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Dp-Lida-Abdul.Pdf LIDA ABDUL 2006. 16mm film transferred to dvd. to dvd. 2006. 16mm film transferred Brick Sellers of Kabul, Brick Sellers 6’00’’. video still. Gallery Persano Courtesy of the Artist and Giorgio Exposition 24 octobre-30 janvier Vernissage 23 octobre à 18h30 En resonance avec la Biennale de Lyon 2015 Remerciements à la Galerie Giorgio Persano (Turin) LE CAP Espace Léon Blum, rue de la Rochette BP 100 69195 Saint-Fons cedex tél. 04 72 09 20 27 fax. 04 72 21 03 92 [email protected] http://lecap-saintfons.com www.saint-fons.fr / LE CAP Si Lida Abdul vit à présent à Los Angeles, toutes ses œuvres - performances, LIDA ABDUL photographies et surtout films - sont réalisées dans son pays d’origine, l’Afghanistan, où elle retourne régulièrement depuis 2001. De ce pays «fantôme», de cette terre en guerre depuis plus de trente ans, Lida Abdul montre inlassablement les paysages et les habitants. Loin de toute esthétique commémorative ou documentaire, ses films optent pour de courts récits sous forme de parabole, tandis que les figures de ses photographies s’élèvent au rang d’allégories, moins, peut-être, pour évoquer la guerre que pour surprendre une vie qui tente de reprendre son cours parmi les stigmates des conflits successifs. Les paysages sont en effet parsemés d’épaves (matériel militaire) et de ruines, omniprésentes au point de se confondre avec la roche de ce pays aride. Jean- Yves Jouannais a bien souligné la relation intime que paysage et géographie entretiennent avec la guerre, combien ils peuvent mutuellement s’incarner, chacun absorbant l’autre. Certes, la ruine dit la dévastation et la désolation mais, dans le vestige même, quelque chose perdure aussi, résiste à l’événement destructeur. Car hommes, enfants ou, plus rarement, une femme, n’y errent pas comme Edmund dans le Berlin détruit d’après-guerre (Allemagne année zéro de Roberto Rossellini). Ils exécutent généralement une tache répétitive : amener et empiler des briques les unes après les autres (Brick Sellers of Kabul), repeindre des ruines en blanc (The White House), écrouler ou redresser quelque pan de mur branlant (Once Upon Awakening), ou encore transformer une épave d’avion soviétique en cerf-volant (In Transit). La répétitivité, accentuée par le ralentissement de l’image et l’étirement du son, auxquels l’artiste soumet la plupart de ses films, peut nous signifier la vanité d’un effort voué à un éternel recommencement. Mais ce même ralenti souligne aussi le potentiel chorégraphique de toute gestuelle : la répétitivité suggère alors une autre forme de résistance, une mise en boucle dont la circularité obstinée provoquerait quelque transe contemplative. Enfin, l’étirement temporel est celui de qui sait s’attarder dans les ruines-mêmes, s’en remettre à la lente reconstruction de la mémoire et de l’histoire. L’œuvre de Lida Abdul interroge ce qu’un artiste peut encore opposer à la violence en général et à la guerre en particulier : des paysages, des gestes, des sons rares et assourdis, un ralentissement du temps pour mieux s’en ressaisir. Ses œuvres silencieuses orchestrent une chorégraphie des corps dont la répétitivité oscille entre absurdité et mysticisme. Anne Giffon-Selle, juin 2015 In Transit 1, 2008, Lambda print on plexiglass, 80 x 240 cm. Courtesy of the Artist and Giorgio Persano Gallery. If Lida Abdul now lives in Los Angeles, all her works: performances, photographs and in particular, her films, were made in her home country of Afghanistan, a place she has been returning to regularly since 2001. Lida Abdul tirelessly shows the landscapes and inhabitants of this ‘ghost’ country, a land which has been at war for over thirty years. Yet contrary to an aesthetic of commemorative documentary, her films opt to tell short stories in a parabolic style, while the figures in her photographs rise to the rank of allegories. These works are less an attempt to evoke war than to see how life stubbornly persists to resume its course after the stigma of successive conflicts. The landscapes are indeed scattered with wrecks (military materials) and ruins, so rife that they merge with the rocks of this barren land. Jean-Yves Jouannais has emphasized the close relationship that landscapes and geography share with war; how they both mutually embody and absorb each other. Admittedly, the ruins tell of devastation and desolation, yet it is in these very relics that something pervades and resists the destructive event. For men, children, or more rarely, a woman, do not wander like Edmund through the war-torn city of Berlin (‘Germany Year Zero’ by Roberto Rossellini), but generally perform repetitive tasks: fetching and stacking bricks one after the other (‘Brick Sellers of Kabul’); repainting ruins in white (‘The White House’); knocking down or repairing a ramshackle wall (‘Once Upon Awakening’); or transforming a Soviet plane wreck into a kite (‘In Transit’). This repetitiveness, accentuated by slowing down the image and stretching out the sound - a process the artist uses in most of her films - could signify to us the pointlessness of an effort that is forever doomed to start over from square one. Yet this very slowing down equally highlights the same idle choreographic potential of all gestures, thus suggesting another form of resistance: a loop whose obstinate circularity induces a contemplative-like trance. Finally, this temporal stretching is the one which lingers in the ruins themselves and which relies on the measured construction of memory and history. Lida Abdul ‘s work examines what an artist can still do to oppose violence in general and war in particular: landscapes, gestures, rare and muffled sounds; a slowing down of time in order to better re-evaluate things. Her silent works orchestrate choreographed bodies whose repetitiveness oscillates between absurdity and mysticism. Anne Giffon-Selle, juin 2015 (Translation Paul Berry) White House, 2005. 16mm film transferred to dvd, 5’00’’. Video still. Courtesy of the Artist and Giorgio Persano Gallery Etudes / Résidences BIOGRAPHIE M.F.A., University of California, Irvine, California, U.S.A. B.A., Philosophy, California State University, Fullerton, California, U.S.A. B.A., Political Science, California State University, Fullerton, California, U.S.A. Isabella Stewart Gardner Museum, Boston, U.S.A. Née en 1973 à Kaboul Intra-Nation Residency, Banff Centre for the Arts, Alberta, Canada Vit et travaille à Los Angeles Cité International Residency, Paris, France http://www.giorgiopersano. Prix 2005 Taiwan Award, Biennale de Venise org/mostre-precedenti/ Prix Pino Pascali, Bari, Italie lida-abdul/ 2006 Prix de la Culture Prince Claus Cultural, Hollande www.lidaabdul.com/ 2007 Prix UNESCO pour la Promotion des arts, Biennale de Sharjah Biennale 2015 Finalist Mario Merz Prize 1, Fondazione Merz, Turin Expositions personnelles (sélection) 2005 Pavillon afghan, Biennale de Venise Kunsthalle Wien, Vienna, Austria, (cur. Gerald Matt) 2006 Petition for Another World, Museum Voor Moderne Kunst, Arnhem, Hollande (cur.Mirjam Westen) Lida Abdul, Galerie Giorgio Persano, Turin, Italie After War Games, Musées Palais du Tau de Reims, (cur. Jerome Descamps) Pino Pascali Museo d’Arte Contemporanea, Bari, Italie. (cur. Rosalba Brana) Now, Here, Over There. Lida Abdul/Tania Bruguera, FRAC Lorraine, Metz, What We Saw Upon Awakening, CAC Brétigny (cur. Pierre Bal-Blanc) 2007 Lida Abdul, Musée Chagall, Nice (cur. Maurice Fréchuret) Lida Abdul, Musée Picasso, Vallauris, (cur. Maurice Fréchuret) Lida Abdul, ICA, Toronto, Ontario, Canada, (cur. Scott McLeod) Lida Abdul, National Museum of Kabul, Kabul, Afghanistan What We Saw Upon Awakening, Location One, New York (cur. Pieranna Cavalchini) White House, Netwerk Centrum voor hedendaagse, Aalst, Belgique (cur. Ronny Heiremans) Modern Mondays, MoMA, New York (cur. Barbara London) 2008 In Transit, OK Center for Contemporary Art, Linz, Autriche (cur. Martin Sturm) In Transit, Giorgio Persano Gallery, Turin, Italie In Transit, Le Printemps de Septembre à Toulouse (cur. Odile Biec) Lida Abdul, Western Front Exhibitions and Centre A, Vancouver, Canada (cur. Candice Hopkins and Makiko Hara) Lida Abdul, IDEA Space, Colorado College, Colorado Springs, U.S.A Lida Abdul, Indianapolis Museum of Art, Indianapolis, U.S.A. (cur. Sarah Urist Green) Lida Abdul, Galerie Alessandra Bonomo, Rome, Italie Lida Abdul, GSK Contemporary Royal Academy of Arts, Londres 2010 Lida Abdul, Krannert Art Museum, Champaign, U.S.A. (cur. Tumelo Mosaka) 2013 Lida Abdul, Fondation Calouste Gulbenkian, Lisbon, Portugal. What We Have Overlooked, Galerie Giorgio Persano, Turin, Italie Videotank #7: Lida Abdul, Foreman Art Gallery, Bishop’s University, Quebec Lida Abdul, Centro De Arte Contemporáneo De Málaga, CAC Málaga, Espagne. 2014 Lida Abdul, Fondation Calouste Gulbenkian, Paris, France 2015 Lida Abdul, Le CAP, Saint-Fons (cur. Anne Giffon-Selle) Expositions de groupe (sélection depuis 2012) 2012 Documenta (13), Kassel, Germany Nuit Blanche 2012, White Spirit at the Palais de Tokyo, Paris, France Migrasophia, Maraya Art Centre, Sharjah, UAE (cur. Sara Raza) Shifting Sands: Recent Video from the Middle East, The Stanlee and Gerald Rubin Center for the Visual Arts, The University of Texas, El Paso, Texas, U.S.A. 1st Montevideo Biennial, Montevideo, Uruguay 2013 Transition Project, Yapi and Kredi Art Center, Istanbul, Turkey 43 Salón (inter) Nacional de Artistas, Medellín, Antioquia, Colombia 2014 Art Amongst War: Visual Culture in Afghanistan, 1979-2014, TCNJ Art Gallery, The College of New Jersey, Ewing, New Jersey, U.S.A. Dhaka Art Summit, Dhaka, Bangladesh Ravaged, Art and Culture in Times of Conflict, M-Museum Leuven, Leuven, Belgium Utopian Days x Freedom, Total Museum of Contemporary Art, Seoul, South Korea Beyond Pressure, Public Art Festival, Yangon, Myanmar Le Musée international de la Croix-Rouge et du Croissant-Rouge, Geneva, Switzerland Kulturhuset Stadsteatern Stockholm, Sweden White lest we forget, Limerick City Gallery of Art (LCGA), Ireland La guerra che verrà non è la prima, MART Rovereto Trento, Italy 2015 Mario Merz Prize.
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