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She Said Press Kit Jeremiah Day Le Lait

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She Said Press Kit Jeremiah Day Le Lait Le Lait Généalogie des événements liés à l’exposition 1939 1979 1982 Press kit 1983 1985 1998 2000 2001 2009 2010 2014 2015 2016 2017 2018 Jeremiah Day 2019 The Opposite of Fatalism 2020 What Would You Do for Love 2021 of Country? (The Sivens Example) “If it’s for people, it needs to be beautiful”, she said 2022 Événement : Artistique Politique Relation de cause Présenté Rencontre à effet dans l’exposition Exhibition “If it’s for people, it needs to be beautiful”, she said By Jeremiah Day From to 03|10|20 10|01|21 Opening on at 2 october 2020 6.30 pm Curated by : Antoine Marchand p. 3 Press Release p. 5 Jeremiah Day. Notes on the show p. 7 Works Selection p. 13 Press Selection p. 15 Biography p. 18 Rendez-vous /Practical Information Press Release 3 Jeremiah Day “If it’s for people, it needs to be beautiful”, she said From to 03|10|20 10|01|21 Opening on 2 october at 6.30 pm Exhibition curated by : In his work, the Berlin-based American artist Jeremiah Day Antoine Marchand re-examines recent political struggles and conflicts, revealing their subjective contexts and traces. To do this, he has developed a narrative form in which personal and political realities intermingle, Ahead of the exhibition, a meeting with the thus offering a thoroughly personal vision of these at times forgotten artist is scheduled for Tuesday 29 moments of history. September 2020 at 6.15 pm at the Médiathèque Pierre Amalric in Albi. The distinctive feature of his method lies in a transversal approach. Duration : 1 hour / Free Entrance As a student of and regular collaborator with Simone Forti, one of the pioneers of Post-Modern Dance, he has turned performance into a now central and structure-providing practice. Since 2014, Jeremiah Day has in effect presented many performances, which contain movement, improvisation, photography and the spoken word, in order to broach universal historical and political subjects, but within an intimate and incarnated context. With the exhibition “Si c’est pour les gens, ça doit être beau », dit-elle [“If it’s for people, it has to be beautiful”, she said], Jeremiah Day’s intent is to pursue and further develop the lines of thinking involved in this recent performance work, and explore a series of social, political Echoing the exhibition, an event dedicated to the performance titled The Opposite of and climatic events which all raise the same question: how are we to Fatalism is being organized in the premises of achieve a positive citizen’s involvement, in favour of the common the art centre on Saturday 26 September 2020. It will involve, in particular, Jeremiah good? With this project, Jeremiah Day makes art the basis of an Day, Claire Filmon, Adrian Schindler and intense reflection about civil society, while this latter seems to be Chicks On Speed. more divided than ever. What is the culture of a multi-ethnic democracy? Who are the “people” and how do they describe, reflect, commemorate and speculate about their situation and what should be altered or differently governed? Do images and words (and exhibitions and performances) have something to bring to these discussions? All so many questions raised by Jeremiah Day, whose project—started in early 2020 at the Badischer Kunstverein (Karlsruhe), and predating the health crisis caused by the coronavirus and the events associated with the police murder of George Floyd in Minneapolis—takes on a whole new meaning today. The show at Albi bring together a selection of recently produced works which all evoke emblematic citizens’ gatherings. Be it the Civil Rights Movement in Alabama in 1965, the founding of the Black Panther Party in 1966, the demonstrations in Taksim Square in Istanbul in 2013, or the recent student climate strikes staged by the Press Release 4 “Fridays for Future” movement, each one of these events has conveyed and magnified the message from citizens keen to alter the course of history. A never seen before installation is also presented. It refers to the events linked with the dam construction project in Sivens. Jeremiah Day (born in 1974 in Plymouth (USA)) lives and works in Berlin. He studied at the University oif California in Los Angeles (UCLA). His work and his performances have been presented in many institutions all over the world, such as the Badischer Kunstverein, Karlsruhe (2020) ; the M Museum, Louvain (2019) ; the Neuer Berliner Kunstverein, Berlin (2018) ; the Kunsthalle Wien, Vienna (2018) ; BAK, Utrecht (2017) ; the Museum of Modern Art, in Warsaw (2016) ; CCA, Glasgow (2015) ; the MAXXI, Rome (2015) ; the Liverpool Biennial (2014); Arnolfini, Bristol (2014) ; the Santa Monica Museum of Art (2014) and the Centre Georges Pompidou, Paris (2014). He is represented by the Arcade gallery (London) and Ellen de Bruijne Projects (Amsterdam). This exhibition is the fruit of a collaboration with the Badischer Kunstverein (Karlsruhe), the Musée M (Louvain) and the Villa Romana (Florence). A publication, designed by Will Holder and distributed by les presses du reel, will be available at the end of the exhibition cycle. 5 Jeremiah Day The collaboration with Le Lait was initiated by Antoine Marchand in Notes on the show 2017, and since then has built into a larger project combing performance, workshops and exhibitions in Germany and Italy and leading a publication next year. Part of the challenge of this collaboration has been for me to re-ap- proach exhibition-making as a form, after 5 years of working almost ex- clusively with performance. In this process, I developed a new strate- gy: bringing other artists into a collaborative structure of public performance around a topic of shared concern. The topic, I discovered could not be just from my own interest, it had to be about something common so that participants would not just be illustrating my vision but find a motivation and thread of their own. The video installation in room 3 is the result of the first attempt at this method (with the video-maker Sebastian Bodirsky and his special counter-point camera). In looking for another possible topic ofor the Le Lait project, I discovered the example of the Sivens dam and the "ZAD" that formed to preserve the wetlands there, to block the block. My plan was to bring a group of artists to make a public work there, but permission was denied. The contest and meaning of public assembly at the site makes even an assembly on poetic grounds too difficult for the state to safely support. So the water has not been stopped but there is still a Sivens "barrage": against the re-assembly of the public there. Further, while the image of ZADist bohemia is known to some, the larger political meaning of evolving organized non-cooperation movements – as Martin Luther King called his own actions in Alabama, referred to in another work in the show – this larger _meaning _is also subject to a "barrer". The work outdoors displays traces of another example of this kind of politics. And the work No words for you, Springfield reflects on the intersection between storytelling, meaning and landscape. The new work - What Would You Do For Love Of Country - represents an adaptation of my strategy in response to the meaning barrage. 6 Jeremiah Day Like my performances, it is the result of improvisation – designed Notes on the show and produced quick, in the midst of thought. It has a clumsy physicality and an abundance of impressions, framings and questions, offered without a polemic, but as the basis to share an investigation. Because bringing the public to the site was not possible it includes a large aerial photograph of the site for reference, and is constructed around the principle of a barrier in space. Because bringing my workshop to the site was not possible I asked the other performers from Le Lait's performance festival, The Opposite Of Fatalism, to travel there and make a quick improvisational work. A video recording of this work– with the dancer Claire Filmon and the band Chicks On Speed – is included. Because performing at the site was not possible, I made a performance at a dam close to my home in Berlin. Because the public can not assemble at Sivens, I insist that art has a role in public life. Works Selection 7 Jeremiah Day, Ghost Dance Song, 26.03.14 Performance still: Lower Saxony Chancellery, Berlin, DE, 2014 Works Selection 8 Jeremiah Day with Bart de Kroon To a Person sitting in Darkness (#4 Helicopters), Performance still: CCA, Glasgow, UK, 2015 Works Selection 9 Jeremiah Day and Simone Forti, News Animation, Performance still: Emily Harvey Foundation, New York, US 2018, Photo Credit: James Welling Jeremiah Day, The chair remains empty / But the place is set: Quaker Meeting House – Istanbul Forums (Performance Notation: October 20, 2015; Gruener Salon, Volksbuhne) 2015, ink on paper, 48 x 66 cm Works Selection 10 Jeremiah Day, Nach Hause gehen - Entlang des Carl und Margarethe Schurz Weges, Performance Still, Badischer Kunstverein, Karlsruhe 2020. Photo: Lisa Bergmann Works Selection 11 Performance Still with Joris van Buul, Jungmin Park and Laila Saber Rodriguez, The Opposite of Fatalism (June 22, Neu Hoch Str 51), organized by Jeremiah Day, Berlin, 2019. Cointerpoint camera: Sebastian Bodirsky. Courtesy: Jeremiah Day, Ellen de Bruijne Projects and Arcade Jeremiah Day, If It’s For The People, It Needs To Be Beautiful, She Said, Exhibition view, Badischer Kunstverein, Karlsruhe 2020. Foto: Stephan Baumann, bild_raum Works Selection 12 Jeremiah Day, If It’s For The People, It Needs To Be Beautiful, She Said, Exhibition view, Badischer Kunstverein, Karlsruhe 2020. Photo: Stephan Baumann, bild_raum Joanne Bland - Reflections from Selma / Picturing the Jigsaw Puzzle of Social Movements, Badischer Kunstverein, Karlsruhe, 2019.
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