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ACCUEIL GALERIE ATELIER UNIVERSITÉ NIS PUBLICATION WANG COLLECTION CONTACT

EMMA HOLMES (UK)

         ‘Through her semi-transparent constructions, Emma Holmes has developed an intricate method of negotiating image, surface, and signification. Holmes' interest lies in re-charging much circulated imagery, particularly of illusionary scenarios in the form of imagined modernist posters, public interiors, and so on,  in constantly varying formulations. The stylistic idiosyncrasies that result from these investigations form new notions of place, memory, & historical narrative that interweave the ideal, the quotidian, and the spontaneously formed fiction.’
Noah Angell

EMMA HOLMES

18.07.09 - 30.08.09

Hassanieh's installations are simultaneously a reanimation of space and a summoning of the accumulated historys of location. Her work is situated within structures whose content and function are no longer active, yet are still charged with the event of their abandonment.

NOAH ANGELL (USA)

Angell's constructed short films examine the possibilities of structure and the productive capabilities of refusal and demolition. By abandoning the facade of authorship, he examines the site of film and that of its viewer through the violence of the cinematic edit.

Noah Angell 2009 still from 'each die I dawn'

RANA HASSENIEH and

NOAH ANGELL

19.09.09 - 01.11.09

L’exposition met l’accent sur l’influence de l’école russe Vkhoutemas, sur le travail d’un groupe d’artistes contemporains, avec un intéret particulier pour la transformation de l’espace. Cette école, fondée à Moscou en 1920, a été fermée en 1930. Proche du Bashaus, elle a profondément marqué par ses positions idéologiques, l’avant-garde artistique russe des années vingt qui voyait en l’art un instrument de transformation sociale.

L’école Vkhoutemas, centre à la fois du constructivisme, du rationalisme et du suprématisme, avec ses méthodes d’enseignement novatrices, a favorisé l’emergence de practiques liant l’art aux nouvelles technologies.

ANDREAS WALDÉN

01.05 - 06.06

Andreas Walden’s new series of paintings have developed from a suite of computer drawings done on MS Paint. He pushes the drawing into a world of mathematical vectors, allowing him to suggest the space of artistic reasoning and to expose its geography. The works move towards being paintings of the drawing for the painting, leaving this beautiful circularity to hint at different histories and strategies in art.
He works on a diminutive scale with a limited pallet, giving his paintings the propositional nature of maps and diagrams. His repertoire of marks evokes the traditional birth of a painting in preparatory drawing. Uniting these two worlds, the intimate association of drawing with an initial idea is welded to the physicality of the painted moment.
Architecture, graffiti, and the pixel, inform the classic vocabulary of Paint, Mark, and Surface. Mistakes trace the production on the canvas as much as indicate the evolution of ideas in the visual realm.