MARC JANCOU CONTEMPORARY
LA ROSSINIERE (CH)
ALIGHIERO BOETTI - MARIE HAZARD
18.12.2019 — 31.01.2020
Alighiero Boetti’s (Italian, 1940-1994) embroidered arazzi are among the most intensely eye-catching of all Conceptual art. They were created from 1971 to 1994 by Afghan craftswomen who worked according to the artist’s designs, but usually chose the colors themselves. The arrazi’s vivid, mosaic-like grids of blocky letters — so similar yet always different —combine Italian and Persian texts, contrasting geometric European letters and flowing Persian calligraphy arranged in checkerboard patterns, alternating bands, grids or cruciform shapes. The texts include poems and idioms, and the words sometimes relay titles and dates, Boetti’s name, and his and his collaborators’ home cities. The Persian script often conveyed personal expressions of homesickness, homages to the Afghan landscape, and laments about its destruction during the Soviet invasion. With seeming randomness — a kind of visual ‘speaking-in-tongues’ effect — they reflect Boetti’s desire to span time and space, erase cultural divisions, and contrast order and disorder.
Marie Hazard (French, b. 1994) weaves to create her personal canvas and tell a story – her own and that of her time. The etymological origins of the French word tisser (to weave) highlight the significance of this traditional act, deriving from the Latin texere (to write). By choosing weaving as a medium, Marie Hazard is telling the story of a technique, of savoir-faire, of an ancestral artisanal production which she adapts to our present time. For Hazard, weaving is writing, weaving is telling, weaving is inventing a language. As with weaving looms, where shuttles move thread and yarn to create new materials, displacement and migration necessitate the formation and evolution of language. Hazard is fascinated by this journey, where images, letters, and alphabets meet, and where movement, chance encounter, and the unexpected combine to reveal the fallacy of language structures.
Both Boetti’s arazzi and Hazard’s weavings recognize the inevitable fluctuation in all systems. Boetti was particularly captivated by duality and dichotomy, ideas he explored in his arazzi by juxtaposing notions of order and disorder, fullness and emptiness, east and west. For Hazard, these metaphysical intersections are perfectly encapsualted in the four languages official to Switzerland: Romansh, Italian, German and French. She sees them as a traffic junction, a point of convergence that gives rise to a meeting both material (the threads that are arranged between them) and physical (the people who speak and express themselves). Her weavings, created specifically for this exhibition, will explore the boundaries of language and the effects of intermingling and displacement through these four mother-tongues. By breaking text down into its constituent parts, each artist’s work exposes language to be a sophisticated but ultimately artificial arrangement of forms.
JAPANESE BAMBOOS - MARIE HAZARD
05.09.2019 — 19.10.2019
"Marie Hazard weaves. Weaving is by nature an act of civilization, an act repeated since the beginning of time. Marie manages to project this ancient and codified tradition into works of the most contemporary, playing with freely of materials and techniques. Marie Hazard resonates the woven fiber, the drawing and the painting. The voids thus created in the nets of Marie are the witnesses of this collective amnesia. By adding pieces of tissue that she selects, symbols of fragments of memory, Marie tries to reinvent her own story, another story." Thierry Forien
Marie Hazard born in 1994. She lives and works in Paris.
Japanese Bamboo Art
Bamboo combines lightness, strength, and flexibility with natural beauty. In Japan, it is used to make buildings, rope, fences, furniture, animal traps, arrows, fishing rods, farming tools, kitchen implements, musical instruments, religious articles, cloth, paper, baskets, boxes and, of course, art.
The Japanese people have been making baskets out of bamboo for thousands of years; however, it was the flowering of tea ceremony in Japanese culture after the 15th century that led to a demand for finely made bamboo tea articles and elaborate Chinese-style flower arranging vessels. A pool of talented bamboo artisans developed to meet this demand.
The mid-19th century saw the first appearance of ambitious, artist-signed baskets and the development of an original Japanese style. These early bamboo artists excelled at both traditional formal Chinese-style baskets and the wabi-sabi Japanese aesthetic, which embraces imperfection, simplicity and irregularity. This period established the technical and philosophical standards for bamboo artists to come.
Bamboo is an incredibly expressive and demanding medium. It takes an artist many years to acquire the basic skills and techniques of harvesting, processing, splitting, dyeing, weaving, bending and knotting. Mastery is a life-long process.
The 20th century saw the development of radical new ideas about what a bamboo basket could be. The first completely sculptural bamboo works emerged in the postwar period. Today’s bamboo artists continue to expand and refine these traditions with the understanding that the artist’s creative vision, whether expressed through a sculptural form or a functional vessel, is as important as their technical mastery.
04.07.2019 — 03.08.2019
26.10.2019 — 22.12.2019
JUMP RUN BREATHE
Clothes are undoubtely the most intimate part of our self identity.
They relate both indirectly and directly to elements of social, political, artistic and religious meanings. Existing since the dawn of time, they have evolved through a changing culture in society from the practically of the early hunters, to the fashion and cultural statements clothing has become today. However, they have always conveyed a message, they are archetypes: the stories in the materials expressing a balance between tradition and modernity. Clothes are the metaphors of movement. Evolving with the times and the personality of the person who wears them. Clothes are not a static accessory, they are a very part of the human form. When wearing them, they move, they run, they jump, they protect, they breathe, they dance!
My weaves are a symbol of dance and movement in the space.
What are their limits ? Especially with the contemporary worlds addiction to fast fashion and unsustainable means of production, garnments show a strong idendity.
I went back and started from a basic and common material today, the indigo blue denim. Michel Pastoureau described indigo denim clothing as «the color appeared as a living material ... in the meantime the jeans had ceased to be just a workwear.» Blue, Story of a colour, Points, 2006.
I see denim as a cultural symbol of our actual society. It is worn by ordinary people, not seeking to highlight, to rebel or to transgress against anything.
However, denim is more than just a simple fabric, it evokes a uniformity in style, an androgynous piece of clothing which can be worn by every cultural social class. A clothing that allows the wearers to look the same but equally each persons perception of denim is unique and different.
Denim is a universally recognised and worn clothing, not adhering to social codes and sensibilities. The same applies to the soccer jersey; it is worn from the streets of Cape town to the streets of Paris for example. With such an iconic and mass produced material I wanted to manipulate the patterns, logos, advertisements and textures on soccer jerseys. I wanted to create a new approach of this symbol.
Why do people wear soccer jerseys in their daily life? Does it give them the feeling of more than just supporting a team, does the wearer feel they are emulating a sporting lifestyle, do they feel they too can be the hero of their team, of their nation? This question was a difficult one to answer and I was excited to work with these fabrics and to discover the opinions and feelings of those who wear soccer jerseys in daily life. I wanted to speak about common values, which touch everyone. I didn’t want to focus on the soccer jerseys of one particular team in my work. Instead I wanted to put myself in both players and the audience skin.
My work too is a game, I played with textures, materials and fabrics of soccer wear in my own weave, in order to transcribe the contemporary language of identity. In a current world of rising nationalism, what does it mean to personally identify with a team and how does it affect the views of the world. I wove and printed my photographs on a human scale, to invite the public to figuratively go inside, deeper into my work. They can almost wear them and wrap themselves in these ‘woven clothes’. My photographs also draw a parallel with the mass production associated with soccer jerseys, contrasting with the unique and hand made woven textiles I have created.
I am passionate about highlighting, the conflict in identities found in fast fashion and its production today. This is reflected and represented in my work. My prints are flexible and free, they are not confined or controlled by a frame, instead they can move and play freely, the same way a soccer jersey and denim moves in harmony with the body.