Épagôgè, the exhibition

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Épagôgè, the exhibition

Presentation of the event :

 

Balanced between the chaman, the devil, the witch, the druid, the healer or the spirits said as from the chaos, the incantation is the tool transcending mystical practices. The practitioner can be consider as philosopher. The letters and images that use in his incantations can be the base of great powers. Through them, he can access to visions, transform himself, extend his capacities and can be used as a translator, medium between two words : the tangible and the invisible, the mental world and the physical one. 

Magic is nothing but an extension from the reality. It can be a declination of colour, of sound, of images, of words. Therefore, considering the artist as a creative spirit who plays with the particularity of the real, we can associate him to a demiurge of a celebration of life and his immediate environment. 

Erstwhile called through the voice and the writings, the incantation contains the dogmas of the economical and political society that hold the contemporary world and disguise into experiential image to affect under the minds. This picture, that can be declined unto several forms, from the advertisement picture to the stroboscopic light, owns a power of affectation on body and soul. Those two being inseparable, the sensual game of perceptions and the ultrasensible matter are closely linked. The image then touches the subconscious to reach the behaviour, it prints itself into the brain and modify the spiritual composition of the mind deeply to control its reason and behaviour. The experimental image doesn’t have a difference with the mantra, in the way that it convokes the forces from the abysses and the abundant game of the subtle transgressions. It is an operative magic that doesn’t let anything to the random. Let now our imagination showing us what the incantation from our post-modern society can do upon the paranoiac hostile looks of the people when we propose to them an experiential image. 

The COSMIC artistes will play with the incantation and transform themselves into mystical characters to propose artworks tainted by esoterism, anthropology and mysticism, in the heart of an experiential sphere reflecting the real powers of the magic artistic image. `

Exhibited artists :

Azel
Yann Toma
Ivan Murit
Simon Lazarus
Valentine Vera
Margaux Taleux
Sliman Ismaili Alaoui
Christopher Alexander Kostritsky Gellert
Magali Rifflart-Villeneuve
Alexia Antuofermo
Chloé Coislier
Lucas Ngo
Oudy
OB

Curators :
Andreea Macea
Magali Rifflart-Villeneuve

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Completing the exhibition :

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Opening with the presence of the artists and curators

November, Thursday 21 th, 2019

 

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Performance night by exhibited artists and guests :

Yann Toma

Livio Galos

Valentine Vera

OB

Christopher Alexander Kostritsky Gellert

 

November, Wednesday 27th, 2019

 

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Screening night CosmiX of experimental shorts movies (short films and artist videos) related to the theme of Incantation under the curation of Magali Rifflart-Villeneuve

 

November, Friday 29th, 2019

 

A catalog of the exhibition will be available on site

 

List and biography of the participants :

Artists and researchers will contribute to the exhibition as well as the performance night and the screening night, under the curation of Andreea Macea and Magali Rifflart-Villeneuve :

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Margaux Taleux

After a year studying at NYU, New York City, Margaux Taleux is currently doing her Phd at La Sorbonne, Paris. She also has a BA in graphic design and art therapy; her artistic practice is about creating transitional spaces and heterotopias, tempting to generate spaces in-between, vectors of the future. Using mainly drawing, photography and text, her interest gravitates around the cosmogonical of Universe. Adopting an artist and editor post, the object book is considered as space of meeting between individuals and affects, allowing the development of a curatorial practice. She has participated to several collective exhibitions at New York City and Paris, edited several books and bilingual magazines and organized workshops of art therapy. She is the co-founder of the group ARPY and of the group Mad Gleam Press.

 

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Alexia Antuofermo

Artist and Phd student in the research team Art&Flux at the university Paris 1 Panthéon- Sorbonne, Alexia has participated to several personal and collective exhibitions in different places between Paris and New York. Her reflections are about information carriers and data conservation. She mixes ancient techniques and new technologies approaching science and fiction. Her work is looking as well at the data loss, the identity loss and the artefacts conservation as fragment to replenish it.

 

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Azel

Women have always been the main subject of my productions. When I started to get interested in religious aesthetics my work took a new breath. I begin to play with contrast. Contrast with the subjects in my works that seem opposed but who finnaly works together. I play with the representation of women in the past and the present.

I mix religious culture, ponographic culture in stranges and kitchs images when women take back the control of themselves.

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OB

OB is obsession with fluorescent obscurities. Inhabited maker, he objectifies his perception of underlying worlds through material, body, image, writing and sound. From vibratory objects to phantasmagorical and pareidolic effusions, OB marks the imprint of his seer-green ocular's den into the spectral incarnation of his alter-echo, the Eye. OB is seed of invading obscurities. He takes possession of his tools as visual and psychic entities in their wholeness, instruments of exploration, psycho- reactive acts join the bone, pictorial and digital works in an injected or invaded space.

OB is medium of obscure visions. He manifests his ectoplasms, engraves the bone, photographs, animates and transcends it as an oneiric creature, takes on the form of his cyclopean specter and wanders between realities. He enthrones his lair on the surfaces of the living, its habitats and its remains, until reaching the essence, the wide open eye engraved between shades and lanterns.

 

 

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Valentine Vera

The Valentine’s artistic practice takes its inspiration in the universe of the jungle. It’s an area where the beings are the preys and the predators of one another. The earthly body serve to them as Identity as well as fading into the background. The beings are all bounded to each other, to the life, to the death. 

Thus the earthly body and more specifically the animal skin is in the center of her practice. She is exploring the skin, especially the snake skin shed, through its textures and patterns, and the transformation by a practice of the costume and the body painting. 

Since 2016, she realises several performances under an iguana costume that allows her to testify the relationships person-character and human-animal.

 

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Christopher AlexanderKostritsky Gellert

Christopher Alexander Kostritsky Gellert  is a researcher-artist and poet. He works on the literary investigation and the creation of the communities. Since 2016, he leads an investigation on the reading as an experience, Why are we reading, where he collects testimony from readers on the influence of the reading upon their ways that he is currently transcribing and versifying in the will of publish them in a book. Into this project, he organises a cycle of forums on our variable practices of reading that forms un bridge between a theatrical knowledge and the lived expériences. His poems has been published in FORTH Magazine, Belleville Park Pages and Parenthèses, and his short story « Ce pays » is to be published in Fracas. The collaboration is in the center of its practice, and he has especially worked with the musicians John Kamfonas, Wilson Poffenberger and Sully Doro, a well as the photographer Chloé Devi and the artists Alteronce Gumby and Alexia Antuofermo.

 

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Sliman Ismaili Alaoui

Sliman Ismaili Alaoui, alias Nascio, is a French-Moroccan painter born in Paris in 1974. Self-taught, he gets into the art scene by assimilating simultaneously art academy and street art codes, as well as its actors, its movements and its history. 

Always exploring, he tries multiple technics, keeping the spontaneity of the gesture and the liberty of the thematic choices acquired by the mechanisms of his « graffiti » touch from the street. His themes are various but the process of creation keeps coming from images related to transformation, mutation and accidents more or less provoked, mixes of images where antagonist elements are put forward, extracted from science fiction and Japanese mangas. 

Since his integration to the art gallery David Bloch in Morocco, he also works on the establishment of a pictural bridge between the Moroccan traditional imagery and the early urban art, through his practice of spray can painting.

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Lucas Ngo

After have been studying comic book at ESA Saint-Luc Bruxelles, ha has integrated the European Superior School of Image (EESI) Angoulême, where he has been graduated in 2017.

Artist, radiesthesist learner, home teacher, diary artist, the notebook has always had an importance in his practice and he questions it in his experimentations. 

For him, everything is painting and can be transposed in his practice under several forms as photography or video. He paints by the transparence, that can let him emerge a mist, a blur. He includes this approach into the medium, the work space offered to him. The photography extracted from his personal archives constitutes the base of his artworks, by having a documentary fonction. It is from it that a vision or a flash will be spring up and will support it along the realisation at the same level as the photography does. It is a form of divination, in the same way than a fortune teller tries to interpret the most fairly the meaning of his cards, he tries to transcribe the flash that appeared to him. 

Through the instant photography, as the Polaroid or the analog photography that translate a mist, he tries to make the photography independent, so it can be enough by itself as it is, and be apart from the documentary aspect, without excluding the idea to be back on the documentary function. 

The notion of archive takes an emportant dimension in his work, through the way of expression and experimentation that can be found in the diary or in the sketch book, notebook, travel book, etc…

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Oudy

Originate from the graffiti art and the conceptual modern art scenes, Oudy makes his forms since four years, so he can extend his universes of possibles. Undoubtedly influenced by his job as a graphic designer and artistic director he does since nine years, he works his forms by making them go from digital to pure drawing / painting.

The quasi-permanent abstract kept in his realisations opens a window on the everyone imaginary. An artwork without definitive form will place the viewer in front of its own projection of images and objects out from a collective conscious. In corollary, all the interpretations on Oudy’s artworks are at the same time good and bad. Those abstracts are a part of what the artist calls space of freedom, because for Oudy, art exists also through the open creation and a breakaway on the possibles made by our imaginary. The goal he follows consists to transform us into a new expressive relay, ready to create. 

Art is not only made for the elite or the mads, everyone can create and by it, can be free. His collaborative frescos are an example of this good will. After have realised a canvas in black and white of a big dimensions painting on a support, he invites every people to come to fill and draw the white zones bay guiding them so they be confortable with others. Those collaborations are a ephemeral creative space made up bu Ody for the public, proposing to it te become an artist. His activity as a body painter reverse this position : it is the people that desire to receive a drawing by Oudy who gives a creation space for the artist. The Oudy’s art invites us to take our time, to stop and ream in font of his artworks so we can set up our own liberty space along his art.

 

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Chloé Coislier

Chloé C. Graduated in Arts master degree, elaborates her research on the transmission and awakening of memories. By mixing analog and digital, by chemically deteriorating her films, letting free flow to the hazard, she creates abstract images where familiar forms can emerge out of it. She deflects good taste of photography to create prints from her unconsciousness and from her memory.

 

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Ivan Murit

Ivan Murit manipulates shapes and colours through computer programming. His attraction for the system and his research upon the visual and science fields has bring him to use algorithms that model natural phenomenon. He questions the way we produce art in the digital area. His works take often the shape of a production process or of tools. This scientific and digital approach wants to end into an immersive visual result and into a strong sensorial experience.

 

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Magali Rifflart-Villeneuve

Graduated with a master at the university Sorbonne Panthéon Paris 1 and a DNSEP at the Superior European Art School of Image at Angoulême, and after has been in a master year program at the New York University Steindhardt, The Magali’s artistic work has been presented in several exhibitions and residencies in New York, Budapest, Belgrade, Paris, Hanoi or Sydney. She also has published short stories in self publications, has participated to several editions and is a writer for Mauvais Magazine. She has founded the international collective of artists and writer COSMIC in 2017, for which she accomplishes the roles of cultural mediator and curator. She takes inspiration from her frequent travels so she can feed her researches and her visions. 

 

Magali works on the Artoparthésia, a term that has been created to surround the theoretical and aesthetic reflexions that goes along her artistic work. This term is not a preexisting notion, and wants to incorporate the hallucinogenic and experiential image to the spectatorial preoccupations. The Artoparthésia thinks around the artistic axes of thinking that gather the ideas of transe and artistic ecstasy through revendicative and conscious creative behaviour. Those elements are handled by the observation and the experimentation, and evoke the experiential images of the artistic quantum, of the experimental cinema and of hallucinations integrated into a primordial spectatorial consideration, especially by restore it into alternative places, espaces and diffusion modes.

 

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Andreea Macea

Cultural mediator, curator of artistic events and exhibitions, Andreea Macea touch diverse art domains. From the classical art to the mouvant image, from the performance to the sound and design, she got interest for every sensible language and expression form. 

Her last researches are on the theme of the fusion between art and science and politic, on the reflexion upon the place of the clandestine art into the urban landscape and on the study of the exhibition and art piece forms in the actual contexte of the digital era and the ephemeral. 

In this vision, she occupies non conventional places by metamorphosing them into research, creation and exhibition spaces. Andreea commits to give the first place to the context in a logic of investissement that considers the artwork directly connected to a subject connecting to the social, economic and politic actuality, to the architectural and urban landscape.

Something under the bed by Emilie Schalck (Détails de l’installation) 2017, In The Limbo

Allocation of funds

COSMIC is an international collective created in 2017 in the will to gather and put forward the youth of the contemporary art and of the research evaluating into an underground and alternative field.

 

The collective counts today around thirty artists and researchers from ten countries and regularly organises exhibitions, lectures circles and screening nights of experimental short movies.

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Your connexion to the cosmos is reiterating. 

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COSMIC is this breath, this soul involved in a cultural, literary and artistic collective that is regrouping creators and thinkers who share similar vision and wonder for humanities and cultures. 

This movement claims ideas and processes induced by notions of transcendence, mysticism, ecstasy, modified states of consciousness, alter reality and apperception of cosmic phenomenon, as the many tools for the reclaiming the quest of a primordial aesthetic and a return to the Kosmos. 

The society within which we are evolving is distant from the revolutionary ideas of the 19th and 20th centuries. New technologies have surfaced and have prompted, provoked and renewed those possibilities of metamorphosis. We are urged to counter the suffocation of all of these flowering windows through a critical and humanist report. The act of creation and symbolic lecture, both space for physical and mental freedom are drowning in an environment that gains more austerity with every second. There is a call, a vital urgency to debate and a necessity of reflection. 

Art in its every form should be shared between all; it is the nourishment of the sensitivity and the transcendent inherent to the human. The expansion of imaginary subjects and the utilisation of the invisible, of the dissenter, of the introspective, of the inter-subjective are definitively ontological. What Ethos for the artist then? An absolute criticism for the rational and Promethean dominants within western civilisation opens its arms to us. We immerse ourselves in the aesthetic. We live in the cosmological décohesion of the human. 

Creators and thinkers of this collective are the heir, the recipients of hope and thought of counter-cultures and movements which see in the indescribably, within the poetry and the art, the possibility of appearance of freedom as a solution to domination. Is this not a sufficient reason to want to reclaim the tenacious dream of our society?

 

For the project of the exhibition Épagôgè, the international collective COSMIC needs financial help. In fact, a such exhibition brings expenses connected to the communication, to the rent of the space and to the production costs. 

 

We have a financial project as follow : 

 

Rent of the space for the time of the exhibition, the set up and the set down : 300 euros

Printing of the flyer and invitations : 80 euros

Material for the set up : 40 euros

Material for rehabilitation of the space : 30 euros

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