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Guy Bartschi Galerie: Daniel CANOGAR - Will TURNER, Fragile States - 13 Mar 2008 to 16 May 2008 Current Exhibition |
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Daniel CANOGAR
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Daniel Canogar (Ground floor / Basement) Will Turner (Project Room) Exhibition from 13 March to 15 May 2008 Opening 13 March 2008 Daniel Canogar, Spanish artist born in 1964 in Madrid, presents his works at the Galerie Guy B�rtschi from March 13, until May 16, 2008. Questioning the place of the human, the artist will present his pieces created out of tangled cameras and projected images that they sketch in the space of the gallery. A dark environment in which the electronic structure and the projection are visible allows the spectator�s immersion into the space. Shown in a solo show for the first time in Geneva, the artist will occupy the ground floor and the basement of the gallery. In his installations, it�s as much the projection as its means that participate to the artistic experience. The works divide themselves into distinct spaces that oppose the electronic structure, created by wires finished with cameras, to the projected image. The presence of the spectator adds to this composition since he is can interfere with the piece by manipulating the suspended cameras or by revealing his shadow on the surface of the projection. The subject concentrates on the image of the human, opposed to this complicated universe of electronic mechanics. The appliances recall endoscopy instruments or the complicated veins� networks and unveil, in some works, the infinite small and hidden elements. The body appears often as floating or falling, his image being projected on the floor, the ground or the ceiling. Striking short cuts recall baroque frescos in which the eye is taken into infinite perspectives. Other works, as the photographs Enredos, suspend corpses in worlds of cables and wires, which tangle the vision and allow no way out. In these works, people seem to be sleeping as in an electronic dream. These mechanical creatures, modern octopuses, suffocate, oppress and immerse the spectator in their complicated labyrinth. The installations Spider bring to mind a similar universe in which corpses are intricated in spider�s webs of the future. A catalogue published by the gallery on the occasion of this exhibition including an interview of the artist by Mara Gili, director of Le Jeu de Paume in Paris, will give the possibility to better understand the art of Daniel Canogar. In the Project Room in the basement, another young artist, Will Turner, born in England in 1977, presents his Fragile States. Working on banal images taken from books of the 1970s and 1980s, he exploits their retro character in collages that divert their primary idea. Cut, pasted and assembled, these works become real little pop sculptures. In these pieces, the published image, widely diffused, contrasts with the manual and fiddly work that transforms them into unique pieces. The delicacy and fineness of the cut-out is reinforced by the direct presentation of the works which aren�t framed. The image acquires then the status of an icon keeping, in its background, its original narration. Daniel Canogar (Ground floor / Basement) Will Turner (Project Room) Exposition du 13 mars au 15 mai 2008 Vernissage 13 mars 2008 Daniel Canogar, artiste madril�ne n� en 1964, pr�sente ses �uvres � la galerie Guy B�rtschi du 13 mars au 16 mai 2008. Questionnant la place de l�homme dans l�espace, l�artiste exposera ses pi�ces qui naissent de la rencontre de cam�ras enchev�tr�es et des images qu�elles esquissent dans l�espace de la galerie. Un environnement sombre dans lequel la structure �lectronique et la projection sont mises en sc�ne permet l�immersion du spectateur. Montr� dans un solo show pour la premi�re fois � Gen�ve, l�artiste occupera le rez-de-chauss�e et le sous-sol de la galerie. Dans ces installations, c�est autant la projection que les moyens de celle-ci qui participent � l�exp�rience artistique. Les pi�ces se divisent en espaces distincts qui confrontent la structure �lectrique, constitu�e de fils se terminant par des cam�ras, � l�image projet�e. A cela s�ajoute la pr�sence m�me du spectateur, appel� � interf�rer avec l��uvre, en manipulant les fils des cam�ras suspendues, en d�voilant son ombre sur la surface qui vient se dresser face � celle de la projection. La th�matique se concentre autour de l�image de l�humain, oppos�e � cet univers compliqu� de la m�canique qui lui donne naissance. Les appareils rappellent d�ailleurs les instruments d�endoscopie ou les r�seaux compliqu�s des veines sanguines et d�voilent, dans certaines pi�ces, des parties du corps, jusqu�au plus cach� et au plus petit de l�organisme. Le corps appara�t souvent en flottement, en chute libre, son image �tant projet�e sur le mur, le sol ou le plafond. Des raccourcis saisissants rappellent les fresques baroques, dans lesquelles l��il est happ�, en des perspectives infinies. D�autres �uvres, telles les photographies Enredos, suspendent des corps dans des mondes de c�bles et des fils, qui emm�lent la vision et ne laissent pas d��chappatoire. Les personnages paraissent �tre endormis, comme dans un r�ve �lectronique. Ces cr�atures de la m�canique, pieuvres modernes, �touffent et oppressent, et immergent le spectateur dans leur labyrinthe compliqu�. Les installations Spider �voquent ce m�me univers, o� les corps sont emp�tr�s dans ces toiles d�araign�e du futur. Un catalogue publi� � l�occasion de cette exposition par la galerie et comprenant une interview de l�artiste par Mara Gili, directrice du Jeu de Paume � Paris, permettra de mieux comprendre l��uvre de Daniel Canogar. Dans le Project Room du sous-sol, un autre jeune artiste, Will Turner, n� en Angleterre en 1977, pr�sentera Fragile States. Travaillant sur des images banales issues de livres des ann�es 1970 et 1980, il exploite leur caract�re d�licieusement r�tro, dans des collages qui d�tournent leur id�e premi�re. Coup�es, coll�es et assembl�es, ces �uvres deviennent de v�ritables petites sculptures � l�aspect pop. Dans ces pi�ces, l�image publi�e, � large diffusion, s�oppose au travail manuel minutieux qui la d�tourne en �uvre unique. La d�licatesse et la finesse du d�coupage est renforc�e par la pr�sentation directe des �uvres, qui ne sont pas encadr�es. L�image acquiert alors le statut d�ic�ne tout en gardant, en second plan, sa narration originelle. |
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