Rinomina

About

Rinomina is an artist-run space founded in 2015 by Daniela Baldelli and Markus Lichti.

It is initiated to promote a closer dialogue between artists and the audience with a focus on an exchange of artistic practice between Germany, France and other countries.

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Rinomina
23, rue du Petit-Musc
75004 Paris, FR

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Exhibitions

Ambra Pittoni & Paul-Flavien Enriquez-Sarano: Air Talking
June 23–June 30 – IT'S NOW EXTENDED UNTILL THE 6th OF JULY–
Opening: June 23, 7–10pm

AmbraPittoni & Paul-Flavien Enriquez-Sarano , “Air Talking“, 2017, exhibition view.
Photo credit: Quentin Dubret.
Display Design: Markus Lichti


AmbraPittoni & Paul-Flavien Enriquez-Sarano , “Air Talking“, 2017, detail view.
Photo credit: Quentin Dubret.

AmbraPittoni & Paul-Flavien Enriquez-Sarano , “Air Talking“, 2017, exhibition view.
Photo credit: Quentin Dubret.
Display Design: Markus Lichti

AmbraPittoni & Paul-Flavien Enriquez-Sarano , “Air Talking“, 2017, detail view.
The Air Talking manual conceived by Ambra Pittoni and Paul-Flavien Enriquez-Sarano, edition of 65, produced by Friends Make Books, Turin.
Smiling Monk, Ink drawing on paper, 32 x 25 cm
Photo credit: Quentin Dubret.

The performance Air Talking is born in 2012 in the frame of a wider project called S.A.V.E., created by Ambra Pittoni & Paul-Flavien Enriquez-Sarano and presented in different venues (Lucie Fontaine, FARE, Museo del Novecento, Careof). In 2016, the performance has been presented in the frame of the project Fansub by Clog in Turin in occasion of the publication of the italian version of the Air Talking Manual. In april 2017, the Air Talking's performance has been presented at the contemporary art center De Appel in Amsterdam as part of the project "Why Is Everybody Being so Nice?", together with a workshop investigating the notion of economy of presence intitled Behaviour as Strike: The Practice of "Presencelessness".
For its passage at Rinomina, the lecture-performance will come with the exhibition of the original drawings and the release of the english version of the manual Air Talking.

Ambra Pittoni (*1978, Borgomanero) & Paul-Flavien Enriquez-Sarano (*1980, Paris) are a couple of artists collaborating since 2009, based in Paris and Turin. Their works involve Performance as a broader frame for research, production’s process, and narration. Thus, both their artistic practices and output are proteiform, mutative, hence difficult to categorize, as they often employ heterogeneous knowledge and media. Nevertheless, underground scenarios, peculiar themes and aesthetics, can be uncovered: the question of fiction as reality, of circumstance as matter, the propensity to invent new disciplines proposed as shared practices and collective experiences. Most of their projects span long periods, even years. They showed and performed their works at De Appel (Amsterdam), Museo del Novecento (Milan), Museo MAGA (Gallarate), CCA Zamek Ujazdowski (Warsaw), Exile gallery (Berlin), Ashkal Alwan (Beirut), PAV (Turin), Spazio Barriera (Turin), Lucie Fontaine (Milan), Careof / Docva (Milan), Art-o-Rama Art Fair (Marseille), Clog (Torino), FARE (Milan), Lavanderie a vapore (Collegno), Roberta (Frankfurt), Museo Apparente (Naple, IT)



Cécile Bicler: Overlook
May 24–June 2

Opening: May 24, 7–10 pm
Finissage with performance: June 2, 7 pm. "je ne vais pas pleurer je ne vais plus parler", with Marie-Bénédicte Cazeneuve, Cantor Bourdeaux, Pauline Belle

Cécile Bicler, “Overlook“, 2017, exhibition view. Photo credit: Quentin Dubret


Cécile Bicler, “Overlook“, 2017, exhibition view. Photo credit: Quentin Dubret

Cécile Bicler, “Overlook“, 2017,detail view. Photo credit: Quentin Dubret

Cécile Bicler, “Overlook“, 2017, detail view. Photo credit: Quentin Dubret

Scène 50 :

L’AU-DELÀ
LE MONDE DES MORTS
WHITE CUBE

Un white cube, une grande pièce blanche éclairée aux néons. La lumière y est très forte, très envahissante.
Nous sommes dans un musée ou une galerie d’art contemporain. Mona accroche une grande toile, une peinture pop art représentant des grandes lettres jaunes sur fond blanc d’environ deux mètres carrés. On peut lire :

L’AU-DELÀ

Aux murs, il y a toute une série de toiles, à peu près de la même taille. Ces œuvres font partie d’une série. Ce sont des lettres peintes de différentes couleurs sur fond blanc ou beige, à la Edward Ruscha. On reconnaît les différents cartons du film.

MONA
MARIE
ESTHER
ADÈLE
CLARISSE
PATRICK
FRANCK
LES LUMIÈRES DE LA FÊTE
MANSFIELD
L’AU-DELÀ

Adèle arrive. Elle regarde Mona accrocher la grande toile au mur, à côté de Mansfield. Adèle est vêtue de sa robe de princesse, mais celle-ci est toute déchirée. Le tulle est parti par pans entiers. Ses cheveux sont ébouriffés, pleins de terre. Elle n’a plus ses menottes. Son visage est ensanglanté. Il y a plein de sang séché sur ses cheveux en pagaille. Elle tient le blouson de policier de Franck dans la main.

[…]

Je suis née en France et j’ai déménagé une quarantaine de fois : Oise, Bretagne, Charente-Maritime et Paris. Études aux Beaux-Arts de Rennes, Nantes, Strasbourg, Lyon. J’y fais des rencontres, affectives et décisives. Passage à l’an 2000. Diplômes, post-diplômes. Je tente de faire de la vidéo, du montage, de l’art.
Je mets en place une œuvre en secret, qui va durer des années : ma collection de cassettes VHS de films d’horreur, à l’époque bénie du passage au DVD. Sensation d’absurdité, de monde clos, d’effacement, de vanité. J’arrête tout. Avec Hervé Coqueret, je fais du cinéma pour de vrai, avec des moyens, une boîte de production (Mezzanine Films), des scénarios, des dossiers à n’en plus finir, plein d’ordis. Deux, trois courts-métrages sont produits, réalisés, diffusés : Patrick Patrick Club Suicide et Au bord du monde, en duo avec Hervé Coqueret, puis Toutes les belles choses, seule.
On est contents, on voyage un peu grâce aux festivals, les films passent à la télé. Un projet de long-métrage est lancé. Il mettra plusieurs années à ne pas se finir. J’appuie sur pause. Arrêt sur image. Je n’en peux plus des écrans. J’ai mal aux yeux. J’ai besoin de voir autrement. Une page blanche, quelques pastels, des images plein la tête. Je vais dessiner. Depuis ma chambre, je vois partout, du moins dans ma tête, c’est l’overlook.


Stephan Lugbauer: “The Double and Its Reflections”
April 21–5 May, 2017
Opening: April 21, 7 pm / Finissage: May 5, 5–8 pm

Stephan Lugbauer, “The Double and Its Reflections“, 2017, exhibition view. Photo credit: Quentin Dubret


Stephan Lugbauer, “The Double and Its Reflections“, 2017, 2 Inkjet Prints 180x100cm, coarse cotton cloth, stage molton, stage gauze, white dance floor covering. Photo credit: Quentin Dubret

Stephan Lugbauer, “The Double and Its Reflections“ 2017, exhibition view. Photo credit: Quentin Dubret

Stephan Lugbauer, “The Double and Its Reflections“ 2017, exhibition detail, stage molton, sculpture containing 4 photographic papers exposed to light, grey mdf, approx.55 x 25 x 25cm. Photo credit: Quentin Dubret

“Between magic and subjectivity spreads an uncertain nebula, which goes beyond man, without, however, detaching itself from him. We refer to or designate its manifestations with words of soul, heart, feeling. This magma, which has elements of both magic and subjectivity, is neither magic nor subjectivity, properly speaking. It is the kingdom of projection-identification or affective participation.”
Edgar Morin, Le Cinéma ou l’Homme Imaginaire, 1956, Éditions de Minuit, collection «Arguments».
Translation: Lorraine Mortimer

Point of origin for this art installation is the quest for ghosts, revenants and phantoms, as observed by the Society for Psychical Research (SPR) starting around 1880. What interests me hereby is an abstraction of “presentness” and “absentness” in form and content. The search for spirits appears to match a search for individuality outside prescribed borders. Spirits can act like the equivalent of light, leaving a trace of their insubstantial passage in material form. Photography as impressions of mental powers, as translations of thoughts into images as psychographs. Acoustic transmission modeled the spirits’ way of contacting the living, visual media were crucial to guaranteeing that the spirits were real, not invented, and had been truly present. An art installation on abstraction and composition, the spirituality in art and the search for it — the search for something being created searching.

Stephan Lugbauer (*1976, Feldkirch) lives and works in Vienna, AT. He studied at the Technical University Vienna in 1994 and the Academy of Fine Arts Vienna between 1996 and 2003. In 2008, he founded the project space Saprophyt with the artist Barbara Kapusta. Stephan Lugbauer’s work is fundamentally critic and analytic, interrogating the role of creation and artists. It re-evaluates the porosity of art, which is pervaded with contemporary political and economical areas.

www.stephanlugbauer.net


Éric Giraudet de Boudemange: “Wisdom of the Wild Man”
January 26–5 February, 2017
Opening: January 26, 6–10 pm / Finissage: February 5, 5–8 pm

Éric Giraudet de Boudemange, “Wisdom of the Wild Man”, 2016-2017, exhibition view. Photo credit: Quentin Dubret


Éric Giraudet de Boudemange, “Wisdom of the Wild Man”, 2016-2017, detail view. Photo credit: Quentin Dubret

Éric Giraudet de Boudemange, “Wisdom of the Wild Man”, 2016-2017, exhibition view. Photo credit: Quentin Dubret

Éric Giraudet de Boudemange, Parrot Man, 2016-2017, silicone, vacuum bag, variable dimension. Photo credit: Quentin Dubret

Wisdom of the Wild Man is a semiotic game inspired by both language experiments conducted on great apes, and the figure of the Wild Man in European folklore.

The three synthetic colors of the installation reflect the exhibition’s central piece: the video That Speechless Green Man inside a Cyborg. Through pink, yellow and chroma key green, the video’s digital vibrations are spread out into the exhibition space. That Speechless Green Man takes a poem written in Yerkish as a starting point. This artificial language was developed to test the language capabilities of non-human primates. “Bonobo banana, banana burrito.” The film plays with alliterations to Yan Wagner’s original score, as well as combinations of architectural shapes taken from the Google Scketchup 3D open-source software. Comparable to Kanzi the Bonobo who talked to primatologist Sue Savage-Rumbaugh through a giant iPad by pressing its digital keys to items or ideas, Eric Giraudet de Boudemange has composed a new, absurd and low-fi 3D language which cross-references Donna Haraway, Jane Gooddall and Donkey Kong. “You want to do Sue, you want to drink Sue.” The wild man tries to seduce his civilized muse as in solstice rituals in Northern Europe where a hair-covered Pilosus transcends the link between civilized humanity and the elven spirits of the wilderness. Here as well, Kanzi’s synthetic voice haunts our interior world at the dawn of consciousness and speech.

The Parrot Man strange silicone mould of blue and yellow gradients – intrigues. One may think of a celtic bog mummy on acid fixed in formol, or a giant Haribo candy, or one of the “three wise monkeys” covering his eyes, ears or mouth. The cringing hieroglyph is vacuum-packed. Its posture remains cryptic, like the Lexigrams combination printed on 4 ready-to-use plastified sheets. The Sceptres remind us of sign language. One could strike, hit or whack with Gourdin, the minimal accessory of a brutal Flintstone, before spinning a bamboo branch, a leaf or a stone – handles of the coloured doors one will escape through. Those are among the many signs and symbols one must follow on the other side of the monochrome threshold.“Pretend point pee, that is the dance of the hairy.”

Penny Patterson

The projects of Éric Giraudet de Boudemange often start with field work, an ethnographic experience that he will bring to the studio. His “stories” take different shapes: sculpture, performance, video… They often talk about history, folk & pop culture, and biology with a taste for absurdist British humour.
After studying at ENSB-A in Paris and Le Fresnoy near Lille, he completed his academic journey at the Rijksakademie in Amsterdam in 2014. He has more recently presented his work at the Centre Pompidou in Paris, and prepared a performance at the Fondation d’Entreprise Ricard with Yan Wagner following up on their collaboration initiated at Rinomina.

www.ericgiraudet.com


Claudia de la Torre: “Cities in Flight or The Satellite Variations”
December 16–30, 2016
Opening: December 16, 7–10 pm

Claudia de la Torre, “Cities in Flight or The Satellite Variations”, 2016, exhibition view. Photo credit: Quentin Dubret


Claudia de la Torre, Cities in Flight or the Satellite Variations, 2016, offset printing and acrylic, 10,5 x 18 cm, 600 pages. Photo credit: Claudia de la Torre

Claudia de la Torre, Cities in Flight or the Satellite Variations, 2016, vinyl, Back Bone Books. Voice: Erik Penny / Recording: Sir Simon Fronzek Studio, Berlin. Photo credit: Quentin Dubret

Claudia de la Torre, “Cities in Flight or The Satellite Variations”, 2016, exhibition view. Photo credit: Quentin Dubret

Claudia de la Torre’s works often start from a book. She examines the structure and relationship between the surfaces and forms – the book covers, titles, the layout of the individual pages. By means of appropriation and détournement, her work often takes the form of an artist book, a library or an archive. How is our knowledge of the world organized, classified and archived? What are the underlying systems of our knowledge? How do we approach what we learn of the world?

For her new work “Cities in Flight or The Satellite Variations”, produced for the exhibition at Rinomina, de la Torre takes James Blish’s science fiction novel as a starting point to examine the structure of story-telling and to build up a parallel narrative to the one evident in the story. By stressing words in the existing storyline, de la Torre develops a parallel world that overlays the pre-existing utopia laid out in the book. The arrows in the book are reflected by geometric forms sitting on shelves in the exhibition space.

Claudia de la Torre suggests one of boundless possibilities of how the words connect to each other, the variations being almost as infinite as space. She applies the principle of improvisation to a system whose conjunctions are usually ruled by grammar and by a logic reliant on meaning. The words the artist selects are like tones played from a scale that is prescribed by Blish’s selection of words (not forgetting the voices of the readers). While side A of the record reflects a storyline deliberately composed by the artist, side B is constructed by chance of words spinning in an orbit, forming arbitrary alliances. Both storylines captured on the respective sides of the record create a parallel universe spinning around Blish’s story – just as a satellite spins around Earth.

Nadja Quante

Claudia de la Torre (* 1986, Mexico City) lives and works in Berlin, DE. De la Torre studied Fine Arts at the ENPEG La Esmeralda and the Art Academy Karlsruhe, under Silvia Bächli. She works as an artist has runs Back Bone Books since 2011, to formalise her own practice and publish other artists’ books. Creating objects, fields, spaces in relation to the book as a highly historical and contemporary medium - Back Bone Books performs consistently in a flexible, conceptual and collaborative process, aiming to open a new perspective into what a book can be. Her work often deals with collaborative aspects of production as well as the process of accumulation, the (re)ordering of information as well as the relation between language, words and images.

www.claudiadelatorre.com
www.backbonebooks.net



Jens Gyarmaty: “Contact Sheet”
November 11–26
Opening: November 11, 7–10 pm

Jens Gyarmaty, “Contact Sheet”, 2016, exhibition view. Photo credit: Quentin Dubret


Jens Gyarmaty, “Contact Sheet”, 2016, detail view. Photo credit: Quentin Dubret

Jens Gyarmaty, “Contact Sheet”, 2016, detail view. Photo credit: Quentin Dubret

Jens Gyarmaty, “Contact Sheet”, 2016, detail view. Photo credit: Quentin Dubret

Rinomina is pleased to invite you to the first solo show of photographer Jens Gyarmaty in Paris. For this occasion, Jens Gyarmaty will provide an insight into his portrait shootings of Michel Houellebecq, Deirdre McCloskey, Jacques Mourad, Frauke Petry, Sheryl Sandberg and Wolfgang Tillmans.
In the intimate moments he shares with the portrayed the photography acts as an intermediary and reflects for a few seconds the invisible.

Jens Gyarmaty works as a photographer for Frankfurter Allgemeine Zeitung since 2010. He is co-founder and member of the MINT Collective in Berlin since 2015. Member of VISUM Agency Hamburg, he works as freelance videographer and image editor also for magazines and newspapers like Der Spiegel, Die Zeit, Cicero and others. He is represented in private collections in Frankfurt and Berlin. Gyarmaty’s works have been exhibited amongst others at Arles Off, New York Fotofestival and at the Hamburg Triennale 2015.

www.jensgyarmaty.com



Patricia Reinhart: “Leucadian Leap”
October 14–November 3
Opening: October 14, 7–11 pm

Patricia Reinhart, “Leucadian Leap”, 2016, exhibition view. Photo credit: Quentin Dubret


Patricia Reinhart, The Self Portraits, Portraits to Questions of Feminity, 2001-2016. Photo credit: Quentin Dubret

Patricia Reinhart, Patience XV – Über die Notwendigkeit des Zerschmetterns, 2016. Photo: Quentin Dubret


Patricia Reinhart, Anoir and the Woman in the Garden, 2015-2016, screen shot.

Movement is at the center of Patricia Reinhart’s new series of watercolor paintings. The movement of the paint along the surface of the canvas but also dramatic interior movements. The painting titles are allegories for the evolution of emotional states. The series of paintings which began in 2015 with Patience I – La Tempête / Tourmente continues into the present with Patience XV – Über die Notwendigkeit des Zerschmetterns.
The passage of color through light, the visible flows of water on the surface of the painting and the movements of the artist’s hand express the latent possibility of the organic form. In this matrix, shaped like a pattern of lines and space, arises a situation or a set of conditions in which something else develops. The weft of the linen canvas becomes visible with the pixilated grain that develops on the edges of the brushes of color.
The painting series Patience is a natural extension of Reinhart’s latest video project Anoir and the Woman in the Garden and features the same emotional landscapes and environments. The paintings in the Patience series are titled: L’Amour, L’Hiver, The Garden, La Forêt et le Ciel. Reinhart’s work is an intensely personal meditation on the figure of the woman embodied by the artist herself who is the actress in all her films. A meticulous layering of film stills, a technique she calls “cine-collage” allows her to bind still images together and to color film stills.
The poet and art critic Charles Baudelaire remarked that a woman’s hand viewed under a magnifying glass would create a perfect harmony of grey tones, blues, browns, greens, oranges and whites warmed with a bit of yellow. A true colorist might be able to translate these shifts in scale between our microperceptions and visible reality.
The two latest paintings in the series which have been selected for this exhibition, Patience XIV – Attitude / Das weibliche Rückgrat and Patience XV – Über die Notwendigkeit des Zerschmetterns, speak to the need for embodiment and transcendence as well as the passage of time.

Emmanuelle Day

www.patriciareinhart.com



Dominique Koch: “Maybe We Should Rejuvenate the Words rather than the Bodies”
September 08–25
Opening: September 08, 7–11 pm
Performance: September 20, 8 pm. DNA Poetry Reading, a live performance in collaboration with the musician and vocal poet Seijiro Murayama.

Dominique Koch, “Maybe We Should Rejuvenate the Words rather than the Bodies”, 2016, exhibition view. Photo credit: Quentin Dubret


Dominique Koch, Perpetual Operator, 2016, exhibition view. Photo credit: Quentin Dubret

Dominique Koch, Partial Sequences II, 2016, detail view. Photo credit: Quentin Dubret


Dominique Koch, Dead Immortal Jellyfish, 2016, detail view. Photo credit: Quentin Dubret

It is a pool of energy.
And an island of disturbed empathy.
It is sharing.
Splitting.
Connecting.
Bi-polar.

It’s accumulation without end. But without end doesn’t mean without limits. It’s the possibility of always pushing those limits further. Setting limits, destroying them, overstepping them, setting them anew, is always a regenerative phenomenon. Except that at the same time that it produces life, it also produces death. Maurizio Lazzarato in Dominique Koch, Perpetual Operator, 2016.

The Turritopsis dohrnii jellyfish, considered by biologists to be immortal because it can regenerate its DNA up to 14 times and therefore technically be born again, thus becomes the comic hero of a complex work, capable of commenting on the state of a capitalist model on the verge of collapse. In the exhibition, Dominique Koch combines the fate of a particular type of jellyfish, statements by the philosopher Maurizio Lazzarato and Franco ‘Bifo’ Berardi as well as a vocal interpretation by the poet Seijiro Murayama, who reads out the possible combinations of DNA in the jellyfish as if reciting a Dada poem. Noah Stolz

The film Perpetual Operator as well as the sound installation are kindly supported by: Fachausschuss Audiovision und Multimedia der Kantone Basel-Stadt und Basel-Landschaft and Futurum Stiftung Basel.

www.dominiquekoch.com



ART-O-RAMA, Marseille, 2016
August 26–28
Opening: August 26, 5–8.30 pm

Art-o-rama 2016, “Sandwich-mixte“, exhibition view. From left to right: Daniela Baldelli Zoë Claire Miller, Ambra PitoniDominque Koch, Markus Lichti
Photo credit: JCLett, Marseille


Art-o-rama 2016, Art-o-rama 2016, “Sandwich-mixte“, exhibition details. From left to right, Daniela Baldelli "Jacket", 2016, oil pastel on canvas/ Zoë Claire Miller, "domestic exoskeletons α-β-γ, 2016, Porcelain/ Ambra Pitoni "Coming-Soon-Otium", 2016, Cprint on paper.
Photo credit: JCLett, Marseille

Art-o-rama 2016, “Sandwich-mixte“, exhibition view. On the wall, Markus Lichti, “Schmetterlinge“ display for th work of Vanessa Dziuba, AG BOOK“, 2015, 60 pages in black and white with 5 double pages, Jean-Philippe Bretin “Claude Glass“, 2016 Serigraphy on glass, Thomas Geiger, “ régulier pierre dangereux“ (Image de la Machine à Penser)
Photo credit: JCLett, Marseille

Art-o-rama 2016, Art-o-rama 2016, “Sandwich-mixte“, exhibition view.
Photo credit: JCLett, Marseille

Rinomina is pleased to announce our participation at the 10th International Fair of Contemporary Art ART-O-RAMA from 26th to 28th August 2016 in Marseille. We warmly invite you to visit our booth in the Edition Section. For this occasion Rinomina aims to support the full range of artistic production with all its surroundings including research and exhibition architecture. A part of the editions at the Art-o-Rama 2016 is presented on displays especially designed for the fair.

With: Daniela Baldelli, Jean-Philippe Bretin, Vanessa Dziuba, Thomas Geiger, Dominique Koch, Markus Lichti, Zoë Claire Miller, Ambra Pittoni

www.art-o-rama.fr


Jo Vargas: “Is It Day or Night?”
June 10–14
Opening: June 10, 7–11 pm


Here we are, finally sticking to the rhythm of our own heartbeats while following with a safe scepticism the data of the atomic watch; here we are again, painting on the walls, scrolling down the news, smashing the triangular highways when we are lucky enough; lucky enough to leave what we believe in order to live what we are, dreaming for eye drops, ordering drinks on the rocks, sending compositions of emojis, touching the plastic plants when the chihuahuas are looking for the handbags they call home, streaming the past and one more time filled forever by preuves d'amour when bombs blasts by surprise the sleeping beauties under the clouds of the roofs of smoke, let confound happiness and lifestyles to pass the metal detector, lets take pictures when facing Nature, lets forget that even the violins need ivory to get a better sound during our jet lag. A few years ago in Geneva, I had the chance to host a Tibetan tantric monk during twenty-four hours. He was on his way to the Kingdom of Bhutan and needed to buy a tent and a sleeping bag before his next flight... It was not the camping season in Switzerland and the tent became immediately a no-go issue. We went to all the trekking shops and alpinism department stores of the town. The Tibetan monk's name was of course Tenzin, he was dressed with the traditional fiery-orange robe (quite similar to the Hermès orange or is it Harley Davidon's light pastel red?), could I asked for anything more? Well, he was fascinated by tall girls with big boobs, did I say tantrism?... Anyways, Tenzin opened up all the sleeping bags he saw and as a good citizen I tried as fast as I could to reinsert the slippery polyester cocoons into their pockets right after him. We had fun, we tried the brand new skateboards in the empty corridors of the sport sections and I coached him to ask whatever questions to every ready-toblush employee with long legs un-ready to speak English with the look-alike reincarnation of the Buddha according to Martin Scorcese's casting requirements. The search became a quest, we went to the suburbs. Tenzin tested all the models, we became experts in techy logos as technicality seems to be the aim of of a good nap in extreme conditions... After, lets say... five hours, Tenzin asked me why did I refolded everything all the time as there where people paid to do that and right away turned enchanted by a model of this kind of zippable hooded duvet, a bit to long for him but orange and exclaimed: I like this one! At this precise moment, I was still negotiating with myself on the Chaos (creates jobs) versus Harmony (eduction of my parents) new point of rupture when I replied: Do you mean it's orange? On the way back home, totally delighted by the shopping session, Tenzin gave me a black seed and told me that they were an exclusivity of the monks, that I should chew it slowly... I went high during more than tree days, I'm usually happy as if I was trapped in a non-stop X-Mas party but with this thing (yeah, if I had knew I wouldn't plant it in me but in the most fertile ground ever), I understood the source of the compassionate smile of His Holiness the Dalai Lama. To go back where we started, is it night or day, is it ying or yang, is it real or not? Hum, it seems that Henri Matisse was right, the artists should not talk about their works. SORRY. J.V.

Jo Vargas (*1975) lives and works between Paris & Geneva. He is a Colombian, Swiss and Hondurian artist coming from the advertising industry. In the contemporary art field, he worked inter alia as assistant of Sylvie Fleury from 2004 until 2014. His personal works are open to interpretation in order to set freedom as a visible area over the collective unconsciousness fantasies of it. He signed several of his pieces under the name Raja Govguesev


Group show: Le Déterminant Indéfini
Daniela Baldelli, Charlie Boisson, Björn Braun, Jens Braun, Helen Feifel, Jörg Gelbke, Anna Lea Hucht, Markus Lichti, Michael Kilian Wagner
April 14–25
Opening: April 14, 6–9 pm


Deviating from the common practice, for this show Rinomina opens usually inaccessible rooms like the office area or the workshop to the public. The viewer will face a situation in which staged scenes and matter of fact blend into each other. Contrary to the white cube approach, here the individual work asserts itself in a field of tension between its surroundings and its artistic counterparts.

Vanessa Dziuba: AG Book Launch
March17–22
Opening: March 17, 6–9pm


Ag is a book which brings handwritten research conducted since 2010. These facsimiles are name’s lists of artists, filmmakers, inventors, writers, scientists and explorers and their ages when they realized theirs works which are considered as the most important.

The reader’s tracks
A list is sometimes prescriptive, an injunction to buy the objects that are necessary for a domestic economy or to read the essential references in literature. It is undoubtedly a vade-mecum: the list is a support to the memory. It is the sign of the calendar and cardinal registration of our daily activities, because what we call everydayness is not obvious 1. This art of memory would be a rhetoric based on writing but would take the shape of a catalogue listing all our interrogations. The personal library would be an easily transportable monument. A history book of the portable knowledge 2 on creation. A list is eminently dialogical. To every list responds a multiplicity of other lists, and every entry of the list calls for an answer, a memory, a contradiction. The list is a productive matrix: “At the author’s request, the publisher has left a few blank pages at the end of the book where the reader can write the ‘I remember’ notes that the reading will have hopefully stirred up.” 3 A list is transitive. It deals with the worlds that have been discovered or invented by scientists or artists. The universal decimal classifications are the signs of this desire of objectification of the world. But this model is not strictly followed. The listing order of this catalogue is mimed and this amused imitation keeps the model at a distance. Although the encyclopaedic approach is parodied, it tends to highlight a reflection on the ages of creation. “Banned, he discovers Greenland”, “Father David discovers the panda bear in 1869 at the age of 43”, “Johnson Martin and Osa arrive in Kenya in 1921 and invent wildlife filmmaking”. Another way to value creation that draws no distinction between invention and discovery, using the three figures of science, comedy and art once proposed by Arthur Koestler 4. Also didactic, these micro-narratives recall the documents with three lines of text drafted by Félix Fénéon 5. What can we learn here about the creative process? That it follows the lists of the reading act. A short while ago, when you pressed play on an audio recording, you were reading a track. Here, you are reading a list as if you were following a track. Our eyes follow a path that would have been drafted for us in the text (Paul Klee). The way you go through the list depends on your attention to colours, to surnames, anecdotes that are the vibrating signals of the list. Not in a circular and concentric order of the microgroove, but in the vertical piling of a column. The player of the list is on the track. It becomes a hunter that gathers the clues of a unity scattered all over the indicators that it meets along, like signs along the tracks. The player’s list is traced in the space of a page. The microgroove is substituted by the trail of the field crossed by the player that has marked the readings. Here are readings represented in the materiality of a classical bibliography and the order of the disciplines and their limits regulate the monumentality of the official history. But more discreetly, through a bibliography extended to other objects than books (including images, inventions and discoveries), the history that is proposed here shows precisely the graphic mission of writing and not only its function of oral recording. Vanessa Dziuba’s book on the authors’ age when they created their masterpieces shows us that writing is a trace as much as a traced element. The reader has been accurately identified as a traveller, a poacher and the writer is like a ploughman, someone sedentary 6 who is always following on the track of traces, always jumping from one book to another and the one who traces and ploughs his land, the page where he records his readings.

1 Georges Perec, Espèces d’espace, 1974 (published at the age of 38)
2 Enrique Vila-Matas, Abrégé d’histoire de la littérature portative, 1983 (published at the age of 35)
3 Georges Perec, Je me souviens, 1978 (published at the age of 42)
4 Arthur Koestler, Le cri d’Archimède. La découverte de l’Art et l’art de la Découverte, 1960 (published at the age of 55)
5 Félix Fénéon, Nouvelles en trois lignes, 1905-1906 (published in the daily paper Le Matin at the age of 44-45)
6 Michel de Certeau, L’invention du quotidien. 1. Arts de faire, 1980 (published at the age of 55)

Emmanuel Zwenger

Ag est un livre qui rassemble des recherches menées depuis 2010. Publiés sous la forme de facs-similés, ces manuscrits sont des listes de noms d’artistes, de réalisateurs, d’inventeurs, d’écrivains, de scientifiques et d’explorateurs et leurs âges au moment de la réalisation des œuvres que l’on considère comme les plus importantes.

Les pistes du lecteur
Une liste est parfois prescriptive, une injonction à acheter les objets nécessaires à l'économie domestique ou à lire les essentiels de la littérature. C'est assurément un vade-mecum: la liste est un support de mémoire. Elle est le signe de l'inscription calendaire et cardinale de nos activités quotidiennes, car ce que nous appelons quotidienneté n'est pas évidence 1. Cet art de la mémoire serait ici une rhétorique fondée sur l'écriture et prendrait la forme d'un catalogue de nos interrogations. La bibliothèque personnelle serait un monument aisément transportable. Un abrégé d'histoire des savoirs portatifs 2 sur la création. Une liste est éminemment dialogique. À chaque liste répond une multiplicité d'autres listes, et chaque entrée de la liste appelle une réponse, un souvenir, une contradiction. La liste est une matrice productive: "À la demande de l'auteur, l'éditeur a laissé à la suite de cet ouvrage quelques pages blanches sur lesquelles le lecteur pourra noter les "Je me souviens" que la lecture de ceux-ci aura, espérons-le suscités." 3 Une liste est transitive. Elle se rapporte aux mondes découverts ou inventés par les scientifiques ou les artistes. Les classifications décimales universelles sont les signes de ce désir d'objectivation du monde. Mais ici ce modèle n'est pas suivi à la lettre. Le classement de ce catalogue est mimé et son imitation amusée tient le modèle à distance. Si l'approche encyclopédique est parodiée, elle s'attache néanmoins à mettre en évidence une réflexion sur les âges de la création. "Banni, il découvre le Groenland", "Le père David découvre en 1869 le panda, à 43 ans", "Johnson Martin et Osa arrivent en 1921 au Kenya et inventent le cinéma animalier". Une mesure comme une autre de la création, qui n'est pas distinguée de l'invention et de la découverte, reprenant par là les trois figures de la science, du rire et de l'art proposées en son temps par Arthur Koestler 4. Didactiques par ailleurs, ces micro-récits sont dignes des documents rédigés en trois lignes par Félix Fénéon 5.      Qu'apprend-on ici de la création? Qu'elle suit les pistes de la lecture. Il y a peu, lorsque l'on lançait la lecture d'ans un enregistrement audio, on lisait une piste. Ici nous lisons une liste comme si l'on suivait une piste. Notre regard suit un chemin qui nous aurait été ménagé dans le texte (Paul Klee). Le cheminement dans la liste est fonction de notre attention aux couleurs, aux noms propres, aux anecdotes qui sont les signaux vibratoires de la piste. Non dans l'ordre circulaire et concentrique du microsillon, mais dans l'empilement vertical d'une colonne. Le lecteur de la liste est sur la piste. Il se fait chasseur, rassemblant les indices d'une unité dispersée au fil des repères qu'il croise sur le chemin, des signes de piste. La piste du lecteur est un tracé dans l'espace de la page. Au microsillon se substitue ici le sillon du champ travaillé par le lecteur qui a marqué ses lectures. S'y déploient des lectures représentées dans la matérialité d'une bibliographie classique où l'ordre des disciplines et de leurs frontières règle la monumentalité de l'histoire officielle. Mais plus discrètement, à travers une bibliographie étendue à d'autres objets que les livres (les images, les inventions, les découvertes), l'histoire qui nous est proposée ici expose précisément la vocation graphique de l'écriture et non seulement sa fonction d'enregistrement la langue. Le Livre sur les âges de la création des chefs d'oeuvres de Vanessa Dziuba nous montre que l'écriture est une trace autant qu'un tracé. Le lecteur a été très justement défini comme un voyageur, un braconneur et l'écrivain comme un laboureur, un sédentaire 6. Ce livre nous montre que le lecteur est à la fois un chasseur et un cultivateur, celui qui est sur la piste de traces, toujours en voyage d'un livre à l'autre, et celui qui trace, qui cultive son champ, la page où il consigne ses lectures.

1 Prière d'insérer d'Espèces d'espace de Georges Perec, 1974 (publié à l'âge de 38 ans)
2 Enrique Vila-Matas, Abrégé d'histoire de la littérature portative, 1983 (publié à l'âge de 35 ans)
3 Georges Perec, Je me souviens, 1978 (publié à l'âge de 42 ans)
4 Arthur Koestler, Le cri d'Archimède. La découverte de l'Art et l'art de la Découverte, 1960 (publié à l'âge de 55 ans)
5 Félix Fénéon, Nouvelles en trois lignes, 1905-1906 (publiées dans le quotidien Le Matin à l'âge de 44-45 ans)
6 Michel de Certeau, L'invention du quotidien. 1. Arts de faire, 1980 (publié à l'âge de 55 ans)

Emmanuel Zwenger

http://vanessadziuba.com/ages-de-la-creation

Lauren Gault/Zoë Claire Miller: he was there when I first smelled the smell, and now he is the smell
February 5–26,2016


Les pratiques respectives, et plus particulièrement dans l’approche de la céramique, de Lauren Gault et de Zoé Claire Miller, se croisent et se font particulièrement écho lors d’une exposition à laquelle elles participent toutes les deux (Dear Green, ZK/U, Berlin). Ce hasard des rencontres pousse ainsi les artistes à entamer un dialogue plastique. He was there when I first smelled the smell, and now he is the smell, marque donc le début d’une recherche à deux, d’un entrelacs de subjectivités au travail, d’un pingpong entre deux pratiques sensibles qui s’épousent, se recouvrent, puis se comblent à la manière de la houle impartiale se déployant équitablement entre deux rives. Cette recherche est surtout axée sur l’expérience du terroir, un qualificatif qui renvoie à des composants spécifiques et déterminants, dont les propriétés individuelles ne sont pourtant pas forcément concomitantes. Perception aquatique, la porte se déforme au premier abord, sérénité du trouble, ou macula ; persistance rétinienne d’un baiser volé à cette résine translucide ? C’est sur la rive que le souvenir commence. La qualité de cette expérience peut-elle se déduire par ses parties constitutives ? Une unité perdue pointe sur la plage, un gravier enveloppé dans la résine, séparé des autres, coupé de son ensemble, mirco-état enclavé. Il s’agit d’une autre opération dans l’espace. Cette fois, c’est l’océan tout entier que l’on cherche à évaporer, l’eau se dissociant de ses organismes constituants, sel, œil luminescent asséché, redondance de la framboise charriée ; petits fétiches pop, fourchette gourmande... La dissection s’avère heureuse, archéologie du sentiment et de l’offrande, ne lisait-on pas les trajectoires des étoiles dans un corps ouvert sur une table d’étude ? Au mur, les apparitions hiératiques et spongieuses de Miller (Domestic exoskeletons, α,β,γ). Serviettes glacées; céramiques fantômes ; déshydratation hygiénique, promesse prophylaxique ou voiles mortuaires ? Le déplacement physique est constant, l’objet vous fixe pourtant. La sculpture doit être exécutée le plus rapidement possible. Ce médium devient réactif aux conditions initiales ; il n’est plus anticipatif, selon un but prémédité. Fragmentation du souvenir, les doigts de pied perdus (les orteils de son pied droit (Daniela)), moulés sur Daniela Baldelli, forment une sculpture hic et nun. Amputation délicieuse, ce petit bout de corps n’en représente pas moins le corps entier, une partie pour le tout, dans tout ce qui le fonde comme limite, territoire, ou « monade sereine ». La peau est sans doute la dernière frontière sensible entre le dehors et le dedans. Elle est assurément organe primordial, bien que parfois relayé à la honte, comme dans le cas des orteils, souvent gardés au chaud et pourtant en demande de sensations voluptueuses.
Tristan Savoy

Working in sculptural installation, and specifically linking together their use of ceramics, Lauren Gault and Zoë Claire Miller’s ‘he was there when I first smelled the smell, and now he is the smell’ connects, debates and expands both their practices. Conceived as a hybrid between a traditional two-person show and a collaborative installation, the works examine the word ‘terroir’ - a term normally used to describe qualities within a wine such a time, a place, an altitude, an environment, and the term  ‘qualia’ - an attempt to define the non-chemical, intrinsic, ineffable essence or experience of objects/materials. These abstract, less tangible qualities are said to be ‘held’ or present within matter, and directly informs the artists’ interests in the capacity for an object to have its own ‘embodied knowledge’. These concepts and terms are examined in directly in relation to the artists sculptural practices for this exhibition.

Gault received her BA in Fine Art (First Class Hons) from Duncan of Jordanstone College of Art and Design, Dundee. Her practice involves working in installation, writing and performance. Solo shows include: lipstick-NASA, Jupiter Artland, Wilkieston, Scotland (2015); fugue states (with Allison Gibbs), Centre for Contemporary Art, Glasgow, Scotland (2015); Plosive blows, Hotel Maria Kapel, Hoorn, Netherlands (2015); Y.O.R.B, Atelier Am Eck, Düsseldorf, Germany (2014); Here Bianca!, GENERATORprojects, Dundee, Scotland (2013); Granular and Crumb, Edinburgh Modern Film School, Edinburgh Sculpture Workshop (2013); Sweet ensilage, Tramway, Glasgow, Scotland (2013); Lacks, the duchy gallery, Glasgow, Scotland (2010). Group shows include read the room, you’ve got to, curated by Quinn Latimer, SALTS, Basel, Switzerland (2014); Portraits, Still Life and Landscapes, Usher Gallery, Lincoln, England (2014); The Burning Sand (Volume 3), Glasgow International 2014, Glasgow, Scotland (2014); When two or more are together, with Lauren Printy Currie in association with Spike Island Associates, Glasgow International 2014, Glasgow, Scotland (2014);  Waking up a Shape, The Woodmill Press, Bristol, England (2014); Dear Green, ZK/U, Berlin, Germany (2014); You blink at the plughole, Mexico Project Space Leeds, 2013; My Very Easy Method Just Speeds Up Naming Planets, Glasgow Project Room, Glasgow, Scotland (2013); WETODRY, Sierra Metro, Edinburgh, Scotland (2011).

Zoë Claire Miller (b. 1984 in Boston, Massachusetts, USA) lives and works in Berlin, Germany. Miller studied Philosophy, Anthropology and Romance languages at the University of Heidelberg, and Fine Arts under John Bock at the Art Academy Karlsruhe, earning her Diploma in Sculpture in 2010. She works as an artist and curator. She cofounded the Berlin Art Prize, an independent award for artists in Berlin, in 2012, and ran the project spaces Galerie Europa and Salon Mutlu 2010-2014. Since 2015 she has been a member of AG Zeit, an initiative working towards improving cultural policy in Berlin. As a sculptor, she mainly works with ceramics, and is particularly concerned with questions of collaboration, objecthood and negative space. She has exhibited internationally, and will be taking part in a residency at Villa Sträuli in Switzerland in 2016. She is a feminist.

www.laurengault.co.uk
www.zoemiller.eu/start


Felicia Atkinson: Une forêt se pétrifie
January 8–24, 2016


De l'archive despote au droit à l'oubli

Comment rendre compte d'une fiction en cours de réalisation? Comment incarner, puis dérouler une perte dans les bois? L'exposition de Félicia Atkinson est une anabase sans départ, ni retours. Seul un retour au réel, telle une relation subjective forcée, peut actualiser le souvenir, rendre un souffle nouveau à l'expérience froide que l'on se fait de l'archive. Le roman n'existe pas. Du moins selon cette taxinomie libérale qui prétend qu'un bon livre est un ouvrage publié et, de fait, lu par le plus grand nombre. Et pourtant, le manuscrit est bien présent : concret (Une forêt se pétrifie/ Part 1) ou oral (A Forest petrified/ Part 1). Or l'accès à sa lecture nous est interdit, le manuscrit se dérobe à l'œil, sous cette boîte en carton. L'achèvement du roman par son auteur est repoussé à d'autres enregistrements. Le roman n'est donc pas terminé. La durée de ce premier tome épousant les limites temporelles de la bande magnétique. Un saut d'un médium à l'autre, une reterritorialisation sauvage, à la manière du regard scopophilique lancé à travers l'œil de bœuf duchampien sur une forêt bigarrée (Light of the petrfied). Offerte à la surface d'une toile préfabriquée, cette forêt replante un autre décor. Le roman, dans un style foisonnant et quelque peu rousselien, aborde les péripéties des membres d'une secte d'artistes. Le régime est descriptif. Or l'élan porté par les personnages : le droit à l'oubli ; la suppression de l'archive, ne serait-il pas le dernier élan iconoclaste autant que véritablement romantique ? Car qui dit oubli, dit dissolution dans le grand tout. Et qui dit fragments, indices, dit recomposition. Il s'agit donc de constamment réévaluer la place et le statut que l'on accorde à la trace, tout en tentant de fuir sa tyrannie. Ainsi, dans un mouvement pendulaire entre l'ignorance épistémique des causes et les rencontres purement fortuites (Chance or Indeterminacy); entre les objets trouvés (La jambe/Hauteville) et les Memory Card retrouvées ; entre les nombreux lieux de captation de ce narrateur digital et la bande, inscrite par cette multiplicité géographique et rebootée, le voyage de Félicia Atkinson est un ping-pong kaléïdoscopé qui "court-circuite" le signifiant et détrône le chef-d'œuvre.
T.Savoy

Pour sa première exposition personnelle à Paris, Felicia Atkinson déploie une proposition in progress dont le premier volet, “Une foret se pétrifie“, est présenté ici à Rinomina. Sur une table, un lecteurs cassette diffuse, sur un format de 40mn, la lecture enregistrée au i-phone, puis déplacée sur bande magnétique du début d’un roman en cours, qu’écrit l’artiste depuis Février 2015. La voix a été enregistrée à Rio de Janeiro, dans des endroits particuliers lors d’une résidence que fit Felicia Atkinson au studio Agnut en décembre 2015, dans l’atelier de l’artiste conceptuel brésilien Tunga, ainsi que dans divers autres endroits du monde. On entend au loin les oiseaux, un hélicoptère, les bruits alentours. Des infra -basses et sons electroniques divers viennent perturber cet etrange audio-book.

Ce roman possède une fonction ambiguë, il est dans un sens orphelin, il ne fait pas partie du monde littéraire ( il est inachevé et non publié, il s’agit peut-être d’un « mauvais » roman), mais il n’est pas non plus une sculpture… Evidemment, c’est ce statut latent, « entre-deux » , que Felicia Atkinson nous propose, tel un palimpseste en partage… Ainsi, le visiteur n’a pas accès à la lecture du manuscrit en court. Il ne voit qu'une boite d’archive scellée, posées sur la table à coté du magnétophone qui en diffuse sa lecture ainsi qu’une serie d’objets, de ceramiques et de collages digitaux sur aluminium sur une table basse et une etagere, un tableau au mur. Dans la foret pétrifiée d’Arizona, les végétaux sont devenus des minéraux. Certains disent qu’il porte malheur de vouloir les voler et les amener avec soi. Beaucoup de gens qui avaient dérobé des fragments de la foret pétrifiée les ont renvoyés au parc naturel après avoir vécu des aventures étranges ou inquiétantes. À Rinomina, le spectateur est invité à partager  et  å  douter des bribes de cette foret pétrifiée: extrait lu sur une bande magnétique, une serie d’images et d'objets, une boite scellée qui contient un récit secret... Le visiteur ainsi, n’a accès au roman qu’a travers son expérience au moment ou il est dans la pièce, et ou il peut écouter la cassette et au mystère de la boite.  Une temporalité rentre ainsi en jeu, suggérée par le temps du sonore, proche de celle du concert, contexte que Felicia Atkinson, convoque souvent lors des « readymade ceremonies » qui ont lieu pendant ses concerts et disques enregistrés.

Felicia Atkinson est née en 1981 à Paris. Elle fait partie en 2004 du project experimental Bocal ( Boris Charmatz) puis étudie et est diplômée des beaux arts de Paris. Son travail plastique et musical s'attache aux questions d’improvisation, de fiction, d’assemblage, de bruit, de poétique, d'abstraction, de distorsion des liens entre ready-mades et musique concrète… Felicia Atkinson s'interroge aussi sur les lieux du sonore, mais aussi sur la place du disque, du livre et du texte comme espace d'exposition, posant son regard, son toucher et son ouïe sur les problématiques d'onde, de couleur à travers l'installation, la peinture, l'impression, le texte, la sculpture et le son. Une quête pour ainsi dire infinie et toujours mouvante, volontairement éclatée et disparate, qui se développe notamment à travers des expéditions régulières en Californie (desert de Mojave, Los Angeles, Big Sur..), en Oregon, en Arizona ou au Nouveau-Mexique. Felicia co-dirige la plateforme Shelter Press et enseigne la peinture à l’Ecole Supérieure d’art de Bretagne (Quimper).

www.feliciaatkinson.com
www.shelter-press.com


Antoanetta Marinov: Équivalences
December 11–21, 2015


The Sound of Things Seen, touched, and used – this is how we encounter everyday objects. The work of Antoanetta Marinov also coaxes out another dimension: their sound. A single stroke can bring them into oscillation. Receptacles are not only objects, they are three-dimensional volumes with the ability to resonate. The artist has arranged an assortment of everyday receptacles into a still life. In the 17th century, painted still lifes connect temporality and eternity with the supreme moment of the here and now.

Antoanetta Marinov is visual artist, literary scholar and curator. She has studied art at the Fine Art Academy in Karlsruhe and Literature at the Faculty of Literature and Philosophy in Rom. Master scholar of Silvia Bächli she has shown her work, focusing on minimal space interventions and in art in public spaces was shown in various international contexts amongst other at Galerie Stella, A. Hippolyte Gallery, Kunsthaus Baselland, Halfhouse Barcelona.

www.antomarinov.de


Gregor Warzecha: Ghost in the rags
November 5–8, 2015


The ghost happend to exist because it had previously been a different image. Probably a bit too overconscientious, bit of blue here, a red field there. Now it is a ghost. Majestically its olive green form rests in motion. And because it had been a different image before, without a notion of its own existence, it is there now as naturally as it hadn't ever been. It expands to all sides yet stays what it is. Unless it ceases to exist and it will then not have been nothing because it really had been there, I thought. Perhaps the image longs for a body, like every ghost does. And like the word flesh - the image would be a body or a zebra and a tree in bloom.

The painter Gregor Warzecha (*1977 in Strzelce Opolskie, Poland) lives and works in Freiburg, Germany. Primed with the blind spots of the psyche, his drawings and paintings are visitations dimly projected on the void. He made solo exhibitions inter alia at Patricia Low Contemporary in Gstaad, Kunstverein Heppenheim and Galerie Knecht und Burster in Karlsruhe.

Daniela Baldelli/Markus Lichti: Noted alternation, alternate notation
September 30–October 16


Daniela Baldelli (*1977) is an artist based in Paris since 2010. She studied at the Staatliche Akademie der Bildenden Künste in Karlsruhe. As much as Baldelli selects and removes objects from their original context and interprets them anew, she endorses the reincorporation of the objects and/or sculptures back into an everyday scenario once withdrawn from the temporary exhibition situation. Her work thus opens up for the changing and transformative nature of life, and, by merging the present and the past simultaneously projects an undefined future moment. Her installation and performances were exhibited at various galleries and institutions in Berlin, Düsseldorf, Copenhagen and Milan.

Markus Lichti (*1980 in Speyer/Germany) studied at the Staatlichen Akademie der bildenden Künste Karlsruhe and lives in Paris since 2010. His work shifts along the borders touching language, turning space, distracting utility in order to sharpen the edges for the perception of the spectator to be cut. He made contributions to group and solo exhibitions amongst others at Arratia Beer, Berlin, castillo/corrales, Paris, Couloir, Hamburg und Thomas Dane gallery, London.

Thomas Geiger: 1 For You 1 For Me
July 16–19, 2015


The background of 1 For You 1 For Me is Thomas Geiger’s ongoing performance I want to become a millionaire that aim is to finance new projects independently. Since 2010 he has regularly stood more than 400 hours in public space with a sign that says “I want to become a millionaire”. He tries to sell signed sheets to the passers-by each with a continuous edition number for 1€. To date he earned more than 19.000€. He invests this money in new projects like Mark Pezinger Verlag, a publishing house for artists books or the Festival of Minimal Actions, a festival dedicated to ephemeral actions in public space. Both projects are realized without any public funding.

The exhibited project 1 For You 1 For Me is a transformation of his I want to become a millionaire performance. Instead of asking for money he went to beggars in Paris and offered them to place a personal message on 5 of his sheets. For each sheet he payed 1€ to the beggar.

He is reselling these sheets for 10€ to finance the second edition of his Festival of Minimal Actions that takes place in the public space of Paris this autumn. The Festival brings together 22 inconspicuous concepts of art pieces that had already been accomplished by their authors in public. During the 30-day Festival Thomas Geiger is going to re-perform the actions himself in Paris for the hazard spectators. The beggars, who are a present part of the public space, get integrated into the realization of a festival that aim is to put the focus on the the rules, gaps and visual codes of this very space.

Thomas Geiger (*1983) is an artist based in Vienna. He is co-founder of Mark Pezinger Verlag, a publishing house for artists’ books and initiator of the Festival of Minimal Actions.

www.twgeiger.de
www.markpezinger.de
www.minimalfestival.net

© Rinomina and the artists, Paris, 2015.
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