AEROPLASTICS contemporary: Isabelle LEVENEZ "Masques"
Carrie YAMAOKA works 2004-2009 - 12 Nov 2009 to 23 Dec 2009
Isabelle LEVENEZ, Untitled (2009)
Watercolour, ink, 110 x 75 cm
Isabelle LEVENEZ "Masques"
and Carrie YAMAOKA works 2004-2009
Opening November 12 18.00 - 21.00
Isabelle LEVENEZ "Masques"
Aeroplastics contemporary has the pleasure to present an exhibition by French artist Isabelle Lévénez. Born in 1970, she currently lives and works in Angers (France). She has exposed her works in a variety of renowned art centres, including Le Palais de Tokyo, the Orangerie du Sénat, the Centre Georges Pompidou (projections) and the gallery of the Jeu de Paume (projections) in Paris, the Queen Sofia Museum in Madrid, the Nagoya Museum in Japan and the Huis Marseille in Amsterdam.
The artistic approach of Isabelle Lévénez employs a variety of media – video, voice, drawing, the presence of color. The artist encourages us to enter her universe, where her works propose identification with the body, often feminine, sometimes male. When she enters into the composition, her face and body, covered in red paint, go to evoke the life and world of suffering that she wishes to depict.
Her questions pertaining to societal masks are transmuted in her video installation entitled Désir (2004) where the artist's enigmatic sensuality is enthralled in the body's filmed unveiling and its exaggerated make-up. The filmic movement is rooted in order and abstraction. For Arc-en-ciel (2005), face and body, once again, are diluted in water. The make-up becomes gradually blurred, with the identity of the main protagonist remaining nonetheless elusive. The artist leads us into a perpetual, intangible labyrinth of identity.
The photograph entitled Narcisse (2005), presents a woman who, body plunged into water with eyes closed, appears in full meditation. The color red, seemingly emanating from her own body, designs a face upon the water's reflection. Her face.
Her video Frontière (2009), projected within an enclosed space, proposes a fixed depiction, devoid of emotion, of characters submerged in a bath of steam, enveloped in silence.
This exhibition also presents multiple drawings from the artist, Ecritures, where the theme is childhood: "It has to do with taking account of the complexity of human states-of-being, between naivety, tenderness, seduction and cruelty." Her written works represent the relationship with the "other", one's entourage but also one's self. These confused messages evoke nostalgia and memory. The artist attributes us with the role of witness, confronting these works of immense intimacy. Our involvement is immediate. Her permits us to explore the abyss of our beings, here giving us access by grace of these troubling and disconcerting works.
The video Jeux de mains, jeux de vilain (2001) (Stop Fooling Around, or It Will End in Tears), which, thanks to its universe where sober technology and complicity are confounded, plunge us into this ambiguity of narration. A far-off voice with infantile tones is confronted by the symbolism of sexuality when the usual gaze is surprised by the controversy provoked by the artist. The graphic violence of her writing on the walls evokes one's first attempts of doing so, clumsy, rendered automatic in the blind impulse of expression's desire. Isabelle Lévénez awakens these devastating memories that haunt our forgetfulness.
Carrie YAMAOKA works 2004-2009
Aeroplastics contemporary is pleased to present the work of New York-based artist Carrie Yamaoka, in her second solo exhibition at the gallery.
Yamaoka's paintings resist classification as painting and refuse to remain the same from minute to minute. For the past fifteen years the artist has worked with reflective mylar, resin and various coloring agents as her media. The works generate a constant flow of visual and perceptual information depending on how the viewer situates him/her self in relation to the object.
Some of the more recent works incorporate interference pigments and phosphorescent tints, making way for an extended range of play with the possibilities of light—the light created both in the work and by the work. Most recently, the artist is stressing the object-ness of the work, welcoming more of the chance incidents derived from process, to eke out a wider spatial and experiential gamut.
Edward Leffingwell of Art in America has said:
Yamaoka's radical paintings maintain a position among those rather racy art objects that mediate between painting and sculpture.
According to Roberta Smith, art critic of The New York Times:
Ms. Yamaoka's sumptuous yet unassuming paintings constitute a kind of Situationist Minimalism. They are physically specific and implacable. … Like Robert Ryman's work, Ms. Yamaoka's is a reverent dissection of the modernist monochrome, but she also partakes of a more parodistic approach, exemplified by Robert Rauschenberg's "White Paintings", from the early 1950's, in which the viewer's shadow becomes part of the work. However you parse them, her efforts intimate a rejuvenation of Minimalism, spurred by new materials, more refined techniques and fresh ideas.
Carrie Yamaoka has exhibited widely in the United States and in Europe including: the Wexner Center for the Arts in Ohio, the Albright-Knox Gallery in Buffalo, Artists Space in New York City, MassMOCA in Massachusetts; Torch in Amsterdam, Studio 1.1 in London, and Galerie Une in Switzerland.