Charnwood
RTSLIN
France
K 1
Floats by Angela Co (2011) Photography by photoarchitecture.com Festival des Architectures Vives in Montpellier
2
Contents Samuel Dougados 4
Live Architecture Festival 20
Les Commandos Percu 34
Julien Creuzet 44
Festival des Lumières 60
Transe Express 70
JR 80
Front Cover: ‘Reframe’ by Adam Scales + Atelier Kit (Pierre Berthelomeau and Paul Van Den Berg) (2012)
3
4
‘
‘
I think that we pay more attention to a flower or a butterfly because their lifetime is very short. People are very sensitive to the ephemeral nature of this kind of work, it leaves a marking impression, the impact is shorter but much deeper.
Samuel Dougados
5
Circle woman (2008)
6
F
rench photographer Robert Doisneau once said “For
beauty to be emotional, it has to be ephemeral”. For Samuel Dougados, this citation perfectly sums up his artwork. Samuel is a surfer and artist living in Biarritz, in the South West of France. His artworks include environmental and land art, but more importantly beach art which is his specialty. He also makes some sculpture, installations and other art forms. At a young age, Samuel was already interested in art, but making it his career was not his first decision. He graduated from a bachelor degree and it was only four years ago that he started living off his passion for art. Having recently won the World Beach Art Championship in 2012, Samuel’s artwork has been gaining more attention and is starting to be recognized more widely.
7
8
Ailleurs (2011)
Reading your biography reveals
approach to this kind of art, which
that you have started quite
is by definition land art. I often find
recently doing beach art and
myself arriving on the beach not
other land art. How did you get into
knowing yet what I am going to do;
beach art? Was it something that
I let myself go with the flow of this
you used to do as a child?
moment and improvise in terms of
When I was a child, I lived in Alsace so
the time and location. It can be a
quite far away from any beaches!
geometrical form, a more meaningful
I started beach art in 2008, a year
drawing with a message or just a
after discovering this form of art and
sentence. In the last two cases, I
technique in a surf video. At that
think in advance, I take some ideas
moment I moved near the beach
which I keep in a notebook. When I
of the Basque coast in Biarritz, an
improvise, what I look for above all is
ideal beach location for this art
a certain homogeneity of the artwork,
which also offers great photography
a general harmony. Then there are
opportunities as there are cliffs
also ways and tools to make perfect
overlooking the beach. It was a way
drawings such as cords, set squares
for me back then, to create a sort of
but I prefer not to use them. My lines
buzz during summer. I quickly started
can seem perfect when they are not;
being hooked by the interaction
sometimes I will rub them out, but if
between my work and the public.
I make mistakes and keep working with them, my artwork will then evolve
How would you describe the
into something less predicted which
beach art process? How do you
can bring even more interest to it. My
work and what are the different
approach is a bit similar to that of a
steps and processes in completing
street artist on a wall. I just replace the
a beach artwork?
wall by a beach and the spray by a
I have quite a free and artistic
rake!
9
What do you most enjoy about doing your work? What I love about this work is the freedom and space! There are very few workspaces that can offer as much space for expression. Here, my only limit is time. It is also one of the most beautiful workspaces, it is alive and at certain times, a real alchemy is created with nature, my five senses are awakened, the smell of the sea spray, the changing lights, the sound of waves... Searching for new locations and new beaches across the world is such luck! I am selftaught, I let myself be guided by my emotions, my dreams, and today I feel really lucky to be able to make a living from what I do!
How do other people generally respond to it? Do they always respond in the way that you expect? There are generally interactions with the audience and it is pleasing to see how much we can affect people.
10
CarrĂŠ Optiq
que (2010)
The first time I did a beach artwork, a woman who was walking by came closer and just thanked me for what I was doing and offering and this really impacted on me. It was at this moment that I realized the power of my work and that I then started to write messages directly. During the summer, you can impact on millions of people in only a few hours. Most of them respect my work and do not walk on it but there are always some who either do not see it or do not care, I just have to deal with it!
From the photographs on your website, it seems that you use words, symbols or signs that people can recognise (such as the barcode or “I Need� sign) as well as abstract shapes. Are there any particular ideas or messages that you try to communicate through your art? In general, I try to bring nature into my work and to bring my work into nature. I enjoy the interaction
11
Empruntes digitales (2008)
12
13
14
between my works and nature and
therefore a relatively high tide, there
with the public. “I NEED” is an artwork
also shouldn’t be too much swell or
which communicates directly with
wind and of course no rain. Usually,
nature and which would not be able
on the beach close to where I live,
to exist without it, just as we, humans,
I have 5 possible days every 10-15
could not exist without it. I often try to
days but this is always depending on
communicate messages of respect
the weather. It is then the weather
of our environment, of awareness; the
that dictates my work. I create my
barcode entails the monetization of
artwork between 1 and 3pm, take
nature, of the beach (luckily there are
photographs and then let it live and
still no private beaches on the Basque
die. Often, when I start too late or
coast!). I try to make people react
when I see too large, I cannot finish
to what surrounds them, to admire
on time and the tide will start to make
and to look for the beauty, to be
it disappear. But this is part of the
conscious… In a way, it is the key to
game and some of the photographs
our salvation and our elevation which
were taken while the artwork was
tends to be put down because of
starting to fade, it is all part of the
mass media seeking to brainwash us.
creative process!
Working outside and especially
Artists often have preferences of
on sand means you are, as an
working with certain materials. Are
artist, affected by the natural
there any particular sands surfaces
environment. What are the biggest
that you like to work on more than
challenges when achieving your
others?
artwork?
The various travels I have done have
The biggest barrier is nature itself.
allowed me to test different sands:
I need to have enough space,
fine, thick, white, brown or pink. Let’s
say that in order to have a good result, I need a relatively flat beach that is completely covered at high tide so that the sand is hard and wet. And I cannot do that anywhere.
You already document your artwork through photography. Do you have plans to document your artwork with another method (documentary, film)? Photography is really a second work,
I would also like to assemble all these
it allows me to keep a memory of
photos in a book to display all the
my ephemeral artworks but it is also
beaches worldwide and these furtive
a second artwork I create which
fingerprints that I have left behind. A
is sustainable and where I try to
documentary, sort of an artistic road
bring a more poetic reading of the
trip is also something I would like to
image. I will often keep only a small
make in the future.
detail of my artwork, for example capture a couple or a child who
You used the citation by French
approached it and made it live in
photographer Robert Doisneau on
a certain way. I then rework the
your website: “To be emotional,
photographs more or less to create a
beauty has to be ephemeral�. How
certain atmosphere and I print them
do you think this citation applies
on brushed aluminium for the texture
to your artwork? Do you think that
and particular lightning that goes
land art is beautiful because in a
well with this sand work. In the future,
way it does not last?
15
I Need (2011)
All photos and artwork by Sam Dougados
I think that this citation from Robert Doisneau suits perfectly my beach artwork. I wrote it once on the beach and two photos were taken from it (La Beauté et Être). I think that we pay more attention to a flower or a butterfly because their lifetime is very short. People are very sensitive to the ephemeral nature of this kind of work, it leaves a marking impression; the impact is shorter but much deeper. Nowadays we like what we can touch, what can last but the ephemeral has this poetry!
Finally, do you have any ambitious projects for the future? Do you have, for example, any aspirations to work on bigger scales,
16
internationally?
Islands in the St Laurent Gulf in
My goal is to be able to achieve this
Quebec this summer. I would also
work on the largest scale as possible
like to go to Portugal, California and
across the world. To this day I have
Norway etc… I have also worked
been able to work on beaches in
with dancers from the Biarritz Ballet,
France, Spain, UK, Jersey, Morocco
musicians, and I would like to
and Bermudas and I am still waiting
multiply these artistic exchanges,
for an answer to go on Madeleine
also add some colour to my work
(ecological of course), mix painting
I also work on installations in nature
on canvas and beach art such
and I would like to further develop this
as this performance by painter
side of sculpture which I really enjoy.
I単igo Manterola for my exhibition
To create an artwork in volume is very
Lineacontinua (ref. video on my
interesting and enriching for an artist
website). This involves bringing a
and if the artwork can interact with its
fragment of my beach artwork on a
environment or the audience, it would
canvas which is large enough.
be even better!
For more informaton, visit: www.sam-dougados.com 17
18
19
Code Barre (2009)
Festival des Architectures Vives
20
This year was the 8th celebration of Festival des Architectures Vives, a festival putting forward contemporary architecture and a selection of young international architects across the world. 21
22
‘ByeByeBalloon’ by Sha•Lu•Mo (Samuel Berthomeau and Lucie Mothes) 2012
F
estival des Architectures Vives
essentially concentrates on the
(Festival of Live Architecture)
Festival des Architectures Vives
is an event that takes place in the
which has become one of their
South of France every year during
main projects. Initially created with
the month of June. It was created by
the main aim to showcase young
the Association ‘Champ Libre’ in 2006
architects’ work, the festival features
whose main mission is to promote
work from 11 French and International
architecture in Montpellier and the
teams of young architects. The event
Languedoc Roussillon region through
takes place in the oldest part of the
the organisation of programs, cultural
city centre of Montpellier, known as
events and various projects. This
‘L’Écusson’ where the most important
provides a platform for architects,
building and culture heritage sites
urban planners, professionals and
can be found. The architects’
the general public to meet and
artworks and designs are displayed
collaborate. The association now
in urban spaces which are generally
‘La vie en Rose’ by Atelier A5 (Samantha Dugay, Nicolas Boudier, Stéphane Coulaud,. Daniel Delgado and Mathieu Canonge) 2008
23
‘Flower-still life’ by Sophie Bour and Luc Leotoing (2007)
24 24 ‘Chrysalide’ by Yves Rolin (2009)
closed to public such as old, private
awarded by the Jury to the winning
buildings and the courtyards of
team of architects. Every year, the
private mansions. Combining
architectural creations are designed
contemporary architecture and
around a chosen theme. This year’s
heritage sites, the festival provides a
theme was ‘The Memory’ echoing
unique space and environment to
the aim of the festival to revive the
experience architecture in an urban
‘souvenir’ of old patrominal buildings
context. Set as a walk of adventure
with the use of contemporary
and discovery, this journey is an
architecture.
opportunity for anyone to experience
Since the first edition, the festival
architecture. At the start of the day,
has gained popularity and more
each person is given a map of the
international exposure, attracting
city with the various installations and
9,000 visitors every year. For this year’s
locations as guidance. Featuring
edition, the festival was extended
animations, themed visits and various
for the first time to La Grande Motte,
architectural experiences, the event
a coastal town near Montpellier,
offers a dynamic and open image
bringing an additional week of
of contemporary architecture which
architectural discovery in a different
can be enjoyed by anyone, from the
environment. Not only does the
general public to the experienced
festival bring a unique contemporary
individual. Some installations may be
architectural experience to the public
static and others may be moving and
but it also offers the oppportunity for
interactive where the audience can
young and emerging architects to
participate and develop their own
take part in a collaborative project.
experience and perspective.
This enables them to think outside the
The event takes place over five days;
box and experiment with new fields of
the first day involves the inauguration
architectural design around a specific
and the public opening of the
theme and in unique environments.
event and on the last day a prize is
For more information visit:
www.festivaldesarchitecturesvives.com
25 All photos by photoarchitecture.com
26 26
‘Ombre en Lumière’ by Emilie Queney and Markus Schork (2010)
27
28 ‘Expo d’Expe’ by GoaGroup (2011)
‘Kub(or)’ by La Mutuelle (Emmanuelle Chiappone-Piriou, Maxime Enrico, Dimitri Roussel, and Sonia Sifflet)(2010)
29
‘Dans les Plis de la Mémoire’ by Atelier L2 (Julie de Legge and Pierre Lelièvre) 2013
30 30
‘Pavillion’ by Atelier Vecteur (Ugo Elzière, Nicolas Suissa, Cléo Deschaintres, Thomas Dalby, Coline Giardi) 2012
‘Performa’ by College of Design (Jordan Hines, Joanna Grand, Ricky Sparks) 2010
‘Smooth Rock’ by MN-Lab (Gwenole Mary, Arnaud Negre)31 2012
photo by Amélie Goebel
‘Cristallisation’ by Laurent Bariat and Fanny Dohen(2010)
32
33
Fire, percussions, dance and surprise, Les Commandos Percu take street art performances to a whole new level!
34
Les Commandos Percu 35
36
37
38
L
es Commandos Percu is a performance company from
Toulouse which was put together in 1994. The company was born from a partnership with Claude Walter from ‘Rythmes & Sons’ (Rhythms & Sounds), a sound laboratory, which provided the creation of original instruments and unique sounds. The initial idea behind the company was to put together a team of mobile street art percussion performers capable of delivering surprise to the audience. On stage or off stage, from distant or direct interaction with the audience, Les Commandos Percu fascinate the public. Composed of six fire and percussion performers, as well as special guests such as dancers and musicians, the company has been present at festivals all over the world for more than 15 years. Their shows also take form of street art performances and the group regularly
39
40
participate in private events.
and unexpected combination.
The success and dynamism of
By making their own instruments,
Les Commandos Percu rests
Les Commandos Percu are
in the fusion of the musical
also able to create their
element and fire whereby
own identity and distinguish
the combination of both of
themselves with the design of
these elements create a new
original instruments with special
language which is able to cross
shapes and unique sounds.
over all cultures and genres.
With the delivery of outstanding
Fire, drums and dance come
performances all over the world,
together to create a surprising
they have experienced great
success and rising popularity
This summer, Les Commandos
in the performing arts sector.
Percu will be touring all over
As audiences are looking for
France in various cities.
more unique and breath-taking art experiences, this French
For more information, visit:
company can fulfil this by
www.commandospercu.com
delivering amazing and inspiring performances. As the show comes to an end and the smell of powder from the last fireworks hangs in the air, the audience applauds, whistles and calls out for more.
All photos Š Kevin Ryan - Derby FestÊ and London 2012 Festival Windermere Lake.
41
42
43
Using various materials and different artforms, Julien Creuzet’s artworks represent an interesting and diverse ensemble with the recurring themes of the questionning of ‘identity’ and ‘existence’. 44
Julien Creuzet
45
46 Standard and poor’s, le grand ensemble (ensemble). 2012
47
48
‘
I do not attach myself to a material in
particular, such as wood or glass. These are things that draw my attention because they
‘
contain stories of yesterday and when we think about it today, they echo something different.
49
J
ulien Creuzet is a young artist
a number of solo exhibitions.
originally from Martinique. He
50
previously studied at Les Beaux-
When did you decide you wanted
Arts, both in Caen and Lyon,
to pursue art education and an
where he first obtained a National
art career? Was there a particular
Superior Diploma of Art and then
trigger that made you choose this
a postgraduate degree in Art.
path, or is it something that you
He is currently a student at Le
were always interested in?
Fresnoy-Studio national des Arts
I have always been quite
Contemporain. He is represented
interested in the arts and always
by the art gallery ‘Galerie
been involved in activities as a
Dohyanglee’ in Paris. He has
child. I was lucky to have a father
participated in many collective
who brought me to see many
exhibitions and has already made
exhibitions, which has helped me
Left: Horizon Introspectif (2010) Previous pages: Saint-Cola, sculpture instalation (2010)
a lot in a way and has strongly
to others. When I use the word
influenced me. I did not know
‘shape’, I mean an artistic shape,
straight away that I wanted to
whatever the art technique is
be an artist.During my teenage
- drawing, sculpture, images or
years I knew that I wanted to do
videos.
something related to visual arts but it has only been recently that I
Can you talk about the recurring
have truly wanted to be an artist.
themes in your artworks? I would say the recurring themes
What was the first piece of artwork
are the questions of identity, the
you did?
question of existence...
The first thing I really did was to decorate my room when I was a
And does this question of identity
child. I loved collecting magazines
concern you? Or is it in general?
and various things, I would cut
Yes, it does concern me in a way,
images and make collages that
as I am my own creation and my
I would put onto my walls. I was
own scale. I speak about my story,
quite open to any art form or
what makes me who I am; I speak
technique but I have always had
about my travels and my cultural
a preference for volumes and
heritage. For example, I was born
sculpture.
in Paris but I grew up in Martinique, so I have seen a certain number of
For people that are new to your
things and events. Consequently I
work, how would you describe
have an interest in America, in the
your artwork?
history of the Caribbean but also in
I would say that my work brings
colonial and post-colonial history.
questions about identity, through
I have an attraction for the sea,
the use of shapes that I expose
for the islands and the insularity...
51
I have the feeling that those everyday things, those everyday objects which are within reach, from the clothes bought in a shop to the food item which we eat, are not there by pure coincidence; they are here because there is a history behind them. For example, the fact that today I can smoke a cigarette reveals something. The cigarette is made up of tobacco which has a history - a history relating to commerce. The cigarette can also be seen as a communication object, an object of our society. And those are the kind of things for which I pay attention to and which
52
interest me.
Gisant (2010), from the exhibition ‘6ème étage’, in collabora
You work with a variety of materials
What deeply interests me is the
(glass, wood, metal...). Is there a
possibility to put shapes into place,
particular material that you find
shapes which might seem different
most challenging? Why?
at first sight, but at the same time
Not really... What interests me in the
they all have a history, a world
first place is not to have a specific
which is similar to an archipelago,
shape, such as not having a fixed
with landscape, details and various
signature, unlike a painter who is
shapes. Therefore, I do not attach
entirely attached to his canvas.
myself to a material in particular,
What meaning do these materials hold in your artworks? Are you trying to communicate a particular message/idea through their uses? What interests me is that the artwork itself is more or less an ensemble, a set of artworks. This means that when I create a sculpture, it represents a shape, I will then create another one, and another one... and for me this set, this combination of everything is an artwork. What interests me is that everything which I combine together can reveal a multiple identity; it is not just one identity and there is not just one way to see things but there are many
ation with artist Anne Houel.
possible ways to interpret it.
such as wood or glass. These are
Can you describe your creation
things that draw my attention
process? How do you start an
because they contain stories of
artwork? Do you have a precise
yesterday and when we think about
idea before starting and do you
it today, they echo something
know when an artwork is finished?
different. To put these forward today
Not really, I try to be aware of each
is to question yesterday and the
moment, of my environment and
past, resulting in a back and forth
of things that surround me. Simple
between the past and the present.
things, small details... For example,
53
I try to be aware of the coffee cup which I take every morning, the coffee bag which I bought at the supermarket and which I will then use to make the coffee. I also pay attention to the sugar that I will put into my coffee, which will sweeten it and to the rest of coffee which will remain in my cup and which will stain it. Those are the things that interest me. I really try to be aware of everything, as if we were always on the lookout for something, as if something serious could happen anytime. So your inspiration comes from everyday life, by what surrounds you, by objects ? I think it is more complicated than that, it is an attitude, a way of life from day to day, which puts itself into place and consequently enables us to start our work. It is not as if all of a sudden, I see a light which determines that I will make a shape, a drawing or a sculpture. I think that it has more to do with
54
Question Mark, sculpture (2012)
55
everyday life, every moment
Echoing the previous question
progressively resulting in things
regarding materials, what are your
being put into place. At some
biggest challenges to creating art
point, an idea will take shape; this
and how do you deal with them?
shape can either be insufficient
There are many important things
or completely sufficient. And I
to take into account. Firstly there
think that it is at this very moment
is the context and above this there
- when we feel that the idea takes
is the workplace, which in a sense
shape - that the shape can really
is not limited to its environment
exist.
and to the artist. It is every day life, a moment where I walk in
56
Left: Standard and Poor’s, Peur Intérieure (2012)
the street and I notice something
country, whether it is Martinique or
with a particular sign or writing.
France. But In a way it does make
There is a moment of observation
me reflect ond question myself
and then there is a moment of
and helps to nourish my work.
demonstration where I put these shapes together for the exhibition. I
How do people react to your
think it is important to be aware of
artwork?
the context, the environment, the
There are people who are entirely
place and its history. The difficulty
against it and then there are
then lies in trying to attribute things,
people who are completely
to communicate them and to
fascinated. I think that either
try to find a language which can
opinions are very important and
speak to certain people.
that it is a good thing that there are some people who do not
You are originally from the
share my ideas. In both cases,
Caribbean and you have lived
those opinions are enriching. I
both in France and Martinique.
think that not everyone can have
Does this influence your work? If
admiration for something; it is
so, in what way?
a question of sensibility and we
What influences me is that
all have the freedom of having
although Martinique is a French
this sensitivity which determines
department there is a contrast
whether we appreciate something
with the life of Metropolitan
or not. But what matters the most is
France; there is a culture which is
the opinion and what the artwork
separated. My travels do inspire
communicates to us; whether it
me but I do not let myself be too
interests us in our conditions and in
attached and ‘stuck’ on one
our realities.
57
58
The previous series of work that
composed of Haiti and Dominican
you have completed belongs to
Republican. And it is a reality that
the ‘Standard & Poor’s’ project
there are two strong identities
which is still in progress. What are
which make up this ensemble.
your future plans for this project?
Every little island has a story and
Standard and Poor’s is like an
is at the same time independent
archipelago, an ensemble of
of the ensemble and this is quite
artworks. For two years I have
similar to the way that I see my
been trying to put into place an
work.
ensemble, as if this ensemble was the artwork itself and that within
Julien Creuzet is currently
it there are different shapes and
exhibiting ‘Standard & Poor’s, ces
archipelagos. This idea comes
yeux, Césaire’ at Le Fresnoy, in
from the archipelagos such as in
Paris. He will also have another
the Caribbean for example. There
solo exhibition: ‘Standard and
are the Antillean islands which are
poor’s, le Nouveau Monde’ in
divided into two groups: the Lesser
November also in Paris at the art
Antilles and the Greater Antilles.
gallery Galerie Dohyanglee.
In the Greater Antilles, there is a small island which was discovered by Christophe Colombus called
To find out more, visit:
Española and which is nowadays
www.juliencreuzet.com
Left: Standard and poor’s, Capitalis, Estatuas - Les mains de Yeyette (2012) All photography © Pierre Capiemont, Hugo Renard, Christophe Bouder & Solveig Robbe
59
Fête des Lumières
60
Taking place every December, the Festival of Lights transforms Lyon into a magical place, celebrating the city and its patrimonial architecture with outstanding light shows and performances. 61
62
63
’Highlights’ by Skertzo. photo © 2012 Muriel Chaulet
--+W
-+++--
T
64
here is a good reason why
the Basilica of Fourvière to light
Lyon is called the City of Lights.
candles and give offerings to
Taking place in December, the
Virgin Mary. It was later in 1862,
“Fête des Lumières” is an awe-
when the statue of the Virgin Mary
inspiring festival of lights organised
was installed on December 8th
every year by the city council.
on the Fourvière hill, that this date
Behind the festival lies a religious
became a celebration. As the
tradition which dates back to 1643.
years passed by, the traditional
Originally, a procession would
event slowly gained popularity
make its way every December to
and moved to the form of a
larger scale festival with a more
of the city, the park and the
artisitc approach. While it is still a
two rivers that separate the city
current practice for every family
allowing outstanding shows of
in Lyon to place candles on the
light reflections. The patrimonial
window-sills and wander in the
architecture of Lyon is celebrated
streets, this religious celebration
through these light performances
has now extended to a four day
with the most iconic being the
festival. Illuminations, light shows,
lighting of the Basilica of Fourvière.
activities and performances take
Every year from designers and
place between the buildings
architects, to light specialists, 70 internationally known creators and young talents take part in the festival and transform 60 urban areas of the city of Lyon into magical and intriguing places. No matter how low the temperatures, the festival attracts more than 4 millions tourists every year. From France and all over the world, people come to visit Lyon to enjoy the vibrant and electrifying atmosphere of the light shows and events happening around the city. Lights and creativity make a great... and electrifying duo! For more information, visit:
www.fetedeslumieres.lyon.fr
Left: “La Sarabande des Animaux Magnifiques” by L’ Atelier de l’Evènement Photo © 2012 Titash
65
66
67
‘Keyframes’ by Groupe Laps. Photo © 2011 Ludovic Landry
68
Medusa by Elodie Thibault and Emmanuel Cussigh Photo Š 2012 Muriel Chaulet
69
True pioneers of ‘Celestial Art’, this thirty year old street theatre company keeps surprising their audiences and transforming cities into unique destinations.
70
Transe Express 71
72
73
74
F
ormed in 1982, Transe Express is a street theatre company
which was founded by sculptor Gilles Rhode and dancer & choreographer Brigitte Burdin. Pioneers of street arts, intervention theatre and aerial spectacles, Transe Express is the founder and initiator of “Art Céleste”- celestial art, a form of art which can be described as theatre above the city. This form of art includes aerial performances whereby
rehearsed. Offering an original
performing artists supported by
form of street arts, Transe Express
cables fly over the city hanging
is a mix of artistic elements and
over 60 meters high. With the sky
mediums including music, theatre,
as their limit, this type of show
circus, fire processions, dance
offers an alternative to ground
and many more. The team is
based performance giving great
comprised of a hundred actors,
visibility and allowing large-scale
aerobats, acrobats, dancers,
audiences in public spaces to
bell ringers, percussionists and
watch performances from below.
technicians. With their main
Based in Eurre, in the Drome
motivations and goal to play
Region of Southern France,
and provoke through meeting
the company has settled in La
the public in open spaces, the
Gare à Coulisses, a building
company brings unique and
and centre where their artistic
intriguing performances to their
creation is developed and their
audiences, going beyond usual
productions are created and
expectations...
75
From their magical musical chandelier “Maudits Sonnats� to their impressive giant dolls, Transe Express can surprise the public through one performance and transform a city into a unique destination. In the past 30 years, Transe Express has created a dozen shows, 80 ephemeral performances and has played in 80 countries in 5 different continents. The company has been present at many
76
major events, such as the opening of the Olympic Games in Albertville in 1992, the Sydney Festival in 2002 and 2005 and festivals including Glastonbury and WOMAD. Bringing a unique identity as street art performers, Transe Express are enjoyed the world over. To find out more, visit:
www.transe-express.com
All photos Š 2009 Kevin Ryan. Derby FestÊ
77
78
79
JR exhibits in the biggest art gallery of all, the still and moving surfaces of our world...
80
JR 81
82
83
28 millimeters, ‘Women Are Heroes’, Kenya (2009)
S
treet artist, photographer or photojournalist? It is
rather hard to categorize French artist JR and his work with a specific title. With no special art background or education, JR is a selftaught artist. Just in his 30s, his artwork has already been displayed worldwide and has been viewed by millions of people. From buildings to trains, rooftops or bridges, JR’s photographs have covered many surfaces, spaces and cities. He exhibits in the biggest art gallery of all, the still and moving surfaces of our world. With complete freedom and a will to share his vision and photography with the world, JR displays his giant black and white photographs in varied urban and public spaces. They can be the usual or unusual places, but mostly, of course where the work can be seen.
84
Favela Morro da Providência, Favela by Day, Rio de Janeiro, Brazil (2008)
‘Women Are Heroes’ For this project celebrating women and their role in society, JR pasted huge photos of the faces and eyes of local women in various countries: Brazil, Sierra Leone, Cambodia, India, Liberia and Kenya.
85
Action in Shanghai, Shi Li, horizontal, China (2010)
His main purpose is to bring art into a
people and communities, to find
new context, to create projects with
out about their lifestyle, and bring a
communities and neighbourhoods,
different view on current events or
projects that are so big that they
situations. From surprise, fascination,
force people to question themselves.
questioning or confusion, JR’s art not
For his projects, JR uses the mediums
only makes a direct impact on the
of photography and video to create
urban surroundings but also upon the
his work; his photographs are printed
population through their reactions to it.
in large-scale on paper or canvas
Having travelled all over the world, JR
sheets. At first, JR’s method may
is often to be found in countries that
seem simple: taking portraits of local
are not so stable and where there are
people, printing and plastering
conflict zones. Putting aside the critical
them on walls of urban spaces. Yet
situations of those countries, which
underneath this kind of project lies
appear to him to be of lesser concern,
a strong need to socialise with local
JR is mostly concerned with bringing
86 Action in Shanghai, Shi Li, work in progress, China (2010)
another vision of our world than the one in the mainstream media, different and provoking, yet closer to reality. One of his projects included photographing the faces of Palestinians and Israelis pulling faces and putting each portrait next to each on either side on the separation wall. This was not only provoking to the local authorities and impacting on the local communities, but it was also a way to show the world another image of a current conflict.
‘The Wrinkles of the City’ Taking place in Cartagena, Shanghai, Los Angeles, and La Havana, this is a project which involved photographing elderly people and pasting their large scale portraits on the heights of the city, witnessing both the “wrinkles’ in their lives and of the city they live in.
87
Nuns in Action, Separation Wall, Security Fence, Palestinian Side, Bethlehem (2007)
88 88
Throughout the years, JR has gained
global, identity.
popularity and is now a renowned
JR is currently working on the ‘Inside
international artist. Not only does he
Out’ project, a global art project
impact communities with his street
whose aim is to give everyone, from
art but he creates opportunities for
groups to individuals, the opportunity
anyone who wants to participate
to share their portrait and share
and play a part. Beyond the
their statement with the world. With
response and involvement of local
100,000 posters sent from more than
people, and others who volunteer,
108 countries since 2011, this project
his projects are collaborative pieces
has a promising future. Like his six past
where each participates in some
projects the strength and impact of this
way contributing to a distinctive, yet
work is already assured.
To find out more visit: www.jr-art.net ‘Face 2 Face’ For this project, JR photographed and pasted large-scale portraits of Israelis and Palestinians on both sides of the wall and in several Palestinian and Israeli cities.
Holy Tryptich, 2006
89 All artwork and photography © JR
90
“Inside Out Project”, Nablus, Palestine (2011)
91
Acknowledgements Contributing: Artists: Samuel Dougados Julien Creuzet JR Art Centres & Associations: Festival des Architecture Vives Festival des Lumières Agencies Agence VU Photographers:
photoarchitecture.com
Pierre Capiemont Hugo Renard Christophe Bouder Solveig Robbe Muriel Chaulet Fabrice Dimier Ludovic Landry Kevin Ryan Producing Editor: AmĂŠlie Goebel Series Editor:
Kevin Ryan
Design Assistance: Jagdeep Ryatt Natalie Chabaud Project Assistance: James Chantry Terry Allen Rebecca Abrahams
First published in August 2013 Copyright: Charnwood Arts and Individual Authors All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, scanning, recording or otherwise, without prior written permission of Charnwood Arts.
92
Charnwood Artslink International Charnwood Artslink International was born in the early 1990s
through links with the Indian state of Gujarat and European twinning links between Charnwood in the UK and towns in Belgium, France, Germany and Poland. Since then we have worked with or promoted the works of artists from over 100 countries. We began this work even earlier, as since 1977, Charnwood Arts, an arts and educational charity based in the UK East Mildands, has worked with artists and organisations around the world to create scores of exhibitions, events, workshops, festivals, publications and projects. This current magazine project, initiated in the summer of 2013 is designed to involve people between 16 and 35 years of age in producing magazines about arts and culture in, or from, their home countries. Most people involved in this project have no direct experience of producing a publication before undertaking the project and with support they are thrown into the deep end of undertaking ALL aspects of originating and producing the magazine for on-line distribution. All of the young people and young adults involved in this project to date have been involved in face to face work with Charnwood Arts. www.charnwoodarts.com
Charnwood
RTSLIN France
K
93
Aquastell by Pitaya Design Photo © 2011 Ludovic Landry, Fête des lumières
Charnwood Arts acknowledges core support from Arts Council England and Charnwood Borough Council.
94