Alice Anderson Sacred Gestures in Data Worlds

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Alice Anderson Sacred Gestures in Data Worlds ALICE ANDERSON SACRED GESTURES IN DATA WORLDS 09.01.20 > 07.03.20 Exposition présentée par / Exhibition presented by La Patinoire Royale | Galerie Valérie Bach, Bruxelles SOMMAIRE 6 SACRED GESTURES IN DATA WORLDS 58 par Marie Maertens 58 8 ENGLISH VERSION 58 10 VIRTUAL PRESENCES 58 5824 FREE COMPOSITIONS 55 55 36 THE RITUAL OF THE SHAPES PERFORMANCE 58 55 44 GRAPHS 58 55 51 RÉSUMÉ 58 52 ENGLISH VERSION 58 55 LOST GESTURES, 2019 Dessins performatifs, Drawing Room London, Angleterre SACRED GESTURES IN DATA WORLDS par Marie Maertens Marie Maertens est journaliste, critique d’art et commissaire d’exposition indépendante, basée à Paris et résidant souvent à New York. Elle construit de nombreux dialogues entre les scènes américaines et françaises et s’était déjà intéressée à l’évolution des genres et du féminisme pour l’exposition Le Quatrième sexe, qui avait eu lieu à l’espace Le Coeur, à Paris, en 2017. Pour sa deuxième exposition à La Patinoire Royale, Alice Anderson propose un nouveau corpus de peintures constituées d’un mélange de cuivre (Empirical Sounds et Free Compositions), qui réinterroge le médium tout en se jouant de certaines contradictions. Le premier antagonisme étant que la peinture est un support qui tend à l’idée de la contemplation et du silence, quand pour Alice Anderson il évoque, de manière sous-jacente, le bruit, le dynamisme et les vibrations. Dans sa pratique, qui est totalement liée à la performance, l’artiste peut soit dessiner, tandis que ses danseurs se mettent en mouvement en suivant le rythme qu’elle produit, soit se laisser happer par un ensemble de sons. Ils sont initiés par l’ordinateur, le téléphone, diverses machines ou dérangements de la rue et scandent dans sa tête une rythmique qu’elle va transmuer et dont elle va se nourrir pour sa gestualité. A travailler l’ensemble de ces fils de cuivre, la plasticienne a déjà évoqué les liens avec les circuits du cerveau, la connectivité ou l’intelligence artificielle. Pour autant, se développe ces dernières années un champs de recherche témoignant d’affinités qui tendraient davantage vers le chamanisme ou des forces difficilement identifiables. La répétition, le recommencement incessant du geste, est l’une des données du travail d’Alice Anderson, que l’on pourrait rapprocher des recherches de Boris Charmatz, dans cette volonté d’une ritournelle qui conduit à l’épuisement du corps, à qui l’on ne demande pourtant pas de grandiloquences, mais de simples mouvements. Elle a creusé dernièrement cette source, en allant souvent en Colombie ou dans les massifs de la Sierra Nevada et en observant la ritualité des gestes, tentant d’en extraire « l’essence la plus brute possible ». 6 En parallèle, pour ses propres performances, elle a emmené son cerveau et son enveloppe générale dans un dépassement du seul intellect, afin de se laisser immerger d’ondes bleues ou blanches, allant jusqu’aux rouges, que l’on observe concrètement dans ses nouvelles toiles. Alice Anderson analyse son travail en y impliquant une notion du sacré, tout en mentionnant toujours le cognitif et le numérique. Mais dans ce rôle amplifié du corps de l’artiste, cette mise au même niveau de la performance et de la gestualité picturale ou cette importance accordée au matériau et une sorte de liberté par ailleurs très contenue, Alice Anderson rappelle également les préceptes du mouvement japonais Gutai. Elle arrive à manifester, dans ses toiles, d’avancées, de reculs ou de rythmes vibratoires qui sont d’autant plus reflétés par la brillance de son matériau. Développant, par ailleurs, une confiance par rapport à son support, elle assume et laisse poindre sa gestualité plus fortement qu’auparavant. Si les œuvres sont constituées de souvenirs de performances ou de transferts de vitalité, presqu’à la manière de pochoirs, s’y apparentent désormais des traces ou des griffures. On y perçoit plus directement le passage du temps, de celui né à l’Atelier Calder, pour se développer dans l’espace de l’exposition. Là encore, on sent que le corps de la plasticienne va sautiller, s’élancer, se retenir, regarder d’un côté ou de l’autre. Sensible au frémissement des couleurs, elle invite de grands fonds noirs ou vert-bouteille qui transforment le ressenti visuel de son fils de cuivre, matériau transmetteur par excellence. Le cuivre évoque l’or d’ailleurs, une substance dont s’était recouvert - plus précisément de miel et de feuilles d’or - Joseph Beuys pour sa performance : Comment expliquer la peinture à un lièvre mort (1965), dans laquelle l’idée de transmission est accentuée par le caractère alchimique du matériau. Yves Klein a également employé l’or dans ses œuvres, toujours dans cette idée d’échange, de transmutation, comme de promesse d’éternité ou de pied-de-nez au marché de l’art en conviant l’immatérialité, notamment pour sa performance Zone de sensibilité picturale immatérielle (1962). Les œuvres d’Alice Anderson sont aussi dans cette mouvance, même si elles se révèlent bien tangibles, voire de plus en plus matiéristes, témoignant de l’évolution de son travail et laissant peut-être augurer de la suite. Dans son lâcher-prise, elle aime laisser poindre une forme de hasard et rappelle, qu’après avoir débuté dans l’art en peignant, elle s’était mise à réaliser des vidéos. Mais, de manière évidente, il lui fallut revenir à la peinture ou à la sculpture, qui l’amena à la performance, « pour réintégrer des questions du corps, de la femme ou du sensible. » Alors, elle a commencé à élaborer sa méthode bien à elle, et parfois dichotomique, de la peinture qui transmet du son, de façon à la fois abstraite et énergétique. 7 SACRED GESTURES IN DATA WORLDS by Marie Maertens Marie Maertens is a journalist, art critic, and free-lance curator, based in Paris and frequent resident of New York. She has opened up numerous dialogues between the Americanand French scenes and has already addressed the evolution of gender and feminism for the exhibition “Le Quatrième Sexe” at Le Coeur gallery, Paris in 2017. For her second exhibition at La Patinoire Royale, Alice Anderson is showing a new series of paintings made of copper paint (Empirical Sounds and Free Compositions), re-examining this medium and playing with its antagonism. One such example of contradiction is that painting is a medium tending towards the idea of contemplation and silence, whereas for Alice Anderson it implicitly suggests noise, energy and vibration. In her artistic practice, which is fully connected with the act of performance, the artist might be drawing, while dancers are in motion following the rhythm that she creates, or she could be caught up in an orchestra of sound. This is generated by computers, telephones, various machines or sounds from the street, creating rhythms inside her head that she transforms into gesture. Through her work with copper wire, the artist has already evoked links between circuits in the brain, connectivity and artificial intelligence. Yet in the last few years, her work has evolved to show affinity with shamanism or non-identified forces. Repetition, the constant cycle of gestural renewal, is an important element in Alice Anderson’s work that can be compared with the approach of the dancer and choreographer Boris Charmatz, with this desire for a repeat refrain that exhausts the body, of which nothing more demanding than simple movements is expected. Recently, she has been delving deeper into this idea on her frequent trips to the Sierra Nevada peaks in Colombia, where in observing the rituals of gesture, she has experienced “the raw essence”. Simultaneously, in her own performance, she has taken mind and body to go beyond intellect alone, immersing herself in blue and white waves, up to reds, seen in her new canvases. In her oeuvre Alice Anderson implies the idea of the sacred, whilst still referring 8 to the cognitive and digital. But in this heightened role of the artist’s body, in placing performance and pictorial gesture on the same level, in a restrained freedom, Alice Anderson recalls the precepts of the Japanese Gutai movement. In her work she expresses forward and backward movement and vibratory rhythms, which are further reflected in the brightness of the material. As she increases her confidence with regard to the material, she undertakes her gestural acts, giving them ever-greater prominence. Her artwork records the performance or the transfer of energy, and now scratch marks and stencil-like markings have become an integral part of it. There is a more direct feeling of the passage of time, from that of the Atelier Calder, to now evolving in this exhibition space. We sense the body of the artist ready to jump, reach out, or draw back, looking from one side to the other. With a sensitive awareness of color, large, black or bottle green backgrounds transform the visual impact of the wire — made of copper, material “par excellence” for enabling transmission and connectivity. Copper also suggests gold, a material used by Joseph Beuys — honey and gold leaf to be exact — in his performance How to Explain Pictures to a Dead Hare (1965), in which the idea of transmission is accentuated by this material’s role in alchemy. Yves Klein too used gold in his works, also with this idea of exchange, transmutation, like the promise of eternity or else thumbing his nose at the art market in conveying immateriality, notably in his performance Zone of Immaterial Pictorial Sensibility (Zone de Sensibilité Picturale Immatérielle) (1962). The works of Alice Anderson form part of the same movement, even though they are tangible, becoming more and more about matter, which shows the evolution in her work and perhaps suggests what she will go next.
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