‘The Light and the Heavy’ collected tales from Hungary by Sophie Durand and Magali Rifflart-Villeneuve is presented as a multi-media installation and a book of the same name. These stories: a journey through shared experiences and dreams in Hungary oscillate between the felt, the imagined and the experienced.
Sophie Durand is an interdisciplinary artist from Perth, Western Australia. Durand’s practice extends from the intersection of sculpture and performance art. Durand’s work draws from anecdotal histories and archives for subject
Magali Rifflart-Villeneuve is a French artist based in Paris, whose practice explores the connection between altered states of consciousness and the act of creation. Rifflart-Villeneuve uses paintings, photography, writing, video and multimedia installations provoke a destabilization of the perception and to arouse an unconscious ecstasy.
Words with Friends was born in a café in
Vienna when a conceptual artist from Belgium and a writer from Australia sat down to a game of Boggle. They never actually figured out how to play, but a love of narrative and a strong desire to take things out of context lead to the works you see in these pages.
In this collaborative work, the idea of
text as both an object and experience is central, proposing the notion of
reading as indivisible from the act of reading. The reader—as positioned in
time, space and experientality-is fore-fronted through an approach that draws
from the strengths of the two artists’ disciplines. The result is a body of
work where text, narrative and context combine to create something more than
the sum of their parts.
On Friday, September 2nd, 2016, Michael and
Sam created a performance piece at the D’CLINIC studios in Zalaegerszeg,
Hungary. This performance was the result of a month-long artist residency
called MiXER, wherein the two artists, from Edmonton, Canada, and Taipei,
Taiwan, respectively, were brought together to create a collaborative
exhibition that combines traditional and new media.
Through this performance, the artists
explored the idea of the false identities that people create using modern technology, such as Photoshop and social media. These technological advancements allow people to alter their appearance and falsify their identities in order to create the persona that they wish the world to see as opposed to presenting their true selves. This creates a sense of self-satisfaction that is both temporary and false, yet serves to fill the emotional gap created by the sense of alienation inherent in an increasingly impersonal society that relies on the instant approval of others that social media provides.
This concept was explored through live
painting and real-time mapping. During the performance, Michael painted over a
projected image of himself, which Sam then photographed and project onto
Michael using the computer program open Frameworks. Both the painting and
projection were built up in layers until the original photograph of Michael was
indistinguishable. The final piece was a live sculpture with a projection of
the many layers of the painting. The live sculpture was ephemeral, lasting only
the duration of the exhibition, thereby representing the temporary satisfaction
of creating a false identity through the use of modern technology. The remaining
piece was a painting, which served as a relic of the performance just as social
media acts as a memento of the false identities that people present to the
KÉP KLUB is an international group of
uniformed ‘art workers’ who who first formed in Zalaegerszeg, Hungary. The
three artists: Amy, Kieran, and Rob use expanded drawing, photographic and
installation practices to create site responsive, often public, artworks in the
context(s) they find themselves in. Adopting a methodology of collecting images
and stories KÉP KLUB works to question the role of the contemporary artist,
their context and the relationship between artist and audience. Who is the ‘art
worker’, what value does a community assign them, and how can they collaborate
(or work together).
KÉP KLUB invited the people of Zalaegerszeg
to donate a space or object of their choosing. Surfaces included, but were not limited to, walls, garage doors, fences or objects such as a bicycle or an item of clothing. After a site visit and interview the artists design colours and imagery specific to the individual or family in their own artistic style. In this way KÉP KLUB becomes not only a collaboration between the three artists, but also a collaboration with the local community. In an attempt to understand this unknown environment, the artists create a new connection with the places and people they meet.
To be human is to live in a world that is filled with significant places: to be human is to know your place.
Through observation and documentation, Jana and Marko focus their attention on traffic, space, and density of people in the streets of Lendava. Their project is, therefore, responding to everyday inhabitation of places and their experience of this location. They reflect on these different kinds of behavior from a view of an outsider through a number of various works; proposing a different way of seeing a town.
URBAN CONTEXT An interactive drawing illustrates a physical city of roads, buildings, parks, and related infrastructure. The density of traffic and usage of cars is changing the face of the city. A decision of using a vehicle is in everyday life almost unconscious. The urban context is pinpointing four main places, Parking lots, main streets, by-streets, roundabouts/crossroads. Gathered information documents, but at the same time recreates into something more physical through the use of maps, drawings, and strings, which help to enhance this.
HUMAN CONTEXT Spirit of the place goes beyond the built environment. A mosaic reflects how a town functions in ‘real-time’, in terms of everyday life. The main protagonists are people and their consciousness which is occupying a space in the given moment. It creates a new place, a conceptual one – A place is not just a location, it is an experience of it. A feeling is not just a response, it is an action.
UNTITLED A video describes a way of looking at the environment in Lendava. Using static video frames of nature, which is visually a major portion of the town, while alternately there are sounds of cars and traffic. This represents only a small excerpt of everyday life, suggesting and presenting a view of our unawareness, obvious of what is there and stays almost unnoticed.
PLACE/EXPERIENCE The installation represents a connection to the place and simultaneously it is a point in a place. Four circles represent different relationships we unconsciously have to the places we inhabit. A location, non-place, private space, and nature. Each space is gaining its importance on our personal concept. Therefore the installation is representing a moment in an artist’s life, where the studio is an important space, but for each person, it could be different. In someone’s garden, living room, shop, office, woods, etc.
By examining the sweet experience of an ice cream cone, SLADOLED SOCIAL is an attempt for artists Elena Feijoo and Eden Mitssenmacher Tordjman to connect to the local context of Lendava. Coming from different yet often overlapping personal and artistic backgrounds, Elena and Eden have come together to create a body of works which seeks to open up questions surrounding accessibility, identity, and gender by utilizing the physical and visual allure of ice cream. Through deconstructing the form, use, and context of this seemingly casual and bubbly subject, they have created a new dialogue through the lens of an all time favourite in the form of installation, performances, photography, video, and painting.