TAMAR GUIMARÃES

17
PRESS KIT Tamar Guimarães, Canoas, 2010. Courtesy of the artist and Gallery Fortes Vilaça, São Paulo © Tamar Guimarães TAMAR GUIMARãES THE AFTERLIFE (OF NAMES AND THINGS) 22/03 – 13/05/2012 SATELLITE 5 HORS LES MURS

Transcript of TAMAR GUIMARÃES

Page 1: TAMAR GUIMARÃES

PRESS KIT

Tam

ar G

uim

arãe

s, C

anoa

s, 20

10. C

ourte

sy o

f the

arti

st a

nd G

alle

ry F

orte

s Vila

ça, S

ão P

aulo

© T

amar

Gui

mar

ães

Tamar GuimarãesThe afTerlife(of names and ThinGs)22/03 – 13/05/2012saTelliTe 5

HORS LES MURS

Page 2: TAMAR GUIMARÃES

Tamar GuimarãesThe afTerlife(of names and ThinGs)22/03 – 13/05/2012saTelliTe 5

❙ CuraTorFilipa Oliveira

❙ ParTnersThe Fondation nationale des arts graphiques et plastiques (FNAGP)

contributes to the production of the works of the Satellite program.

Satellite 5 is organized in collaboration with Calouste Gulbenkian – Délégation en France,

Instituto Camões and the Ambassy of Portugal in France.

The exhibition is organized with the help of the Danish Arts Council Committee for International

Visual Art.

Jeu de Paume receives a subsidy from the ministry of Culture and Communication.

It gratefully acknowledges support from Neuflize Vie, its global partner.

❙ media ParTnersart press, paris-art.com, Radio Nova

Special thanks to Sandeman and Ferreira Porto.

Page 3: TAMAR GUIMARÃES

3

HORS LES MURSTamar Guimarães

The exhibiTion

«Because (in principle) things outlast us, they know more about us

than we know about them: they carry the experiences they had with us

inside them and are – in fact – the book of our history opened before us. »

W.G.Sebald, Unrecounted (2004)

The Afterlife (of names and things) - The title of Tamar Guimarães’ exhibition at Maison d’Art

Bernard Anthonioz – speaks of the artist’s modus operandi. In her practice, Guimarães

considers what happens to cultural and historical residues left floating in the air of time.

But rather than attempting a recovery or a reconstruction of the past, what interest her

is how artifacts and ideologies travel through time - how they change, corrode, become

opaque, take on new meanings, are misunderstood, or perhaps understood again, anew.

Sebald speaks of how objects continue to live much longer than its owners. They are

simultaneously a reservoir of the memory of the past, but also a part of story to be re-

enacted by the new proprietors.

The new project specially conceived for this exhibition, is a collaboration with the Danish

artist Kasper Akhøj, and will revolve around the oral and written history of the Maison d’Art

Bernard Anthonioz. The house’s last private owners were the sisters Jeanne and Madeleine

Smith. In the early 1900s Madeleine and her husband, the medievalist historian Pierre

Champion, fabricated evidence to back an intense lobbying campaign to save the house

and its gardens from a road construction. In order to assert the house’s value for historical

heritage, they alleged that the painter Antoine Watteau had died there of tuberculosis in

1721. Watteau seemed to have indeed died in Nogent-sur-Marne but in a different house.

Their campaign was successful and the road construction project abandoned in 1908.

Watteau is known for his fêtes galantes: scenes of bucolic and idyllic charm, suffused with

an air of theatricality. However, Guimaraes and Akhøj are alluding to an understanding

of Watteau which sees his work less as enchanting and more as having engaged with his

contemporaries about matters of political, social, and cultural consequence.

Besides the new piece, the exhibition will present earlier works by Tamar Guimarães never

shown before in France, such as Canoas and The Work of the Spirit (Parade) – both of which

share methods and themes explored in the new work.

A catalogue will accompany the exhibition with texts by Dieter Roelstraete and Filipa

Oliveira.

Page 4: TAMAR GUIMARÃES

4

HORS LES MURSTamar Guimarães

Tamar Guimarães, The Work of the Spirit (Parade), 2011. Courtesy of the artist and gallery Fortes Vilaça, São Paulo © Tamar Guimarães

Page 5: TAMAR GUIMARÃES

5

HORS LES MURSTamar Guimarães

The arTisT

Born in Belo Horizonte, Tamar B. Guimarães works and lives in Copenhagen.

She is represented by the Gallery Fortes Vilaça in São Paulo.

❙ eduCaTion 2007-2009 Art Theory, MA, The Royal Danish Academy of Fine Arts, Denmark

2007-2008 Studio Fellow, Whitney Independent Study Program, New York

2005-2007 Fine Arts, MFA, Malmö Art Academy, Sweden

1999-2002 Fine Arts, BA Honours, Goldsmiths College, University of London

❙ residenCies Future Akademie Schloss Solitude, Stuttgart, Germany

2009 Capacete Residency Program, Rio and São Paulo, Brazil

❙ GranTs and aWards 2011 Danish Arts Council production grant and travel grant

2010 Danish Arts Council production grant

2009 Danish Arts Council travel grant

2008 Danish Arts Council production grant and travel grant

2007 3rd prize, Fair Play Award, Play Gallery for still and motion pictures, Berlin

Blix Fund and Oticon Fund

2006 Danish Arts Council production grant

2004 Danish Arts Council production grant

❙ seleCTed exhibiTions and ProJeCTsFuture «Future Glass House», Lina Bo Bardi’s House, São Paulo

Galeria Fortes Vilaça, São Paulo (Brasil).

«Drop the Pin» (exposition collective), Kumu Art Museum, Tallinn

Århus Kunstbygning, Århus (Denmark)

Viennale Film Festival, Vienne

2011 «Second World Cycle», Gallery Nova, Zagreb

«All That Fits: The Aesthetics of Journalism», Quad, Derby

Page 6: TAMAR GUIMARÃES

6

HORS LES MURSTamar Guimarães

«Tudo è», Fondazione Pitti, Osservatorio Arti Contemporanee (OAC), Florence

«The Work of the Spirit», Gasworks, London

«The Return of the Loosers», Konstmuseum, Kalmar (Sweden)

«Subjective Projections», Bielefelder Kunstverein, Bielefeld (Germany)

«Stories, in Between», Stiftelsen 3,14, Bergen

«Intinerancia», Palácio das Artes, Belo Horizonte

2010 «The Traveling Show», Botkyrka Konsthall, Tumba (Sweden)

Lunds Konsthall, Lund (Sweden)

«Epílogo», Museo de Arte de Zapopan, Zapopan (Mexico)

«Project 35», Independent Curators International (ICI, mutiple venues)

«Grand Domestic Revolution», Casco - Office for Art, Design and Theory, Utrecht

29th São Paulo Biennial, São Paulo

«Monkey See, Monkey Do», Centro Cultural Montehermoso, Vitoria-Gasteiz

(Spain)

«The Watchers, the Liars, the Dreamers», Frac Île-de-France / Le Plateau, Paris

Starkwhite, Auckland

«The Traveling Show», Fundación/Colección Jumex, Ecatepec de Morelos (Mexico)

«No Soul for Sale», Tate Modern, London

Nordic Triennial, Eskilstuna Museum, Eskilstuna (Sweden)

Images Film Festival and Experimental Media Congress, Toronto

«Limited Access 2», Townhouse Gallery, Cairo

«A Man Called Love», Artspace Visual Arts Centre, Sydney

«Dura Lex Sed Lex», David Risley Gallery, Copenhagen

2009 «Panorama», Museum of Modern Art, São Paulo

«Limited Access 2», Azad Art Gallery, Teheran

«Dura Lex Sed Lex (no cabelo so Gumex)», Kunstpavillon, Innsbruck

«A Man Called Love», Institute of Modern Art, Brisbane

«Bright Morning Star, Kenneth Anger Cycle», Galeria Zé dos Bois, Lisbon

«Still / Moving / Still», group show, International Photo Festival

Knokke-Heist, Laguna Hall Duinbergen, Duinbergen (Belgium)

«Sculpting Time», Martin Art Gallery, Allentown (Pennsylvanie)

Oberhausen Short Film Festival, Oberhausen (Germany)

Dubai Art Fair, Dubaï

2008 «Possibilities of Change», Ålands Konstmuseum, Mariehamn (Finland)

7th Gwangju Biennale, Gwangju (South Korea)

3rd Guangzhou Triennial, Guangdong Museum, Canton

«CatBag, an Afternoon of Cadavre Exquis», Objectif Exhibitions, Antwerp

«The Audacity of Desperatio: An Evening of Cadavre Exquis», PS122, New York

«Así se escribe la historia», La Casa Encendida, Madrid

«Independent Study Program», Whitney Museum of American Art, New York

Page 7: TAMAR GUIMARÃES

7

HORS LES MURSTamar Guimarães

«A Principle of Assumptions», Rodeo Gallery, Istanbul

«Cast Some Light», Glasgow International Festival of Contemporary Visual Arts,

Glasgow

«I Know the World», SMART Project Space, Amsterdam.

«Interfacing Practices», Magnus Muller Gallery, Berlin

2007 CPH:Dox Copenhagen International Documentary Film Festival, Copenhague

«I know the world», Sparwasser HQ, Berlin

«Crosskick», Kunstverein Hannover, Hanovre

«Fair Play Award», Play-Gallery for Still and Motion Pictures, Berlin

«Summer School», HOMEWORKS, PS122 Gallery, New York

Larm Festival, Kulturhuset, Stockholm

LOOP, Film Festival, Barcelona

«Unravelled», Signal-to-Noise Festival, Malmö

2006 «Thinking Aloud», with Nanna Buhl, Overgaden, Copenhagen

ION Film festival, Lido, Venice

«Contemporary Video from Brazilian Artists», Kunst-Werke, Berlin

«Esplanaden 2006», Den Frie Centre of Contemporary Art, Copenhagen

«Contested Territories: Representing Postcolonial Interests», Greenland National

Museum and Archives, Nuuk (Greenland)

«Rethinking Nordic Colonialism», NIFCA – Nordic Institute for Contemporary Art,

Helsinki

2003 «Who’s the Story Teller», Kiasma, Helsinki ; Bergen Kunsthall, Bergen ; Overgaden,

Copenhagen

50th Venice Biennale, avec Martha Rosler et Oleanna Group, Venice

Istanbul Student Triennial, Istanbul

«Danger Museum Archive», Soft Season, inIVA, London

Page 8: TAMAR GUIMARÃES

8

HORS LES MURSTamar Guimarães

around The exhibiTion

❙ CaTaloGueTamar Guimarães: The Afterlife (of names and things)

Published by éditions du Jeu de Paume

texts by Dieter Roelstraete and Filipa Oliveira

bilingual French / English

64 pages

Publication: March 2012

ISBN: 978-2-91570-431-0 / 12 €

❙ PerformanCe saTelliTe & Taxi TramMarch 24th, 4:30 pm (TBC)

performance by Tamar Guimarães at Maison d’art Bernard Anthonioz

Reservation: [email protected]

Page 9: TAMAR GUIMARÃES

9

HORS LES MURSTamar Guimarães

Press imaGes

❙ Terms of useThe images are available for press uses solely in connection with the exhibition.

TG 01

Tamar Guimarães

Canoas, 2010

Courtesy of the artist and gallery Fortes

Vilaça, São Paulo

© Tamar Guimarães

TG 02

Tamar Guimarães

Canoas, 2010

Courtesy of the artist and gallery Fortes

Vilaça, São Paulo

© Tamar Guimarães

TG 03

Tamar Guimarães

Canoas, 2010

Courtesy of the artist and gallery Fortes

Vilaça, São Paulo

© Tamar Guimarães

Page 10: TAMAR GUIMARÃES

10

HORS LES MURSTamar Guimarães

TG 04

Tamar Guimarães

Canoas, 2010

Courtesy of the artist and gallery Fortes

Vilaça, São Paulo

© Tamar Guimarães

TG 05

Tamar Guimarães

Canoas, 2010

Courtesy of the artist and gallery Fortes

Vilaça, São Paulo

© Tamar Guimarães

TG 06

Tamar Guimarães

Canoas, 2010

Courtesy of the artist and gallery Fortes

Vilaça, São Paulo

© Tamar Guimarães

TG 07

Tamar Guimarães

Canoas, 2010

Courtesy of the artist and gallery Fortes

Vilaça, São Paulo

© Tamar Guimarães

Page 11: TAMAR GUIMARÃES

11

HORS LES MURSTamar Guimarães

TG 08

Tamar Guimarães

The Work of the Spirit (Parade), 2011

Courtesy of the artist and gallery Fortes

Vilaça, São Paulo

© Tamar Guimarães

TG 10

Tamar Guimarães

The Work of the Spirit (Parade), 2011

Courtesy of the artist and gallery Fortes

Vilaça, São Paulo

© Tamar Guimarães

TG 11

Tamar Guimarães

The Work of the Spirit (Parade), 2011

Courtesy of the artist and gallery Fortes

Vilaça, São Paulo

© Tamar Guimarães

TG 09

Tamar Guimarães

The Work of the Spirit (Parade), 2011

Courtesy of the artist and gallery Fortes

Vilaça, São Paulo

© Tamar Guimarães

Page 12: TAMAR GUIMARÃES

12

HORS LES MURSTamar Guimarães

TG 13

Tamar Guimarães

The Work of the Spirit (Parade), 2011

Courtesy of the artist and gallery Fortes

Vilaça, São Paulo

© Tamar Guimarães

TG 12

Tamar Guimarães

The Work of the Spirit (Parade), 2011

Courtesy of the artist and gallery Fortes

Vilaça, São Paulo

© Tamar Guimarães

Page 13: TAMAR GUIMARÃES

ProGrammaTionsaTelliTe 5de filiPa oliveirale PrésenT esT une Terre éTranGère

«The things we see are beautiful

The things we know are more beautiful

The things we do not yet know are the most beautiful of all »

Enzo Carri

“Art is always contemporary, it is always about the present. The way that artists have looked

at the present has changed drastically over time. The present is very different throughout

times but even within the same generation. It is always a unique fragmented perspective, an

entirely different country.

The idea of the everyday, the banality of the everyday, was brought into the realm of art, and

since the beginning of modernism (at least in a specific vein of modernism) and became an

ever-increasing drive. Bringing art down from its pedestal - a tendency of the post-modern

quest - was aimed at approximating art with life. The poetics of everyday – the removal of an

object from the ordinariness of each day – is symbolically evoked either through metaphors

or through the direct appropriation of those emblematic or banal objects. Today, the way

that these actions are exercised in artistic practice entail an inherent societal concern about

the way we live our lives.

Some of the most interesting proposals in contemporary practice are concerned not with

a straightforward approach to society’s problems (be them economic, political or cultural)

but use an attitude towards the social world that resembles archaeological methodologies.

The ordinary object becomes a sort of ethnographic item. The banality of the present is

transformed into an unfamiliar territory, as if the present was a terra incognita, something

not yet known (and thus extremely beautiful) that is investigated, researched, explored until

a picture (or several) emerges. The pleasure of this rediscovery, of this exploration, lies not

Page 14: TAMAR GUIMARÃES

only on the artist’s practice, but as well as on the viewer’s perception of the works, on his/

hers enticed curiosity. In a way, what is rescued from vulgarity is “the bit of life that’s caught

between the cracks” (Nicholas Serrota). It is that that happens everyday without being seen

- a sort of satellite events, which shape our everyday living.

The four exhibitions considered together, the artists’ explorations of imagery and materials

from the different ‘countries’ that constitute their present will hopefully affect our own

understanding of history, culture and of our own lives. Most of the shown works of art -

unstable, fragile and displaced - will be repositories of human existence, memory and time

and a symbol of the history and identity of the present.” Filipa Oliveira

Filipa Oliveira, curator of this programme, was born in Lisbon in 1974. She works as a

freelance curator and critic since 2001. Some of her curated exhibitions include “Guardi:

A Arte da Memória”, CCB (2003), “Bouzean”, Faro Capital da Cultura (2005), “(Re)Volver”,

Plataforma Revólver, Lisbon (2006), “Jardim Aberto”, Gardens of the Presidential Palace,

Lisbon (2007), “Sete Artistas ao Décimo Mês”, Fundação Calouste Gulbenkian, Lisbon (2008);

“Café Portugal”, Design Factory, Bratislava (2008); “Helena Almeida: Inside Me”, Kettles Yard,

Cambridge (2009) and John Hansards Gallery, Southampton (2009); “Arena”, Fundação

Carmona e Costa, Lisbon (2010); “I could do this”, IPA, Lisbon (2011); “The consolation of

Painting”, Espaço Tranquilidade, Lisbon (2011); “Yonamine/Charlotte Moth”, Mews Space,

London (co-curated with Aldo Rinaldi, 2011).

From 2005 - 2009 coordinated the prize Ariane de Rothschild in Portugal and since 2007

was responsible for establishing the prize international, with its first edition having taken

place in Brussels (2008). Was assistant curator of the São Paulo Biennale in 2010. Between

2005 and 2007, co-curated with Miguel Amado the Project AC# for Arte Contempo, and

the projects Zoom and 20M3 - an experimental and non-commercial project for the Galeria

Carlos Carvalho, Lisbon. Together they were also responsible for the projects: “If you don’t

know what the South is it’s simply because you are from the North” for “No Soul for Sale”,

New York (2009); “Impossible Exchange” for Frieze Projects at Frieze Art Fair, London (2009),

“On the Table” for “Curator’s Desk” at Just Madrid (2010), and “The Unsurpassable Horizon”

for “No Soul for Sale”, Tate Modern (2010).

She has an extensive list of essays in catalogues and in publications. From 2005-2011 was

a permenant contributor to the magazine L+Arte (Portugal). Collaborated with Spanish

magazine Arte Contexto, Contemporary and with Flash Art. Presently writes for Artforum.

Page 15: TAMAR GUIMARÃES

❙ Jimmy roberTfrom 21/02 until 29/04/2012, at Jeu de Paume

Jimmy Robert makes images that will then become sculptural or filmic installations. Move-

ment, appropriation, and poetic acts are at the center of his practice, which is developed

through all sorts of media: performance, actions, films, photographs and publications. Robert

explores a dialogue between his body and its representation, which explores the limits of the

image as well as language and the gap amidst the two.

His films and photographs are often composed of found images along his own that are

transformed through various layering or manipulations, focusing on the transience of both

the image and the process that leads to it. By spotlighting these particular moments, Robert

transforms everyday gestures into mesmerizing delicate choreographies. Some of his works

also constitute appropriations of historical works by other artists and writers, as in the case

of Figure de Style (2008), an oblique intervention on Yoko Ono’s Cut piece (1964) asking the

spectators to rip pieces of masking tape off Robert’s torso.

Jimmy Robert, French Guadeloupean, born in 1975, lives in Brussels.

❙ Tamar Guimarãesfrom 22/03 until 13/05/2012, at Maison d’Art Bernard Anthonioz, Nogent-sur-Marne

The work of Tamar Guimarães involves research, appropriation and reconfiguration.

Drawn to side-stories and left-overs, she investigates them borrowing methodological

approaches from anthropology, sociology, history and film aiming to reveal social-historical

and political structures. Her attitude is at heart political, subtly questioning dominant

discourse and writing. Reframing existing fragments through a process, which invariably

generates poetic tales, Guimarães’ work draws together a wide range of cultural, political

and historical narratives.

For her, the archive is perceived not as an enclosed body or a stable space of accumulation

but as site of possibilities, of construction and free-association, of memory and fiction. It

is within these archives that Guimarães excavates some of what has been buried by the

avalanche of History. In tandem with her source material the resulting works are invariably

presented in near-obsolete media such as slides, acetate or film.

Tamar Guimarães, Brazilian, born in 1967, Lives in Copenhagen.

Page 16: TAMAR GUIMARÃES

❙ rosa barbafrom 22/05 until 23/09/2012, at Jeu de Paume

Cinema is Rosa Barba’s language. She creates it, analyses it, researches it and dissects it

separating its different parts – such as words, soundtracks, images, and light - and (re)presents

them, sometimes isolated from each other. Film, with its limitations as a medium, is transformed

into a sculptural and textual object. There is a constant transposition, a continuous flow

between being a medium and being the art object, between being content and being form.

Rosa Barba is very interested in how film, as a document, relates to reality, how history itself

relates to reality. In this sense her films inhabit what seems to be a doc-fiction discourse,

questioning itself constantly.

In her installations, such as “Invisible Act” (2010), we are confronted with the continual

transposition of material into image and back again. The projectors become a central

moment of the installation, surpassing their ontological purpose and becoming closer to

kinetic machines or sci-fi experiments. This idea of exploring the boundaries of the medium is

at the core of this artist’s practice.

Rosa Barba, Italian, born in 1972, lives in Berlin.

❙ filiPa Césarfrom 16/10/2012 until 20/01/2013, at Jeu de Paume

Filipa César makes films and photographs that explore the relation between the image and

the narrative resulted from its reception. Her work, inscribes forgotten events of the recent

past into everyday situations. This process of actualization, unfold a discourse articulating

history in its action on the present. Situated between documentary and fiction, César’s body

of work gears towards an investigation on the human condition as a social-political one.

Such nature is surveyed in situations as diverse as the waiting hours spend at train stations

(Berlin Zoo, 2001-2003), or in the accounts of episodes of the Portuguese political resistance

(Le Passeur, 2008). Her works can be said to be film-situations, in which beyond the verbalized

discourse, it is in the moments of silence that an increasing depth of the image is to be found.

Filipa César, Portuguese, born in 1975, lives in Berlin.

Page 17: TAMAR GUIMARÃES

informaTion

❙ maison d’arT bernard anThonioz

Address

16, rue Charles VII - 94130 Nogent-sur-Marne

www.maisondart.fr

Opening hours

Tous les jours sauf les mardis et jours fériés : 12h - 18h / Entrée libre

❙ Jeu de Paume

Address

Jeu de Paume - 1, place de la Concorde - 75008 Paris

Information: 01 47 03 12 50

www.jeudepaume.org

www.jeudepaume.org/lemagazine/

Opening hours

Tuesday: 12:00 - 21:00

Wednesday to Friday: 12:00 - 19:00

Saturday and Sunday: 10:00 - 19:00

Admissions

Admission: 8,5 euros

Concession: 5,5 euros

“Mardis jeunes” : free entrance for students and visitors under 26 every last Tuesday of the

month from 5 pm to 9pm

Satellite programming: free entrance

❙ ConTaCTs

Press relations / Jeu de Paume: Carole Brianchon

+33 (0)1 47 03 13 22 / [email protected]

Communication / Jeu de Paume: Anne Racine

+33 (0)1 47 03 13 29 / [email protected]

Press relations / Maison d’art Bernard Anthonioz: Caroline Cournède+33 (0)1 48 71 90 07 / [email protected]