beaux arts de Nantes-St Nazaire
WHERE WE ARE
External sound piece 5’, loop
How do we perceive our body ? And how do we perceive the environment that surrounds our body. This work is about discussing the ambiguity of placing both in a dialogue.
It is entirely with the body, and could be a possible opportunity for an internal gaze, to amplify the body’s micro-sounds in order to perceive the space again, through experience and memories, while trying to extend the boundaries of the sound.
Suncheon’s Matter, 2018
Sound movie, 6’.
Transfers and chemical interventions on 16mm found films. The film is moved to a digital format for practical and economic reasons. I have transferred some satellite imagery of Suncheon on 16mm film with the use of solvent. The celluloid matter and the printed pictures become the landscape. Suncheon’s streets and roofs reveal geometric patterns on the film that become abstract pictures during the high speed projection.
I chose some objective views and brought them to a more subjective abstraction that reveal the matter of the picture.
Digital photography, 56 X 37 cm
In this work I question the fragility of aging persons.
A fragility of the body, but also of a presence, a memory, an origin which disappears. Living ghosts that are not totally transparent, but already fade away. A presence which becomes floating.
Garden of Eternity (in progress), 2018
Oil on canvas, 47x 672 cm
Born in 1987, I am an artist-painter of ukrainian origin currently living in France.
My work has sensitive and intuitive roots. As a counteraction I’m trying to rationalize it, by creating concepts, protocols and rituels around it. For example when the process of painting becomes a ritual by painting the same chair every day until exhaustion or when one day I paint my left hand with my right hand and vice versa on the following day. This helps to change my habits and the way I paint.
Throughout my work I interrogate questions of limits and contradictions, between happiness and frustration, between dematerialization and figuration, between isolation and reconciliation, between intuition and rationalism, between lyricism and tragic, between evidence and ambivalence, between plastic credibility and unreal colors, between melancholy and irony, between what is spontaneous and what is planned... If that limit and contradiction exists, where does it start and how far does it go?
Emanation Body, 2018
This video is based on a speculative idea of a globalised religion. I have textured and animated a 3D scan of a sculpture of Simhavaktra, a buddhist deity part of the dakinis which are energetic beings in female form, evocative of the movement of energy in space.
This 3D scanned god is thought of as the common link in this generalized religion it is like what the Tibetan monks call Tulpa or emanation body. A hallucinated deity brought on from months of meditation and autosuggestion.
This dancing hallucination sequence is mixed with processed and textured found footage of groups of people in religious trance as well as the Illustris simulation; the most recent and most accurate simulation of the creation of the universe and cellular automata; simple algorithms that can mimic data propagation as well as natural growth. These images are put together to imply a growing network of globalized trance.
I use different techniques to convert the found internet videos into objects, by adding layers of glitches and texturing they become harder to understand and more abstract, reflecting an ambiguous state between reality and hallucination.
Drawing on paper, 500 x 50 cm
The bright moon shines over the sea, 2018, half-transparent plastic film and orange plastic thread, 600 x 60 cm
In this installation I have chosen a translucent film, that flows and disappears into the space like a water wave, with bright, orange lines above it, like «moonlight» sprinkled on the “water”. I was inspired by a poem from the Tang Dynasty in China, “As the bright moon shines over the sea, from far away you share this moment with me.» Perhaps the end of the narrative is the beginning of poetry.
In my creation I like to poetically combine all kinds of unrelated materials, giving them new possibilities. This combination is a re-examination and re-imagination of the function of everyday objects.
I have loaded these three copper plates with negative energy. I have followed this process : for four days, I have recited some sorts of mantra evoking dark thoughts. I focussed on negative feelings while I was holding the copper plates in my hands hoping copper to be a conductive material so that the negative energies could be transferred into the engravings.
I also have a personal approach to the numbers which are engraved in these plates. The signs correspond to symbols either emphasizing or stabilizing the figures. I have a relationship to the numbers even today. The plates I exhibit are going to be regularly loaded.
My work mainly deals with the themes of superstitions, the supernatural, beliefs and psychological disorders engendered by the phenomenon quoted above. My entire work is based on my inner feelings. I experiment my limits and my work is thus enriched with my inner self. What I am interested in is the tension between the real and the unreal,the irrational,the fiction, the unknown. I find these topics fascinating even more because I don’t think I will get any answers.I definitely use my superstitions as a material in my work.
I do like this phrase about superstitions and creation « Be the victim of your imagination ».
Tourist Sight, 2018
Cutting / folding, 6 postcards of castles or fortresses
15.7 x 10.5 cm
Observation tools (horizontal) construct, sculpt and modulate our gaze according to specific needs. The tool causes a reorganization, which opens a new field as much as it closes, or locks the eye.
A triangle, round or square loophole for arquebusiers and slot- shaped for archers.
I ask myself the question of the point of view. The loophole is shaped like a funnel on one side it opens up a field of vision and the other closes it for the sake of protection, all working in a fair balance opening / closing.
When the castle became ruined, these vestige remains only through a tourist activity. How to reinvent the point of view of a murderer when it has become obsolete?
Rethinking this landscape in relation to a point of view now abandoned is contemplating the obsolescence of this once strategic point of view and asking oneself the questions «how do we observe now» «who is observed now» « Where do we see now?»
After Alexander the Great, 2018
Oil painting on canvas, 46 x 33 cm, 4 pieces
This serie of paintings presenst 4 landscapes of the actual location of 4 battles of the Eastern conquests of Alexander the Great in -334 bc (Granicus, Gaugamelès, Hydaspe, Tyre). Using strategic battle maps and the Google Street View tool I found the exact spots where Alexander’s army was, and I chose to paint the views they were facing.
So, I tried to bring a contemporary point of view over historical battles to question memories of these landscapes.
A Landscape, 2017
This short text is a poem that I wrote about the different ways to consider and contemplate the landscapes.I created it after to have seen Spring, Summer, Winter, Fall, Winter and Spring (2003) a movie directed by Kim Ki-duk.
Nevertheless, the poem can be appreciated independantly on his own way, nominating the landscape in plural types. These two verses intend to be presented on a wall, registered in painted korean letters. In this way, spread on the mural surface, in nuances of green, the words will be able to evoke a new visual landscape, from a «
hand choreography »
Sleepwalk II, 2018
Video, logbook, 5‘
Walking at the same time, indefinitely, aimlessly, fragmented and anything difficult to determine.
Utopian fragmentary transmission, 2018
Oilcloth, front : acrylic paint, spray bomb. back : offset stamp printing, 10 x 180 cm
I address you an imaginary landscape
this landscape is a map, a geological
mental map, a whimsical projection this landscape is a postcard
I propose a sharing
a sharing of memorial, temporal and travel fragment
I ask ourselves to work
to work collectively to share words and time
Created by successions of layers of painting, these cards are imaginary projections of what I will discover in Korean landscapes. In order to inscribe this work in different temporalities, the map on the left will be buried at my departure, so that it melds into with the geological layers of Suncheon and become a part of it.
The right roll is addressed to you, it is your turn to pass on Please, cut one, write on and feel free to send it.
Some Logic, 2018
3 texts, 6 formats 30 X 30 cm
( peinture, collage, crayon ), 90 x 60 cm
I used the euphoria of a trip, this trip,
the images too, and the emotions that follow. Fear, joy or anguish, it does not matter.
To analyze, canalize and understand.
To arrange or to classify.
This is my raw material.
The mathematical language, the words,
the composition of these words in the page,
the conjugation. The features, the pencil, the painting, or the collage.
These are my tools.
I try to create a logic, to make rational
what by definition is not.
Generating forms, colors, words,
everything that brings me back to this journey and this destination that I do not know yet and in which I project myself mentally.
Bird on a Branch, 2017
Oil painting on canvas, mounted on wood
25 cm x 20 cm
Bernard Plantive is a painter who lives and works in Nantes. He studied at the Ecole des Beaux-Arts de Nantes and at the University Paris I Panthéon-Sorbonne.
He is a teacher at the Ecole des Beaux-Arts de Nantes. Through an intimate painting, Plantive tries to capture fleeting moments. He focuses on poetry that is sometimes nested in the strangeness of everyday life.
This bird on its branch, seen in a garden in Nantes, flies today in a park in Suncheon.
Sleepwalk , 2018
Sound piece, 3‘, loop.
It was presented in two parts, one indoors and one embedded outsoors to create a dialogue with the audience. In process of creation, Bachelard’s «The Poetic of Space», gave me a lot of supports, it has opened the limitation of my spatial design experience in the past, making space a more illusive thing that can be enlarged and reduced. As a kind of non visible but true existence that is described in Foucault’s «Heterotopia».
Liquefied Thoughts 2018
2 video loops
Stéphane Thidet, born in 1974, studied at the École des Beaux-Arts in Rouen, graduating in 1996. He pursued his education at Paris École Nationale Supérieure des Beaux- Arts, where he graduated in 2002. He now lives in Paris and works in Aubervilliers. His work is centred around the ideas of the transience of the elements and of using objects as a source of both resistance and reconstruction.
His art features in many public and private collections. Stéphane Thidet has been represented for the past ten years by the Aline Vidal gallery in Paris, and the Laurence Bernard gallery in Geneva. His work has been exhibited in La Maison Rouge, the Palais de Tokyo and in numerous contemporary art galleries in both France and abroad.
Stéphane Thidet is teaching sculpture and installation at the
École Supérieur de Beaux-Arts de Nantes.
Short film, - ∞
(Normally projected and presented on a large screen - cinema size) Night can quickly change in to fiction, it’s a space where humans can dream, make nightmares, and disappear. Many literary pieces, cinema or music treated about her. The Science - Fiction, the Gothic genre, the thrillers, the sythwave, or the roman noir represent few noteworthy exemples of categories that talk about the nocturnal imaginary.This realisation is a short - movie video which assembles many night experiences records that are not presented in a conventionnal narrative form : a begginning, a duration, an end. It suggests an incomplete and unfinished repertory of sensitive night views, in an aesthetic sense.
This visual and noisy space that I’m filming works like an intuitive and slippery area. It can represent the fear, the insecurity, the nothingness; but romantic poets also sang of her and exalted her, regarding to her fantasy power. In this project, the disorder is organised, the sequences are succeeding without any real background intentions. It’s more a question of how to document the night, and not only in first degree, but in the whole part of fiction that is attached to her. The night represents a letting go, a territory where the forms are hiding, as much as they are reveal. Sometimes, when I film at night, I have the curious feeling that I’m disturbing a quiet and indomitable stability - I have the impression to extract all the elements from their sleep.
Christiane Carlut & Philippe Bonnin,
Landscape, User Manual : coming in, getting out , 2017
Our naturalistic heritage led us to consider the landscape as a backdrop, «which only comes alive when humans project their fantasies, their representations, their categories». The legacy of landscape painting helps to keep the landscape « at a distance between the viewer and the stage». The first part, presented here, of this film in progress, puts human beings in the center of the landscape, which exists by, and is only worth, its presence. Anthropology now sets the radical negation of our exteriority to landscape and environment, and proposes a critical conceptual frameworks of modernity, naturalism, and capitalism, in which «it is no longer possible to think humans separately from their environment». The Enlightenment Nature / Culture dichotomy, the notion of the otherness of man to his context and our connections to other living beings, are now completely reconsidered to «recompose more hospitable worlds».
Christiane Carlut makes films (christiane-carlut.fr) and teaches at the Fine Arts School of Nantes, where she cares about the Seoul/Suncheon Campus. For the research project «Thinking from the border», she built a multimedia platform, «The Invention of the North», about the DMZ, the inter-Korean border. She organized the “Copyright/Copywrong” conference in 2000, as well as various artistic events. She wrote texts about the “Artistic Freedom of Appropriation”, and “Realities and Fictions of Testimony in the Asylum Claim”. In progress : a film trilogy, “The Obscure Figure of the Extra”. She lives between Berry (center of France) and Britanny.
Philippe Bonnin has successively been sailor, forester, and responsible for the protection and development of coastal natural areas on the north coast of Brittany. Lives between Côtes d’Armor (Brittany) and Berry.
A Lucky Day, 2017
Print on paper, 50 X 65 cm
This print is extracted from the curatorial and editorial project entitled EX.PDF: Exposing the exposed Writings. It’s a document holder grouping the proposals of about thirty artists on this theme of the exposed Writings. This project initiated by John Cornu and Emma-Charlotte Gobry-Laurencin, was presented in France, Germany and Belgium.
This theme led me to the collaborative platform: www.type- trap.com created for the exhibition «FUTURA. DIE SCHRIFT». Anyone wishing to do so was invited to «track down» the FUTURA font and to geolocate it via Google Map.
A Lucky Day is my transcript of this typographic safari. This refers to this November 10, 2016, when the notice of my flower pot Ikea allowed me to participate in Type-Trap.
This project is a work of layout taking again the idea of «typographic adventure», indices are presented there in order to find the place of the shooting.
Photographs of the Art School of Nantes,
ESBANM Credits : Luc Boegly, Marc Dieulangard, Valerie Joncheray.