, Mathilde du Sordet and graphic designer Camille Garnier—have been – The Institute of Contemporary Arts (ICA) Singapore supported to travel to Singapore for the installation is proud to present the work of twenty emerging French and opening. For artists in Singapore and for our guests, and international artists in Singapore in collaboration this is a tremendous opportunity to come together. with macLYON and partners the Biennial of Lyon, the Institute of Contemporary Art, Villeurbanne/Rhône- – Increasingly in our era, contemporary practice Alpes, and the National School of Fine Arts of Lyon. will be invigorated and transformed through direct Displayed across galleries on two levels, Rendez-vous brings contact between international artists. This is a new turn an exemplary group of contemporary artworks to the city. in contemporary practice that will more deeply involve Each artist has been nominated by a senior curator artists based in Asia. from the Biennale of Sydney, São Paulo Biennial, Shanghai Biennale, Kochi-Muziris Biennale, Gwangju Biennale, – We would like to thank the four institutions who invited Dakar Biennale, Singapore Biennale, Istanbul Biennial, our involvement in this project, the Museum Kiev Biennale or the Los Angeles Biennial, as well as from of Contemporary Art of Lyon, the Institute of Contemporary the organizing institutions in France. Art, Villeurbanne/Rhône-Alpes, the Biennial of Lyon and the National School of Fine Arts of Lyon. We greatly – Co-curator Melanie Pocock and I are delighted to make appreciate the dedication of the macLYON team, especially a significant addition to the exhibition with the work Thierry Raspail, Isabelle Bertolotti and Marilou Laneuville. of five Singapore-based artists: Lina Adam, Chun Kaifeng, It has been a pleasure to work closely with them to present Joo Choon Lin, Sherman Ong and Ruben Pang. this Singapore elaboration of a project first presented Three of the artists have made new work especially in Lyon in 2013. for the exhibition. – Bala Starr, Director, Institute of Contemporary Arts Singapore LASALLE College of the Arts

9 rendez - vous S ingapore 10 directors & curators of international biennials

– Juliana Engberg, – Riason Naidoo, Biennale of Sydney/AU Dakar Biennale/Sn for Angelica Mesiti for Hasan & Husain Essop – André Severo, – Tan Boon Hui, São Paulo Biennial/BR Singapore Biennale/SG for Paula Krause for Charles Lim – Li Xu, Shanghai Biennale/Cn – Fulya Erdemci, for Lu Yang Istanbul Biennial/TR – Bose Krishnamachari, for İz Öztat Kochi-Muziris Biennale/IN – Natalia Zabolotna for Paribartana Mohanty & Oleksandr Soloviov, – Sunjung Kim, Kiev Biennale/UA Gwangju Biennale/Kr for Nikita Kadan for Part-time Suite – Ali Subotnick, Los Angeles Biennial/US for Dan Finsel

10 directors & curators of international biennials 10 Juliana Engberg André Severo Li Xu Bose Krishnamachari – Born in 1958 in Melbourne/AU – Born in 1974 in Porto Alegre/BR – Born in 1967 in Shenyang/CN – Born in 1963 in Kerala/IN – Lives and works in Melbourne – Lives and works in Porto Alegre/BR – Lives and works in Shanghai/CN – Lives and works in Mumbai/IN and Sydney/AU – In 2012, he was the associate – Curator of several editions – In 2012, he was co-curator – She was the artistic director director of the 30th São Paulo of the Shanghai Biennale, he is now of the first Kochi-Muziris Biennale of the 19th Biennale of Sydney, Biennial, entitled The Imminence deputy director of the Power Station in India. entitled You Imagine What You of Poetic. of Art in Shanghai. Desire, which was in 2014.

Sunjung Kim Riason Naidoo Tan Boon Hui Fulya Erdemci – Born in 1965 in Seoul/KR – Born in 1970 in Durban/ZA – Born in 1968 in Singapore/SG – Born in 1962 in Eskisehir/TR – Lives and works in Seoul/KR – Lives and works in Cape Town/ZA – Lives and works in Singapore/SG – Lives and works in Istanbul/TR – In 2012, she was artistic co-director – In 2012, he was co-curator – In 2013, he was co-curator – In 2013, she was the curator of the 9th Gwangju Biennale, of the Dak’art, 10th Dakar of the 4th Singapore Biennale, of the 13th Istanbul Biennial, entitled ROUNDTABLE. Biennale in Senegal. entitled If the World Changed. entitled “Mom, am I barbarian?”.

Natalia Zabolotna oleksandr Soloviov ali Subotnick – Born in 1973 in Cherkasy/UA – Born in 1952 in Volgograd/RU – Born in San Francisco, CA/US – Lives and works in Kiev/UA – Lives and works in Kiev/UA – Lives and works in Los Angeles, CA/US – In 2012, she was co-curator of the – In 2012, he was co-curator of the – In 2012, she was co-curator exhibition Double Game, presented exhibition Double Game, presented of the first Los Angeles Biennial, during the first Kiev Biennale, during the first Kiev Biennale, entitled Made in L.A. which was held at the Mystetskyi which was held at the Mystetskyi Arsenal, Museum of Contemporary Arsenal, Museum of Contemporary Art of Kiev. Art of Kiev.

11 rendez-vous Singapore making-of artists 25 25 artists

– Lina Adam, – Charles Lim, suggested by the guest curators suggested by Tan Boon Hui, Singapore/SG of the Institute of Contemporary Arts Singapore/SG – Guillaume Louot, – Mathilde Barrio Nuevo, suggested by the artistic directors of Rendez-vous 13/FR suggested by the artistic directors of Rendez-vous 13/FR – Lu Yang, – Sophie Bonnet-Pourpet, suggested by Li Xu, Shanghai/Cn suggested by the artistic directors of Rendez-vous 13/FR – Angelica Mesiti, – Thibault Brunet, suggested by Juliana Engberg, Sydney/AU suggested by the artistic directors of Rendez-vous 13/FR – Paribartana Mohanty, – Chun Kaifeng, suggested by Bose Krishnamachari, Kochi-Muziris/IN suggested by the guest curators – Nicolas Momein, of the Institute of Contemporary Arts Singapore/SG suggested by the artistic directors of Rendez-vous 13/FR – Jean-Alain Corre, – Nelly Monnier, suggested by the artistic directors of Rendez-vous 13/FR suggested by the artistic directors of Rendez-vous 13/FR – Hasan & Husain Essop, – Sherman Ong, suggested by Riason Naidoo, Dakar/Sn suggested by the guest curators – Dan Finsel, of the Institute of Contemporary Arts Singapore/SG suggested by Ali Subotnick, Los Angeles/US – İz Öztat, – André Fortino, suggested by Fulya Erdemci, Istanbul/TR suggested by the artistic directors of Rendez-vous 13/FR – Ruben Pang, – Joo Choon Lin, suggested by the guest curators suggested by the guest curators of the Institute of Contemporary Arts Singapore/SG of the Institute of Contemporary Arts Singapore/SG – Part-time Suite, – Nikita Kadan, suggested by Sunjung Kim, Gwangju/Kr suggested by Natalia Zabolotna & Oleksandr Soloviov, Kiev/UA – Mathilde du Sordet, – Karim Kal, suggested by the artistic directors of Rendez-vous 13/FR suggested by the artistic directors of Rendez-vous 13/FR – Paula Krause, suggested by André Severo, São Paulo/BR

<< Left: – Installation of Rendez-vous Singapore at ICA Singapore, June 2015 © All rights reserved

13 rendez - vous S ingapore Lina adam

– Born in 1971 in Singapore/SG For Rendez-vous, the artist presents: – Lives and works in Singapore/SG – Herbal Healing, 2015

Production rendez-vous

Above, opposite & right: – Herbal Healing, 2015 Performance with jamu, Indonesian food cart, tableware, table, chairs, 90 minutes approx., overall variable dimensions, presented at the ICA Singapore, 19 June 2015 Courtesy of the artist, Singapore/SG © Olivia Kwok

14 Education group Exhibitions (selection)

2009 2015 2008 L ina ada m – Master’s degree in Fine Arts, – Open Sea, Musée d'art contemporain – Ket Noi: Vietnam–Singapore Performance LASALLE College of the Arts, de Lyon, Lyon/FR Art Dialogue, Singapore Art Museum, Singapore/SG 2014 Singapore/SG 2005 – Notes on Performance, Objectifs, 2006 – Bachelor’s degree in Fine Arts, Singapore/SG – Birds Migration: Indonesia International LASALLE College of the Arts, – Print Exchange Transitional, Performance Art Event (IIPAE) 2006, Singapore/SG Shophouse & Co. and The Printmaking Galeri Nasional Indonesia, Jakarta/ID 2001 Rat, Singapore/SG 2005 – Diploma in Fine Arts, – Seni Mini and Testing, Testing, – Sambal Belacan II, Lagi Pedas! LASALLE College of the Arts, Mi Casa Su Casa, Singapore/SG Lagi Panas!, Malay Heritage Centre, Singapore/SG 2013 Singapore/SG – Making Space, Body as Woman, 2003 Singapore Council of Women’s – Fusion Strength, Solo exhibitions Organisations (SCWO) Centre, Benda Art Space, Yogyakarta/ID, Singapore/SG Langgeng Gallery, Magelang/ID, 2014 2010 Puri Art Gallery, Malang/ID, – The Culinary History of Singapore – The Artists Village: B.E.A.U.T.Y. Show, 24HR Art, Darwin/AU (2005) Performance Art Re-Presented, Astronomical Frontiers, BKS Garage, – The Artists Village Public Art Library, Mi Casa Su Casa, Singapore/SG Copenhagen/DK Singapore Art Museum, Singapore/SG 2005 2009 2001 – Happy Together, – Surfaces, Singapore Tyler Print – Young Artists Exhibition 2001, Soobin Art Gallery, Singapore/SG Institute, Singapore/SG Plastique Kinetic Worms, Singapore/SG

15 rendez - vous S ingapore

Above & opposite: – Experience the Culinary History of Singapore, 2015 Performance with table, chairs, tableware, food, PowerPoint presentation, 90 minutes approx., overall variable dimensions, presented at the macLYON, 16 April 2015 Courtesy of the artist, Singapore/SG © Anne Simonnot >> Right: – I Remember, I Forget, 2013 Performance with tableware, photograph, wedding rings, teddy bear, eggs, rice, soil, water, milk, candles, mirror, clock, baby mittens and booties, glass vessels, noodles, helium balloons Courtesy of the artist, Singapore/SG © Jason J.S. Lee

16 Lina Adam’s projects examine In 2014–15 Lina Adam presented For her new performance, titled connectedness and exchange between a culinary history of performance art Herbal Healing, Adam invited visitors individuals and social groups. in Singapore. Performance art can to try homemade jamu, a traditional L ina ada m Often unassuming, her art invites be challenging to document and is holistic Indonesian medicine made us to reflect on language and dialect, often poorly remembered. Its history from plants. The event was presented gesture, personal memories in Singapore has been shaped by on the opening night of Rendez-vous and experience of communal and a decade-long period of censorship, in an open-air arena adjacent to the family life. beginning with its effective banning gallery space. The arena is a mezzanine by the government in 1994. Adam’s thoroughfare and also an amphitheatre, Adam’s work ranges across print- event incorporated a PowerPoint where visitors can view proceedings making, installation and performance presentation and storytelling. from surrounding sitting-steps. art. It reveals behavioural details not She invited audience members to sit Adam offered the jamu along with usually closely examined or brought together Asian-style and sample small personal stories of its curative powers. to the fore. A recent series of snapshot- portions of food, each menu item Her objective was loosely defined and sized digital prints, for example, associated with earlier works by evolved on the night, providing space isolates discreet moments during influential artists such as Tang Da Wu, for unexpected occurrences and the hospital stay of a much-loved Amanda Heng, Josef Ng and Zai Kuning. revelation of private ailments. A simple fellow artist. In one image only Adam’s presence as host-instructor stage included the chairs and table the friend’s fingers, chin and mouth and supervising cook was matter- that are the mainstays of Adam’s are visible as medicine is inserted; of-fact. She directed the audience’s performance art as well as a custom- in another, the starburst base of attention not towards claims made Javanese-style drinks cart, a raised glass partly conceals the face. or comparisons of art-historical from which the jamu was served. significance but to the carefully selected ingredients, culinary skills, Bala Starr and company of new acquaintances.

17 rendez - vous S ingapore Mathilde barrio nuevo

– Born in 1987 in Vichy/FR For Rendez-vous, the artist presents: – Lives and works in Saint-Maur-des-Fossés/FR – Base Aérostat 1 [Aerostat Base 1], 2013

www.mathildebarrionuevo.com Production rendez-vous

Above, opposite & right: – Base Aérostat 1 [Aerostat Base 1], 2013 Mixed media, variable dimensions View of the exhibition Rendez-vous Singapore Courtesy of the artist, Saint-Maur-des-Fossés/FR © Olivia Kwok

18 Education group Exhibitions (selection)

2010 2015 2012 – DNSEP, École nationale supérieure – Après avoir tout oublié, Printemps – Biennale d’art contemporain des beaux-arts de Lyon, Lyon/FR de l’Art Contemporain, Astérides, mulhouse 012, Parc expo, Mulhouse/FR 2008 Friche la Belle de Mai, Marseille/FR – Gisement & Extraction, – DNAP, École nationale supérieure 2014 40mcube, Rennes/FR m athilde barrio nuevo des beaux-arts de Lyon, Lyon/FR – LA FÉERIE DES BOSQUETS VÉNÉNEUX, 2011 Moly-Sabata, Les Sablons/FR – Les Enfants du sabbat XII, – TOOTEM #2 Under the Influence, le Creux de l’Enfer, solo exhibitions Société Sauvage, Les Instants Chavirés, Centre d’art contemporain, Montreuil/FR Thiers/FR 2015 2013 – Silent Lectures, – Sous le soleil B50, Mulhouse 015, – TOOTEM #1, Société Sauvage, le 6B, Saint-Denis/FR La Filature Scène nationale, La Gare expérimentale, Paris/FR – Zone d’expérimentation #3: La Bataille, Mulhouse/FR – Hôtel de l’exposition, Le Treize, Paris/FR Galerie Montgrand, Marseille/FR 2014 – Rendez-vous 13, Institut d’art – Lost in the Twenty First, – 121.27.50.160.160.250.500.20.5. contemporain, Villeurbanne/Rhône- H.L.M., Marseille/FR 15.50.20.40.300.10.6.1.1.1200.12. Alpes, Villeurbanne/FR 10.100.396.500.50.109.20.2.1.8. – WATERPROOF, 1.5.12.16.10.10.4.4.12.4, School Espace d’art Urgent Paradise, and Contemporary Art 2013/2014, Lausanne/CH Conseil Général du Doubs, – Là où il pleuvine, 4th edition, Besançon/FR L’Atelier, Saulieu/FR 2012 – LES ANALYSES NE DONNENT RIEN-, IAC Galeries Nomades 2012, Le Vog, Centre d’art contemporain, Fontaine/FR 2011 – Incipit, Maison des arts plastiques de Rhône-Alpes (MAPRA), Lyon/FR

19 rendez - vous S ingapore

>> Top: Above: Right: – Inventaire [Inventory], 2012 – Flying Saucer, 2010 – Interiors #3 Acting, 2010 Mixed media, 80 × 150 × 150 cm Wood, paint, light system, 80 × 200 × 200 cm Print on perspex, aluminium box, Courtesy IAC, Galeries Nomades 2012/Le Vog, Courtesy of the artist, neon tubes, 82 × 102 × 15 cm Centre d'art contemporain, Fontaine/FR Saint-Maur-des-Fossés/FR Courtesy of the artist, © Blaise Adilon © Mathilde Barrio Nuevo Saint-Maur-des-Fossés/FR © Mathilde Barrio Nuevo

20 I work on an aestheticism influenced Mathilde Barrio Nuevo assembles by minimalism and American her pieces like a collection of unique Streamline, science fiction films objects chosen or made to centre and popular TV. This combination of on a narrative thread that always references leads to a play of geometri- renders the whole coherent. cal forms and visual and sound effects. The various parts of the installation

Although my pieces are mainly in thus form an entity that also encom- m athilde barrio nuevo the form of sculpture and installations, passes the space in which they are set. I work in parallel in photography, The components are set out like both in the transformation of reality characters in a story and we don't know and daily shots of my working areas if they are real –as they all have (Work in Studio series); this is a way the characteristics of everyday objects– for me to “deconsecrate” art works. or whether they are pure inventions seemingly belonging to a modified Mathilde Barrio Nuevo reality or one that has not existed. The visitor is immersed in a situation that he/she observes as if uninvited while the occupants of the place are momentarily absent.

Julie Marchal

21 rendez - vous S ingapore sophie bonnet-pourpet

– Born in 1988 in Lyon/FR For Rendez-vous, the artist presents: – Lives and works in Paris/FR – Problèmes existentiels [Existential Problems], 2012-2013 Prize Rhône-Alpes Jeune Création of rendez-vous Co-production Prix Pézieux and rendez-vous

Above: – Problèmes existentiels [Existential Problems] series, 2012-2013 View of the exhibition Rendez-vous Singapore Courtesy of the artist, Paris/FR © Olivia Kwok

Opposite: – Heure Bleue (Airs, Collection d'éventails de ML de Noailles) [Blue Hour, (Air, Fans Collection of ML de Noailles)], 2013 Problèmes existentiels [Existential Problems] series Leather, no filter Gauloises brunes, 1.5 × 16 × 7 cm View of the exhibition Rendez-vous Singapore Courtesy of the artist, Paris/FR © Olivia Kwok

22 Education pourpet - 2012 2012 – DNSEP, with honours, – 100 ans plus tard, Palais de Tokyo, – Post Performance Future École nationale supérieure Paris/FR Les Subsistances, Lyon/FR des beaux-arts de Lyon, Lyon/FR – Sur un plan incliné, Palais de Tokyo, – Compositions avec IIIIIIIII, 3 2010 Paris/FR 360m , Lyon/FR sophie bonnet – Assistant at the studio of Jim Shaw – Paysage pour un pickpocket, – Une pièce télépathique avec ML & Marnie Weber, Los Angeles, CA/us Parc St Léger Hors-les-murs, de Noailles dans le rôle principal, – DNAP, with honours, Pougues-les-eaux/FR performance About Search, École nationale supérieure 2013 Performance, as Part of Reader Circle, des beaux-arts de Lyon, Lyon/FR – Les Méprises, Cité Scolaire François documenta 13, Kassel/DE Villon, Paris/FR 2011 – Rendez-vous 13, Institut d’art – Muskel, Der Kanal, Berlin/DE exhibitions & performances contemporain, Villeurbanne/Rhône- – Probabilité 0.01, Alpes, Villeurbanne/FR Institut français, Vilnius/LT 2015 – Plafond2, Botz-en-Mauges/FR – Artists’ Postcards, Goethe-Institut, – Brekekex, Le Treize, Paris/FR – Waterproof, as part of Résonance, – Rideaux/Blinds, Institut d’art contem- Espace d'art Urgent Paradise, 11th Biennale de Lyon, Lyon/FR porain, Villeurbanne/Rhône-Alpes, Lausanne/CH – Chain Letter, Shoshana Wayne Gallery, Villeurbanne/FR – Espahor ledet ko Uluner!, Santa Monica, CA/US – Ethiopia/Utopia, HEAD, Genève/CH Reading of a monologue from a novel – SBP, performance, Institut français, 2014 by Guy de Cointet on an invitation of Vilnius/LT – Tendeur distrait, Solo Show, Dora Garcia for the exhibition 2010 Le praticable: Biennale Off, Rennes/FR Ulysses Was Born in Trieste, – Plafond, Botz-en-Mauges/FR – Night of the Tumblr on Fire, LiveInYourHead, Geneva/CH – Estampes, livres, affiches, on an invitation of Marie de Brugerolle – Les Enfants du sabbat XIV, Délégation parisienne du Grand Lyon, and GérardWajcman, Palais de Tokyo, le Creux de l’Enfer, Paris/FR Paris/FR Centre d'art contemporain, Thiers/FR – L.A. Existancial: around Guy de Cointet L.A.C.E., Los Angeles, CA/US

Above, from left to right: – Portrait de ML de Noailles – Chaise longue (D’après les zones colorées du dessin Dedicated to the Composition of Bouquets)], 2013 [Portrait of ML de Noailles], 2012 de Theo Van Doesburg, développement Problèmes existentiels [Existential Problems] series Problèmes existentiels [Existential Problems] series du géométral des murs pour la Chambre des Fleurs Wallpaper “bronzed” with an UV lamp (edition), Plaster form measuring, 13 × 38 × 9 cm sliding de la Villa Noailles, cagibi dédié à la composition steel tubes, 70 × 164 × 57 cm on a 1 metre I-profile brass rod des bouquets) [Chaise-longue (From the Coloured View of the exhibition Rendez-vous Singapore View of the exhibition Rendez-vous Singapore Areas of the Drawing by Theo Van Doesburg, Courtesy of the artist, Paris/FR Courtesy of the artist, Paris/FR Development of Geometrical Walls for the Flower © Olivia Kwok © Olivia Kwok Room of the Villa Noailles, Storage Room

23 rendez - vous S ingapore

>> Top: Above: Right: – Petite peinture (Airs, Collection d'éventails – Haltère éventail (Airs, Collection d'éventails – Insolation à Uxmal, Yucatan, 2012 de ML de Noailles) [Small Painting (Airs, de ML de Noailles) [Dumbbell-fan (Airs, Silver photograph, 24 × 36 mm Fans Collection of ML de Noailles)], 2013 Fans Collection of ML de Noailles)], 2013 Courtesy of the artist, Paris/FR Problèmes existentiels [Existential Problems] series Problèmes existentiels [Existential Problems] series © Sophie Bonnet-Pourpet After sun on copper, 10 × 15 cm Lead, leather, epoxy resin, terry cloth, View of the exhibition Rendez-vous Singapore sandblasted sheet of paper, 4 × 35 × 26.5 cm Courtesy of the artist, Paris/FR View of the exhibition Rendez-vous Singapore © Olivia Kwok Courtesy of the artist, Paris/FR © Olivia Kwok

24 Composition climatique is the last The ensemble shown at Rendez-vous From text to image, from volume

part of a saga that humorously involves Singapore is designed as a piece with to place, everything is a question pourpet - modern heroines, pop culture and a certain atmosphere. Fans, the result of measurement and mensuration, modernist architecture. A priori of a passion for draughts, highlight of architecture and body, of impres- abstract forms become screens on the sculpted light and the warm sion and print, and of desire. which the titles project their figures, background air. The collection, set out Against the background of a question

contributing to the construction as belonging to Marie-Laure de Noailles, of generation and appearance, bodies sophie bonnet of a meta-narrative. incarnates her latter's foibles and stretch and fans come back into romances. trend while “bronzed”, a term that A wallpaper pattern is drawn used to be reserved for a technique from a meeting between a drawing The sculptures are objects in settings in sculpture, returned there. by Theo van Doesburg (replica that switch from being major of model for the colour of the walls characters to accessories or scenery, Sophie Bonnet-Pourpet of a small room reserved for making according to syntax and distribution. flower arrangements at Villa Noailles) Thus, hanging 1.60 m above the floor and contemporary trend for sunbath- on a rail with an L-profile, a block ing. The work travels to Mayan temples of plaster that had previously been a and, from episode to episode, sliding swimming pool with reflections becomes the thread for a solstice, becomes the portrait of ML de Noailles a wrapping paper model and then for the requirements of the story. finishes as a reclining chair, composing the Problèmes existentiels series. Lit by UV light, the pattern gradually fades during the exhibition, and as the colour of the paper becomes more and more present, the motif disappears.

25 rendez - vous S ingapore Thibault brunet

– Born in 1982 in Montélimar/FR For Rendez-vous, the artist presents: – Lives and works in Paris/FR – Vice City, 2007-2013 – Landscape, 2011-2013 www.thibaultbrunet.fr Production rendez-vous

Above & opposite: – Sans titre [Untitled], 2011 Landscape series Micro perforated, 371 × 689 cm View of the exhibition Rendez-vous Singapore Courtesy of the artist, Paris/FR and Galerie Binome, Paris/FR © Olivia Kwok

>> Right: – Vice City series, 2007-2013 Pigmentary print on Hahnemuhle Rag Paper, 20 × 20 cm View of the exhibition Rendez-vous Singapore Courtesy of the artist, Paris/FR and Galerie Binôme, Paris/FR © Olivia Kwok

26 Education group Exhibitions (selection)

2008 2015 2012 – DNSEP, École Supérieure – Coup de cœur Art [ ] Collector, – Obsessions, La Filature, thibault brunet des Beaux-Arts de Nîmes, Nîmes/FR Patio Opéra, Paris/FR Scène nationale, Mulhouse/FR 2006 – France(s) Territoire Liquide, – Bourse du Talent, BNF, Paris/FR – DNAP, École Supérieure CCAM, Vandœuvre-lès-Nancy/FR 2011 des Beaux-Arts de Nîmes, Nîmes/FR 2014 – [reGeneration²], 2005 – Jeune Création 2014, CentQuatre, Fototeca del Centro de las Artes, – Bachelor's degree in Plastic Arts, Paris/FR Monterrey/MX Université Paul Valéry, Montpellier/fr – La Belle Échappée/Le Mur dans le Miroir, Galerie Azzedine Alaïa, Paris/FR Château des Adhémar, Montélimar/FR Aperture Foundation, – France(s) Territoire Liquide, New York, NY/US solo exhibitions Les Tansphotographiques, Tripostal, – Les Boutographies, photographical Lille/FR meetings, Galerie Saint-Ravy, 2015 2013 Montpellier/FR – Acte 31: THIBAULT BRUNET, – Rendez-vous 13, Institut d’art 2010 From 0 to 1–From 1 to 0, contemporain, Villeurbanne/Rhône- – FotoWeek, Washington, DC/US Fondació Suñol, Barcelona/ES Alpes, Villeurbanne/FR – [reGeneration²], – Carte Blanche PMU, Le Bal, Paris/FR – Mois de la photo à Los Angeles, Galerie Carla Sozzani, Milan/IT 2014 Lucie Foundation, Los Angeles, CA/US Miami Dade College, Miami, FL/US – Entropie, Galerie Le Carré d’Art, – distURBANces, European Month – Rencontres d’Arles, Arles/FR Rennes/FR of Photography, Luxembourg/LU Musée de l’Élysée, Lausanne/CH 2013 – distURBANces, European Month Michaelis School of Fine Art, – Mois de la Photo, Paris/fr of Photography, MUSA, Vienna/AT University of Cape Town, – Vice City, Galerie Binôme, Paris/fr – distURBANces, European Month Cape Town/ZA 2012 of Photography, Bratislava/SK – Pingyao International Photography – First Person Shooter, Festival, Pingyao/CN 4RT Contemporary, Brussels/BE 2009 – Still Life, Museum d'Histoire Naturelle, Nîmes/FR

27 rendez - vous S ingapore

Above: – View of the exhibition Rendez-vous 13 Courtesy of the artist, Paris/FR and Galerie Binôme, Paris/FR © Blaise Adilon

Opposite: – 03-01-2012 19h10, 2012, Vice City series Pigmentary print on Hahnemuhle Rag Paper, 20 × 20 cm Courtesy of the artist, Paris/FR and Galerie Binôme, Paris/FR © Thibault Brunet

>> Right: – View of the exhibition Rendez-vous 13 Courtesy of the artist, Paris/FR and Galerie Binôme, Paris/FR © Blaise Adilon

28 Thibault Brunet is particularly Thibault Brunet thus develops The images are sometimes desert-like interested in the question of reality a singular form of elsewhereness and sometimes industrial and fit in and its imitations. He has been where the spectator is drawn into readily with the pattern of art history. passionate about virtual worlds, a reconstituted world, bringing visual They can be linked just as easily with especially those of video games, disorientation and fascination. contemporary photography, Japanese T hibault B runet for several years. He therefore enters Time is completely different prints and academic painting. these digital universes to produce in the Vice City game: 24 hours go By using the times and dates of the all of his series of photographs, using by in 24 minutes, the sun rises and sets shots as titles, he also uses the notion his various avatars to move within at a wild rate, giving the photography of the decisive instant of photography. the game areas but as a photographer a fresh palette every time. Equipped His works are hybrids that swing rather than as a gamer. with a virtual camera, Thibault Brunet between artifice and reality. abandons the missions and goes His photographs explore landscapes off to explore the game area. Valérie Cazin and show virtual characters in purely His wanderings slow as he goes imaginary situations. But these images through the spaces abandoned simulating portrait photography by the players. The Vice City series (the First Person Shooter series), is in contradiction with the exciting war reporting (the Landscape series) universe of video games. and views of towns or architecture It concentrates on the decors alone, display confusing realism. forming an invitation to contemplate Mock humanity and shams provide them. As a solitary observer of these narrative energy in these images. backcloths ignored by players The artist photographs a parallel who are too busy with their avatars, world—an idealised, mastered the photographer compiles a singular reproduction of our reality. No action travel journal, delivering ambiguous has a final consequence in these pictures of these non-game areas. universes, time is a loop and the body The unnatural aesthetics of his images can be reanimated at will. is a cross between digital definition and pictorial tradition.

29 rendez - vous S ingapore Chun Kaifeng

– Born in 1982 in Singapore/SG For Rendez-vous, the artist presents: – Lives and works in Singapore/SG – There’s Absolutely Nothing We Can Do to Help You, 2015

Production rendez-vous

Above, opposite & right: – There's Absolutely Nothing We Can Do to Help You, 2015 Stainless steel on glass wall, 2 parts, each 72 × ø 24 cm View of the exhibition Rendez-vous Singapore Courtesy of the artist, Singapore/SG © Olivia Kwok

30 Education Group Exhibitions (selection)

2010 2015 2012 – Master’s degree in Fine Arts, – Paradis sans promesse—Singapour, – The Singapore Show: Future Proof, C hun Kaifeng Glasgow School of Arts, Glasgow/GB Frac des Pays de la Loire, Nantes/FR Singapore Art Museum at 8Q, 2007 – Absolving the Object, Singapore/SG – Diploma in Fine Arts, Nanyang Latent Spaces, Singapore/SG 2011 Academy of Fine Arts, Singapore/SG 2014 – It’s Now or Never Part II, – Curating Lab: Phase 03, Singapore Art Museum, Singapore/SG NUS Museum, Singapore/SG 2010 solo exhibitions – Nameless Forms and Materialised Time, – Definite Article, Latent Spaces, Singapore/SG Künstlerhaus Bethanien, Berlin/DE 2014 – Art Incubator 5: From When We Last 2009 – What Happens When Nothing Happens, Met, Institute of Contemporary Arts – Jamie Radcliffe: The Exhibition, Southeast Asia Platform, Singapore, Singapore/SG Glasgow Sculpture Studio, Glasgow/GB Art Stage Singapore 2014, Singapore/ 2007 SG – 3rd CDL Sculpture Award, 2013 Singapore Art Museum, Singapore/SG – Nowhere Near, FOST Gallery, Singapore/SG 2012 – Stranded, ART HK 12, Hong Kong/CN 2007 – Me, Myself and All, Esplanade Tunnel, Singapore/SG

31 rendez - vous S ingapore

32 Chun Kaifeng’s practice is informed In developing the work, Chun was by a desire to understand objects: interested in highlighting the material their material properties and social and institutional function of the glass function. Using processes of abstrac- as an almost invisible divide between C hun Kaifeng tion and industrial manufacturing, inside and outside. The sliced bins his works highlight physical and subtly underline these and their cultural specificities of seemingly own structural properties, based on generic objects, often subverting their the standard dimensions and original purpose. materials used for public rubbish bins. The positioning of the bins also There’s Absolutely Nothing We Can Do prevents them from being used to Help You directly intervenes for waste disposal, rendering them in the glass wall of Gallery 1 of the ICA defunct. This refusal to limit the Singapore. The work comprises two meaning of objects to their functional rubbish bins made of stainless steel, value reflects Chun’s interest in current which are each made of two parts. theories of object-oriented ontology, These parts are then fixed to corre- which explore the existence and sponding sides of the wall, giving the operation of objects outside human bins the appearance of being lodged frameworks. Located in an area in the glass. often used as the gallery’s entrance, There’s Absolutely Nothing We Can Do to Help You also calls to mind the at times encumbering bureaucracy of public institutions, which paradoxi- cally prevents the provision of services and assistance.

Melanie Pocock

<< Left: – There's Absolutely Nothing We Can Do to Help You, 2015 Stainless steel on glass wall, 2 parts, each 72 × ø 24 cm View of the exhibition Rendez-vous Singapore Courtesy of the artist, Singapore/SG © Olivia Kwok

Opposite: – Twig, Can, Glass Handrail and Watermelons (detail), 2015 Automotive paint and clear coat on plastic, stainless steel, tempered glass, variable dimensions Courtesy of the artist, Singapore/SG © Kim Song-Yun

33 rendez - vous S ingapore jean-alain corre

– Born in 1981 in Landivisiau/FR For Rendez-vous, the artist presents: – Lives and works in Paris/FR – Metro bondage (matelas décroché) [Metro Bondage [(Unhooked Mattress)], 2015 – Metro bondage (écran débranché) [Metro Bondage (Unplugged Screen)], 2015 – Metro bondage (ticket pané) [Metro Bondage (Breaded Ticket)], 2015

Above: – Metro bondage (matelas décroché) [Metro Bondage (Unhooked Mattress)], 2015 Steel, mattress, electric cables, acrylic cream, watercolour, buttonhole, 200 × 60 × 40 cm View of the exhibition Rendez-vous Singapore Courtesy of the artist, Paris/FR and Cortex Athletico, Paris/FR © Olivia Kwok

Opposite: – Metro bondage (écran débranché) [Metro Bondage (Unplugged Screen)], 2015 Bolster, screen, plexiglas, pipe, shirt collar, steel, electric cables, watercolour, acrylic, digital print, 200 × 60 × 40 cm View of the exhibition Rendez-vous Singapore Courtesy of the artist, Paris/FR and Cortex Athletico, Paris/FR © Olivia Kwok

34 Education group Exhibitions (selection)

2006 2015 2012 – DNSEP, École nationale supérieure – Moucharabieh, Triangle France, – La Vitesse des masses-graisses, des beaux-arts de Lyon, Lyon/FR Marseille/FR Le Local, Lyon/FR J ean-alain corre 2004 2014 – Für ein abstraction océanique, – DNAP, École nationale supérieure – L’Époque, les humeurs, les valeurs, L'Appartement, Paris/FR des beaux-arts de Lyon, Lyon/FR l’attention, Fondation d’Entreprise 2011 Ricard, Paris/FR – Kugler Remix, Usine Kugler, Geneva/ch – It’s Got to Happen Inside First, – Fais gaffe aux biches, NSPP, Saint- solo exhibitions Cité Internationale des Arts, Paris/FR Étienne/FR – Rave, La GAD, Marseille/FR – The Navidson Record, Ilkabree, 2015 2013 Bordeaux/FR – Ohiopocore dorcelopsis, Rectangle, – Moon Hoax, Friche Lamartine, Lyon/FR 2009 Brussels/BE – Rendez-vous 13, Institut d’art – Maildropper, IMOCA, Dublin/ie 2014 contemporain, Villeurbanne/Rhône- – Johnny 2, La Générale, Paris/FR – Jungle Joh, Cortex Athletico, Bordeaux/ Alpes, Villeurbanne/FR 2008 FR – 0,00 €, La GAD and Triangle France, – 12, Chantier public, Lyon/FR 2012 Marseille/FR 2006 – Firewall, Love to Love Interface, – Multipolaire, Hall 14, Leipzig/de Bikini, Lyon/FR 2009 – A Johnny Machine, Néon, Lyon/FR

Opposite: – Metro bondage (ticket pané) [Metro Bondage (Breaded Ticket)], 2015 Shirt sleeve, steel, electric cable, watercolour, acrylic, duvet, breadcrumps, varnish, 60 × 120 × 200 cm View of the exhibition Rendez-vous Singapore Courtesy of the artist, Paris/FR and Cortex Athletico, Paris/FR © Olivia Kwok

35 rendez - vous S ingapore

>> Above: Right: – Johnny, Épisode 8: Ginger n’est pas une fille – Johnny, Épisode 8: Ginger n’est pas une fille [Johnny, Episode 8: Ginger Is Not a Girl], 2013 [Johnny, Episode 8: Ginger Is Not a Girl] (detail), 2013 Ceramic, galvanized steel, copper, silicone, Ceramic, galvanized steel, copper, silicone, aphrodisiac fluid, variable dimensions aphrodisiac fluid, variable dimensions View of the exhibition Rendez-vous 13 View of the exhibition Rendez-vous 13 Courtesy of the artist, Paris/FR Courtesy of the artist, Paris/FR and Cortex Athletico, Paris/FR and Cortex Athletico, Paris/FR © Blaise Adilon © Blaise Adilon

36 “Johnny is the title of a group Go to Châtelet metro station. of works that I like to see as a sort Notice those temporary electrical

of serial. Johnny is not a double. systems. alain corre - He’s not an avatar either. Go to Montparnasse metro station. He is a character without a script. Notice the forks that hold the lights up. jean His wanderings allow me to create, Go back to Châtelet. collect, affect forms taken out Buy a great deal of toucans to act of our post-industrial everyday life.” as air-conditioning in the metro, using their beaks. Johnny diary, day 4018 Pass by the advertising billboards. Eat a cordon-bleu. Invite people to Châtelet station. Buy some crickets for background music. Choose corners with love. Tie yourself up with the cables, bondage style. Set up pillows, bolsters, mattresses. Find more corners, behind the billboards. Order some more fried fish.

Jean-Alain Corre

37 rendez - vous S ingapore hasan & husain essop

– Born in 1985 in Cape Town/ZA For Rendez-vous, the artists present: – Live and work in Cape Town/ZA – Masjidal Nabawi (Mosque of Illuminating Light), Medina, Saudi Arabia, 2011 – Masjidal Haram (Sacred Mosque), Mecca, Saudi Arabia, 2011 – Grave of Moses, Jericho, 2011

Production rendez-vous

Above: – View of the exhibition Rendez-vous Singapore, 2015 Courtesy of the artists, Cape Town/ZA and Goodman Gallery, Johannesburg and Cape Town/ZA © Olivia Kwok

Opposite: – Grave of Moses, Jericho, 2011 Photograph, 67.5 × 102 cm Courtesy of the artists, Cape Town/ZA and Goodman Gallery, Johannesburg and Cape Town/ZA © Hasan & Husain Essop

>> Right: – View of the exhibition Rendez-vous Singapore, 2015 Courtesy of the artists, Cape Town/ZA and Goodman Gallery, Johannesburg and Cape Town/ZA © Olivia Kwok

38 Education Group Exhibitions (selection)

2012 2014 2010 – Postgraduate Certificate in Education, – South: Contemporary Art – BREDAPHOTO 2010, Breda/nl University of Cape Town, from Australia, Mexico/MX, – Peekaboo: Current South Africa,

Cape Town/ZA South Africa/ZA, Hazelhurst Regional Helsinki Museum, Helsinki/fi hasan & husain essop 2009 Gallery & Arts Centre, Gymea/AU – “US”, Iziko South African National – Postgraduate Diploma in Arts, – From Sitting to Selfie: Gallery, Cape Town/za Michaelis School of Fine Arts, 300 years of South African Portraits, – Dak’art Biennale, Dakar/sn University of Cape Town, Standard Bank Gallery, 2009 Cape Town/ZA Johannesburg/ZA – Integration and Resistance 2006 2013 in the Global Age, Havana Biennale, – Bachelor's degree of Fine Arts, – Am I Not a Man and a Brother? Havana/cu Michaelis School of Fine Arts, Am I not a Woman and a Sister, 2008 University of Cape Town, James Harris Gallery, Seattle, WA/US – Power Play, Goodman Gallery, Cape Town/ZA – Rendez-vous 13, Institut d’art contem- Cape Town/za porain, Villeurbanne/Rhône-Alpes, Villeurbanne/FR solo Exhibitions 2012 – The Rainbow Nation Exhibition, 2014 Museum Beelden aan Zee, – Unrest, Standard Bank Young Artist The Hague/NZ Exhibition, Iziko South African – Rencontres d’Arles, Arles/fr National Gallery, Cape Town/ZA – Next Generation, Pulchri Studio, 2012 The Hague/NZ – Remembrance, Goodman Gallery, – Advance…Notice/2012, Cape Town/ZA Goodman Gallery, Johannesburg/ZA 2011 2011 – Indelible Marks, Gallery Isabelle – Figures & Fictions: Contemporary van den Eynde, Dubai/ae South African Photography, 2010 V&A Museum, London/GB – Halaal Art, Goodman Gallery, – Propaganda by Monuments, Johannesburg/ZA Cairo/eg

39 rendez - vous S ingapore

From top to bottom: – View of the exhibition Rendez-vous 13 – Oudste Kerk, Amsterdam, Netherlands, 2011 Courtesy of the artists, Cape Town/ZA Photograph, 93.5 × 240 cm and Goodman Gallery, Johannesburg Courtesy of the artists, Cape Town/ZA and Cape Town/ZA and Goodman Gallery, Johannesburg © Blaise Adilon and Cape Town/ZA © Hasan & Husain Essop

40 Our work highlights a multi-cultural Creating a moment in time, a dream They also reveal a satirical thread clash between religion and popular or something seen, we tell a story stitched in its process, a designed cultures. We explore the dominating of growing up. Being competitive with layout demonstrating our knowledge influence of Western theatrics and each other is a constant battle for and experience. those narratives that are constructed the best. We use our own iconography to depict a certain reality. Inspired to provide a political context for the As twin brothers, we have set out hasan & husain essop by Hollywood’s visual language and wars being fought on a local and global to find ourselves in each other, tactics, we create our own narratives. scale. The viewer is able to translate the similarities become interesting Each photograph reflects us in a battle these signs with his own understand- and exciting. Trying to create of moral, religious and cultural ing of the present and imagine something new each time, a story conflicts. Two dominant personalities a range of different possibilities. unfolds and never ends. appear, East and West, with all their The images are also personal view- stereotypes. Environments are chosen points that capture the growth Hasan & Husain Essop as stages on which to perform and and hunger for development: finding define our behaviors. boundaries that we are able to test, debating the truth in our actions.

From top to bottom: – Cave of Refuge, Medina, Saudi Arabia, 2011 – Jabal Arafat (Mount of Mercy), Mecca, Saudi Photograph, 74 × 240 cm Arabia, 2011 Courtesy of the artists, Cape Town/ZA Photograph, 81 × 263 cm and Goodman Gallery, Johannesburg Courtesy of the artists, Cape Town/ZA and Cape Town/ZA and Goodman Gallery, Johannesburg © Hasan & Husain Essop and Cape Town/ZA © Hasan & Husain Essop

41 rendez - vous S ingapore dan finsel

– Born in 1982 in Lehighton, PA/US For Rendez-vous, the artist presents: – Lives and works in Los Angeles, CA/us – The Space Between You and Me, 2012

Production rendez-vous

Above & opposite: – The Space Between You and Me, 2012 Video, colour, sound, 28’54’’ View of the exhibition Rendez-vous Singapore, 2015 Courtesy of the artist and Richard Telles Fine Arts, Los Angeles, CA/US © Olivia Kwok >> Right: – The Space Between You and Me (Theatrical Set 2: Bedroom) (detail), 2013 Red clay, wood, plaster, iron, carpet, variable dimensions View of the exhibition Rendez-vous 13 Courtesy of the artist and Richard Telles Fine Art, Los Angeles, CA/US © Blaise Adilon

42 Education Solo exhibitions Group Exhibitions (selection)

2009 2015 2015 D an finsel – Master's degree in Fine Arts, CalArts, – Affective Memory Drawings, – Chercher le Garçon, MAC/VAL, Valencia, CA/us Ramiken Crucible, New York, NY/US Vitry-sur-Seine/FR 2006 – Introduction to “Affective Memory Work: – Half Empty, Brennan & Griffin, – Bachelor's degree in Fine Arts, the Cage; Classical Conditioning, New York, NY/US Kutztown University, the Animal Exercise (Cat in Heat), 2014 Kutztown, PA/us the “Man-Maker”, Sense Memory, – Depression, François Ghebaly Gallery, and Representing the Representation Los Angeles, CA/US of Representing the Representation – The White Album, Richard Telles of Representing the Representation Fine Art, Los Angeles, CA/US of… of Production (Part 1), – Flex, Kent Fine Art, New York, NY/US Richard Telles Fine Art, 2013 Los Angeles, CA/US – Rendez-vous 13, Institut d’art contem- 2014 porain, Villeurbanne/Rhône-Alpes, – Becoming Her, for Him, for He: Villeurbanne/FR Becoming Him, for Her, for She – And I’m Always Worried: An Anxious (Becoming Me, for Me, for Me.), Evening, ICA, London/GB CAPC Musée d’art Contemporain, 2012 Bordeaux/FR – Artist Films International, Ballroom 2013 Marfa, Marfa, TX/us – E-Thay Inward-Yay Ourney-Jay, – Made in L.A., 2012, Hammer Museum, Richard Telles Fine Art, Los Angeles, CA/us Los Angeles, CA/us 2011 2010 – The New Verisimilitude, – I Could Be Anybody, I Could François Ghebaly Gallery, Be Somebody, Parker Jones Gallery, Los Angeles, CA/us Los Angeles, CA/us – 3,348 Hours of Sunshine, Clifton 2009 Benevento, New York, NY/us – Becoming Her, for Him, for He: 2010 Becoming Him, for Her, for She – Says I, Parker Jones Gallery, (Becoming Me, for Me, for Me.), Los Angeles, CA/us D300, CalArts, Valencia, CA/us 2009 – Dan Finsel, Cary Georges, Dan Graham, Hammer Museum, Los Angeles, CA/us – Why Theory, CalArts, Spring Arts Tower, Los Angeles, CA/us

43 rendez - vous S ingapore

>> Top: Above: Right: – The Space Between You and Me – The Space Between You and Me – Studio of the artist, Chatsworth, CA/US, 2011 (Shadow Self Cut), 2013 (Theatrical Set 2: Bedroom) (detail), 2013 Courtesy of the artist and Richard Telles Fine Art, Video, colour, sound, 30’35’’ Red clay, wood, plaster, iron, carpet, Los Angeles, CA/US – The Space Between You and Me variable dimensions © Joshua White (Theatrical Set 2: Bedroom) (detail), 2013 View of the exhibition Rendez-vous 13 Red clay, wood, plaster, iron, carpet, Courtesy of the artist and Richard Telles variable dimensions Fine Art, Los Angeles, CA/US View of the exhibition Rendez-vous 13 © Blaise Adilon Courtesy of the artist and Richard Telles Fine Art, Los Angeles, CA/US © Blaise Adilon

44 My presumption of myself is that is cross examined within a hypotheti- collaborative art project with Farrah of an actor, acting the part of an artist, cal, alter ego-narrative that has yet Fawcett, and Extremities, a film/play acting the part of an artist. A director, to be fully written. Within a framework starring Farrah Fawcett. dan finsel directing himself to act the part of I am an unreliable location, a mercu- The installations that this work himself acting the part of the artist, rial placeholder for a body and a series is presented in, both at the Hammer acting the part of the artist. As a writer, of motions often psychologically Biennial (2012) and in Rendez-vous 13, writing the direction given to himself perverse and dramatic. are rooms within the same house, to act the part of the director, directing the house being based upon the set himself to act the part of the artist, The Space Between You and Me, is of the Extremities film. to act the part of the artist, acting a project rooted in the early character The Hammer installation was the part of the artist. of my motivations as “subconscious the living room, at Rendez-vous 13 self desiring to be Farrah Fawcett it was the bedroom. Narrowed down, my physical output so as to be object of my father’s sexual as videos, objects, and installations desire”. It was the culminating point Dan Finsel exists as documents, stage props and in that particular set of motivations, sets within what is an ongoing series and sought to portray me bringing of performative acts. Though this work my pseudo obsession closer to some is presented as highly personal, version of myself that is in line with nothing could be further from or closer reality. All sets, costume and objects to the truth as every action, modeled are an amalgam, based upon piece of clay or presentation of self, the catalogue from Keith Edmier’s

45 rendez - vous S ingapore andré fortino

– Born in 1977 in Marseille/fr For Rendez-vous, the artist presents: – Lives and works in Marseille/fr – Hôtel-Formes-Sauvages [Hotel-Shapes-Savages], 2015 www.andrefortino.com

Above, opposite & right: – Hôtel-Formes-Sauvages [Hotel-Shapes-Savages], 2015 Video triptych, colour, sound, 45'00'' View of the exhibition Rendez-vous Singapore, 2015 Courtesy of the artist, Marseille/FR and Hadrien Bels, Marseille/FR © Olivia Kwok

46 Education Group Exhibitions (selection)

2013 2014 2011

– DSRA in progress, École Supérieure – Le(s) Vestibule(s), La Maison Rouge, – Rencontres internationales Paris/Berlin/ andré fortino d’Art de l’Agglomération d'Annecy/fr Paris/FR Madrid, projection of the video 866 2008 – L’Art chemin faisant… Le rire, FEROCE, Paris/fr – DNSEP, with honours, un parcours jaune, Atelier Estienne, – Conductions, Jeune Création, École Supérieure d’Art Pont-Scorff/FR Centquatre, Paris/fr de l’Agglomération d'Annecy/fr – Le [mac] a 20 ans, Musée d’Art – PARADISE, Tabacalera, Madrid/es 2006 Contemporain [mac], Marseille/FR 2010 – DNAP, with honours, 2013 – Rencontres internationales Paris/Berlin/ École Supérieure d’Art – Rendez-vous 13, Institut d’art contem- Madrid, projection of the video de l’Agglomération d'Annecy/fr porain, Villeurbanne/Rhône-Alpes, Hôtel-Dieu, Centre Pompidou, Paris/fr Villeurbanne/FR – Supervues 2010, 3 days at the hotel – Post Performance Future, Burrhus, Vaison-la-Romaine/fr solo exhibitions ENSBA, Lyon/fr – FORMAT X, l’inconnu de l’atelier 7, – Festival des arts éphémères, Centquatre, Paris/fr 2015 Parc de la bastide de Maison Blanche, – INTRODUCTION, exhibition – Hôtel Formes Sauvages, Marseille/fr as part of the project LAAC, Fonderie Darling, Montreal/CA 2012 Musée-Château, Annecy/fr 2014 – Rencontres internationales – L’ESPRIT DES LOIS, Mort et Vif, – L’Entre, Galerie Territoires Partagés, Paris/Berlin/Madrid, Brussels/be Marseille/FR projection of the video 866 FEROCE, – TOUT, Centre d’art OUI, Grenoble/fr 2013 Cineteca, Madrid/es 2009 – Lâcher de fauves, La Compagnie, – Rencontres internationales – Exposition de Noël, organised Marseille/FR Paris/Berlin/Madrid, projection by le Magasin at the Ancien Musée 2012 of the video 866 FEROCE, Beirut Art de Peinture, Grenoble/fr – Hypnotisé par les lueurs fascinantes Center, Beirut/lb 2008 des phares, Fog Galerie, Paris/fr – L’Esprit du lieu, – Le Choix du tableau, espace Bonlieu, 2011 La Compagnie, Marseille/fr Annecy/fr – Térébenthisme, Galerie Territoires 2007 Partagés, Marseille/fr – Fresh Connection, vitrine de la galerie Frédéric Giroux, Paris/fr

47 rendez - vous S ingapore

>> Top & above: Right: – Hôtel-Dieu, 2009 – Les Paradis sauvages [Wild Paradise], 2013 Video, colour, sound, 45’00’’ Video, colour, sound, 45’00 Courtesy of the artist, Marseille/FR Work accomplished in collaboration © André Fortino with Hadrien Bels Courtesy of the artist and Hadrien Bels, Marseille/FR © André Fortino & Hadrien Bels

48 In 2009, I secretly entered the Hôtel- In 2012, with a certain distance The last part of this triptych is the film Dieu in Marseille, a public hospital. separating me from the film Hôtel-Dieu, Le Corps des formes. It was made My idea was simply to walk around I used it as the matrix for a new film in collaboration with choreographer

the place wearing a surgical mask. project. This film is called Les Paradis Katharina Christl. In creating this andré fortino But the encounter with this disused sauvages and was codirected with sequence of movements, Katharina space and its long medical history, Hadrien Bels. Each of its 34 scenes took inspiration from the objects along with the mask I was wearing, was inspired by the actions in Hôtel-Dieu. Le Corps des formes produced a very unusual feeling. of the masked figure in Hôtel-Dieu is located in a minimal space—no I abandoned what I knew about art and shot in the same time scheme. disused hospital or landscape here; and social conventions and trans- In Les Paradis sauvages, there is no everything happens inside a lit formed myself into a kind of pure unity of place, the new character exists rectangle. The challenge for me was energy. Although the interaction in constantly changing landscapes. to be prepared to do without the with the space and the objects was Although some actions are the same support of the objects and the land- improvised as I gradually came to grips as in Hôtel-Dieu, others are very scape and to present the body alone. with the hospital, there was a powerful different. The two films do, however, determination in every one of the have some precise points in common. These three films give a glimpse masked figure’s actions. I came out Les Paradis sauvages took more of my commitment as an artist. transformed by this experience; it had than a year to write and shoot I find it necessary to involve my body taken its toll on me. Fear, panic, risks, and it involved us in many adventures and to be guided by my intuitions and a sense of urgency had all plunged both in France and abroad—physical, and my instinct, allowing myself me into a state of trance. I shared intellectual and human adventures that to go beyond normative boundaries the experience with Guillaume Gattier, were both exhausting and enlightening. in order to attain a kind of primitive who filmed the entire performance. freedom. After those few hours in the Hôtel-Dieu, the images and sensations stayed André Fortino with me for several weeks, leaving me in a state of calm serenity.

49 rendez - vous S ingapore Joo Choon Lin

– Born in 1984 in Singapore/SG For Rendez-vous, the artist presents: – Lives and works in Singapore/SG – INTESTINOLOGY: With DIAMONDS You Repay I Don’t Care for Heaven, 2015 www.joochoonlin.com – Lubricate Your Arteries and Veins, 2015

Above & opposite: – INTESTINOLOGY: With DIAMONDS You Repay I Don’t Care for Heaven, 2015 Mixed media installation: digital video, colour, sound, 4'18''; display frame made of PVC and metal with LED lights; vitrine, synthetic diamonds, forks and spoons, rubbish bags, chains, adhesive vinyl, synthetic resin, variable dimensions View of the exhibition Rendez-vous Singapore, 2015 Courtesy of the artist, Singapore/SG © Olivia Kwok

>> Right: – Lubricate Your Arteries and Veins, 2015 Performance with actors Abigail Chay, Adi Jamaludin and Lyon Sim, presented at the ICA Singapore, 19 June 2015 Courtesy of the artist, Singapore/SG © Olivia Kwok

50 Education Group Exhibitions (selection)

2013 2015 2012 – Master’s degree in Fine Arts, – Paradis sans promesse—Singapour, – Perfectly at Home, J oo C hoon L in Glasgow School of Art, Glasgow/GB Frac des Pays de la Loire, Nantes/FR New City Space, Glasgow/GB – Art Garden, Lille3000, – ‘Re-modernologio’ Phase 3: Traces Gare Saint-Sauveur, Lille/FR of Scenery, Aomori Contemporary Art solo exhibitions 2014 Centre, Aomori/JP – Be Mysterious, Walter Phillips Gallery, – Habit Forming, Artinformal, Manila/PH 2012 The Banff Centre, Banff/CA 2011 – Resolution of Reality, – GLASMO 2014, – Roving Eye, Sørlandets Kunstmuseum, Third Floor—Hermès, Singapore/SG Skånes Konstförening, Malmö/SE Kristiansand/NO 2011 – Ghost on the Wire, Bermondsey 2010 – Too Big in the Tank, Singapore Project Space, London/GB – The Beat of the City that Freezed, Arts Festival 2011, Esplanade Tunnel, 2013 1st Aichi Triennial 2010, Nagoya/JP Singapore/SG – If the World Changed, Singapore – Stories that Move, Jendela Visual 2009 Biennale 2013, Singapore Art Museum Arts Space, Esplanade, Singapore/SG – Come Out and Play at 8Q!, Singapore at 8Q, Singapore/SG 2009 Art Museum at 8Q, Singapore/SG – Welcome to the Jungle: Contemporary Art – The 4th Fukuoka Asian Art Triennial in Southeast Asia from the Collection of 2009, Fukuoka Asian Art Museum, the Singapore Art Museum, Fukuoka/JP Contemporary Art Museum, – Drawing as Form, Kumamoto/JP Sculpture Square, Singapore/SG – Come Out and Play!, Para Site, Hong Kong/HK

51 rendez - vous S ingapore

>> Top: Above: Right: – INTESTINOLOGY: The Black Paraphernalia – Your Eyes are Stupid, 2013 – INTESTINOLOGY #01: We Have the Most (detail), 2015 Mixed media, variable dimensions Beautiful Intestine, 2014 Mixed media, variable dimensions Courtesy of the artist and Singapore Digital video, colour, sound, 1’48’’ Courtesy of the artist, Singapore/SG Biennale 2013, Singapore/SG Courtesy of the artist, Singapore/SG © Fanny Trichet © Joo Choon Lin © Joo Choon Lin

52 In INTESTINOLOGY: With DIAMONDS The work is a development The work combines a PVC pop-up You Repay I Don’t Care for Heaven, of my INTESTINOLOGY series, which display with videos and objects I explore society’s obsession with investigates how everyday objects that appear to advertise tomato

consumer culture. Advertising images can take on a life of their own. ketchup. One of the videos, J oo C hoon L in often aim to disempower and objectify The series explores how a change DIRTY deed KETCHUP done DIRT the consumer. They promise that of context can ‘redigest’ an object cheap, is an MTV-style video, whose a product will make the consumer originally used for a criminal purpose music is based on the song ‘Bad Girl’ happy and enhance their quality of life. and transform it into an innocent by Hong Kong singer and actress It is as if owning these products would and pleasant one. In the work, Anita Mui. In the video, the main bring the consumer closer to a more I explore this idea through tomato character—dressed as Anton Lavey, complete and happy state of being. ketchup, a popular condiment that the occult leader and founder of The packaging of these products—their is frequently used to represent blood the Church of Satan—communicates colour, endorsement by celebrities, in film and theatre productions. that consuming ketchup as a ritual and alignment with popular identities— In 1963, a bottle of tomato ketchup will make us happy. The pause is designed to make them appear more containing the fingerprints of English (the moment in an advertisement attractive. But there is another thing thief Ronnie Biggs became a key form when an actor deliberately holds that can make a product appear more of evidence during his trial for his role the featured product in full view) attractive; a non-physical intensifier in the Great Train Robbery. The bottle and the work’s liturgic feel aim (such as a ritual), which can give is now displayed in the Black Museum, to increase the viewer’s desire for the process of consuming a product a a collection of criminal memorabilia the ketchup, which in the video mythical and even spiritual dimension. at the headquarters of the Metropolitan becomes an almost sacred object. Police Service in London. The way the ketchup was presented as a criminal Joo Choon Lin artefact made it seem as if it were condemned, sullied by the hands of its user.

53 rendez - vous S ingapore nikita kadan

– Born in 1985 in Kiev/Ua For Rendez-vous, the artist presents: – Lives and works in Kiev/Ua – Pedestal, Practice of Exclusion, 2009-2011

www.nikitakadan.com Production rendez-vous

Above & opposite: – Pedestal, Practice of Exclusion, 2009-2011 Wood, metal, plaster, paint, 450 × 300 × 300 cm View of the exhibition Rendez-vous Singapore, 2015 Courtesy of the artist and PinchukArtCentre, Kiev/UA © Olivia Kwok

54 Education group Exhibitions (selection)

2007 2015 N i k ita Kadan – Graduated from National Academy – SALTWATER: A Theory of Thought – Union of Hovels, 55th International of Fine Arts and Architecture, Kiev/Ua Forms, 14th Istanbul Biennial, Art Exhibition/la Biennale di Venezia, Istanbul/TU Ukrainian National Pavilion, Venice/IT – Hope!, 56th International Art – The Future Generation Art Prize@Venice solo exhibitions Exhibition/la Biennale di Venezia, 2013, collateral event Ukrainian National Pavilion, Venice/IT of the 55th International Art 2015 – Lest the Two Seas Meet, Exhibition/la Biennale di Venezia, – Poland Magazine, Museum of Modern Art, Warsaw/PL Palazzo Contarini Polignac, Venice/IT Art Center « Ya Gallery », Kiev/UA 2014 – Disobedience Archive (The Republic), – The Hesitant Museum, – Referendum on Withdrawal from Castello di Rivoli Museo d’Arte Detenpyla Gallery, Lviv/UA the Human Race, Teatr Powszechny, Contemporanea, Turin/IT – Limits of Responsibility, Warsaw/PL – Ukrainian News, Centre Waterside Contemporary, London/UK – The Right to be Forgotten, Stockholm for Contemporary Art Ujazdowski 2014 University’s Frescati Campus, Castle, Warsaw/PL – Limits of Responsibility, Stockholm/SE – THE DESIRE FOR FREEDOM, Campagne Première, Berlin/DE – Through Maidan and Beyond, Arte in Europa dal 1945, Palazzo – Everybody Wants to Live by the Sea, MuseumsQuartier Wien, Vienna/AT Reale di Milano, Milan/IT Via Farini, DOCVA, Milan/IT – Future Generation Art Prize 2014, – Court Experiment, SIZ Gallery, – Engineering Hope, Transit Gallery, PinchukArtCentre, Kiev/UA Rijeka/HR Art Brussels, Brussels/BE – Premonition: Ukrainian Art Now, – Showing its colours. What Makes Art, 2013 Saatchi Gallery, London/UK Marta Herford (Gehry Galleries), – Erasing and Overposting, – KAŁASZNIKOW, Galeria Bunkier Sztuki, Herford/DE Transit Gallery, Mechelen/BE Krakow/PL – Sun of the Poor, Art Center – Kyjev Hotel, Bratislava Cinema, – Everything and Nothing, Škuc Gallery, « Ya Gallery », Dnipropetrovsk/UA Gandy Gallery, Bratislava/SK Ljubljana/SI 2012 2012 – Ten Thousand Wiles and a Hundred – The Desire for Freedom, – Project, together with Thousand Tricks, Institute for African Art in Europe since 1945, Deutsches Lada Nakonechna, Kyiv Pop-up Gallery, Studies in partnership with the V–A–C Historisches Museum, Berlin/DE Kiev/Ua Foundation, Moscow/RU – Disputed Territory, M. Kroshitsky – Corrections, Centre for Contemporary – One Place Next to Another, Sebastopol Art Museum, Art Ujazdowski Castle, Warsaw/PL Winzavod Center of Contemporary Art, Sebastopol/Ua – The Speech of the Silent, Moscow/RU – Newtopia, Museum Hof van Busleyden, SOSka Gallery, Kharkiv/Ua – Fear and Hope, PinchukArtCentre, Mechelen/BE 2011 Kiev/UA – THE BEST OF TIMES, THE WORST – Nesezon, Arsenal Gallery, Kiev/Ua – The Ukrainians, DAAD Gallery, OF TIMES—REBIRTH AND 2010 Berlin/DE APOCALYPSE IN CONTEMPORARY ART, – Procedure Room/Fixing, – (Re)Construction of Friendship, Corner First Kyiv International Biennale- NORMA Gallery, Odessa/Ua House on Brīvības Street, Riga/LV Arsenale 2012, Art Arsenal, Kiev/Ua – Bright Perspectives/War in the Sky, – 50 YEARS OF HELL, – Ukrainian Body, together with Lesya Khomenko, Positive Propaganda, Munich/DE VCRC at NaUKMA, Kiev/Ua Karas Gallery, Kiev/Ua 2013 – SOUND OF SILENCE: ART DURING – Procedure Room, – global aCtIVISm, ZKM | Museum DICTATORSHIP, The Elizabeth Institutskaya Gallery, Kiev/Ua of Contemporary Art, Karlsruhe/DE Foundation for the Arts, New York, – New Acquisitions of Contemporary Art NY/US in the Pinakothek der Moderne, 2011 Pinakothek der Moderne, Munich/DE – Labour Show, Centre of visual culture – The Desire for Freedom. Art in Europe research at National University Since 1945, MOCAK, Krakow/PL “Kyiv-Mohyla Academy” (NaUKMA), – Spaces of Exception, The 5th Moscow Kiev/Ua Biennale, Artplay Design Center, – A Complicated Relation, Part 2, Moscow/RU KALMAR KONSTMUSEUM, – Rendez-vous 13, Institut d’art contem- Kalmar/SE porain, Villeurbanne/Rhône-Alpes, – Eyes Looking for a Head to Inhabit, Villeurbanne/FR MSL Museum, Lodz/PL – Love of the Space, The X Krasnoyarsk Museum Biennial, Krasnoyarsk/RU – Self-government: Cultural Evolution vs. Revolution, Odessa Biennale of Contemporary Art, Museum of Modern Art, Odessa/UA

55 rendez - vous S ingapore

56 Small House of Giants is a combined Small House of Giants is a part Pedestal, Practice of Exclusion (2009- object, a sort of architectural collage, of the artist’s practice, which is focused 2011) consists of a huge model whose parts are ready-made living on the conditions of post-Soviet of pedestal and a text on the wall. containers for builders from the 1970’s Ukraine, where the purity of capitalist This white wooden pedestal stands N i k ita Kadan (containers of such kind are still in use relations is represented on the ruins in the exhibition hall touching in Ukraine) and a model of a facade of an ideological society. the ceiling, leaving no place for the of geometric form referring to Soviet Since 2004, Nikita Kadan has been monument. The space for the viewer neo-modernist architecture of the a member of a group of artists called to pass around the pedestal is narrow. same period. R.E.P. (Revolutionary Experimental White text on pale grey wall Small House of Giants is a reflection Space). He is also co-founder (2008) is a chronicle of a "war of the monu- on the social role of the worker, and member of the curatorial ments" in post-Soviet Ukraine: which is shifting, within the new and activist group called HUDRADA vandalizing both Soviet and new capitalist environment in Ukraine. (Artistic Committee). national-patriotic monuments. On the other hand, Small House Nikita Kadan works with installations, First variant of installation was of Giants opens a critical discourse graphics, paintings, mural drawings, produced in 2009, second one in 2011. on the fictive heroic position and he sometimes puts up posters that workers held in the Soviet past. in the city. He often works in interdis- For Rendez-vous Singapore, ciplinary collaboration with architects, Nikita Kadan chose to present human rights watch activists Pedestal, Practice of Exclusion and sociologists. without the original text.

<< Left: Above: – Pedestal, Practice of Exclusion, 2009-2011 – Small House of Giants, 2012 Wood, metal, plaster, paint, 450 × 300 × 300 cm Found objects, wood, metal, plaster, paint, View of the exhibition Rendez-vous Singapore, 200 × 200 × 500 cm 2015 Produced with the support of PinchukArtCentre Courtesy of the artist and PinchukArtCentre, View of the exhibition Rendez-vous 13 Kiev/UA Courtesy of the artist and PinchukArtCentre, © Olivia Kwok Kiev/UA © Blaise Adilon

57 rendez - vous S ingapore karim kal

– Born in 1977 in Geneva/ch For Rendez-vous, the artist presents: – Lives and works in Lyon/fr – La Cage [The Cage], 2014 – Les Fanions [The Flags], 2014 – La Mer à fort de l'eau [Sea High Water], 2014

Production rendez-vous

>> Above: Right: – View of the exhibition Rendez-vous Singapore, – View of the exhibition Rendez-vous Singapore, 2015 2015 Courtesy of the artist, Lyon/FR Courtesy of the artist, Lyon/FR © All rights reserved © Olivia Kwok

58 Education solo exhibitions group Exhibitions (selection) k ari m al 2003 2014 2015 – Diploma of higher education, – Au cœur des ténèbres, La Halle, – Images résistantes, Fondation École de photographie, Vevey/CH Pont-en-Royans/FR Bullukian, Lyon/FR 2001 – Souvenirs d’en France, Le Bleu du ciel, 2014 ­– DNSEP, École Supérieure d'Art Lyon/FR – Bella Ciao, de Grenoble, Grenoble/FR – Résidence photographique 2013, Saint-Julien-Molin-Molette/FR 1999 General Hospital of Chambéry, 2013 ­– DNAP, École Supérieure d'Art Chambéry/FR –­ Rendez-vous 13, Institut d’art contem- de Grenoble, Grenoble/FR 2011 porain, Villeurbanne/Rhône-Alpes, 1998 – Blocks, Galerie Sandra Nakicen, Villeurbanne/FR – CEAP, École d’Art, Avignon/FR Lyon/FR – Le Pont, Musée d’Art Contemporain 2010 [mac], Marseille/FR – Les Déclassés, Musée urbain 2012 Tony Garnier, Lyon/FR – Tendanze della fotografía 2009 contemporanea, Bloo Gallery, Rome/IT – Cayenne, Médiathèque du 8e Bachut, 2011 Lyon/FR – J’ai deux amours, CNHI, Paris/FR 2007 2010 – Social Housing, Musée des Cultures – FESPA, Musée d’Art Moderne, Guyanaises, Cayenne/FR Algiers/DZ 2005 – Nulle part est un endroit, CPIF, Paris/FR – Cayenne, École nationale supérieure 2009 des beaux-arts, Lyon/FR – Repères, Memorial Do Imigrante, 2004 São Paulo/BR – Auteuil 2004, CNP, Paris/FR – Dock’s Art Fair, Galerie Sandra Nakicen, Lyon/FR – Reflets d’Afrique, Musée d’Art Moderne, Algiers/DZ 2008 – International Triennale of Contemporary Art, Prague/CZ 2003 – Algérie en création, Centre d’Art Le Rectangle, Lyon/FR

59 rendez - vous S ingapore

Above: – View of the exhibition Rendez-vous 13 Courtesy of the artist, Lyon/FR © Blaise Adilon

Opposite, from left to right: – Écran [Screen], 2012 (Villeurbanne St Jean); Palissade [Fence], 2012 (Villeurbanne St Jean); Enfants Sauvages [Wild Children], 2012 (Lyon Mermoz); Hall, 2012 (Bron Terraillon); Les Favs [The Favs], 2012 (Vaulx-en-Velin) Inkjet prints pasted on dibond, 70 × 83.5 cm each View of the exhibition Rendez-vous 13 Courtesy of the artist, Lyon/FR © Blaise Adilon

>> Right: – Panoptique, 2012 (Villefranche-sur-Saône Prison) Inkjet print pasted on dibond, 41 × 50 cm Courtesy of the artist, Lyon/FR © Blaise Adilon

60 Karim Kal combs through the town, In Junkspace, Rem Koolhaas exploring the urban fringes and their describes the suburbs as a juxtaposi- apparent uniformity. He exhumes tion of transitory architectural k ari m al them from anonymity and relegation. components—cheap, non-durable, His recent works—night-time photo- purely functional materials destined graphs on the edge of abstraction—re- for neglect and decay. Karim Kal, veal only selected details picked out however, invokes the thinking by the flash from the surrounding of Michel Foucault to interrogate darkness. There is no human presence the city as system: a built network and no colour. And their format which, in its turn, fashions is at the physical limits of the support, the individual, leaves its impress which gives them all the immersive on the collective, and perpetuates potential of a cinema image. and exacerbates both conscious His work particularly brings out the and unconscious sociological schemas. archetypes of boundary and delimita- Karim Kal makes us see the objects tion (bare walls, blocked off alleyways, he photographs as tools of a typology shorelines with no horizon)—isolated of monitoring and supervision signs from the urban continuum. that have become so ubiquitous and These dumb guardians of the social commonplace that they have almost order, weakened yet at the same time disappeared from view. glorified here, channel the comings and goings of the inhabitants. Xavier Jullien

61 rendez - vous S ingapore paula krause

– Born in 1977 in Canela/BR For Rendez-vous, the artist presents: – Lives and works in Canela/BR – Metáfora [Metaphor], 2013

Production rendez-vous

Above & opposite: – Metáfora [Metaphor], 2013 Video, colour, sound, 18’13’’ View of the exhibition Rendez-vous Singapore, 2015 Courtesy of the artist, Canela/BR and Ilha Art Co., Porto Alegre/BR © Olivia Kwok

>> Right: – Metáfora [Metaphor] (video still), 2013 Video, colour, sound, 18’13’’ Courtesy of the artist, Canela/BR and Ilha Art Co., Porto Alegre/BR © Paula Krause

62 Education group Exhibitions (selection)

2005 2015 2001/2003 – Masters’ degree in Visual Poetics, – Prêmio Funarte de Arte Contemporânea, – Programa, Rumos Itaú Cultural Artes P aula Krause Instituto de Artes PPGAV/UFRGS, Galeria Fayga Ostrower, Brasília/BR Visuais, Palácio das Artes, Fundação Porto Alegre/BR 2013 Clóvis Salgado, Belo Horizonte/BR 1999 –­ Rendez-vous 13, Institut d’art contem- 2001 – Plastic Arts, Painting, Instituto porain, Villeurbanne/Rhône-Alpes, – Divergências, Galeria Iberê Camargo, de Artes/UFRGS, Porto Alegre/BR Villeurbanne/FR Secretaria Municipal de Cultura, 2006 Porto Alegre/BR – Câmara Rasgada, Galeria dos Arcos, 1999 solo exhibitions Usina do Gazômetro, Porto Alegre/BR – XIII Festival de Arte Cidade 2003 from Porto Alegre Arte to Vista II, 2005 – Território da fotografia, Galeria Secretaria Municipal de Cultura, – Auto-experiência: vídeos, dos Arcos, Usina do Gazômetro, Porto Alegre/BR end-of-studies project, Porto Alegre/BR 1998 Instituto de Artes, Porto Alegre/BR 2002 – 1 PrêmioJovemRevelação de Artes 2003 – Manifesto das Indiferenças, Plásticas de Americana, MAC/ – Cases, Atelier Fourwinds, Aureille/FR Rumos Itaú Cultural Artes Visuais Americana, Americana/BR – Paula’s Voice, Ateliers Fourwinds, Itaú Cultural Belo Horizonte, Aureille/FR Belo Horizonte/BR – Intervenção no Torreão, – Poéticas da Atitude: o Transitório Porto Alegre/BR e o Precário, Rumos Itaú Cultural 2000 Artes Visuais Fundação Joaquim – I Concurso de Artes Plásticas Nabuco, Recife/BR do Goethe-Institut, Goethe-Institut, – Vertentes da Produção Contemporânea, Porto Alegre/BR Rumos Itaú Cultural Artes Visuais 1998 Instituto Itaú Cultural, São Paulo/BR – Projeto Novos Talentos, – Rumos da Nova Arte Contemporânea Galeria João Fahrion IEAVI, Brasileira, Rumos Itaú Cultural Artes Porto Alegre/BR Visuais, Palácio das Artes, Fundação Clóvis Salgado, Belo Horizonte/BR

63 rendez - vous S ingapore

Above & opposite: – Metáfora [Metaphor] (video stills), 2013 Video, colour, sound, 18’13’’ Courtesy of the artist, Canela/BR and Ilha Art Co., Porto Alegre/BR © Paula Krause

64 Metáfora*

chapter 1 It was a nightmare. When I was a child. It came up when I am here not because I want to be, P aula Krause I knew I was there, but I didn't know I was a child, the age my son is today. I am here because no one else agreed how... I would think about everything I look at him and go back in time, to confront you. I have done, in my whole life, to avoid I see myself there, asking, wanting Only I can. We have time. You know that situation, but it was a continuous to get to the limit, but so afraid. this conversation will be long, nightmare... It was going to happen, As afraid as I am now. that we won’t get to your reasons sooner or later. That was the direction – Then, you know you are a horrible before this torture. Do you feel I was following, always, in each person? You know you will never tortured? Not at ease? That is exactly deviation. I deviated from illusions, be able to get rid of it, don’t you? what I want you to feel. You must ideas that would convince me that it... I always knew, I always tried to hide feel that in everything it can be. was just a nightmare. it. I've hidden the truth from myself You must not feel at ease. You can Doubt, questioning, suspicion. It was for so long. However there I was, not feel at ease, you know exactly- obvious. I was not a reliable person. with that person in front of me. what you did and what you are. Why? I dont know. Confrontation, Now it was obvious, not only for me, Rotten! How poor. How soulless. limit. I was forced to the limit. I was but for everyone. You are a ghost. You are a problem. facing the abyss, looking for the last – Your life is over, but I am not going A shadow. Waste. time into the unattainable landscape to leave you. I am here. I will be here of the precipice. for a long time. It is going to take a chapter 3 – What has happened to you? long time. Maybe it never ends, never. When we are children, we constantly Why did you do that? We don’t need to rush. look for metaphors. My metaphor I would hear his question and it echoed might have been a tree. Weak and in the most intimate memory of my chapter 2 frail. It sprouted, grew visibly. worst nightmare. I can’t fool anyone – Your body is the strongest evidence Weak, frail, it could be destroyed anymore. I am a farce. It seemed of your failure. I look at you and see and killed by a child. A child went so normal to me doing it, so logical. a beautiful woman, made up, ungra- up it. Went up and saw the next What is logical? What makes sense? ciously worried about her own looks. branch, which wanted to go up, It made sense to me. Then, why all that Does not leave home without a look grow up. And she went up the next confrontation, that torture? What in the mirror. Does not pass in front branch, and one more, and one more. could be so horrible? I don’t know. of a looking glass without looking She stopped, felt the vertigo, balanced. How many times I have thought I was at it. And without noticing every flaw. She knew she had to balance crazy, I had no reason to be alive, just Without seeing very attempt, without constantly. She would grow up, then to deviate, deviate and deviate. realizing immediately the poor image and so would the tree. The tree was And begin to believe that that was the of your naked body. Your naked silent. Was rested. Invisible. No one craziness. That I was a smart person. and weak body. You are weak, fleshless. would go up that tree. Only her. A beautiful woman. A wonderful Your hormones work against you, And no one knew she would go that mother. A person full of virtues. you hardly survive your own body. high, and she expected that some day Of course, there was always a tiny Your weakness fits your body. In your some one would see it... How high doubt under all, which would come weakness, your cold and intimate she was. So high, that no one was up at night, in the nightmares: frailty. Your body is weak, unhealthy, even able it was so obvious, I was a farce. is little, does not have any power. to realize. What a weird way to build – Do you know why you are here? Your head says you have something a parallel reality. You know how much you have been inside you, but your body tells you confronted the world where you live? that you have nothing at all. You know Paula Krause I do. that. You want to take all that contempt – Say, when did it begin? When did out of your horizon? You know * dedicated to Gisela Krause you know for the first time you were exactly who you are. You know exactly able to get that far? what you did. You can’t escape.

65 rendez - vous S ingapore Charles lim

– Born in 1973 in Singapore/sg For Rendez-vous, the artist presents: – Lives and works in Singapore/SG – Fogging, 2012

>> Top & above: Right : – Fogging, 2012 – Fogging, 2012 Single-channel HD digital video, colour, Single-channel HD digital video, colour, no sound, 00’31’’ no sound, 00’31’’ Courtesy the artist and Future Perfect, Courtesy the artist and Future Perfect, Singapore/SG Singapore/SG © Charles Lim Li Yong View of the exhibition Rendez-vous Singapore, 2015 © Olivia Kwok

66 Education Group Exhibitions (selection)

2001 2015 C harles li m – Bachelor's degree in Fine Art, – Open Sea, Musée d’art contemporain – The Singapore Show: Future Proof, Central Saint Martins College of Arts de Lyon, Lyon/FR Singapore Art Museum–8Q, and Design, London/GB – Moving Images, M+, Hong Kong/HK Singapore/sg 1997 – Prudential Singapore Eye, ArtScience 2011 – Foundation Chelsea School of Art Museum, Marina Bay Sands, – Singapore Biennale–Open House, and Design, London/GB Singapore/SG Old Kallang Airport, Singapore/sg 2014 2009 – Islands off the Shores of Asia, Spring – Biennale Cuvee–Weltauswahl solo exhibitions Workshop and Para Site, Hong Kong/ der Gegenwartskunst, O.K Centrum HK für Gegenwartskunst, Linz/au 2015 – SAFE SEA, presented as part of 2008 – SEA STATE, Singapore Pavilion, Singapore HeritageFest at the National – Shanghai Biennale–Translocalmotion, 56th International Art Exhibition/ Museum, Singapore/SG Shanghai/cn la Biennale di Venezia, Venice/IT – Visions and Beyond, The 2nd Shenzhen 2007 – SEA STATE 8: SEABOOK, National Independent Animation Biennial, – MANIFESTA 7, European Biennial Library Building, Singapore/SG Shenzhen/CN of Contemporary Art, Bolzano/it 2014 – The Part in the Story Where a Part 2006 – SAFE SEA, presented as part Becomes a Part of Something Else, – Islanded: Contemporary Art of Singapore HeritageFest 2014, Witte de With Center for from New Zealand, Singapore National Museum of Singapore, Contemporary Art, Rotterdam/NL and Taiwan, Adam Art Gallery, Singapore/SG – UNEARTHED, Singapore Art Museum, Wellington/NZ – SEA STATE 3: Inversion, Singapore/SG 2005 Future Perfect, Singapore/SG 2013 – Singapore Open Nature, NTT Inter 2013 – Rendez-vous 13, Institut d’art contem- Communication Center, Tokyo/jp – In Search of Raffles’ Light, porain, Villeurbanne/Rhône-Alpes, – Space and Shadow, Haus Der Kulturen NUS Museum, Singapore/SG Villeurbanne/FR Der Welt, Berlin/de 2012 – Little Water, Dojima River Biennale, – President Young Talents Award, – Singapore Intensive: Sea State 2: Dojima River Forum, Osaka/jp Singapore Art Museum, Singapore/sg As Evil Disappears, Future Perfect – Welcome to the Jungle: Contemporary 2004 Gallery, Singapore/sg Art in South East Asia, Singapore – Gravity, Singapore Art Museum, 2008 Art Museum, Yokohama Museum Singapore/sg – BARNACLE 1: “it’s not that I forgot, of Art, Yokohama/jp 2002 but rather I chose not to mention”, 2012 – tsunamii.net documenta 11, AIVA, Akiyoshiday/JP – Move on Asia: Social and Political Binding Brewery, Kassel/DE Publicity of Art Since the Modern Age, – 2nd Seoul International Media Eunam Museum of Art/Song Won Art Biennale, Media City, Seoul/kr Art Center, Gwanju/kr 1999 – Nite-Lites, Notting Hill Arts Club, London/GB

67 rendez - vous S ingapore

Above & opposite: – Sea State: Drift (Stay Still Now to Move), 2012 Video, colour, no sound, 12’35’’ Courtesy of the artist, Singapore/SG © Charles Lim Yi Yong

>> Right: – Sea State: Drift (Stay Still Now to Move), 2012 Video, colour, no sound, 12’35’’ View of the exhibition Rendez-vous 13 Courtesy of the artist, Singapore/SG © Blaise Adilon

68 The Singaporean artist Charles Lim In the video installation SEA STATE: attempts to invert land and sea with Drift (Stay Still Now to Move) a man

his ongoing SEA STATE project. The sea hovers on the surface of the water C harles L i m is elevated to a territory and explored that fills the entire image plane. as an extension of the sphere of human With his orange life jacket he paints activity. Whereas land has a fixed form, fleeting lines on its gleaming, blue water is fluid, always ready to change and green mass. The video is set and expand into new areas. around the maritime border between The distinction between land and sea Singapore and Malaysia. The ocean shifts, weakening the notion of borders currents lead the figure haphazardly and giving rise to new conceptions from one territory to another. of space and place. A recurring figure The border may be clearly marked in Lim's work is that of the drifter. on maps, but the restless surface An anonymous nomad appears in of the water renders it invisible on various milieus –natural and human- screen. The drift is therefore also made– as a testament to human a subversive gesture, as the figure vulnerability in the face of much pays no heed to the political threshold greater forces (the sea, the state, urban dividing peoples and jurisdictions. development, land reclamation). Kathrin Oberrauch

69 rendez - vous S ingapore Guillaume louot

– Born in 1976 in Dijon/fr For Rendez-vous, the artist presents: – Lives and works in Marseille/fr – PR-INTER (276) Schuim, 2015

www.guillaumelouot.blogspot.fr Production rendez-vous

>> Above: Right: – PR-INTER (276) Schuim, 2015 – PR-INTER (276) Schuim, 2015 Murals, wall drawings Murals, wall drawings 244 × 260 cm (×2) / margins 40 cm 244 × 260 cm (×2) / margins 40 cm View of the exhibition Rendez-vous Singapore, View of the exhibition Rendez-vous Singapore, 2015 2015 Courtesy of the artist, Marseille/FR Courtesy of the artist, Marseille/FR © Guillaume Louot © Olivia Kwok

70 Education group Exhibitions (selection)

2004 2014 2009 – DNSEP, École supérieure d'art – Barnum, Petitrama, organized – Exhibition by the Clakton Tendring et design, Valence/fr by Friche la Belle de Mai Collective (H. Bariol, A. Delaigues, guillau m e louot 2002 and Sextant &+, Marseille/FR J.-B. Sauvage, E. Ortega, M. Tilly, – DNAP, École supérieure d'art 2013 J. Khawam, G. Louot, Y. Gourdon), et design, Valence/fr – Rendez-vous 13, Institut d’art contem- Production 138, Campus, porain, Villeurbanne/Rhône-Alpes, Saint-Martin-d’Hères/fr Villeurbanne/FR 2008 solo exhibition – Versions, La Laverie de Belleville, – Grave Noir 2, in situ actions Paris/fr by the Clakton Tendring Collective, 2008 2012 Carrière de Grave Noir, Royat/fr – Décollage, L’Assaut de la menuiserie, – Longitude, in collaboration with 2007 Saint-Étienne/fr Thomas Léon, La BF15, Lyon/fr – Classiques, in collaboration with 2011 Nicolas Tilly, 50 Clos Notre-Dame, – Rond-Point Projects, OÙ, lieu Clermont-Ferrand/fr d'exposition pour l'art actuel, 2006 Marseille/fr – Une ligne horizontale, École régionale 2010 des Beaux-Arts, Valence/fr – Two-In, Two-Out, in collaboration 2005 with Jean-Baptiste Sauvage as part – Pascal Poulain's studio, Lyon/fr of Local Line #3, Musée d’Art Moderne de Saint-Étienne Métropole, Saint-Étienne/fr – Si la nuit tombe, 65 Bd Sébastopol, Paris/fr

71 rendez - vous S ingapore

Top: Above: – PR-INTER (273) Baader Meinhof Wagen, 2013 – PR-INTER (273) Baader Meinhof Wagen Murals, wall drawings, variable dimensions (detail), 2013 View of the exhibition Rendez-vous 13 Murals, pattern TII3: 423 × 162.6 cm (× 2)/ Courtesy of the artist, Saint-Étienne/FR internal margin 4 cm © Blaise Adilon View of the exhibition Rendez-vous 13 Courtesy of the artist, Saint-Étienne/FR © Blaise Adilon

72 the way I work L.P. the project I use an experimental procedure – Les Prototypes are continuous projects – Against the background of PR-INTER in my research that consists of several with mural layouts and combine (273) Baader Meinhof Wagen (2013), series of pictorial combinations. two elements, referring to each other. a device demonstrating a dynamiting guillau m e louot Different lines of approach such A protective sheet unfolded and fixed in schematic form. The anonymous as object, motif, inking, monochrome on the wall is like a matrix and act evoked a code bearing no message and site are used on the traces a wall painting positioned next to it and represented the contamination of the ultimate territory of the picture represents it. of cultural, economic and political and a distancing effect. fields. The exhibition of fetishism I use a protocol called “enunciated P.R. and commercialisation extended over systems” to model projects in situ, – Peintures Reportées are continuous six gallery walls with an exploded keeping within the context, but each projects in installation form. view of the three sides of the BMW proposal is linked to an idea of They are reversible applications 2002 TII. This time at the ICA prolongation and space. This work resulting from the transfer of a Singapore, the form hidden behind consists essentially of series of pilot pictorial motif. Choosing things the norm will be represented installations. Focus on the practice that I like and that are cheap, I use in a corner. The physical as well as of painting without painting standardisation indexes for stripped- the symbolical impasse of this space with paint underlies this. down practice in painting. forces the meaning, which allows me, in the ultimate degree of separation, STATEMENTS the stated device attached to the project: to present a ‘battle’. It is in this PR-INTERS critical perspective, that the colours B.S. – In the process, Peintures Reportées of the two shipping companies – Bigger Splashes is a series with variable Internationales (PR-INTERS) are that share the world (A.P. Møller- geometry inspired by David Hockney's the formalised pursuit of Peintures Mærsk and Mediterranean Shipping pool painting, A Bigger Splash, 1967. Reportées. In the first place, Company) have been placed in duality. The series is based on a motif fitted this series is the product of an ‘infra- on the size of a Polaroid photo. thin’ collection on several objects of – The PR-INTER (276) SCHUIM device It functions with all the colours in varying dimensions and from various is presented as two painting murals the RAL colour chart, tending towards realms: domestic, agricultural, urban, for two gallery walls. On the base swimming pool blue. industrial, signage, aeronautical, of the given surfaces, a double literary (…). Viewed with a certain version of the DRY 1 template will be B.M. distance, the ordinary objects selected affected to the two adjoining gallery – Bandes Magnétiques are models have nothing to do with very much in walls. The template and the future of territory. They mark out spaces particular. With hindsight, pattern is drawn from the body using the shape of the strips on public it was a way of restoring the univocity of a DRY’20 container. The series transport tickets. of the pictorial plane and avoiding colours allotted to it are R.A.L. 9006 comparisons. According to the object and R.A.L.1023. L.G. listed, and identities created – Les Gradients are emerging layouts, using an ISO code corresponding made of the reality of places to its nationality, for example: and the planning of objects. PR-INTER (826). They are essentially anachronistic After this, transposing the standard to and their form is used as a motif paint is done by flattening the object, in the decor. and this materialises in the form of two or three templates L.M. by a custom dissection of the given – Les Masses is a series of sculptures volume. Setting up the device of uniform weight and colour. in question involves a DECA (calibrage- They are made up of groups formed deconstruction) annex involving by a number of components. a half-scale inscription of the pattern They are laid out on the floor on the walls with these margins. in accordance with the drawings made at the site. The absence  of composition linking the groups is considered with the all-over as a substrate.

73 rendez - vous S ingapore Lu Yang

– Born in 1984 in Shanghai/cn For Rendez-vous, the artist presents: – Lives and works in Shanghai/cn – Uterus Man OP, 2013

www.luyang.asia

Above & opposite: – Uterus Man OP, 2013 Video, colour, sound, 11'20'' View of the exhibition Rendez-vous Singapore, 2015 Courtesy of the artist, Shanghai/CN and Beijing Commune, Beijing/CN © Olivia Kwok

74 Education group Exhibitions (selection) L u Y ang 2010 2015 – Master's degree in Fine Arts, – Other Future, 56th International Art – West bund 2013: A Biennial New Media Art department, China Exhibition/la Biennale di Venezia, of Architecture and Contemporary Art, Academy of Art, Hangzhou/cn Chinese Pavilion, Venice/IT Shanghai/CN 2007 – Essential Experiments: Introduce – ASVOFF – A Shaded View on Fashion – Bachelor's degree in Fine Arts, Chinese Video Arts, British Film Film, Centre Pompidou, Paris/FR New Media Art department, China Institute, London/UK – Cutlog, Foire Parisienne d’Art Academy of Art, Hangzhou/cn – New Directions in Chinese Animation, Contemporain, Paris/FR Institute of Contemporary Art, – Rendez-vous 13, Institut d’art contem- Boston, MA/US porain, Villeurbanne/Rhône-Alpes, solo exhibitions – Inhuman, Fidericianum, Kassel/DE Villeurbanne/FR – TRANSCENDING TIBET: Mapping – THE GARDEN OF FORKING PATHS: 2015 Contemporary Tibetan Art in the Global Exploring Independent Animation, – ANTI-HUMANISME, Video-works Context, Rogue Space Chelsea, OCT Contemporary Art Terminal, by Lu Yang, OK Corral, Science Friction, New York, NY/US Shanghai/CN Copenhagen/DK 2014 – Some Like It Hot, Shanghai Gallery 2014 – OCAT-Pierre Huber Prize Shortlist of Art, Shanghai/CN – Lu Yang: Arcade, Wallplay, New York, Exhibition, OCT Contemporary Art – Memo, WHITE SPACE BEIJING, NY/US Terminal, Shanghai/CN Beijing/CN – Lu Yang Video Room, Ventana244 Art – Performance and Imagination: Chinese – Truth, Beauty, Freedom and Money, Gallery, New York, NY/US Photography 1911-2014, Stavanger Art K11 Art Mall, Shanghai/CN – Kimo Kawa Cancer Baby: Lu Yang Solo Museum, Stavanger/NO – Pépinière 你 好, Lavitrine, Limousin Exhibition, Ren Space, Shanghai/CN – The 5th Fukuoka Asian Art Triennale, Art Contemporain & Sculptures, 2013 Fukuoka Asian Art Museum, Limoges/FR – UTERUSMAN, Art Labor Gallery, Fukuoka/JP – OFF COURSE / FUORI ROTTA, Shanghai/CN – MOMENTUM & .CHB InsideOut Fondazione Querini Stampalia, – Lu Yang’s MV, The Images Beyond Good Screening, Berlin Art Week, Berlin/DE Venice/it and Evil, AMNUA, Nanjing/CN – A Time For Dreams, 4th Moscow – Tampere Film Festival, Tampere/fi – LU YANG Screening Program, International Biennale for Young Art, – On/Off, UCCA (Ullens Center 3331 Arts Chiyoda, Tokyo/jp Moscow Museum of Modern Art, for Contemporary Art), Beijing/cn 2011 Moscow/RU 2012 –­ 11th Winds of Artist in Residence – Warp Zone, Fay’s Festival & The Hellfire – ESCAPE(s)–in/from China #3, Centre Part 2–Lu Yang, Fukuoka Asian Art Club, Amsterdam/NL d’Arts plastiques et visuels, Lille/fr Museum, Fukuoka/jp – PANDAMONIUM: MEDIA ART FROM – UNFINISHED COUNTRY, Asia Society, – Lu Yang: The Anatomy of Rage SHANGHAI, Momentum and CAC/ Houston, TX/us (Wrathful King Kong Core), UCCA Chronus Art Center, Berlin/DE – PERSPECTIVES 180-UNFINISHED (Ullens Center for Contemporary Art), – My Generation: Young Chinese Artists, COUNTRY: NEW VIDEO FROM CHINA, Beijing/cn Tampa Museum of Art and Museum Contemporary Arts Museum Houston, – The Project of KRAFTTREMOR, of Fine Arts, St. Petersburg, FL/US Houston, TX/us Boers Li Gallery, Beijing/cn – PANDAMONIUM Micro-Exhibition #2: – Reactivation–Shanghai Biennale 2012, 2010 Ai Weiwei + Lu Yang, Kunstquartier Museum of Contemporary Art, – Lu Yang Hell, Art Labor, Shanghai/cn Bethanien, Berlin/DE Shanghai/cn 2009 – The Los Angeles Asian Pacific Film – The Shadow of Language, –­ Torturous Vision, Input/Output, Festival, Los Angeles, CA/US Royal College of Art, London/GB Hong Kong/HK – Animamix Biennale 2013-2014 – Impakt Art Festival 2012, Utrecht/nl –­ The Power of Reinforcement-Lu Yang's Rediscovery, Museum of Contemporary – Unseen—Guangzhou Triennial, Solo Exhibition, Zendai MOMA, Art Shanghai, Shanghai/CN Guangzhou Fine Art Museum, Shanghai/cn – International Video Competition Guangzhou/cn for Young Artists THE 02, Krakow/PL – Hinterlands, Luggage Store Gallery, – inHOUSE Festival, London/UK San Francisco, CA/us – Art robotique, Cité des Sciences – VIRTUAL VOICES–Approaching Social et de l’Industrie, Paris/FR Media and Art in China, Charles H. – UNPAINTED Media Art Fair, Munich/DE Scott Gallery, Vancouver/ca 2013 – Rapid Pulse, DFB Performance Gallery, – Neo Folk, Ikkan Art Gallery, Chicago, IL/us Singapore/SG –­ Solar Plexus, Space Station, London/GB – 7th Move on Asia, LOOP Alternative –­ FOCUS2012, Kunsthal Nikolaj, Space, Seoul/KR Copenhagen/dk – No Name, Ren Space, Shanghai/CN 2011 – Queer Forever!, Nhà Sàn Collective, – 2011 Video Art in China—MADATAC, Hanoi/VN Museo Nacional Centro de Arte – Degeneration, OCT Contemporary Art Reina Sofia, Madrid/es Terminal, Shanghai/CN – Moving Image in China: 1988-2011, – Art World – Second Hand, Power Station Mingsheng Art Museum, Shanghai/cn of Art, Shanghai/CN – +Follow, Museum of Contemporary – GLOBAL PHOTO COLLABORATIONS, Art, Shanghai/cn Diesel Art Gallery, Tokyo/JP – In a Perfect World…, Meulensteen Gallery, New York, NY/us

75 rendez - vous S ingapore

76 Lu Yang's work Uterus Man is a long- The photographs are taken Lu Yang is a new-media artist who

term project, including animation, in Akihabara which is the center is a graduate of the China Academy L u Y ang cosplay, manga, installation, etc. of Japan's comic culture. Mao was of Art in Hangzhou, China, from which In the animation part: Uterus Man performing the superhero-Uterus she earned a B.A. in 2007 and an M.A. is an asexual superhero figure. Man, standing in Akihabara and in 2010, both in the field of new media. Although he appears to be a male dressed in the Uterus Man's costume. Her work often mixes shocking visuals figure, his superpower is generated Uterus Man Posters is another with stimulating sounds and draws by the female organ-the womb. cooperation with HHUUAAZZII, from scientific and technological The appearance of his armor is Lu Yang is doing the original design, influences. designed as a uterus and contains and HHUUAAZZII is drawing different parts of the organ. the character on Uterus Man Poster. Uterus Man's superpower includes varied methods of attack, such as physical attack, DNA, chromosome, heredity, gigantic attack, etc. The cosplay part of this piece is a collaboration with a Japanese asexual artist: Mao Sugiyama. Lu Yang finds lots of connective points between Uterus Man and him, so they decided to collaborate.

<< Left: Above: – Uterus Man Cosplay Shooting with Mao – View of the exhibition Rendez-vous 13 Sugiyama, 2013 Courtesy of the artist, Shanghai/CN Cosplay performance filmed in Akihabara, © Blaise Adilon Tokyo/JP Costume by Lu Yang, cosplay character by Mao Sugiyama Courtesy of the artist, Shanghai/CN © Lu Yang and Mao Sugiyama

77 rendez - vous S ingapore Angelica mesiti

– Born in 1976 in Sydney/au For Rendez-vous, the artist presents: – Lives and works in Paris/FR and Sydney/AU – Prepared Piano for Movers (Haussmann), 2012

www.angelicamesiti.com

Above: – Prepared Piano for Movers (Haussmann), 2012 Video, colour, sound, 5’32’’ View of the exhibition Rendez-vous Singapore, 2015 Courtesy of the artist and Anna Schwartz Gallery, Sydney/AU © Olivia Kwok

78 Education Group Exhibitions (selection)

– Master's degree in Fine Arts, 2015 2012

College of Fine Arts, University – Station to Station: A 30 Day Happening, – 1st Kochi–Muziris Biennale, angelica m esiti of New South Wales, Sydney/au a project by Doug Aitken, Barbican Kochi/in – Bachelor's degree in Fine Arts, Centre, London/UK – NEW12, Australian Centre with honours, College of Fine Arts, – 24 Frames Per Second, for Contemporary Art, Melbourne/au University of New South Wales, CARRIAGEWORKS, Sydney/AU – Volume One: MCA Collection, Museum Sydney/au 2014 of Contemporary Art, Sydney/au – Immigration Songs, MAXXI Museo 2011 Nazionale delle Arti del XXI secolo, – 17th International Art Festival solo exhibitions Rome/IT Videobrasil: Southern Panoramas – OMOC, Open Museum Open City, competitive exhibition, São Paulo/br 2015 MAXXI Museo Nazionale delle Arti – London Australia Film Festival – The Colour of Saying, del XXI secolo, Rome/IT (Artists film program), The Barbican, Anna Schwartz Gallery, Sydney/AU – Sights and Sounds: Global Film London/GB – The Colour of Saying, Lilith and Video, The Jewish Museum, – Videonale 13: Festival Performance Studio, Malmö/SE New York, NY/US for Contemporary Video Art, 2014 – No Sound Is Innocent, Marabouparken Kunstmuseum Bonn, Bonn/de – Angelica Mesiti: Citizens Band, Konsthall, Stockholm/SE 2010 Williams College Museum of Art, – You Imagine What You Desire, – Rencontres internationales Massachusetts, MA/US 19th Biennale of Sydney, Museum Paris/Berlin/Madrid, – Angelica Mesiti: Citizens Band and of Contemporary Art, Sydney/AU Centre Pompidou, Paris/fr Prepared Piano for Movers (Haussman), – TRANSCENDENCE, Gertrude Auditorio del Ministerio de Cultura, Musée d’Art Contemporain Contemporary, Melbourne/AU Madrid/ES de Montréal, Montreal/CA – IMPACT, Art Gallery of Western Haus der Kulturen der Welt, Berlin/DE – The Calling, Ian Potter Moving Image Australia, Perth/AU – Move on Asia, Loop Gallery, Seoul/kr Commissions, ACMI, Melbourne/AU 2013 2012/2013 – Everyday Magic, Queensland – Rapture (Silent Anthem), Art Gallery | Gallery of Modern Art, Institute of Modern Art, Brisbane/au Brisbane/AU 2012 – Turns – Possibilities of Performance, – The Line of Lode and Death Galerie Allen, Paris/FR of Charlie Day, 24HR Art, Northern – 13th Istanbul Biennial, Istanbul/TR Territory Centre for Contemporary Art, – Seven Points (Part Two), Darwin/au Gallery @ Embassy of Australia, 2011 Washington, CO/US – The Begin-Again, C3West Project, – BUYUHYN-WANA: The Transformative commissioned by the Museum of Persona, Lismore Regional Gallery, Contemporary Art and the Hurstville Lismore/AU City Council, Sydney/au – Guirguis New Art Prize 2013, 2010 Art Gallery Ballarat, Ballarat/AU – Rapture (Silent Anthem), – The Space Between Us: Anna Landa Centre for Contemporary Photography, Award for Video and New Media 2013, Melbourne/au Art Gallery of New South Wales, – Natural History, Gallery 9, Sydney/au Sydney/AU – Heritage Park, Heritage Week Film – Seven Points (Part One), Commission, Campbelltown Arts Gallery @ Embassy of Australia, Centre, Campbelltown/au Washington, CO/US 2009 – Rendez-vous 13, Institut d’art contem- – The Line of Lode and Death of Charlie porain, Villeurbanne/Rhône-Alpes, Day, Dubbo Regional Gallery, Villeurbanne/FR Dubbo/au – Awakening Where Are We Standing? 2008 Earth, Memory and Resurrection, – The Line of Lode and Death of Charlie Aichi Triennal, Nagoya/jp Day, Broken Hill Regional Gallery, – If you were to live here... , 5th Auckland Broken Hill/au Triennial, Auckland/nz 2003 – We Used to Talk about Love: Balnaves – The Rockets Red Glare, Mori Gallery, Contemporary: Photomedia, Art Gallery Sydney/au of New South Wales, Sydney/au – 11th Sharjah Biennale, Sharjah/ae

79 rendez - vous S ingapore

80 Angelica Mesiti's video Prepared has literally amplified the inherent (From a text by Jacqueline Millner, Piano for Movers (Haussmann), 2012, grace and creativity of the men's Associate Dean, Sydney College calls to mind Gustave Caillebotte's labour by preparing the piano, so that of the Arts, The University of Sydney

1875 painting, Les Raboteurs de parquet every escalating swing and jerk of their (Australia), for The 5th Auckland angelica m esiti (The Floor Scrapers). To a contempo- bodies makes music, improvising Triennial 2013, If you were to live here…) rary eye, this is a beautiful rendition an avant-garde score a la John Cage. of three athletic young men stripped Dr Jacqueline Millner to the waist scraping the floors French philosopher Jacques Rancière Associate Dean Learning and Teaching of an inner-city Haussmann apart- maintains that artworks help Sydney College of the Arts ment; their sinuous bodies are echoed shape the social world, that “the way The University of Sydney/AU by the curling wood shavings and we create art is intimately bound arabesques of the cast-iron balcony. up with fundamental forms of intelligi- In its day, however, the painting was bility, with material signs and refused by the Paris Salon on account images which describe ways of being, of its “vulgar subject matter”. seeing and doing. Art, then, plays a key True to its Realist spirit, the painting role in articulating the distribution confronted the bourgeois audience of the sensible which governs any with the politely ignored truth social order” (Ian James, The New on which their lovely interiors French Philosophy, Polity (Wiley), 2012: and privileged lifestyles depended: 131). To underline the importance the physical labour and exploitation of aesthetics to politics, Rancière of the urban proletariat. famously said that “The real must be fictionalised in order to be thought” In Mesiti's work, two removalists (Jacques Rancière, The Politics heft a baby grand piano up six flights of Aesthetics, Continuum, 2006: 38), of a spiral staircase in an apartment and indeed to be re-thought. Mesiti’s building located in the arrondissement work operates in just this way, next to where Caillebotte set his a contemporary take on the Realist painting–even in the post-industrial legacy that locates political agency age, this is a task that can only be not in the professional artist but performed by human muscle. Mesiti in everyday creativity.

<< Left: Above: – Prepared Piano for Movers (Haussmann), 2012 – Citizens Band, 2012 Video, colour, sound, 5’32’’ High Definition video installation, colour, View of the exhibition Rendez-vous 13 sound, 21’25’’ Courtesy of the artist and Anna Schwartz Courtesy of the artist and Anna Schwartz Gallery, Sydney/AU Gallery, Sydney/AU © Blaise Adilon © Angelica Mesiti

81 rendez - vous S ingapore Paribartana mohanty

– Born in 1982 in Bhubaneswar/in For Rendez-vous, the artist presents: – Lives and works in New Delhi/in – History of Terrorism Verses Architecture, 2013

www.vimeo.com/paribartanamohanty www.walacollective.wordpress.com

>> Above: Right: – History of Terrorism Verses Architecture (detail), – History of Terrorism Verses Architecture (detail), 2013 2013 Double video projection, colour, sound, 21’, Double video projection, colour, sound, 21’, golden frame golden frame Courtesy of the artist, New Delhi/IN Courtesy of the artist, New Delhi/IN © Paribartana Mohanty © Olivia Kwok

82 Education Group Exhibitions (selection)

2006 2015 2012 – Master's degree in History of Art, – The Undivided Mind|Art & Science – Sarai Reader: 9 EXHIBITION, National Museum Institute, Residency, KHOJ International Artist Devi Art Foundation, New Delhi/in New Delhi/in Association, New Delhi/IN – Video Wednesday II, P aribartana m ohanty 2004 – Forever Now, Aphids Epic Gallery Espace, New Delhi/in – Bachelor's degree in Fine Arts, Contemporary Art Project Ofo, – In Other Words, (Printmaking), Dhauli College of Art Hobart/AU Sarai-CSDS, New Delhi/in & Craft, Bhubaneswar/in 2014 2011 – Tokyo Story 2014, Part 2, Tokyo Wonder – Regards Croisés: A Selection of Asian Site, Tokyo/JP Contemporary Art, Art Plural Gallery, solo Exhibition – Field Trip Project, Tokyo/JP Singapore/sg – INSERT 2014, Common Ground, – To be continued… , The FICA Group 2012 IGNCA, New Delhi/IN Show, Volte Gallery, Mumbai/in – Kino Is the Name of a Forest, 2013 – Outset Inaugural Exhibition, FICA Emerging Artists Award, – Rendez-vous 13, Institut d’art contem- New Delhi/in Vadehra Art Gallery, New Delhi/in porain, Villeurbanne/Rhône-Alpes, 2010 Villeurbanne/FR – City as Studio: EXB 10.01, – Ideas of the Sublime, Rabindra Bhavan, presented as part of Ten Years New Delhi/in of Sarai, Sarai, CSDS, New Delhi/in – Renewed Intensity, BK College of Art, Bhubaneswar/in

83 rendez - vous S ingapore

>> Top & above: Right: – History of Terrorism Verses Architecture – History of Terrorism Verses Architecture, 2013 (video stills), 2013 Double video projection, colour, sound, 21’, Double video projection, colour, sound, 21’, golden frame golden frame View of the exhibition Rendez-vous 13 Courtesy of the artist, New Delhi/IN Courtesy of the artist, New Delhi/IN © Paribartana Mohanty © Blaise Adilon

84 A brisk walk rehearsal. In the 1980s Penguin chose it Movement, location erased, distance as a book cover. It seems that being mapped. skeptical is not enough; the word “exploit” is more thoughtful than A naked boy, with purple snake, the word “explore”. Can a painting a decoy, living and artificial. still be considered xenophobic? It’s the lure of the visual, harbinger If it can, is it still worth discussing? paribartana m ohanty of a bad omen. Now, the lure is equipped to catch the fish. It is a trap. The beast was interpreting the site to the traveller who stopped by. The new “exhibitionist” is showing but also seeing. Their argument did not bring any Again the traveller laughed. dialogue for negotiation to the table. He was very disappointed with The beast was churning time. the previous interpretations of colour. Churning to digest. He was fearful of the many misread- Blue! Because of the colour of the sets, ings/translations of the text. the first step towards visual anonymity, He knew the curse. The coming time the blurring of faces and asses in the will be more complex. The tourist name of privacy and security. At this misread the corrosion on the surface point the conversation had become affected by the climatic changes. an argument. This is an interesting moment. The journey, so far, has been from Dedicated to the lure of the visual. a perfect, meaningful and authentic image to a shaky, obscure, complex This conversation, an allegory, did not one that does not return nor guarantee reach at any point but left a footnote to represent the “mindset”. that reads, “who can say it right and read it right or else translate it…”

Paribartana Mohanty

85 rendez - vous S ingapore nicolas momein

– Born in 1980 in Saint-Étienne/fr For Rendez-vous, the artist presents: – Lives and works in Saint-Étienne/FR – Édicules lainés [Wooled Aedicules], 2013

www.nicolasmomein.com Production rendez-vous

Above, opposite & right: – Édicules lainés [Wooled Aedicules], 2015 Wood, metal, plastic, polyurethane, vermiculite, variable dimensions View of the exhibition Rendez-vous Singapore, 2015 Courtesy of the artist, Saint-Étienne/FR and White Project, Paris/FR © Nicolas Momein

86 Education group Exhibitions (selection)

2012 2014 – Master of Fine Arts, Haute École d'Art – Les Mythologies Quotidiennes, – Local Line 13, Musée d'Art Moderne nicolas m o ein et de Design, Geneva/ch Église de Courmelois, Val-de-Vesle/FR de Saint-Étienne Métropole, 2011 – CLARENCE, le lion qui louchait, Saint-Étienne/fr – DNSEP, École Supérieure Les Capucins, Centre d’art contempo- – Speculoos Nebuloos, Académie royale d'Art et de Design, Saint-Étienne/fr rain, Embrun/FR des beaux-arts–École supérieure – Le Geste des matériaux, Centre d’Art des arts, Brussels/be Bastille, Grenoble/FR – Vous aussi vous avez l'air conditionné, Solo exhibitions – Pop-up, Résidence Astérides Galerie du 5e, as part of Marseille expos, and Le Cartel, Friche la Belle de Mai, Marseille/fr 2015 Marseille/FR 2012 – NICOLAS MOMEIN, Galerie Bernard – Adieu tristesse, désir, ennui, appétit, – 57th Salon de Montrouge, Ceysson, Geneva/CH plaisir, La Galerie, Centre d’art Montrouge/fr – Les Églises, Centre d’art contemporain, contemporain, Noisy-Le-Sec/FR –­ Étrange été, Galerie White Project, Chelles/FR – Bourses de la Ville de Genève, Centre Paris/fr – Palais de l’Athénée, Geneva/CH d’Art Contemporain, Geneva/CH –­ In Absent Places We Dwell, 2014 2013 Espace Piano Nobile, Geneva/ch – Walk Like an Egyptian, ex situ, – Rendez-vous 13, Institut d’art contem- –­ La Tradition du dégoût, Galerie Château-musée de Tournon-sur- porain, Villeurbanne/Rhône-Alpes, Christophe Gaillard, Paris/fr Rhône, Institut d’art contemporain, Villeurbanne/FR – Musée de l'Art Extraterrestre, Villeurbanne/Rhône-Alpes, – L’Atelier des testeurs, Chalet Society, LiveInYourHead, Geneva/ch Villeurbanne/FR Paris/FR – ZE#5, Hors Les Murs, – Transmission(s), hors les murs, – Exhibition of the laureates Résidence Astérides, Marseille/fr Triangle France, Paris/FR of the Exposition de Noël 2011, 2011 – Débords, Zoo Galerie, Nantes/FR le Magasin, Centre National d'Art – Exposition de Noël, organised 2013 Contemporain, Grenoble/fr by le Magasin at the Ancien Musée – Sacré Géranium, Galerie White Project, – “Andrew?”, La Galerie, Centre d'art de Peinture, Grenoble/fr Paris/FR contemporain, Noisy-le-Sec/fr – Flaubert's Castle, – Quelques objets secs, Espace Kugler, HISK open studio, Ghent/be Geneva/ch – Le Slurm, LiveInYourHead, Geneva/ch – Cul-de-sac, square of La Galerie, – Version des faits, as part of Imergencia, Centre d'art contemporain, Institut Français, Lisbonne/pt Noisy-le-Sec/fr – Vue sur la mer, Place des volontaires, 2012 Geneva/ch – Aire de famille, Galerie White Project, Paris/fr

87 rendez - vous S ingapore

>> Top & above: Right, from top to bottom: – Edicules lainés [Wooled Aedicules], 2013 – Incomplete Close Cube Aliboron l'a digéré – IDEA: Untitled, 2011 Wood, metal, rock wool, variable dimensions [Incomplete Close Cube Aliboron has digested it], Performance presented at the HEAD, View of the exhibition Rendez-vous 13 2011-2012 Geneva/CH Courtesy of the artist, Saint-Étienne/FR Salt blocks, variable dimensions Video, colour, sound, 4’58” and White Project, Paris/FR Courtesy of the artist, Saint-Étienne/FR Courtesy of the artist, Saint-Étienne/FR © Blaise Adilon and White Project, Paris/FR and White Project, Paris/FR © Nicolas Momein © Nicolas Momein

88 I use extremely varied materials in my I shift the usual form of these sculptures—a heterogeneous mixture materials and actions and try to set of gestures and knowledge gained up a degree of rivalry between the empirically with the passage of time. functional aspect and the sculptural I focus on different methods, those value of objects, without deciding N icolas Mo m ein of artisans, workers and farmers which is dominant. The knowledge in their techniques and inventions. that I handle traces circuits of desires, I use apprenticeship situations in mixing different languages in which which fundamentals and repetition are intermediate blurred forms take shape. essential conditions for the emergence of my sculptures, to understand Nicolas Momein an action better and sometimes be able to link it to another. These situations have led me to develop an economy of collective work leading to produc- tion based on processes and materials used for tasks that are not usually very visible or considered to be noble.

89 rendez - vous S ingapore Nelly Monnier

– Born in 1988 in Bourg-en-Bresse/fr For Rendez-vous, the artist presents: – Lives and works in Saint-Martin-du-Mont/fr – Tout près de ton Giglio [Close to Your Giglio], 2012 www.nellymonnier.com Production rendez-vous

>> Top: Above: Right: – Tout près de ton Giglio – Tout près de ton Giglio – View of the exhibition Rendez-vous 13 [Close to Your Giglio], 2012 [Close to Your Giglio], 2012 Courtesy of the artist, Oil and acrylic on MDF, 198 × 115 cm Oil and acrylic on MDF, 198 × 115 cm Saint-Martin-du-Mont/FR Courtesy of the artist, Saint-Martin-du-Mont/FR View of the exhibition Rendez-vous Singapore, 2015 © Blaise Adilon © Nelly Monnier Courtesy of the artist, Saint-Martin-du-Mont/FR © Olivia Kwok

90 Education solo exhibitions group Exhibitions (selection)

2012 2013 2015

– DNSEP, École nationale supérieure – Silhouettes, Galleria Moitre, Turin/it – UTOPARK:Eric Tabuchi, Les Capucins, nelly m onnier des beaux-arts de Lyon, Lyon/fr 2012 Centre d’art contemporain, 2009 – Galerie Memory Lane, Ambérieu/fr Embrun/FR – DNAP, École nationale supérieure – Sans Titre ( ) #3, Galerie Un-Spaced, des beaux-arts de Lyon, Lyon/fr Paris/FR 2013 – Rendez-vous 13, Institut d’art contem- porain, Villeurbanne/Rhône-Alpes, Villeurbanne/FR – ArtSite, Castello di Buronzo, Buronzo/IT – Les Enfants du sabbat XIV, le Creux de l'enfer, Centre d'art contemporain, Thiers/fr – Prix Félix Sabatier, Musée Fabre, Montpellier/fr 2012 – Château de Lourmarin, Lourmarin/fr

91 rendez - vous S ingapore

>> Top: Above: Right: – View of the exhibition Rendez-vous 13 – Viky Fashion, 2013 – Sanatorium Belligneux Albarine, 2012 Courtesy of the artist, Image in connection with the draft booklet Watercolour, pencil on paper and gouache Saint-Martin-du-Mont/FR produced for Rendez-vous 13 on paper, 44 × 52 cm © Blaise Adilon Courtesy of the artist, Courtesy of the artist, Saint-Martin-du-Mont/FR Saint-Martin-du-Mont/FR © Nelly Monnier © Nelly Monnier

92 After writing her 5th year art school where rectilinear constructions with Catastrophes are another subject paper on the subject, Nelly Monnier pure, modernist lines stand in the addressed by Nelly Monnier: Sendai still displays her interest in idleness, middle of what is almost nowhere, is a series of small drawings with easily those lazy moments, holidays or rest on the bank of a stretch of ice-cold recognisable motifs as they were N ielly Monnier that are more or less chosen or forced, blue water and at the edge of a dark photographed, filmed and published real or imagined. Thus, one of her forest. And then in another work, widely in the press after the tsunami works, consisting of a series of printed Tallin-Riga II, depicting a vast stretch that hit Japan in March 2011. photographs showing people frolicking of ice or snow where discreet walkers The scenes drawn are incongruous, (Piscine). The young artist is probably can be seen, forming tiny blackish resulting from chaotic chance and are more interested in places, buildings silhouettes that hardly stand out in as spectacular as they are incompre- and architecture related to amusement. the white landscape where, strangely, hensible: a boat aground in the middle She shows swimming pools and their a bright red cubic form in the of a housing estate, a burning building blue, warm water set in a concreted foreground attracts the eye. Here, surrounded by water, aircraft on and closely squared environment. Later, painting, composition and colours the ground badly parked next to cars, Nelly Monnier addresses a fairly close lay stress on the gaps that architecture with the latter in disarray. Set in the subject in painting, depicting moun- sometimes makes in the landscape. centre of a white page, as if floating, tainous landscapes, plains covered These unexpected visual events that the images of the disaster are sketched in brush where greenish and brownish almost reach the level of fantasy also and coloured with crayons with tints are dominant, with haziness well indicate the romantic landscape conscious naivety. expressed by the impressionist touch as a pictorial genre. The artist shows of gouache and watercolour. They are its evanescence and its disappearance Judicaël Lavrador abandoned areas—at least on the with the contemporary period. Excerpt from the catalogue canvases—and form intermediate The seeming tranquillity and academi- Les Enfants du sabbat XIV, 2013, zones, areas at rest with just a hint cism of these landscapes in fact in the series “Mes pas à faire of a few tiny buildings. As in Pirita, indicates an aesthetic upheaval. au Creux de l’Enfer”.

93 rendez - vous S ingapore Sherman Ong

– Born in 1971 in Malacca/MY For Rendez-vous, the artist presents: – Lives and works in Singapore/SG – Exodus—Wanita Yang Berlari, 2003 – When the End of Winter is Almost Spring, 2010 www.shermanong.com – I Want to Remember, 2011

Above & opposite: – Dancing the Love: A Trilogy by Sherman Ong, presented at the ICA Singapore on 31 July 2015 © Sufian Samsiyar

>> Right: – I Want to Remember, 2011 Video, colour, sound, 26’ Courtesy of the artist, Singapore/SG © Sherman Ong

94 Education group Exhibitions (selection)

1995 2015 2012 – Bachelor’s degree in Law, – Open Sea, Musée d'art contemporain – Panorama, Singapore Art Museum, S her m an O ng with honours, National University de Lyon, Lyon/FR Singapore/SG of Singapore, Singapore/SG – Moving Images: Dreams, M+, 2011 Hong Kong/HK – Unseen: Cinema of the 21st Century, – GeoGraphic: Celebrating Maps Queensland Art Gallery | Gallery solo exhibitions and Their Stories, National Library, of Modern Art (QAGOMA), Brisbane/AU Singapore/SG – Cross-Scape, Jeonbuk Museum of Art, 2014 – Prudential Eye Award, ArtScience Jeonju/KR, Kumho Museum of Art, – Spurious Stories from the Land and Museum, Singapore/SG Seoul/KR and GoEun Museum Water, Art Plural Gallery, Singapore/SG 2014 of Photography, Busan/KR (2012) 2010 – Lost in Landscape, MART—Museum – Singapore Survey 2011: Imagine – ICON de Martell Cordon Bleu of Modern and Contemporary Art Malaysia, Valentine Willie Fine Art, Photography Award, Institute of of Trento and Rovereto, Trentino/IT Singapore/SG Contemporary Arts Singapore/SG and – The Disappearance, NTU Centre 2009 Sikkema Jenkins & Co., New York/US for Contemporary Art Singapore, – Fluid Zone, Jakarta Biennale 2009, 2009 Singapore/SG Galeri Nasional Indonesia, Jakarta/ID – Sherman Ong, Contemporary Art – The 5th Daegu Photo Biennale, 2008 Centre of South Australia, Adelaide/AU Korea/KR – Out of Berlin… Pass the Picture, 2008 – The 5th Fukuoka Asian Art Triennale, Goethe-Institut, Kuala Lumpur/MY – Hanoi Monogatari (Hanoi Story), Fukuoka Asian Art Museum, 2007 Zeit Foto Salon, Tokyo/JP Fukuoka/JP – Os Trópicos—Views from the Middle – HanoiHaiku: Month of Photography 2013 of the Globe, Centro Cultural Banco Asia, 2902 Gallery, Singapore/SG – The 7th Asia Pacific Triennial do Brasil, Rio de Janeiro/BR 2007 of Contemporary Art, Queensland and Jim Thompson Art Centre, – Missing You, Fukuoka Asian Art Art Gallery | Gallery of Modern Art Bangkok/TH (2010) Museum, Fukuoka/JP (QAGOMA), Brisbane/AU 2004 2006 – Migrants (In)visibles, Espace Khiasma, – Singapore Season, Institute – HanoiHaiku, Angkor Photography Paris/FR of Contemporary Arts, London/GB Festival, Siem Reap/KH 2002 – 60s Now, Singapore Art Museum, Singapore/SG

95 rendez - vous S ingapore

Top: Above: – When the End of Winter is Almost Spring, 2010 – I Want to Remember, 2011 Video, colour, sound, 20’40’’ Video, colour, sound, 26’ Courtesy of the artist, Singapore/SG Courtesy of the artist, Singapore/SG © Sherman Ong © Sherman Ong

96 southeast Asia The region that we call Southeast Asia and manipulating realities as a way When one slips between fact is diverse, with a historiography that to reflect on the psyche and physicality and fiction, the documentary genre

is complex, layered and multifarious. of humankind. I have always been as a purveyor of truth and conveyor S her m an O ng It offers endless permutations interested in telling stories about of facts loses its potency and degener- and interventions for narratives the human condition—living, ates into a slippery bog of real —constructed, inherited or projected. dying, loving, hoping, forgetting and surreal, visible and metaphorical. The narrative is central to my work. and longing—and the relationship So when hard facts meld into magical I do not differentiate between fiction that we have with the land; how realism, the truth is always stranger or documentary film, because for me we organize and regulate our lives than fiction. all films are subjective. I try to tell and our environment. stories that resonate with the audience, Art-making stories that dwell on both the epic the truth in the image For me, the slippery nature of art characteristics and the mundane The image (whether moving or still) lies at the core of art-making itself. routine of living. is a powerful tool. An image can One can never define the core essence be used to change or control the world. of a great work of art. The greatness Trilogy The term ‘documentary’ always of an escape artist lies in the realiza- The trilogy format offers tension connotes a certain ‘truth’or a represen- tion that he escaped. His method and possibilities for exploration tation of truth based on the supposed of escape is never presented, existing of the issues that we face living factual nature of a documentary only in our mind’s eye. As an artist, in a community, and with loved ones. image—the documentary genre is seen I always try to make this great escape. Drawing on histories and speculations as a messenger of truth based on about the past, the trilogy enables the ‘facts’ presented. And sometimes Sherman Ong me to create different variations around this truth can threaten a clear and a theme/concept, conjuring precise reading of a set of facts.

Above: – Hanoi Haiku, 2005 Series of 15 photographs, pigment ink print on Canson Infinity Rag Photographique, 75 × 150 cm each View of the exhibition Open Sea, presented at macLYON from 17 April to 12 July 2015 Courtesy of the artist, Singapore/SG © Blaise Adilon

97 rendez - vous S ingapore Iz Öztat

– Born in 1981 in Istanbul/tr For Rendez-vous, the artist presents: – Lives and works in Istanbul/tr – Every Name in History Is I and I Is Other, 2010-2013 www.izoztat.com

Above, opposite & right: – Every Name in History Is I and I Is Other series, 2010-2013 Mixed media, variable dimensions View of the exhibition Rendez-vous Singapore, 2015 Courtesy of the artist, Istanbul/TR © Olivia Kwok

98 Education Group Exhibitions (selection) I z Öztat

2009 2015 2012 – PhD in Fine Arts in progress, – Buluşma…Reunion, Sakip Sabanci – Underconstruction, Apartment Project Yildiz Technical University, Müzesi, Istanbul/TR Berlin, Berlin/de Istanbul/TR 2014 2010 2008 – 20XX: Relics, Co-Pilot, Pilot, – Second Exhibition, Arter, Istanbul/tr – Master's degree, Faculty of Arts Istanbul/TR – When Ideas Become Crime, Depo, and Communication Design, – Floating Volumes 4-Layering DiverCity, Istanbul/tr Sabanci University, Istanbul/tr Künstlerhaus FRISE, Hambourg/DE – Public Idea, 5533, Istanbul/tr 2005 – This secret world that exists right – Counting Thoughts, – Bachelor's degree in Visual Arts, there in public, Rampa, Istanbul/TR The Running Horse Gallery, with honours, Oberlin College, OH/us – Trocadero, Nesrin Esirtgen Collection, Beirut/lb Istanbul/TR 2009 2013 – A Matter of Height and Depth, Gender solo exhibitions – Rendez-vous 13, Institut d’art Trouble, Platforms, Art and Cultural contemporain, Villeurbanne/Rhône- Studies Laboratory, Yerevan/am 2014 Alpes, Villeurbanne/FR – Conducted in Depth and Projected – Unrest of Form: Imagining at Length, Heidelberger Kunstverein, the Political Subject/Go Get Them Tiger Heidelberger/DE (Group P), Wiener Festwochen, 2012 Secession, Vienna/at – I Am Not Dealing with Triangle, – Here Together Now, Matadero Madrid, Square and Circle, Maçka Sanat Madrid/es Galerisi, Istanbul/tr 2008 – Read/Oku, PiST Interdisciplinary Project Space, Istanbul/tr 2005 – Love It or Leave It, Fischer Gallery, Oberlin, OH/us 2004 – Nothing Disappears without a Trace, Fischer Gallery, Oberlin, OH/us

99 rendez - vous S ingapore

>> Top & above: Right: – Every Name in History Is I and I Is Other series, – İz Öztat 2010-2013 Portal, 2010 Mixed media, variable dimensions Copper, mp3 player, speakers, felt, View of the exhibition Rendez-vous Singapore, 2015 38 × 171 × 144 cm Courtesy of the artist, Istanbul/TR View of the exhibition Rendez-vous Singapore, 2015 © Olivia Kwok Courtesy of the artist, Istanbul/TR © Olivia Kwok

100 iz Öztat and Zisan Zisan I z Öztat Named after Zişan’s autobiography, The exhibited fragments from Zişan’s Zişan’s (1894-1970) destiny is marked Every Name in History Is I and I Is other archive give a sense of her disillusion- by an ambiguous belonging from conjures a suppressed narrative ment caused by World War I and rising the outset. She was born from an affair of the Ottoman past and the top-down nationalisms that is partially overcome between an upper class Turkish transformations imposed by the by her engagement with dissident woman and an Armenian photogra- Turkish Republic through a collabora- political movements; her intersection pher. She was brought up in her tion. Zişan, who is a recently discov- with the European avant-garde that mother’s family house as if she was ered historical figure, a channeled contributes to her playful critique an adopted orphan. Growing up, spirit and an alter ego, appears with of rationalism and the coming machine she learned the craft of photography, inspirational fragments from her age; her deep engagement with material which allowed her financial archive. In the Posthumous Production processes that manifests as an freedom throughout her life, from Series*, İz Öztat takes on Zişan’s work animistic connection with things. the Armenian photographer without and claims an anarchic lineage Taking on Nietzsche’s revelation knowing that he was her father. that goes back to a queer Ottoman of eternal return, İz Öztat engages in She left Istanbul in 1915, fleeing woman, who is drifted with political a posthumous collaboration with Zişan from the Armenian Genocide, commitments, coincidences and that speculates on other possibilities to embark on a lifelong journey obscure obsessions. of her own existence, historiography through a vast geography and the guts and the times to come. of the 20th century. She didn't identify as an artist and distributed her work anonymously and under pseudonyms during her lifetime. Her recently discovered archive consists of texts, photographs, photomontages, objects and documents.

İz Öztat * The work has been supported by the Center of Contemporary Creation, Matadero Madrid, Madrid/ES

101 rendez - vous S ingapore Ruben Pang

– Born in 1990 in Singapore/SG For Rendez-vous, the artist presents: – Lives and works in Singapore/SG – Flatlander, 2015

>> Above: Right: – Flatlander, 2015 – Views of the exhibition New Energetics: Oil, alkyd and retouching varnish Inverting the Process, 2013 on aluminium composite panel, 192 × 140 cm Chan Hampe Galleries, Singapore/SG View of the exhibition Rendez-vous Singapore, 2015 Courtesy of the artist, Singapore/SG Courtesy of the artist, Singapore/SG and Chan Hampe Galleries, Singapore/SG and Chan Hampe Galleries, Singapore/SG © Muhammad Fareez Bin Ahmad © Olivia Kwok

102 Education group Exhibitions (selection)

2010 2014 2011 R uben P ang – Diploma in Fine Arts, LASALLE – Modern Love, Institute – Sovereign Asian Art Prize Exhibition, College of the Arts, Singapore/SG of Contemporary Arts Singapore, Marina Bay Sands, Singapore/SG Singapore/SG and The Rotunda, Hong Kong​/HK – Bright S’pore(s), Primo Marella Gallery, 2010 solo exhibitions Milan/IT – Take-Aways, Sabanci University, 2012 Istanbul/TR 2015 – The Singapore Show: Future Proof, – Is That a Temple?, Evil Empire, – Ataraxy, Chan Hampe Galleries, Singapore Art Museum at 8Q, Singapore​/SG Singapore/SG Singapore/SG – A Persistent Illusion, Forest Rain 2014 – Deep S.E.A.: Contemporary Art from Gallery, Singapore/SG – Intravenous Picture Show, Primae Southeast Asia, Primo Marella Gallery, – Strobe like a Butterfly, The Substation Noctis Art Gallery, Lugano/CH Milan/IT Theatre, Singapore​/SG 2013 – New Energetics: Inverting the Process, Chan Hampe Galleries, Singapore/SG – Aetheric Portraiture, Primae Noctis Art Gallery, Lugano/CH 2011 – Angels, Chan Hampe Galleries, Singapore/SG

103 rendez - vous S ingapore

>> Above: Right: – Crystallized, 2014 – Hypervigilance, 2014 Oil, alkyd, synthetic polymer paint Oil, alkyd, synthetic polymer paint and retouching varnish on aluminium and retouching varnish on aluminium composite panel, 75 × 60 cm composite panel, 75 × 60 cm Private collection, Singapore/SG Private collection, Singapore/SG Courtesy of the artist, Singapore/SG Courtesy of the artist, Singapore/SG © Ruben Pang © Ruben Pang

104 I project my self-consciousness in a vacuum. Books on art theory painting is a pleasurably visceral and desires to stay relevant into teach me that they were self-absorbed. and mental experience. As I work,

my paintings. I imagine that they are But in order to work, I actively tune thought and process are symbiotic. R uben P ang sentient representations of myself, that out. In this sense, my paintings Painting is laborious and physical, ones that are allowed to be impenitent address what it means to be a ‘self- and this runs counter to my idea and power hungry. What feels natural conscious’ artist. that art strives for effortlessness, to strive towards at this stage in my life The painting’s title refers to the notion transcendence and magic. is to be a painter whose work could of a flatlander, and is based The purest notion of creation be the visual representation of the way on my personal experience of feeling to me is manifestation. It is such Jim Morrison screams ‘break on incapable of understanding ‘the bigger a powerful and mysterious sensation, through to the other side’—a gritty picture’. I first heard the notion being which I try to describe through hacking and slashing of paint towards used in a 101 video about dimensions, images. I think that the harmonious the edge. and how it would be impossible aspects of my paintings—like My current practice is introspective. for a two-dimensional being the seamlessly blended layers I believe that painting is a means to comprehend three-dimensionality. and hallucinogenic colours—reflect to self-cultivation, so I treat it religiously, When I make art, I’m reflecting the spiritual, while the noise, failures to the extent that I don't question on my capacity to create over what and all the fussing about with peeling myself much on the purpose of I’m creating. But at the same time, paint, resin and solvents on metal my work and medium. And at this altar I have so little control. sheets are very grounding. are artists like Francis Bacon If there is something I hope people feel It reminds me of being human. and Frank Auerbach who have worked when they see my paintings it is that Ruben Pang

105 rendez - vous S ingapore part-time suite

– Collective founded in 2009, based in Seoul/kr For Rendez-vous, the artists present: – Samuso Patch—Grand Rapid Archive, 2012 – Miyeon Lee, born in 1978 in Seoul/kr – Jaeyoung Park, born in 1984 in Nonsan/kr Production rendez-vous – Byungjae Lee, born in 1982 in Seoul/kr

www.parttimesuite.org/grandrapidarchive/index.html

Above: – View of the exhibition Rendez-vous Singapore, 2015 Courtesy of the artists, Seoul/KR © Olivia Kwok

106 Education solo exhibitions group Exhibitions (selection) ti m e suite Miyeon Lee 2011 2015 -

2009 – Multi Purpose Base Camp, – After Peace, Arts Council Korea, part – Bachelor’s degree in Visual Arts, Seoul Art Space: Mullae, Seoul/kr Insa Art Space, Seoul/KR Korea National University of Arts, 2010 2013 Seoul/KR – Drop by Then, touring project – Rendez-vous 13, Institut d’art contem- 2002 to the northern region, including porain, Villeurbanne/Rhône-Alpes, – Bachelor’s degree in Mass civilian-restricted areas/kr Villeurbanne/FR Communication & Journalism, – Formed Part-time Suite Sound, 2012 Kyunghee University, Seoul/KR a rock band and Part-time Suite Press, – Play Time, Cultural Station Seoul 284, an independent publisher Seoul/kr jaeyoung Park 2009 – City within the City, Artsonje Center, 2009 – Loop the Loop, Jongno-gu Yeonji-dong Seoul/KR and Gertrude Contemporary, – Bachelor’s degree in Visual Design and Doo-san Gallery, Seoul/kr Melbourne/au and Fine Arts, Seoul National – off-off-stage, Sinmunro, Jongno-gu, – Fiction Walk, National Museum University of Technology, Seoul/KR Seoul/kr of Modern and Contemporary Art, – Under Interior, Seodaemun-gu Seoul/kr byungjae Lee Choongjung-ro, Seoul/kr – SeMA: 12 Events for 12 Rooms, 2009 Seoul Museum of Art, Seoul/kr – Bachelor’s degree in Industrial – What should I do to live in your life?, Design and Fine Arts, Seoul National Sharjah Art Foundation, Sharjah/ae University of Technology, Seoul/KR 2011 – 2011 Hermès Foundation Missulsang, Atelier Hermès, Seoul/kr 2010 – Sentences on the Banks and Other Activities, Darat al Funun, Amman/jo – Perspective Strikes Back, L’appartement 22, Rabat/ma

Above: – Samuso Patch —Grand Rapid Archive (captured website image), 2012 76 pop-ups on the Samuso official website Courtesy of the artists, Seoul/KR © Part-time Suite

107 rendez - vous S ingapore

Top: Above: – Car Video, 2012 – Grand Rapid Archive 2013 Single channel HD video with sound (captured website image), 2013 on two monitors, 9’18” and 10’31” Pop-up on the website of the exhibition (Feat. Adam Gooderham) Rendez-vous 13 Courtesy of the artists, Seoul/KR Courtesy of the artists, Seoul/KR © Part-time Suite © Part-time Suite

108 Part-time Suite is an art collective The Grand Rapid Archive is a web- whose practice revolves around archiving work featuring fragmental ti m e suite converting difficulties and restrictions images and texts selected from an old - into paradoxical possibilities. stockpile of portfolios, exhibition part The artists work as a group to face catalogues, compact discs, documents, the limitations and harshness inherent etc. which has been stored in a small to their reality, while attempting to storage for over 10 years. The archive transform these conditions into artistic ‘teleports’ fragments of old communi- productions that reflect and amplify cations concerning art into today's their circumstances. As a group, they society while bringing them back also consistently question the internal to life in the form of visual excess, dynamics of their own collective, like leaflets annoyingly littered on gaining insight into the power of the web. The Grand Rapid Archive 2013 autonomy and self-organization within is a renewed work and now includes the wider context of what they perceive images from the online collections as social contradictions and inadequa- of the Institut d'art contemporain, cies. Through this process, they Villeurbanne/Rhône-Alpes and the discover new possibilities by seeking Museum of Contemporary Art of Lyon. ways to adapt and subvert existing frameworks in order to casually Part-time Suite overcome these limitations.

Above: – Grand Rapid Archive 2013, 2013 Pop-up on the website: View of the exhibition Rendez-vous 13 Courtesy of the artists, Seoul/KR © Blaise Adilon

109 rendez - vous S ingapore mathilde du sordet

– Born in 1979 in Lyon/fr For Rendez-vous, the artist presents: – Lives and works in Lyon/fr – Le Compact devient circuit [The Compact Becomes Circuit], 2013 www.mathilde.dusordet.com – Rotation rassemblée [Gathered Rotation], 2013 – Pulsations en ronde [Rounded Pulsations], 2013 – Par aulnes et par lieues [By Alders and Leagues], 2013

Production rendez-vous

Above: – View of the exhibition Rendez-vous Singapore, 2015 Courtesy of the artist, Lyon/FR © Olivia Kwok

Opposite: – Par aulnes et par lieues [By Alders and Leagues], 2013 Cardboards with paint, plexiglas, golden metal frames, 225 × 287 × 18 cm Courtesy of the artist, Lyon/FR © Olivia Kwok

Right: – View of the exhibition Rendez-vous Singapore, 2015 Courtesy of the artist, Lyon/FR © Olivia Kwok

110 Education Group Exhibitions (selection)

2007 2015 2012 – DNSEP, with honours, École – Brekekex, Le Treize, Paris/FR – Les Divisions du volume, nationale supérieure des beaux-arts 2014 La Permanence, Clermont-Ferrand/fr m athilde du sordet de Lyon, Lyon/fr – Un battement se déplace en spirale, 2010 2005 Galerie Nicolas Silin, Paris/FR – Sommerrundgang, Kunstakademie – Internship at the Académie Libanaise – Une tentative de simplicité, Petit Bassin, Düsseldorf, Düsseldorf/de des Beaux-Arts, Beirut/lb Friche Lamartine, Lyon/FR – Group Show, Galerie Benoît 2004 – Tout, est ce que nous avons toujours Lecarpentier, Paris/fr – DNAP, École nationale supérieure voulu, Khiasma, Les Lilas/FR – Au fil de l’œuvre, La Galerie, Centre des beaux-arts de Lyon, Lyon/fr 2013 d'art contemporain, Noisy-le-Sec/fr 2000 – Rendez-vous 13, Institut d’art – Aires, La BF15, Lyon/fr – Bachelor's degree in History of Art, contemporain, Villeurbanne/Rhône- 2009 Université Lumière Lyon 2, Lyon/fr Alpes, Villeurbanne/FR – 54e Salon de Montrouge, Montrouge/fr 2008 – Panorama de la Jeune Création, solo exhibitions 4e Biennale de Bourges, Bourges/fr

2012 – Si on relie les points, un cercle, Bikini, Lyon/fr 2009 – Archi troyenne, The Institute of Social Hypocrisy, Paris/fr – Un ensemble, Module, Palais de Tokyo, Paris/fr

111 rendez - vous S ingapore

Above: – Pan, 2010 Free-standing clothes rail, offcut of leather, wooden board, aluminium basket, wooden wedge, partly burned driftwood, galvanised steel threaded rod and aluminium tube with barcodes, paper, 206 × 274 × 60 cm Courtesy of the artist, Lyon/FR © Jesus Alberto Benitez

Opposite: – Aréarène (detail), 2012 Tripod, steel sheet, brass, paper, powdered marble, plasterboard and polystyrene, slide frames, plaster, resin tool, metal and plaster, bound notebook, metal table base, 124 × 300 × 130 cm Courtesy of the artist, Lyon/FR © Jesus Alberto Benitez

>> Right: – Machination, 2009 Varnished sheet of plywood (height identical to that of the existing display wall), shelf support frames, pallet, zinc sheet, threaded steel rod, marble radiator cover plate, billiard cue, glasses, pebble, steel files, paper photo mount, lamé thread, aluminium tube, sheet of gelatine, 208 × 205 × 176 cm Courtesy of the artist, Lyon/FR © Frédéric de Gasquet

112 a profession of ignorance Mathilde du Sordet uses materials an “antenna” in the artist's style, that are simple and sober but not the electric juxtaposition of inert “Writing is a profession of ignorance” neutral. They bring to mind writing materials. It might seem to be Claude Royet-Journoud, and drawing, forms of art that are an improvisation, or a provisional The Whole Poetry Is Preposition, 2007 close to what she does, to her way configuration but it isn't. of making sculpture, by sketching The sculpture is first made in the Mathilde du S ordet out the proportions with objects and artist's studio and then reproduced combining them to create a language. as such in the exhibition space, This consists first of a blind layout with each component in its place. and then examination from a distance, Mathilde du Sordet's sculptures a look at the ensemble. An entity are constructed by these few gestures emerges from the various components, set between doubt and the obvious. a “whole” whose constituents They are not based on know-how are in contact with each other: but on ignorance: in spite of the here, the work is almost flat and set definitions and in spite of numerous out on the floor like a solar panel, examples, we do not know what a work of art is.

Hugo Pernet

113 rendez EDUCATION - vous S ingapore camille GARNIER 2012 – DNSEP, with honours, École nationale supérieure des beaux-arts de Lyon/FR 2010 – DNAT, with honours, – Born in 1985 in Paris/fr École nationale supérieure – Lives and works in Lyon/fr des beaux-arts de Lyon/FR

– Les Enfants Terribles, 2015 © Camille Garnier

– Benoit Challand, 2014 © Camille Garnier

– Aurélie Pétrel, Partition: Guerre de Crimée 1853-2014, in Initiales 4, Monte Verità, École nationale supérieure des beaux-arts de Lyon, 2014 © Camille Garnier

– On se tromperait de croire que les bois n'ont pas des yeux., 2014 © Camille Garnier

>> Right: – Opening of Rendez-vous Singapore at ICA Singapore, 19 June 2015 © All rights reserved 114 opening

115 singapore – And thelenderswhoprefered Paris/FR WhiteProject, – Courtesy Singapore Biennale, – Courtesy Sandra Nakicen, Lyon/FR – Courtesy Richard– Courtesy Telles Fine Art, Kiev/UA PinchukArtCentre, – Courtesy Alegre/BR Co., Porto IlhaArt – Courtesy Hadrien Bels,– Courtesy Marseille/FR Gallery, Goodman – Courtesy Binôme, Paris/FR Galerie – Courtesy Singapore/SG Perfect, Future – Courtesy Athletico, Paris/FR Cortex – Courtesy ChanHampeGalleries, – Courtesy Beijing Beijing/CN Commune, – Courtesy Gallery, Schwartz Anna – Courtesy – Camille Garnier g – Ali Subotnick,Angeles/US Los – Natalia Zabolotna – Fulya Erdemci, Istanbul/TR – Tan BoonHui, Singapore/SG – Riason Naidoo, Dakar/SN – Sunjung Kim, Gwangju/KR – Bose Krishnamachari, – Li Xu,Shanghai/CN – André Severo, SãoPaulo/BR – Juliana Engberg, Sydney/AU i for theNational School ofFine Arts – Emmanuel Director Tibloux, ofContemporary for theInstitute – Bala Starr, Director for theBiennial ofLyon Director Raspail, Artistic – Thierry Arts ofContemporary for theInstitute – Melanie Curator Pocock, Assistant Art, ofContemporary for theInstitute – Nathalie Ergino, Director Art for ofContemporary theMuseum –Isabelle Curator Bertolotti, ispublished Thiscatalogue to remain anonymous Singapore/SG Angeles, CA/US Los Johannesbourg Town/ZA &Cape Singapore/SG Sydney/AU & Oleksandr Soloviov, Kiev/UA Kochi-Muziris/IN of Lyon Singapore Arts Singapore Villeurbanne/Rhône-Alpes of Lyon from 20June 2015. to2August Singapore, Arts of Contemporary Rendez-vous attheInstitute on theoccasionofexhibition T artistic directors artistic n collaboration with n collaboration han raphic designer raphic k s to the lenders the s to – Élise Chaney, Communication, – Emmanuel Director Tibloux, f – Joseph Spinelli, Technical Supervisor – Corinne Guerci, Publishing – Carine Faucher-Barbier, – Magalie Meunier, Curator Assistant – Nathalie Ergino, Director f – Élise Vion-Delphin, Communication – Muriel Jaby, HeadofthePressOffice – Lauriane Vatin, Registrar – Olivia Laneuville, andMarilou Gaultier – Isabelle Head Bertolotti, – François ‑Régis Charrié, Raspail, Director– Thierry – Barbara Loison, – Geneviève Paire, – Nathalie Wagner, Administrator Director Raspail, Artistic – Thierry – Sylvie Director General Burgat, f TheRégion Rhône-Alpes a andtheauthorsoftexts. Theartists s of of L Ecorcheville Marguerite assisted by Relations,External Post-graduate Turpin-Hutter,and Anne Interns Romainassisted by Weber Amélie Intern assisted by Roux, Assistant and Documentation Langlet Laura assisted by Assistant Communication Couradin Leïla assisted by Assistant Curators Assistant of theExhibitionsDepartment Secretary-general Head ofCommunication andPublic RelationsPartnerships Head ofCommunication, been held. which theexhibitioncould have not Françaiswithout and theInstitut M THE FOR V or the N the or CONTE OF INSTITUTE the or B the or pecial than pecial nd especially nd illeurbanne/ LYON yon iennial of L of iennial ational S ational USEU With the support of With the support k s to R CONTE M OF hône chool of F of chool - yon A lpes M M ART PORARY ART PORARY ine A ine rts rts ,

Coordinator – Flora VisualArts Boillot, – Nicolas Coordinator Ruyssen, General – Bénédicte HeadofSeasons Alliot, – Antonin Baudry, ExecutiveChairman i – Isabelle Cultural Arnaud-Descours, – Isabelle Chardonnier, Director – Farida Boudaoud, Vice-President – Jean-Jack President Queyranne, r – Christine HanandArivan – Redzuan Zemmy, Technician – Sufian Samsiyar, Technician – M Fairullah Darma, (Fyerool) – Melanie Curator Pocock, Assistant – Ramesh Narayanan, – Bala Starr, Director f – Aurélie Pétrel, Treasurer – Sylvie Secretary Barré, – Nicolas President Garait, a Director – Xavier Deputy Fourneyron, – Georges Képénékian, – Gérard Collomb, MayorofLyon c

Divisions of Seasons Divisions of Seasons Divisions Department Department of theCultural against Discriminations Delegate for andtheFight Culture of theRhône-Alpes Regional Council, former minister of theRhône-Alpes Regional Council, Shanmugaratnam, Interns Curatorial andResearch Assistant Manager(Operations) Assistant Affairs of Cultural and Citizens'Rights Delegate for Heritage Culture, Council, Member oftheCity submission: December 2015 Legal 42540 Saint-Just-la-Pendue, France deSainte-Colombe 744, rue IMPRIMERIECHIRATPrinted by Published in December 2015 ISBN: 978-2-9530320-1-7 contemporaine. Rendez-vous, la jeunecréation Singapore andtheAssociation Arts ofContemporary of Lyon,theInstitute the National School ofFine Arts Villeurbanne/Rhône-Alpes, Art, ofContemporary the Institute ofLyon, Art of Contemporary the Biennial ofLyon,theMuseum authors, photographers, theartists, by reserved rights All S la jeunela création conte nstitut F nstitut or the I the or ingapore ity of L of ity ssociation R égion R yon hône- nstitute of C of nstitute rançais endez A lpes - vous, vous, onte m poraine m porary A porary rts rts

colophon

international young artists