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MAKING CONTACT an Exhibition in 10 Emails with the Artworks Of: Marion Balac, Caroline Delieutraz, Arnaud Dezoteux, Paul Heintz, (LA)HORDE, Reija Meriläinen

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MAKING CONTACT an Exhibition in 10 Emails with the Artworks Of: Marion Balac, Caroline Delieutraz, Arnaud Dezoteux, Paul Heintz, (LA)HORDE, Reija Meriläinen MAKING CONTACT An exhibition in 10 emails with the artworks of: Marion Balac, Caroline Delieutraz, Arnaud Dezoteux, Paul Heintz, (LA)HORDE, Reija Meriläinen Making Contact is an online exhibition that focuses on artworks that have arisen from the colla- boration between an artist and a cultural producer - amateur or professional - who can be identi- fied within their field. The six artworks selected for this exhibition are the result of a negotiation between artists and cultural producers who have very differing practices.Arnaud Dezoteux worked with a Keanu Ree- ves’ fan, (LA)HORDE with a small community of jumpstylers, Reija Meriläinen with a couple of Youtubers who destroy objects using a hydraulic press, Caroline Delieutraz with an ASMR specia- list, Paul Heintz with a Chinese copyist painter and Marion Balac with ghostwriters 2.0. The history of art is punctuated by artworks that have been produced in collaboration, with pro- fessionals of the art world and/or with outsiders, be they individuals or communities. More re- cently artworks have been made out of the gathering and utilization of content produced by other people on the Internet. Making Contact aims to show collaborations that draw away from those manners in the produc- tion of making an artwork. Initiating a collaboration, the artist sets out a flexible framework in which the artwork that appears can be seen as the result of a negotiation. Deciding to work with someone because of their creative competences, the artist chooses to take the chance of adding something to their own practice, the possibility of the unknown, unknown in both meaning of alterity and of unpredictability. It intends not to reproduce, nor to order, but to co-create; in other words to accept a leeway, the possibility for an error to occur, the willingness for a roll of the dice, that can change the direction that was supposed to be the intended one. 1 For each of the artworks presented in the exhibition we were interested in the various moments that built up the relationship between the collaborators: the first mail, making contact, in which the artist gets to introduce themself, their practice and their first intention, then the negotiation that leads to the production of the artwork, finally its reception within the respective universe of the collaborator. These three steps are constitutive and the final artwork proves it. These negotiated artworks are an invitation to consider, from another perspective, the porosity, proximity and distance between fields that steadily reshape their boundaries. Making Contact is an exploration of those territories. The aims of this exhibition are not to qualify or define, but to show realities that extend beyond current modes of art practice. Warning: Some artworks will only be accessible online during the show Image credit: (LA)HORDE Making Contact is curated by Caroline Delieutraz and Stephanie Vidal, written for the first edi- tion of Slowly10, a project facilitated by KoProjects. Caroline Delieutraz is interested in the circulation of images, their capture and their collection within a screen world. Stephanie Vidal is interested in the intersection of art, technology, and in- formation. She writes, teaches and conceives exhibitions about these topics. They were both born in the 80’s and live and work in Paris, France. Table of contents Arnaud Dezoteux p. 3 Paul Heintz p. 17 (LA)HORDE p. 5 Marion Balac p. 20 Reija Meriläinen p. 8 Conclusion p. 23 Caroline Delieutraz p. 11 Links p. 26 Transition p. 14 2 MAKING CONTACT #2 ARNAUD DEZOTEUX DARK META REEVES 2016, video HD, 29 min https://vimeo.com/153400983 PASSWORD VIMEO : brise Arnaud Dezoteux is interested in mainstream cultures and in the American movies that shape them. From the bright hills to the movie theaters, Hollywood productions create ecosystems, fan- tasies and even cults around characters or actors. The personality and the career of Keanu Reeves gave him a certain aura : both reserved and mythical, the actor who played memorable and mys- tic parts, now reigns, without intending to, over a powerful fandom. The star is a source of inspiration as a role model, a subject of worship but also as a theoretical ob- ject. Indeed, in 2016, French artist Arnaud Dezoteux chose Keanu Reeves as the main theme of his exhibition at Galerie Édouard Manet of the Municipal School of Fine Arts in Gennevilliers (France). The exhibition was titled "Brise fraîche au dessus des montagnes", in English "cool breeze over the mountains" which is the meaning of the name Keanu in the Hawaiian language. The movie Dark Meta Reeves was its main piece. In Dark Meta Reeves, the main actor is Gavin, an American fan specialist of Keanu Reeves, who gets implanted with his idol within movies excerpts. Arnaud Dezoteux had to convince him to take part in this adventure, that made him the main actor and the co-creator of the film. Indeed, Gavin had to choose the excerpts he wanted to play in and extemporize all of his lines. 3 Arnaud Dezoteux : "I didn’t expect that Gavin would choose the scene of 'The Day the Earth Stood Still' with the interrogation. It’s very powerful on a symbolic level. At the beginning he was asking very specific questions; I invited him to open up a little bit more but he was reluctant to do so. He was afraid that the spectator would not understand the difference between what was real and what was fictional. For him it didn’t seem an option to blur the lines; whilst, as an artist I move on more fragile ground and as a director I try to transform situations into occasions." Even if, thanks to the green screen, the fan and the star end up at the same level, Gavin’s ques- tions to Keanu Reeves remain unanswered. In a paradoxical way, the positions are reaffirmed. The fan is the one whose actions, in line with the actions of the star, extend them in order to create a proximity. The star is the one who, even omnipresent, always evades and remains inaccessible. The only real dialogue happened in between the artist and the fan. According to Arnaud Dezoteux, artists and fans share a lot: they would both be obsessionals, creative and part of an interpretative community with strict codes. Arnaud Dezoteux lives and works in Paris, France. https://vimeo.com/arnauddezoteux 4 MAKING CONTACT #3 (LA)HORDE NOVACIÉRIES 2015, film, 16 min 43 s https://vimeo.com/130755101 PASSWORD VIMEO: (LA)HORDE (LA)HORDE is a collective composed of Marine Brutti, Jonathan Debrouwer and Arthur Harel. For- med in 2013, they are interested in videos of vernacular dance and in the community that pro- duces them. While they were doing online research, (LA)HORDE discovered a video on YouTube that made an impression in their minds: a Kid's Rave in Zandaam, Netherlands. Guided by the algorithm from one video to another, they ended up discovering Jumpstyle, a dance intended to be recorded that appeared at the end of the nineties in Belgium. Through the Internet, Jumpstyle has, since then, spread to other countries while developing stylistic variations. Jumpstyle also mutates according to technological innovations. For the first videos, side-on dance movements were recorded with webcams in teenagers' rooms. Nowadays, the tools for video recording have better image quality and are mobile. Smartphones and reflex cameras have changed videos backgrounds allowing the dance to be replaced within a more urban and social context. In 2014, (LA)HORDE was invited by the École de Danse Contemporaine de Montréal to work with fifteen of their students. They built with them a spectacle about Jumpstyle and other Hard- dances, and in order to do so, they asked them to watch online tutorials, the same way anybody who wants to get to learn this dance would do. 5 (LA)HORDE: "When we got back to France we felt a real necessity to meet the community. We had transformed an exercise, a desire, into a potential spectacle and we had the impression that some good questions hadn't been asked yet. We didn't want to attribute for ourselves the culture of a community that we didn't belong to. We wanted to start a real collaboration by meeting its authors. When Benjamin Loyauté invited us, in 2015, to suggest an artwork for Saint-Etienne' In- ternational Biennale of Design we immediately thought of the jumpers de l'Ain (French crew). It was first obvious for geographical reasons then, a pretext to create something together and to meet offline for the first time. This is how our first collaboration with the community started: the Novaciéries' movie." In Novaciéries, the dance of the machines and the dance of the humans seem to jumble up when they, equally, hit the ground of an abandoned warehouse. In empty places, a strange syncretic world seeks to emerge. The movie always seems in tension: an Opera singer covers Hardcore to the bone by Neophyte, the Hardcore community anthem, customised balaclavas anonymise dan- cers like MrCovin and EDX who are known online for their moniker and kicks, reality appears wea- ring a safety vest, literally, to set the stage while fantasy roams and fights against exhaustion. (LA)HORDE : "Working with artists-authors-autodidacts demand us more rigor. For them, the stakes are not to perform on major stages worldwide or that the movie is screened at the biggest film festivals. They don't really care about the niche notoriety they could get out of it. Their real public is online, it is composed of their community, their peers and you can count it by the thou- sands of YouTube views.
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