solo show “À Bras Le Corps” May 22-Oct 10, 2021
Exposition monographique à ciel ouvert “À BRAS LE CORPS” au Domaine de la Scène de Bayssan.
Du 22 mai au 10 octobre 2021, du mardi au dimanche de 11h à 19h.
Une exposition hors-les-murs du Musée Régional d’Art Contemporain Occitanie (MRAC Sérignan).
Commissariat : Clément Nouet
L’exposition “À Bras le Corps” propose une déambulation physique et sensible à travers les œuvres d’Ève Laroche-Joubert. Pour la Scène de Bayssan, l’artiste propose trois nouvelles installations praticables qui flirtent avec la sculpture, la performance, la danse, l’architecture ou encore le design.
Ève Laroche-Joubert est passionnée par le rapport corps-esprit et s’intéresse à la manière dont la conscience physique favorise la créativité. L’artiste s’appuie sur les sens de la proprioception (coordination/spatialité) et de l’équilibre pour concevoir et incarner ses œuvres. Dans ses sculptures, l’artiste aborde des sujets comme la confiance, la prise de risque positive, l’équilibre et le rapport de nos corps à la gravité terrestre. D’un point de vue strictement formel, les sculptures monumentales biomorphiques blanches (BodyScapes), les totems (Entasis Dance V) ou les bancs (Here) sont créés à partir de recherches sur le corps et ont toutes une nature intrinsèquement organique. Loin de se décliner de manière immédiatement identifiable et semblable, les œuvres développent à chaque fois des problématiques spécifiques qui, néanmoins, se répondent et se prolongent.
Expérience physique et sensuelle avec l’œuvre mais également expérience mentale puisque l’œuvre perturbe nos certitudes de toute perception de l’espace, de la forme et notre comportement. Par l’expérimentation que demande ses sculptures, Ève Laroche-Joubert interroge ainsi l’échange social habituel et propose des gestes plus énigmatiques, plus insaisissables ; et son désir d’inventer d’autres modalités de présence à l’autre et à soi. Par l’engagement de leur corps en mouvement, les visiteurs font apparaître une composition spatiale individuelle, voire collective. Les postures des corps et les caractéristiques des gestes conduisent à faire surgir des spatialités propres, qui dépendent de l’amplitude du geste et de la forme du mouvement. Leur nature varie en fonction de l’intensité, du rythme et de la vitesse. Concentré ou expansif, en rond ou ligne droite, doux ou incisif, directionnel ou diffus… toute une palette qualitative de gestes est susceptible d’animer les sculptures « Le mouvement est pour ainsi dire une architecture vivante ». (Rudolf Laban, “Espace dynamique, Nouvelles de danse, Contredanse”, Bruxelles, 2003, (Choreutics, Macdonald & Evans, London, 1966), trad. Elisabeth Schwartz-Rémy, p. 76.)
Les œuvres-expériences d’Ève Laroche-Joubert ont une exigence première qui est acte et pensée concrète s’inscrivant dans la matière en tant que forme, signe et figure. Les dispositifs permettent plutôt une prise de conscience, expression indéterminée mais nécessaire qui prend naissance au sein d’une expérience autant intuitive que concrète. C’est uniquement après coup que l’œuvre devient exploration et questionnement, rencontre et connaissance. Il n’y a pas de hiérarchie entre le corps et l’esprit, il n’y a pas de pensée sans corps ni de corps sans pensée. Les œuvres d’Ève Laroche-Joubert sont une expression de l’intelligence des corps.
Clément Nouet
https://mrac.laregion.fr/A-Bras-le-Corps-Eve-Laroche-Joubert
https://scene-de-bayssan.herault.fr/actualite/125891/199-exposition-a-ciel-ouvert.htm
solo show “Faire Corps” July 3-August 29, 2021
Exposition monographique “Faire Corps” à la Chapelle du Quartier Haut, rue Borne 34200 Sète.
Du 3 juillet au 29 août 2021, tous les jours de 12h à 19h.
Texte de Philippe Saulle, directeur de l’École des Beaux-Arts de Sète : “De ce que le corps sait” :
Comme en préambule, le corps fait sculpture et la sculpture fait corps. Ainsi le corps de l’artiste est sculpture quelle que soit sa qualité plastique, très loin des lieux communs d’une esthétique supposée des corps. Pas décor mais des corps. Uniques et singuliers, ils impriment à la matière leur présence. Quelle que soit la matière, dure ou brute d’un granit, douce comme le bois, souple comme l’eau, mince ou molle, gazeuse comme l’air pour ce qui est des matières que l’on croit voir. Mais il en est de même de celles que l’on ne voit pas, que l’on devine ou que l’on pressent, ces ondes, énergies ou particules supposées… Avec toutes ces matières le corps interagit. Je dis bien avec, ni contre ni pour. Pas de place pour la morale, seulement des faits, des gestes.
D’ailleurs le corps n’est sans doute qu’un flux, lui-même immergé dans beaucoup plus vaste que lui, de cette perception que nous en avons. Ne pas partir trop loin, rester tangible. Ne pas se perdre ou du moins ne pas perdre le sens des perceptions. Les sens. Rester tactile malgré tout, pour que ce corps fragile puisse jouer des formes qu’il engendre et que nos sens, nos yeux surtout, assistent à l’expérience.
Ève Laroche-Joubert cherche depuis des années à témoigner de cette relation vitale qui agit entre corps, matière, objet et mouvement. Ses performances pourraient tenir lieu de graphiques qui surgiraient à la croisée d’abscisses et d’ordonnées encore inexploitées. De quelle façon la forme et la matière informent-t-elles le corps du mouvement auquel ce dernier doit se plier ? C’est une question qui n’appelle que des réponses parcellaires. Mais c’est une question qui est aussi réflexive : est-ce que le corps contraint l’objet et la matière et à quelles fins ? Quelle est la profonde identité des formes si l’on exclue l’illusion ? Ne pas partir trop loin… Il y aurait un risque de physique quantique – selon l’échelle – qui ne serait plus intelligible pour nos cerveaux humains. Laborieux nos cerveaux… Ils font ce qu’ils peuvent, empêtrés dans nos consciences, nos croyances, nos cultures, nos vraies et fausses perceptions, sans compter les bugs. Autant de semoule qui ralentit la capacité de cet organe à pédaler dans l’heuristique.
Le cerveau doit s’arrêter, se mettre en pause ou plutôt en automatique. Comme une danseuse, une acrobate, une trapéziste qui ne pense plus mais agit avec un corps qui sait. Juste le temps de vider la semoule. Un peu comme le Drunken Body, une performance d’Ève à New-York en 2007 pendant laquelle l’artiste vidait et remplissait des gros sacs de sable, le corps étroitement pris dans une structure complexe adapté à ce mouvement. Un geste sisyphien, éprouvant, à la fois drôle et cruel. De nombreux autres dispositifs ont suivis, parfois très graphiques : Ève vêtue d’une combinaison aux lignes sombres qui viennent s’inscrire dans celles de la structure. Parfois posés au bord de gratte-ciel… Marina Abramovic n’était pas très loin mais là-haut, sans larme ni sang, juste le risque de tomber de vraiment haut. Des balances et contrepoids tout en équilibre calculés et dessinés avec soin, sur lesquels ce corps qui semble si vulnérable, active la sculpture…
On parle souvent et un peu bêtement de concentration, de rester concentré. Peut-être que cette notion est valable pour penser ou apprendre mais elle n’a plus de sens lorsque l’on fait ce que notre corps sait. D’ailleurs le cerisier lui, sait très bien vous dire que vous êtes ailleurs lorsque vous passez sous lui… juste un petit coup de branche basse sur le front. Se baisser pour passer sous une poutre sans se cogner est le résultat inconscient de notre sens proprioceptif. Sens de l’espace, du corps dans cet espace, de sa place, de son son, de son odeur, de ses vibrations. Régine Lacroix-Neuberth, mère de la technesthésie, écrivait : « La présence tient à la perception qu’a un individu de ses sensations proprioceptives. » Faire l’éloge de la proprioception n’est pas l’opposer à la transparence, c’est pour souligner la liberté qu’elle offre à nos corps en danger.
Ève Laroche-Joubert est aussi une constructrice, une ingénieuse technicienne passionnée de structures, de modélisations ou de machines. Son corps éprouve, parfois en prenant des risques, autant la fabrication de ces constructions que leur usage performé. Arrivée en France en 2018 après 20 ans passés aux États-Unis, Ève a pris, à Sète et loin du tumulte new-yorkais, le temps de lire, dessiner, écrire, peindre, façonner, photographier, pour fouiller d’autres ressources intellectuelles et tout autant corporelles. Ses derniers travaux, moules de morceaux de corps, deviennent avec évidence des architectures écorchées. L’échelle des choses révèlera aussi d’autres usages, d’autres chemins pour éprouver encore les corps dans l’espace. Or, dans ses dernières recherches dessinées ou photographiées, il y a soudain des épiphanies de formes et de couleurs qui surprennent l’artiste même. Sans doute que la présence puissante de la Méditerranée aura eu quelque influence.
Philippe Saulle
Juin 2021
Recipient of a Grant from the Friends of the National Museum for Women in the Arts (Paris / Washington)
December 2020
Heureuse lauréate d’une bourse Urgence Artistes Femmes des amis du National Museum for Woman in the Arts à Washington (www.lesamisdunmwa.fr) pour me permettre de terminer la première sculpture à grande échelle de mon projet BodyScape.
Les Amis du NMWA : Est-ce la première fois que vous participez à un appel à projet destiné exclusivement aux femmes ? En quoi cet appel à projet était particulier pour vous ?
C’est nouveau pour moi. D’abord, j’ai trouvé valorisant qu’un curateur repère mon travail en ligne et m’invite à candidater. Par la suite, les critères de présélection (femmes entre 35 et 45 ans non représentées par une galerie) m’ont fait réfléchir sur mon parcours atypique et fait prendre conscience à quel point il est primordial de se serrer les coudes pour consolider la place des artistes et entrepreneurs femmes. Avec les amis du NMWA, je ressens un sentiment fort d’intégrer une famille engagée et solide. L’obtention de la bourse m’a remonté le moral et permis de me projeter. Grâce à votre soutien précieux, je vais pouvoir achever la première sculpture de ma nouvelle série “BodyScape” – une forme issue d’un scan 3D d’une épaule masculine agrandie dix fois, présentée face concave et praticable par le public – dont la fabrication était en suspens depuis le premier confinement.
Que vous inspire la scène artistique actuelle ?
Compliqué de parler d’une scène artistique globale… Pour avoir longtemps habité aux États-Unis et pas mal travaillé en Europe, fort est de constater qu’il existe de nombreux enjeux différents qui varient selon les pays, les villes, les cultures, les politiques et les économies. De part le monde, les pensées et collaborations qui m’inspirent le plus sont celles qui lient les arts et les sciences. J’ai choisi de devenir artiste parce que j’étais en quête de recherche fondamentale et il me semble que l’art permet de trouver des pistes de manière intuitive. Il me tient à cœur de m’entourer de penseurs engagés qui questionnent notre perception et modifient notre rapport au monde. Les échanges vitaux avec mes amis de tout bord (neurologues, ingénieur.es, philosophes, danseur.euses, écrivain.es, artistes, éducateurs, etc…) sont indispensables à mon développement. Je ne peux pas vivre bien sans eux.
Louise Bourgeois a écrit “l’art est une garantie de santé mentale”, cette affirmation incarne-t-elle la situation en temps de pandémie mondiale ?
Oui et non ! Décalée et éprise de liberté, très jeune l’art m’a semblé comme un terrain potentiel d’exploration et de bien-être alliant l’esprit et le corps. Au cœur même de mon travail se joue la recherche de l’équilibre, autant mental que physique. Mais dans cette quête il y a parfois des moments très difficiles à surpasser, surtout lorsqu’on ne s’inscrit pas dans une logique marchande. Rien de plus précieux alors qu’un retour direct du public qui me met en joie et m’aide à poursuivre mon chemin. De mon côté, les périodes de confinement ont été très compliquées. Célibataire, vivant uniquement des revenus liés à ma production artistique, je peux être dans l’incapacité de créer quand la question de la survie est omniprésente. Par contre, après coup, mon énergie vitale et ma pratique me permettent de transcender les difficultés, de vivre pleinement mon rapport poétique au monde. Images : maquettes et moule de l’épaule géante en cours de réalisation pour le projet “BodyScape” soutenu par la bourse UAF des amis du NMWA et l’aide à la création de la région Occitanie 2019.
La plasticienne sétoise Ève Laroche-Joubert va réaliser une performance à l’UNESCO
November 2020
Eve Laroche-Joubert devant ses photographies, Foire Art Montpellier 2020. Crédit: Eric Petit
La plasticienne sétoise Eve Laroche-Joubert, qui vit principalement à Sète et un mois ou deux chaque année à New-York va réaliser le 20 novembre une performance à l’Unesco à Paris dans le cadre du Xième anniversaire de la Nuit de la philosophie.
Sa performance tournera autour de la phrase de Pascal: “Qu’on s’imagine un corps plein de membres pensants“.
L’artiste exposera par ailleurs à la Chapelle du Quartier Haut à Sète au cours de l’été 2021 (12 juin-30 août) et en 2022 au musée Noguchi à New-York.
La plasticienne était l’artiste choisie cette année par la ville de Sète pour présenter son travail sur le stand de la ville lors de la Foire Art Montpellier qui vient de se tenir du 8 au 11 octobre. Elle y a présenté sculptures-moulages et photos.
Sète : La Ville présente Ève Laroche-Joubert au salon Art Montpellier
October 2020
Hérault Direct, le 09 Octobre 2020
Cette année, c’est l’artiste Ève Laroche-Joubert qui a été choisie pour représenter la ville de Sète au salon Art Montpellier qui se déroule au parc des expositions de Montpellier du jeudi 8 au dimanche 11 octobre. Impossible de rater le stand si vous vous rendez au salon, il se situe juste en face de l’entrée. Vous pourrez y découvrir les sculptures et photographies de cette sétoise d’adoption installée sur l’île singulière depuis 2018, après 20 années passées à New-York où elle a gardé un atelier.
L’artiste a reçu la visite du maire François Commeinhes ce mercredi pour le vernissage du salon. Originaire de Nancy, Ève Laroche-Joubert est diplômée de l’École nationale supérieure des beaux-arts de Paris et de l’École nationale supérieure des arts appliqués. Son travail d’artiste-ingénieur se situe à la croisée de la sculpture, de la performance, de la danse, de l’architecture et du design. Un processus de création qu’elle maîtrise de bout en bout.
Le 20 novembre, elle présentera une performance au siège de l’UNESCO à Paris. Elle prépare également une exposition qui sera visible à Sète à la Chapelle du quartier Haut du 12 juin au 30 août 2021.
Art Montpellier October 8-11, 2020
La Ville de Sète présente l’artiste Ève Laroche-Joubert à Art Montpellier du 8 au 11 Octobre 2020.
STAND C03 à l’entrée du Hall sur la gauche (en face du CRAC et du MRAC).
Jeudi 8 octobre : 11h-20h / Vendredi 9 octobre : 11h-20h / Samedi 10 octobre : 10h-20h / Dimanche 11 octobre : 10h-18h.
Vernissage le 7 octobre à partir de 16h30 sur invitation.
LIEU : Sud de France Arena (au sein de la foire exposition), Route de la Foire 34470 Pérols.
En tramway : Ligne 3 direction « Pérols -Etang de l’or » arrêt Parc Expo.
En voiture en provenance de Sète : suivre Montpellier A709 – sortie n°29 – Montpellier Est – suivre fléchage Sud de France Arena/Parc des Expositions.
Entrée simple : 9 euros / Entrée couplée avec la Foire Internationale de Montpellier sur le même site du Parc Exposition : 11 euros.
Diplômée de l’École Nationale Supérieure des Beaux-Arts de Paris et de l’École Nationale Supérieure des Arts Appliqués Olivier de Serres, Ève Laroche-Joubert travaille dans la tradition de l’artiste-ingénieur à l’intersection de la sculpture, la performance, la danse, l’architecture et le design.
Artiste franco-américaine née à Nancy en 1975, Ève vit et travaille à Sète depuis janvier 2018 après vingt années passées à New York où elle a gardé un atelier et continue de développer ses projets. Une série de sculptures est actuellement en vue au prestigieux Steinway Building – 111 West 57th Street, NY.
À travers ses sculptures biomorphiques blanches aux formes rondes et ses performances sur des structures cinétiques, jouant de poids et contrepoids, l’artiste parle de conscience. Si Ève est une artiste visuelle de facto, elle s’appuie sur les sens de la proprioception (coordination/spatialité) et de l’équilibre pour concevoir et incarner ses œuvres.
Lors de performances vivantes, les structures qu’elle fabrique s’animent et se transforment sous l’action de danseurs professionnels, d’elle-même ou, plus récemment, du public. Ses dessins, sculptures, photographies et vidéos sont exposés et collectionnés à travers le monde, en France, en Suisse, en Belgique, en Allemagne, en Autriche, en Finlande, au Japon, en Russie et très largement aux États-Unis.
- Site web : www.evebailey.net
- Instagram : @eve.laroche.joubert
Occitanie Contemporary Art Center August 19-23, 2020
Centre Régional d’Art Contemporain Occitanie, 26 Quai Aspirant Herber 34200 Sète
Du mercredi au vendredi de 12h30 à 19h, le samedi et dimanche de 14h à 19h
Dans le cadre de CANAL ROYAL, série d’ateliers ouverts et d’expositions tout l’été, le CRAC Occitanie accueille dès mercredi prochain : Eve Laroche-Joubert.
Diplômée de l’École Nationale Supérieure des Beaux-Arts de Paris et de l’École Nationale Supérieure des Arts Appliqués Olivier de Serres, Ève Laroche-Joubert travaille dans la tradition de l’artiste-ingénieur à l’intersection de la sculpture, la performance, la danse, l’architecture et le design.
Artiste franco-américaine née à Nancy en 1975, Ève vit et travaille à Sète depuis janvier 2018 après vingt années passées à New York où elle a conservé un atelier et continue de développer ses projets. À travers ses sculptures biomorphiques blanches aux formes rondes et ses performances sur des structures cinétiques, jouant de poids et contrepoids, elle nous parle de conscience.
Si Ève est une artiste visuelle de facto, elle s’appuie sur les sens de la proprioception (coordination/spatialité) et de l’équilibre pour concevoir et incarner ses œuvres. Lors de performances vivantes, les structures qu’elle fabrique s’animent et se transforment sous l’action de danseurs professionnels, d’elle-même ou, plus récemment, du public
Solo Show “BodyScapes” postponed to 2021
DUE TO THE COVID-19 CRISIS RESTRICTIONS THE SHOW IS POSTPONED TO June 12th – August 19th 2021
Ève Laroche-Joubert, BodyScapes , solo show, Chapelle du Quartier Haut, Sète, France
In the tradition of the artist-engineer, Eve’s work is at the crossroads of sculpture, performance, danse, architecture and design. Through her white and round biomorphic sculptures and her performances on surprising structures, playing with weight and counterweight, the French-American artist speaks of consciousness. She tackles topics such as trust, positive risk-taking, equilibrium and the relationship of our bodies with terrestrial gravity. At her solo exhibition in la Chapelle du Quartier Haut, Eve presents her first monumental practicable piece for the public.
Dans la tradition de l’artiste-ingénieur, le travail d’Ève se situe à l’intersection de la sculpture, la performance, la danse, l’architecture et le design. À travers ses sculptures biomorphiques blanches aux formes rondes et ses vidéos de performances sur des structures surprenantes, jouant de poids et contrepoids, l’artiste franco-américaine nous parle de conscience. Elle aborde des sujets comme la confiance, la prise de risque positif, l’équilibre et le rapport de nos corps à la gravité terrestre. Pour son exposition individuelle à la Chapelle du Quartier Haut, Ève présente sa première œuvre monumentale praticable par le public.
Art & Design Exhibit in the Steinway Building
SHOW CLOSED UNTIL FURTHER NOTICE DUE TO THE COVID-19 CRISIS RESTRICTIONS – PLEASE CHECK AGAIN LATER.
FrenchCalifornia presents Guillaume&Gabriel’s first exhibition of collectible design in New York.
Located in The Landmark Penthouse of the Steinway Building at 111 West 57th Street, New York, NY.
Fine Art and Primitive Arts curated by Cueto Art Advisory.
By appointment only.
Videos “Un Jeu d’Enfant” on view June 9 – July 28, 2019
Dans le cadre de l’exposition “100 Artistes dans la Ville”, projet de Nicolas Bourriaud à l’occasion de l’ouverture du MoCo (Montpellier Contemporain).
Quatre vidéos : “Un Jeu d’Enfant” (Ève à la Péniche/Ève à l’Étang/Ève aux Pierres Blanches/Ève au Mont St Clair) en vue 24/7 dans la vitrine de la librairie l’Échappée Belle.
7 rue Gambetta 34200 Sète du 9 juin au 28 juillet 2019.
Live performance “Un Jeu d’Enfant” Sunday, June 9th, 2019
Performance inaugurale de l’exposition “100 Artistes dans la Ville”, projet de Nicolas Bourriaud à l’occasion de l’ouverture du MoCo (Montpellier Contemporain).
Parvis du Théatre Molière, 34200 Sète à 11h00.
Studio Opening & Exhibition November 15-20, 2016
Eve Bailey Studio, 925 Bergen Street, Brooklyn, NY 11238
Opening Night Tuesday November 15th, 6 – 10 PM and everyday 10 AM – 10 PM until Sunday 20th
New Series of Drawings : “Archidem Blue”, “Archidem Green” and “Archidem Red”, click here for prices
Live Performance “Rising Awareness” / 8:55 PM / April 24, 2015
I am very pleased to participate in The Night of Philosophy, a project by philosopher and stage director Mériam Korichi, happening on April 24, 2015 at the Cultural Services of the French Embassy (Fifth Ave, corner of 79th St) on the 2nd floor, with a solo sculpture-performance titled R
It is the first incarnation of The Night of Philosophy in New York, after four successful instances in London, Berlin and Paris, showcasing contemporary philosophical thoughts in a non-academic setting. Over the course of the night (7 pm April 24 until 7 am the next day) there will be talks by 60 international philosophers, 12 art performances, ongoing film screenings and music, running concurrently at both the French Cultural Services and the Ukrainian Institute of America.
I will be there to hear all twelve hours ring (a performance in its own right!). Hope you can join me starting at 8:50 pm and maybe stick around for what promises to be a memorable event! Oh, and I almost forgot: it’s free!
Sculpture Center benefit party “Lucky Draw” April 13, 2015
Lucky Draw—a one of a kind art raffle—guarantees that each and every ticket holder walks home with a work of art! This fast-paced one night event offers first-time and seasoned collectors access to artworks by top emerging and established talent. All proceeds benefit SculptureCenter. The order of selection is determined by random drawing and the draw commences with a live auction.
Tickets for the Draw are sold out. Please contact Kim Schnaubert, Development Director, at [email protected]with any ticketing questions.
Each ticket allows for admission for one person. Please note that all attendees must be in possession of a ticket. Click here to purchase $75 tickets to join us on the night for cocktails. Tickets for cocktails only will also be available at the door.
Benefit Committee:
Adam Abdalla, Noreen & Ahmar Ahmad, Sarah Aibel, Valerie Altahawi, Danielle Anderman, Augusto Arbizo, Jemilah Afshar & Sascha S. Bauer, Nicelle Beauchene, Kristen Becker, Abby & Andreas Beroutsos, Priscilla Vail Caldwell, Allison Card, Eleanor Cayre, Michael Clifton, Margaret Liu Clinton, Peter Colon, Alexandra Cunningham Cameron, Laura de Gunzburg, Cristina Delgado, Adam Fields, Bridget Finn, Laurel Gitlen, Benjamin Godsill, Nina Johnson-Milewski, Donald Johnson-Montenegro, Birte Kleemann, Dmitry Komis, Silke Lindner, Christine Messineo, Suzanne Modica, Manuela Mozo, Courtney & Lowell Pettit, Eleanor Heyman Propp, Steve Pulimood, Susan & Randolph Randolph, Nicole Russo, Alaina Simone, Diane Solomon, Helen Toomer, Jasmin Tsou, Geneva Viralam, and Christopher Wise (as of April 1, 2015)
Eve Bailey: Entasis Dance M6, 2011, solid plaster cast and wood dowels, 17.5″ x 9.5″ x 4.63″, courtesy of the artist and Merton D.Simpson Gallery, New York
Opening of “Apparent Order” at Garis & Hahn January 14 – February 14, 2015
“APPARENT ORDER”
Exhibition Dates: January 14th-February 14th, 2015
Garis & Hahn is pleased to present “Apparent Order“, a group exhibition featuring Eve Bailey, Diane Carr, Karen Margolis, Michael Maxwell, Samuel Stabler and Lachlan Thom whose works are examined through the lens of the Chinese concept of “Li”, in which harmony and aesthetic balance is achieved, despite a lack of order or visual symmetry.
The natural world is filled with an abundance of examples of the concept of Li, from cloud formations and the growth of bark on a tree, to the striations of colors found in rock formations, this organic sense of order despite disorder has inspired artists for generations to attempt capturing the uncontrived perfection of the natural order, from the gardens of Versailles to the splatter dappled canvases of a Pollock painting.
This embodiment of a natural state to guide art production is evident in Maxwell’s paintings, which utilize the concept of Li not only in his approach to studio painting and composition, but the raw materials he uses–including natural pigments, quartz, clay, et al. The result is works that eschew a fore, middle and back-ground in favor of a perspective of imperfect and mutating patterns; a flow that mimics the pleasure and intrigue with which one may gaze at at a glistening lake during sunset or a crackling campfire at night.
Karen Margolis is also a strong example of this freeform, organic approach, whose work has long examined the balance between the perfect and imperfect. Inspired by the Zen Buddhist notion of the Enso, the embodiment of infinity and perfection, Margolis uses circles and intricate systems connecting these solitary marks to create wild formations in sculpture and on paper; works that seem to have sprung up as a cluster of toadstools or a map of connecting electronic impulses within the brain. Seemingly incoherent and in disarray, the overall balance of each piece achieves organic asymmetry despite being grounded in the most symmetrical of all marks, the circle.
The sense of fitting “just so”, as Maxwell articulates in a text the artist has written on Li, can be further attuned in the intricate cut-outs of Samuel Stabler, which dissect found imagery along their purest linear formations; the anthropomorphic and interactive sculptures of Eve Bailey; and the nature inspired imagery found in the paintings of both Diane Carr and Lachlan Thom. Apparent Order presents these contemporary artists who embrace a kinetic flow and notions of energy, growth and spontaneity in their work that diverges from the more Western, Newtonian understanding of the underlying mechanics of nature.
Garis & Hahn
263 Bowery
New York, NY 10002
P. 212.228.8457
F. 917.720.9851
[email protected]
Gallery Hours:
Tuesday – Saturday, 11-7, or by appointment
Opening of “Mutations” at the 3-D Foundation July 5, 2014
MUTATIONS: Contemporary Sculpture in Context
5 July 2014 – 5 July 2016
Curated by Paul Goodwin and Alexa Kusber.
Artists: Eve Bailey (FR/USA), Bureau A (CH), Andrea Hasler (BR/CH), Tarik Hayward (CH).
The 3-D Foundation is pleased to present MUTATIONS at the Verbier 3-D Sculpture Park from 5 July 2014. This exhibition presents five new works created during the biennial six-week Artist Residency that occurred from the end of May until the beginning of July in Verbier, Switzerland. The exhibition celebrates the development of monumental sculpture in the context of the Alps and is part of the Label’Art 2014 initiative in Valais.
The curatorial premise for the 2014 3-D Artist Residency was MUTATIONS by London (Tate) curator Paul Goodwin: What are the emerging forms of mutation in contemporary art practices? How can contemporary art transform our understanding of the complex entanglements caused by proliferating mutations in the environment and society? Can artists mutate/remix/re-vision our understanding of society, environment and culture?
The artists were invited to live in the reclusive mountain town of Verbier and become fully immersed within the context of place encouraging them to consider the relationship of their practice to not only the proposed theme, but also to existing pieces, the landscape features, history and current perspective of the site. This year’s artists were chosen based on their interest in experimentation and desire to push the medium of sculpture forward, keeping it alive by experimenting with both the possibilities of materials and the capabilities of space in connection with the viewer.
Opening July 5th, 2014, 11:30 am tour of the sculpture park between Les Ruinettes et La Chaux, 6-9 pm cocktail at Le Bec on Place Blanche, 8 pm live performance by artist Eve Bailey with students dancers from the Conservatoire de Sion.
3-D Foundation, Verbier, Switzerland
Eve Bailey (FR/USA) has formed a practice based on the concepts of balance and coordination. Rooted in the tradition of the artist-engineer, she creates ergonomic and genetic sculptures sympathetic to human embrace as well as complex line drawings that embody her love for architecture and dance.
Bailey constructed Our Impermanent Walk as an interactive kinetic sculpture inspired by the wings of the first flying machines. The sculpture-device serves to experiment with the sense of proprioception and express finite moments of equilibrium. The concept is literally and metaphorically about groundlessness, impermanence, trust and collaboration. As two people climb upon the structure, they loose their traditional relationship to gravity and cannot hold on to anything but each other’s counter weight. They are bound to collaborate to find their balance.
Talk: “Sculpture, Movement & Cognitive Science” June 29, 2014
A Talk with artist Eve Bailey on Sculpture, Movement & Cognitive Science.
11am-1pm on Sunday June 29th, 2014 at Ecole Cantonale d’ Art du Valais (ECAV) in Sierre, Switzerland.
Program organized by the 3-D Foundation in collaboration with Ecole Cantonale d’ Art du Valais (ECAV).
Eve Bailey talks about her current research that explores associations of her understanding of the body with cognitive science and neurology.
Referencing the works of neuroscientists Paul Bach-y-Rita, Michael Merzenich, V.S. Ramachandran and Pawan Sinha, neurologist Oliver Sacks, psychiatrists Norman Doidge and Leo Kanner, psychologists Amy Cuddy, Eric Maisel, Jeanne Siaud-Facchin and Alice Miller, biologist Temple Grandin, surgeon John E. Sarno, dancers and choreographers Steve Paxton, Trisha Brown and William Forsythe, artists Yves Klein, Marcel Duchamp, Gordon Matta-Clarck, contemporary artists Julien Berthier, Nicolas Darrot, David Colosi, Ryan and Trevor Oakes.
Group show “Between Tribal and Contemporary Art” May 17 – July 28, 2014
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Interview with Léopold Lambert on the podcast Archipelago, March 2014
Eve Bailey and I recorded this conversation in her studio in Crown Heights (Brooklyn) surrounded by her tools and artworks. We talk about her work that consistently engages the body to ‘conquer’ the sculptures she constructs with her own hands. We also discuss about how, despite the fact that her pieces are based on her own body, each body has a chance to appropriate them with no prejudice — their aesthetics allowing so — and eventually find a point of equilibrium, unique for each body. Toward the end of the podcast, she talks about her current research that explores association of her understanding of the body with cognitive science and neurology.
Eve Bailey is a sculptor whose work focuses on the concepts of balance and coordination. She sees the body as a perceiving structure and is profoundly interested in how physical awareness fosters creativity. She builds kinetic devices and ergonomic sculptures that serve to express the elegance of a gesture, a finite moment of equilibrium, combining her love for architecture and dance into a single body of work that speaks to our environment and our human potential.
“Real Estate” group show at Ventana 244 Gallery January 24 – March 11, 2014
REAL ESTATE co-curated by Peter Soriano and Philippe Richard at Ventana 244 Gallery
January 24 – March 11, 2014
Opening reception January 24, 6-8 pm / Closing reception February 28, 6-8pm
Viewing hours: Thursday–Friday 5–7PM, Saturday–Sunday 12–6PM
244 N 6th Street
Brooklyn, NY 11211
(T) 718 753 7363
ventana244.org | [email protected]
Ventana 244 is pleased to present Real Estate: a dynamic group exhibition co-curated by the artists Peter Soriano and Philippe Richard. Exploring the tension between artists and real-estate developers, Real Estate: offers an astute comment on the ways in which creativity is affected by economic pressures. The exhibition will be in constant flux, with artists onsite for the duration, jostling for space and striving to work collectively as they install their work in tight quarters.
In Phase One of the installation, the space will take shape with Peter Soriano and Philippe Richard assuming the role of property developer; Eve Bailey as architect; Ward Shelley as general contractor; and Alisdair Duncan as branding specialist. Once the structure is complete, Phase Two begins on January 24th, marked by an ” “Open House”" opening, with a new group of artists who, as tenants or sub-tenants, will renovate, expand, demolish, and subdivide the space. All the while, the artist Daniela Kostova, representing a displaced tenant, will stage an independent, parallel exhibition outside the gallery.
Loosely inspired by Merzbau, Kurt Schwitter’s ever-shifting architectural construction in Hannover, Germany, Real Estate is an installation that, for better or worse, is intended to expand and contract unpredictably.
The artists included in Real Estate are:Peter Soriano, Philippe Richard, Alisdair Duncan, Ward Shelley, Edouard Prulhiere, Sylvie Ruaulx, Bruce Pearson, Tamas Veszi, Olivier Soulerin, Raphaele Shirley, Eve Bailey, Jay Shinn, Kate Shepherd, Michael Scott, Daniela Kostova, Joro-Boro, Milena Deleva, Mario Mohan, Vlada Tomova, Georgi + Nina Tushev (Tushevs Aerials), Meglena Zapreva, Frederique Lucien, Agnes Barley, Dominique De Beir, Miguel Angel Molina, Pierre Mabille, Michelle Antoine, Kevin Walsh, Jenny Polak, Matt Bua, Peter Dudek, Irina Arnaut, Laurel Sparks, Chris Moss, Alan Lupiani, Klimentina Jauleska, Katherine Bradford, Ana Busto, Andrea Belag, Richard Scwame, John Zinsser, Baker Overstreet, Carrie Dashow, Michael Sarff-MTAA, Lisa Ludwig, Joe Arnrhein, Lisa Beck, Cordy Ryman, Natalia Mount, Amelia Winger-Bearskin, Eva Davidova, Rick Briggs.and we’ll keep adding….
Review of “Suddenly, There: Discovery of the Find” in The Brooklyn Rail
Suddenly, There: Discovery of the Find
Curated by Eileen Jeng and Tamas Veszi
By Taney Roniger
Garis & Hahn | November 26, 2013?–?January 11, 2014
“In order to invent, one must think aside.” This observation, made by the French philosopher Etienne Souriau, might have served as the inspiration for this refreshingly exploratory group show. Thematically oriented around the “find”—a work that reveals itself in some unexpected manner during the creative process—the exhibition brings together a wide range of works that represent a departure from the single-minded focus commonly associated with creative intensity in favor of more peripheral awareness. In all the works on view, the kind of lateral thinking embraced by Souriau led to a discovery that could not have been otherwise attained, and the result is a provocative collection that sheds light on one of the lesser-known conditions of creativity.
Of the 29 works presented, which run the gamut from painting, drawing, and sculpture to photography, video, installation, and performance, many fall under the “process art” rubric, in which accidents and the unexpected typically play a central role. Others feature assemblages of found objects and discarded materials. Some of the more intriguing “finds” were created unintentionally, either while the artist was making another work or while he or she was engaged in some other activity. Tamas Veszi’s “Work in Progress 360” (2013) was in fact the inspiration for the show. It is a short video taken by the artist’s iPhone while he, unaware, was installing another piece for an exhibition. With jerky movements indicative of a hand-held device, Veszi’s scattered tools and moving feet are recorded as he busily goes about his task. Projected onto the gallery’s floor from above, the piece draws our attention to the overlooked and/or marginal, inviting consideration of the latter’s poetic potential. In a similar vein, Eve Bailey’s “Playtime” (2013) came about when the cast for one of the artist’s sculptures had to be disassembled for some technical reason. Seeing the fragments laid out on the floor, Bailey noted their unexpected dignity and decided to consider them works in themselves.
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For complete review: click here.
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Eve Bailey creates ergonomic and kinetic sculptures, based on the concept of balance and coordination, which embody her love for architecture and dance. Bailey has exhibited her work in France, Germany, The Netherlands, Switzerland, Cuba, Russia, and across the US. She was awarded funded residencies from the Bemis Center for Contemporary Arts, Omaha, NE; Triangle Arts, Brooklyn, NY; I-Park Foundation, East Haddam, CT; and Sculpture Space, Utica, NY, among others. She holds an MFA in Sculpture from the École des Beaux Arts, Paris and a BFA in architectural metal work from Olivier de Serres School of Design, Paris. Bailey started incorporating performance in her sculptural work after receiving a fellowship from the San Francisco Art Institute.
Group Show “Suddenly, There: Discovery of the Find” Nov 26, 2013 – Jan 11, 2014
Eve Bailey: “Playtime”, 2013 (34.5 x 34.5 x 30 inches /aqua resin, fiber glass, insulating foam, cardboard form tubes)
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November 26, 2013 – January 11, 2014 / Opening on Tuesday November 26, 6-8 PM
263 Bowery, New York, NY 10002, P. 212.228.8457 F. 212.228.8941, [email protected]
Garis & Hahn is pleased to present “Suddenly, There: Discovery of the find”, a group exhibition, curated by Eileen Jeng and Tamas Veszi, focused on the creative process and its unexpected outcomes. “Suddenly, There” will feature drawings, paintings, photographs, sculptures, videos, and installations, from 1974 to 2013, by 21 New York-based artists.
Featuring: Michael Alan, Eve Bailey, András Böröcz, Matías Cuevas, Dave Hardy and Siebren Versteeg, Clinton King, Daniela Kostova, Thomas Lendvai, Alan Lupiani, Jennifer and KevinMcCoy, Robert C. Morgan, Christopher Moss, Joe Nanashe, Ian Pedigo, Jamie Powell, Armita Raafat, Mónika Sziládi, Tamas Veszi, and Aaron Williams
The concept of flow is described by Hungarian psychologist Mihály Csíkszentmihályi as an optimal experience, a single-minded immersion that requires focus and full concentration. He applies this notion to the creative process and states that “in flow we only feel what is relevant to the activity.” The exhibition Suddenly, there takes this idea further as the creative process is intuitive and complex. With multiple access points to an excess of information at any given time, artists who are working in one direction sometimes start working in another; the flow is broken and redirected toward a new and exciting place.
Diversions, distractions, and deviations lead to discoveries. This exhibition focuses on the find and includes works in various media that have been created or conceived during the process of making other artworks, during the installation of works for exhibitions or presentations, or utilizing materials – remnants or parts of other works – in the studio. Rather than concentrating on the sketching or planning of specific works, this exhibition emphasizes the chain reaction and progression of the creative process toward the unexpected – a proactive place for artists to move forward. Thereby, works in progress develop into pivotal or new important works.
A reception with the artists will take place from 6 – 8 pm on November 26. A fold-out brochure with descriptions of the works and process will be published on the occasion of this exhibition. On December 18, András Böröcz will perform 11 Grapefruits.
You can preview the works in the show on the Gallery’s website: click here.
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Eve Bailey creates ergonomic and kinetic sculptures, based on the concept of balance and coordination, that embody her love for architecture and dance. Bailey has exhibited her work in France, Germany, The Netherlands, Switzerland, Cuba, Russia, and across the US . She was awarded funded residencies from the Bemis Center for Contemporary Arts (NE), Triangle Arts (NY), I-Park Foundation (CT), and Sculpture Space (NY) among others. She holds an MFA in Sculpture from the École des Beaux Arts, Paris and a BFA in architectural metal work from Olivier de Serres School of Design, Paris. Bailey started incorporating performance in her sculptural work after receiving a fellowship from the San Francisco Art Institute.
Lecture on Tuesday, November 12, 2013 at the Bulgarian Consulate NY
In addition to exhibiting a series of sculptures and original drawings, Eve Bailey will present her work in a conversation with Léopold Lambert, architect and editor in chief of The Funambulist. Through different approaches, artist Bailey and architect Lambert both investigate the relationship between the body and the built environment that surrounds it. They will discuss the questions of perception, synchronicity, ergonomics, comfort, gravity, vitality, playfulness and joy inherent to Bailey’ s work (www.evebailey.net).
Léopold Lambert is publishing the first collection of guest-writers essays of the Funambulist including an article by Eve Bailey (The Funambulist Papers #24). Please find complete information about the Funambulist publications on The Funambulist’ s website (www.thefunambulist.net) and get a chance to read Bailey’ s article: “the Groundbreaking Clarity of Ryan and Trevor Oakes”.
The conversation between Eve Bailey and Léopold Lambert on Nov.12, 2013 will be recorded for the project Archipelago, a podcast platform by The Funambulist that orchestrates conversations between thinkers and creators.
Write-up in the cultural pages of Cozy Mountain magazine
Cozy Mountain magazine – number 17 Fall 2013, announcing my residency/commission at the 3D Verbier Foundation in Switzerland spring 2014
“The Left Over Method” group show, Paris
Interview by Yana Soboleva for Blouin ArtInfo, Russia
June 17, 2013
For full length article in Russian, click here.
Interview by Ricardo Marquina Montañana for La Russie D’ Aujourd’hui
Festival Art-Ovrag in Vyksa (Nihzny Novgorod Oblast), Russia, June 2010
La troisième édition du Festival international d’art contemporain “Art Ovrag” a eu lieu du 31 mai au 2 juin à Vyksa, dans la région de Nijni-Novgorod. Le Festival a réuni des artistes de Russie, des Etats-Unis, d’Allemagne, de France, d’Espagne et d’ autres pays. Les artistes ont présenté des peintures murales sur des immeubles, des sculptures sophistiquées et ont aussi créer des installations à partir du recyclage d’objets ordinaires.
Article by Leopold Lambert for The Funambulist: Designing Gravity
June 7, 2013
Designing Gravity; Five Young Designers and the Body: Yiqing Yin, Lawrence Lek, Jieun Kim, Eve Bailey & Kordae Henry.
Each work that Eve Bailey (see her guest writer essay) creates explores in a very direct way the relationship between the body and design. I chose here her Shoulder Path but it could have also been her own corporal experiment with a stepladder as a sort of dialogue with Jieun Kim’s film, or her Drunken Body, Entasis Dance or Intuit performances that all involves a design that has been thought specifically for the body, but that the latter requires to continuously negotiate with both the designed surfaces and gravity. Her work is an ode to the research of balance for the body who needs to not fall, of course, but also to find the various gravity points of the design in order for it not to fall either.
Interview by Ricardo Marquina Montañana for Rusia Hoy
Festival Art-Ovrag in Vyksa (Nihzny Novgorod Oblast), Russia, June 4 2010
My interview is second, right after the Spanish architect José Javier Fernández Ponce (starting at 01:00).
En la pequeña ciudad de Vyksa se ha celebrado esta primavera el tercer festival Art Ovrag, con presencia española, italiana, inglesa, latinoamericana, francesa, japonesa…El español de origen guatemalteco José Javier Fernández Ponce, se alzó con el premio en la categoría de arquitectura con su “pabellón móvil”.
Entasis Dance IV in Vyksa, Russia
It is the third edition of the Art-Ovrag Festival in Vyksa (Nyzhny Novgorod Oblast, Russia) curated by Konstantin Grouss, director of Art-Residence and Zero Gallery in Moscow.
Entasis Dance IV is commissioned by United Metallurgical Company (OMK) in collaboration with OMK-Uchastie Charitable Foundation and the City of Vyksa for the park of Vyksa. The sculpture will stay up indefinitely.
The live-performances will take place in the Park during the Festival May 30, June 1 and June 2, 2013.
In Russian: http://street-art-ovrag.ru/
In English: http://street-art-ovrag.ru/en
A cage Went in Search of a Bird, group show
A Cage Went in Search of a Bird (Franz Kafka), curated by Sarah Walko
May 10 – June 19, 2013 at Radiator Arts, 10-61 Jackson Avenue, Long Island City, NY 11106
Artists: Eve Bailey, Rachel Bernstein, Ryan V. Brennen, Diana Heise, Roxanne Jackson , Coralina Meyer, Sono Osato, Malingering Uvula (Camilla Ha and Michael Merck) and Gabriela Vainsencher.
The exhibition “The City of K. Franz Kafka and Prague” permanently on display at the Kafka Museum was the impetus for this exhibition. Kafka’s relationship with cities through his surreal lens coupled with his imagination and during the context of his time brought the simultaneous nightmare/dreamscape of the budding technological age into the realm of the real in his stories, projecting super psyches onto our cities.
Kod-Epohi Festival (Zeigeist) in Moscow, Russia
March 14 -24, 2013 at the Museum of Decorative and Applied Arts, Moscow, Russia
Curated by Konstantin Grouss, director of Art-Residence and Zero Gallery, Moscow, Russia
Common Frequency, group show
October 5 – 28, 2012 / opening reception: Oct 5, 6 – 9 pm
Radiator Arts gallery, 10-61 Jackson Avenue, Long Island City, NY 11106
Curated by Daniela Kostova
Artists: Adam & Eve Bailey, Jennifer & Kevin McCoy, Boryana Rossa & Oleg Mavromatti, Yana Dimitrova & Sebastien Sanz de Santamaria
Common Frequency is a showcase of four artist couples. It is focused on each pair’s creative practice, in a daily reality where art and life are often inseparable, as an example of a micro-system and of a complex set of negotiations.
The exhibition represents a landscape of synched voices and their evolution in-to common artistic languages. It consists of works across the mediums that are the outcome of both collaborative and parallel strategies. Thus it raises questions about authorship, the power dynamics of a shared space, personal boundaries, gender roles and cross-cultural challenges. If in some cases individual voices are highlighted, in others two become one and, taken further, even “another” one.
Entasis Dance at the Dumbo Arts Festival
Image © Adam Bailey 2012
Eve Bailey To Exhibit At Dumbo Arts Festival 2012
Eve Bailey has been asked to participate again this fall at the Dumbo Arts Festival – held between September 28th and 30th. Her new work, entitled Entasis Dance, was created specifically for the scenic Brooklyn Bridge Park Park (at Main Street), located at the base of the Manhattan Bridge.
Performances of Entasis Dance will take place on Friday, September 28th at 6 PM and at the top of the hour on Saturday, September 29th and Sunday, September 30th from noon to 6 PM.
Click here for directions
Dancers: Jenny Campbell, Andrea-Jane Dispenziere, Coco Karol, Lynda Senisi. Costumes: Anna Finke.
Interview with Sharon Glassberg on abc7 news
“Artwork taken to new level in Dumbo”, Thursday, September 27, 2012
The video is two-minute long, the section dedicated to my interview is between 01:00 – 01:26
You can get a glimpse of Andrea-Jane Dispenziere and Coco Karol rehearsing on Entasis Dance III
Entasis Dance, new project
This project was successfully funded through Kickstarter. Click in the box below to watch a short video presentation or click here to view the campaign page.
“I feel all life is an improvisation. And to be able to express it through movement is the most natural, health full and happiness producing way to be.” Frances Wessells
Entasis Dance is an outdoor Art installation combining sculpture and dance. It will be installed on the water front in Brooklyn Bridge Park. The sculptures will be up from Friday 9/27 afternoon until Sunday 9/29 evening. I am scheduling twenty-minute dance performances that will start every hour on the clock from 12 pm to 8 pm on Saturday and from 12 pm to 6 pm on Sunday.
Double Reverse, group show
January 10 – February 26, 2012
“Double Reverse”
A group exhibition with works by Eve Bailey, Edwin Bethea, Chris Hagerty, Nora Herting, Erik Hougen, Tat Ito, Craig Kaths, Mindy McDaniel, Fumi Nakamura, Miho Ogai, Fernando Orellana, Tomoko Sugimoto, Jeff Vreeland, Heather Willems
Curated by Seamus Liam O’Brien
TNC Gallery, 155 First Avenue, New York, NY 10003
Intuit, live performance
Dumbo Arts Festival 2011
Live performances on Saturday 09/24 and Sunday 09/25 from 2 pm to 6 pm, corner of Water Street and Main Street.
DAF 2011 blurb: French-born, NYC-based artist Eve Bailey likes to snuggle closely with the forms she creates. She designs and builds ergonomic sculptures that she uses to perform humorous body workouts and poetic balancing acts.
Intuit featured in designboom: French-born and new york-based artist Eve Bailey has created the sculptural work, ‘intuit’. True to her artistic values, the piece emphasizes balance, movement and gravity. ‘Intuit’ is a 25 foot long collapsible teeter totter with a beam rotating on an axis 5 feet off the ground. Two dancers balance on either side of the platform, responding to the movements of one another; any shift made by either individual has a great effect upon the equilibrium of the structure. Bailey developed ‘Intuit’ through performance, drawing, maquettes, sculpture, photographs and video. ’Our bodies are constantly adapting and bending to the configurations of buildings and the designs of transportations. In recent drawings, urban blueprints fuse with human anatomical representation… I emphasize on the ideas of flexibility and lightness. The machines I build serve to express the elegance of a gesture, a finite moment of equilibrium.’ -Eve bailey
Between the Tongue and the Taste, two-person show
Between the Tongue and the Taste
September 1-15, 2011
Curated by Michael Merck
Triangle Arts Association is pleased to present the work of two of our Artists’ Workshop alumni, Eve Bailey and Albert Pedulla. The exhibition opens Thursday, September 1, 6-9pm at 111 Front Street Galleries, Suite 222.
How does an artist’s mark derive its power? Using a variety of media, Bailey and Pedulla examine the relationship between body and mind from opposite ends of the spectrum.
Review by Jeffrey Bussman in Title Magazine
Review excerpt:
“I felt most favorably towards Eve Bailey’s Shoulder Path, a sculptural piece and a photograph of a performance using the sculptural object. Bailey brings the sculpture alive, something like IKEA furniture crossed with a berserk pommel horse, as an apparatus for dissecting the stages of a back somersault. There is more than a bit of Eadweard Muybridge in Bailey’s plotting of locomotion, but a key difference is her costume and how its orange sleeves and markings align with the form of the apparatus. The shapes of her body frozen in motion play like a physical semaphore language. Looking back to the sculpture in the gallery I could appreciate how its design was dictated by her body rolling through space, as if she had left impressions in damp clay. Then again, it could just as seamlessly pass for a cutting-edge daybed in the home of some very design-forward person.”
Jeffrey Bussmann works at the Institute of Contemporary Art at the University of Pennsylvania. He is currently researching Brazilian cultural organizations for his master’s thesis in Arts Administration at Drexel University. He also writes for his blog Post-Nonprofalyptic.
Blur: Six Artists/Six Designers in Contemporary Practice, group show
The University of the Arts August 22 – September 30
Hamilton/Arronson Galleries, 320 South Broad Street, Philadelphia, PA 19102, 215-717-6000, www.uarts.edu
Reception: Thursday, September 22, 5:00 – 7:00 pm
Gallery Hours: Mon. – Fri. 10:00 am – 5:00 pm, Sat. by appointment, 215-717-6210
Shoulder Path Sequence by Eve Bailey, 2011, c-print, 30 x 20 inches
The University of the Arts is very pleased to present an exhibition BLUR: Six Artists / Six Designers in Contemporary Practice, curated by Mark Campbell and Mary Anne Friel. The twelve artist/designers in this project include Eve Bailey, Laura Frazure, Todd Gilens, Andrea Landau, Virgil Marti, Will McHale, Don Miller, Jenny E. Sabin, Anne Schaefer, Alexandra Schmidt-Ullrich, Silvano Sole and Mika Tajima.
This exhibition focuses on art/design dialogue in contemporary practice, drawing from a number of established disciplines, including painting, architecture, sculpture, industrial design, landscape architecture and performance. These artists/designers offer works in which the evolving principles of cross-disciplinary thinking are manifest, freely extending the range of creative activities outside traditional boundaries. Variations include “parallel activities,” with designers maintaining a concurrent studio art practice, both as exploration for client based work and as an end in itself, as well as artists drawing on the traditions of design for forms, contexts and contents, erasing the lines between the respective super-categories in the process.