News about events and exhbitions regarding the french artist Valéry Grancher

samedi 27 novembre 2010

"Hors Oeuvres"


"Spitzberg Memory" Valéry Grancher 2010

"Hors Oeuvres"
26.11.10


"Hors oeuvres" collective exhibition curated by Jean Marc Avrilla:
Yan Géraud, Valéry Grancher, Ludovic Lignon, Fritz Stol Berg, Christian Vialard....

JTM Gallery, 40 rue Richelieu 75001 Paris

26/11/2010 until December 18 2010

samedi 23 octobre 2010

lafiac.com



Concetto Nazionale performance September 7 2010

lafiac.com
20.10.10


Concept

Ceci n’est pas la Fiac, vous ne vous êtes pas trompé de lieu !
Lafiac.com est un espace rhizomatique qui étend les frontières de la Foire Internationale d’Art Contemporain aux artistes qui utilisent le Web comme espace de création.

Lafiac.com : lieu de présentation de 29 artistes internationaux et 29 œuvres en ligne, accessibles par tous. Une galerie en ligne à l’heure où un grand nombre de galeries internationales se regroupe en un même espace pour exposer et vendre.
Ici, ces œuvres numériques abolissent les frontières, lafiac.com a une adresse mais pas de murs ni de droits d’entrée.

La galerie est accessible à tout moment par tous et à tout moment avec des oeuvres qui s’animent en présence de l’internaute. Lafiac.com rend visible un art généralement en marge des circuits de l’art contemporain qui se vend peu et dont l’absence de matérialité trouble nos habitudes.

Cet évènement, né d’une initiative spontanée et non lucrative, permet d’appréhender sous la forme d’un webring, la richesse de la création sur Internet en cette semaine consacrée aux « arts visuels du XXe et du XXIe siècle, de l’art moderne à la création émergente ».



Curateurs & organisateurs
Margherita Balzerani, Florent di Bartolo, Julien Levesque

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Les artistes de lafiac.com
Annie Abrahams ~ Argote Ivan ~ Alain Barthelemy ~ Florent di Bartolo ~ Pauline Bastard ~ Christophe Bruno ~ Marco Cadioli ~Gregory Chatonsky ~ Thomas Cheneseau ~ Caroline Delieutraz ~ Constant Dullaart ~ Nicolas Frespech ~ Valéry Grancher ~ Lucile Haute & Nicolas Sordello ~ Olga Kisseleva ~ Alexandre Lard ~ Tobias Leingruber ~ Julien Levesque ~ Nicolas Maigret & Nicolas Montgermont ~ Miltos Manetas ~ Albertine Meunier ~ Mouchette ~ Angelo Plessas ~ Rafael Rozendaal ~ Antoine Schmitt ~ Systaime ~ Mark Veyrat

Ceci n'est pas la Fiac sur Internet:
Le site web (visible à partir du 20 octobre) : http://www.lafiac.com/
Le blog: http://www.lafiac.com/blog/
Twitter: http://twitter.com/Lafiac
Facebook: http://www.facebook.com/lafiac?v=wall

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english
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Concept

This is not the FIAC, you didn't go to the wrong place!
Lafiac.com is a rhizomatic space that extends the boundaries of International Fair of Contemporary Art with artists who use the Web as a creative space.

Lafiac.com: Presentation place with 29 artists and 29 international online works, accessible by all. An online gallery at the same time than a large number of international galleries are together in one space
to show and sell.
Here, these digital works abolish borders, a lafiac.com address but no walls or entrance fees.

The gallery is accessible at all times by all people at all times with works that come alive in the presence of the user. Lafiac.com makes an art usually visible on the fringes of contemporary art that sells little and whose lack of materiality disorder habits.

This event, born of a spontaneous, non-profit initiative, allows to understand the form of a webring, wealth creation on Internet this week dedicated to 'visual arts of the twentieth and twenty-first
century modern art emerging artists. '

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Curators & Organizers
Margherita Balzerani, Florent di Bartolo, Julien Levesque

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Artists lafiac.com
Argote Ivan Abrahams Annie ~ Alain Barthelemy Florent di Bartolo ~ Pauline Bastard ~ Christophe Bruno Marco Cadioli ~ Gregory Chatonsky ~ Thomas Cheneseau ~ Caroline Delieutraz Constant Dullaart ~ Nicolas Frespech ~ Valery Grancher ~ High & Lucile Nicolas Sordello ~ Olga Kisseleva ~ Tobias Alexander ~ Bacon Leingruber ~ Julien Levesque ~ Nicolas Maigret Nicolas & Montgermont ~ Albertine Meunier ~ Miltos Manetas ~ Miller ~ Mouchette ~ Rafael Rozendaal ~ Angelo Plessas ~ Antoine Schmitt ~ Mark Veyrat Systaime

This is not the FIAC on the Internet:
The web site (visible from 20 October):
http://www.lafiac.com/
The blog: http://www.lafiac.com/blog/
Twitter: http://twitter.com/Lafiac
Facebook: http://www.facebook.com/lafiac?v=wall

Ceci n'est pas la FIAC

dimanche 12 septembre 2010

"Concetto Nazionale 2010"




"Concetto Nazionale" a été peinte le soir de l'élection de Nicolas Sarkozy en tant que président de la république en 2007....
Cette peinture a été, réactivée lors des manifestations de la rentrée 2010, afin de dénoncer la xénophonie d'état et la corruption étatique apportés par la gouvernance de Nicolas Sarkozy...
Je ne suis d'aucun parti et bord politique, ma conscience et mon éthique me font réagir car tout geste artistique est un geste politique....

En voilà un....


Valéry Grancher 2010


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english
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"Concetto Nazionale" was painted the day when Nicolas sarkozy was elicted as the french president on 2007.
This painting was reactivated on September 7 2010 to contest the xenophobia, corruption brought by the way of Nicolas Sarkozy is governing our country....

I don't susbrcribe to any syndicate, political party or side.
But I am considering every art act as a political act, and regarding my culture and ethic I had to do that...."

Valéry Grancher 201O

mercredi 28 juillet 2010

"Close up" series














Cet été j'ai commencé une nouvelle série de travaux sur papier, à la fois à l'encre de chine et l'aquarelle, en focalisant sur les thèmes de l'érotisme et de la pornographie....
Vous pouvez voir quelques travaux dans ce post, mais vous voir la totalité de la série sur:
http://www.valerygrancher.vg

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english
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This summer I initiated a new works on paper serie done with watercolor and chinese ink: It's about erotism and pornography...
You may see in this post some works but you can see the complete serie on:
http://www.valerygrancher.vg

mardi 27 juillet 2010

Editions d'accessoires sur Iphones ;-) Iphones accesories editions ;-)



Rebecca Bournigault




Valéry Grancher


J'ai le plaisir de vous montrer les prototypes des deux premières éditions d'artistes qui seront lancées à la rentrée par la marque d'accessoires pour technologies mobiles Romab.
Il s'agit d'accessoires pour Iphone 3 GS et 4 G

Les deux premiers artistes sont votre dévoué et Rebecca Bournigault.

Ils seront sur le marché à la rentrée 2010 dans les meilleures boutiques de Paris et de France ;-)

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english
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I have the pleasure to show you the two prototypes of artist editions of the emerging brand Romab dedicated to mbile technologies accesories....
This is accesories for Iphones 3 GS and 4G which will be puted on the market in Paris on fall 2010....

The two artist are Rebecca Bournigault and me...

Valéry Grancher 2010

mardi 20 avril 2010

"Esthétique du présent" ISC - PIF

ISC-PIF Workgroups // ECEM
Les conférences du groupe « Esthétique, complexité, expérimentation et modélisation » (ECEM) de l’ISC-PIF.


28 avril 2010 : 18h00
Esthétique du présent

Valéry Grancher

Artiste du net et artiste-installateur

Depuis 1992, je m'intéresse aux liens entre l'identité, l'espace et le temps... L'avènement du web allait m'amener l'opportunité de focaliser sur ce triangle, en effet le web représente des instants de 24h00 mouvant de secondes en secondes. Seul le présent de l'interaction avec l'interface représente une temporalité, point de durée, point de passé ni de futur... Juste un présent plasmatique sur lequel des liens sociaux se tissent (forum irc, emails). Cependant à cette époque, le web interface entre une intériorité et un extérieur globalisé allait révéler ce qui peut être comme des variants (une forme de subjectivité), comme un invariant (objectivité) basé sur une dominance sexuelle (masculine à cette époque) et un nivellement social par le haut...
Ce présent du web, allait aussi redéfinir à mes yeux ce que l'on nomme 'image', ou encore 'l'image temps' ou 'l'image espace'.... Ces préoccupations 'deleuziennes' allaient nourrir toutes mes productions dans les années qui ont suivie. L'enjeu alors à mes yeux, n'était pas de trouver une forme plastique invariante (définisssant une oeuvre) mais de décliner et de traverser différents médias afin de construire une ligne de lecture esthétique tournant autour des trois sommets du triangle initialement défini. Ainsi de mes pièces de net art, à mes dernières installations vidéo faite à l'issu de déplacements aux limites de notre monde (Amazonie et poles), l'espace et la durée du présent ne cesseront d'être questionnés....
Einstein ne disait il pas du temps, que le futur et le passé étaient une vue de l'esprit ? que la seule dimension du temps qui existe est le présent ... Ces translations (d'un media à un autre) et ces déplacements (d'un monde à un autre) ne peuvent nourrir une forme plastique homogène, la cohérence se fera au travers de l'hétérogénéïté des formes générées et leurs cohésions viendra de déplacement de pratiques hors de leurs champs habituels:
- faire de l'art en dehors du monde de l'ART
- Appliquer des méthodologies scientifiques en dehors des sciences et à des fins artistiques
Ainsi de l'étude du langage individuel (ethnométhodologie) dans mes premières pièces de net art, à l'étude des écologies humaines (dans mes derniers projets liés à des déplacements aux limites de notre monde (anthropologie), je tirais des méthodolgies de recherche afin de nourrir la production de mon travail plastique...


Les conférences sont organisées les mercredis,
à 18h00,
à l'ISC-PIF (57-59, rue Lhomond, 75005 Paris)
// retrouvez toutes les mises à jour du programme sur notre site //


IMPORTANT :
15 mai 2010 :: 15h-19h
Workshop "Bases Neurales de la Créativité"


John Stein
"Dyslexia and Creativity"
Dept. Physiology, Anatomy & Genetics - Oxford University

Richard Levy
"Creativity in frontal-lobe dementia"
Neurologue Hôpital Saint-Antoine,

Number of sits limited
Please confirm
Contact (zoi.kapoula@egp.aphp.fr)



26 mai 2010
Stratégies pour une métaphysique contemporaine
Bruno Pinchard
Université Lyon 3


9 juin 2010
L'intentionnalité phénoménale
Denis Seron
Université de Liège



Pour plus d’information sur le groupe ECEM : http://iscpif.fr/ECEM
Pour plus d’information sur l’ISC-PIF : http://iscpif.fr
Pour vous rendre à l’institut : http://iscpif.fr/contact-us-fr

--
http://iscpif.fr/

If you have a login but forgot it, you can use this link to find it back with your email address:
http://main.csregistry.org/tiki-find_login.php


You can unsubscribe from this newsletter following this link:
http://iscpif.fr/tiki-newsletters.php?unsubscribe=2b09b4f428d0c93e126e7273f39cfb3b

lundi 12 avril 2010

Institut des systèmes complexes ISC-PIF: Esthétique, complexité, expérimentation et modélisation


"Geopol" single channel video installation. 2007

Institut des systèmes complexes ISC-PIF
57-59 rue Lhomond 75005 Paris
April 28 2010 18h00 - 21H00

Presentation of two recent projects:
- Amazon Project shown at the Palais de Tokyo in 2005
- Project Arctic produced under the International Polar Year
in May 2007 with a facility that will be shown in September 2011
Jeu de Paume.

For these two projects, scientific methodlogies have been applied
in visual research (anthropology). It will also be the subject of a planned conference in Oslo as part of the International Polar Science Conference 2010 (June 8 to 12) where all tops scientists of polar science will share their results regarding research during the International Polar Year.

The two expeditions blogs:

Ny Alesund Pole 0:
http://www.ny-alesund-pole0.org

The shiwiars project:
http://theshiwiarsproject.blogspot.com

samedi 20 mars 2010

DRIFTING IDENTITY STATION


"Where is our mind ?" Valéry Grancher 2007

Drifting identity station
16.03.10


Participating researchers:

John Davis/media artist, Veceslav Druta/visual artist, Octavian Esanu/artist, art historian, Tilmann Meyer-Faje/visual artist, Petru Negura/sociologist, Ilya Rabinovich/visual artist, Mark Verlan/visual artist, Valéry Grancher/Visual artist

Designed and curated by Stefan Rusu, Drifting Identity Station was developed over the course of residency at Centre des Récollets and was supported by the City of Paris and the French Foreign Affairs Office.
From March 16 to March 26 2010

Centre International d'Accueil et d'Echanges des Recollets
150-154 rue du Faubourg St Martin
75010 Paris
France

Contact:
Stefan Rusu
Phone: +33 6 18 86 58 48
Fax: +33 1 53 26 21 83


The Station is modeled after former Soviet polar stations, which were used the 1950s to explore the arctic environment in extreme cold. Drifting Identity Station operates in the harsh climate associated with neo-liberal winter, while researchers interested in the socio-political environment use various devices and methodologies to collect and monitor the identity data relevant in the given context. While exploring the frozen landscape, researchers analyze old trajectories for the formation of identity and attempt to determinate the intensity and temperature of the recent political debates, which have polarized the issue of the identity of the state and its inhabitants. Within the context of Moldova, the urgency behind this exploratory stance toward the discourse of identity has become all the more relevant after the protests following recent parliamentary elections on April 7, 2009. The subsequent new elections in July 2009 produced an important shift in the political spectrum from the extreme left to the neoliberal right. This has precipitated important changes in the political orientation of the country: it has initiated the process of an associate EU partnership, restarted negotiations for NATO membership, and has contradicting the policy of Moldovan 'neutrality' which has historically been dictated by Russian geopolitical interests in the region.

In the video 'Gomenidan is alive' by Mark Verlan we found the artist himself exiled in an individual research unit, which is, buried underground. Located in the woods next to his studio right in the middle of Chisinau, the unit is where he concentrated daily on analyzing the data received from outside world.

While meditating on the symbolic function of the museums in various contexts Ilya Rabinovich confronted a society that is constantly rewriting its history by gradually rejecting elements of its recent past. In this context he decided to investigate the representation of dichotomous structures: he visually juxtaposes idyllic paintings from the Ethnography Museum in Chisinau, which depict Moldovan landscapes as existing since the genesis of science and myth-a potential Garden of Eden- with images of the apocalypse, i.e. photographs and material proof of the Soviet catastrophe. He thus makes a clear statement about the timeline of modern and recent Moldovan history, about the dream and its disastrous realization.

Tilman Meyer-Faje explored a series of elements typical of the former Soviet structure in the Republic of Moldova. He chooses to remix images that have been made by someone else in an attempt to find a specifically Moldovan pattern.

Veaceslav Druta presents a film titled 'GPS for you' in which he questions French and Moldovan citizens in an attempt to survey their knowledge of Moldovan identity. A GPS device, a symbol of globalization and a navigational aid, appears throughout discussions. The GPS also 'talks' in various languages, some of which are unknown to the navigators. As a result, the device creates disorientation and causes a loss of destination.

Octavian Esanu excavated 'Strashilki' ('sadistic little poems,' or simply 'little horror poems') from the Soviet past. This is a children's literary genre that emerged anonymously in the Soviet Union during the 1970s. For his artist book he translated, interpreted, and wrote original couplets following the poetic style of this literary form little known in the West. He also designed and illustrated the book, which aims to provide two perspectives on the socialist-capitalist polarity, which the author considers to have shaped his worldview.

Using polarity as a departure point in his film 'Mark You Make Believe My Dear, Yes' media artist John Davis resurrected Soviet propaganda films from the 1980s as a means of animating specters from recent history. Commenting on the nature of Moldovan identity, Davis states that shifting identities are nothing new in the wake of major political and social upheaval, yet Moldova is a particularly complex case study.

In his text Petru Negura analyze the position and role of writers under the Stalinist regime, who operated on the one hand as social engineers of a faked 'Moldavian' identity, who preserved and defined its characteristics over the extended period of socialist modernization. On the other hand, these writers also developed a very professional tool, i.e. the Romanian language, which is perceived today as an achievement and an important mark of Romanian identity, an outcome that transcended the process itself.

The data gathered and presented by researchers within the framework of the Drifting Station represent an attempt to visualize the current state of different Moldavian identities, starting with the identity imposed by Soviet propaganda and social engineering campaigns between 1940-1992 in a territory widely known as the Republic of Moldova (formerly the 16th Republic of USSR). The ideologists of the Soviet Union embarked on a campaign to fundamentally alter the behavior and ideals of Soviet citizens, to replace old social frameworks of a previously existing culture with a Soviet model, and to create the New Man.

With the new course taken by history after dismantling of socialist system there was a lack of a clear identity parole, and the 1990s evinced a pervasive shift and drift in identity. In the last decade the former Soviet concept of Moldovan identity was resurrected by new political players ranging from the extreme left (CPRM - Communist Party or Republic of Moldova) to the extreme right (PPCD – Popular Christian Democrat Party) of political spectrum. Following external and internal political agendas, political and social leaders, i.e. 'engineers,' used the issue of identity as a political weapon against the threat of 'Romanization' but also against integration into the EU community-with the purpose of preserving the 'neutrality' of Moldova. What we have today, a result of speculations and past political games, is a society trapped between the Russian military influence in the region and the EU expansion process, situated between Romanian nationalism and the nostalgia for a mixture of communist regime and socialist utopia, between the expansive development of the open market and the aggressiveness of neo-liberal establishment.

Through a picture of a meteo station and a video performance called “Where is our mind” Valéry Grancher is questioning the perception of our environment at our world limit though rationalism and subjectivism. “Where is our mind?” is a sentence written on the paper by watercolor mixed with 30 000 years old glacier water. The message was attached to a meteo balloon which was sent to stratosphere of 35 000 meters altitude, where the balloon exploded and fail on to the ground. Through his video Valery Grancher is questioning the status of scientist approach ‘Does Science deal with Icarus myth ?’

Drifting Identity Station was initiated to monitor and preserve the data related to the evolving state of identity in a given context, here the context of Moldova. Visual art projects and written contributions that are on display in the Station comment on the evolution of the social engineering project and 'Moldavian' identity at its current state. At the same time the artists assume the posture of researchers that collect the samples from the field in order to preserve the residual traces that rearticulate the post-socialist condition in Moldovan society now 20 years after the fall of the Berlin Wall and the dissolution of Eastern Block.

Link to the project:
http://driftingidentitystation.com

vendredi 26 février 2010

IPY science conference Oslo 2010


"Arctic Nature" C-print on altuglass, 2007 - 2010


IPY science conference Oslo 2010
08.06.10 - 12.06.10


The IPY Oslo Science Conference will demonstrate, strengthen, and extend the International Polar Year's accomplishments in science and outreach. The conference is an essential opportunity to display and explore the full breadth and implications of IPY activities. The international and interdisciplinary science conference will in particular highlight the global impact of the changes that have been observed in the Polar Regions.

My abstract called “Ny alesund Pole 0”
An artist life in a scientist community in Polar context" is included in this program.

Valéry Grancher (artist) part of the project “Arts aux Pôles” IPEV (institut Polaire Paul Emile Victor) France (May 2007 – May 2008)



In this abstract I will try to share my art experience in Polar context and to talk about the crossing of our an artistic way of seen and a scientific one, by lecturing some of my thoughts and showing some of my productions…

I’m interested in this topic for over a decade (since the beginning of the world wild web) specially by focusing the globalization consequences on extreme territories statutes in the collective unconscious ...
I thought from 2005 to produce projects questioning our planet extrems:

- For example, at Palais de Tokyo site de création contemporaine in Paris, I tried to establish a cultural link between a Jivaros community in deep Amazon, named Shiwiars and living on the Equator line at the border in between Ecuador and Peru. This community has expressed a desire to establish contact with the world by publishing on Internet. This project was named "The Shiwiars project" who posed a look beyond the West ...
- As an archival project, a blog was created :
http://theshiwiarsproject.blogspot.com

So, I had to design a project on one of our other planet clusters:
The opportunity was offered to me by a call to a residence by the french Polar Institute Paul Emile Victor (IPEV) for one month at the Arctic or Antarctica.
This call was organized through the International Polar Year (March 2007 - March 2008) and organized by the IPEV, Le Palais deTokyo, Arts aux Pôles and le Plateau (FRAC Ile de France). I chosed North Pole and more precisely the Rabot base at Ny Alesund in Spitzbergen because it is loaded with a rich history (as the starting point of Amundsen Zeppelin expedition to North Pole from Ny Alesund) and the large number of nations involved in the scientific community.
On the other hand, if Amazon was beyond the Western culture Ny Alesund is the Hyper - West, because of strategic issues, energy, economic, and political will are present ...
Ny Alesund is located at 79 ° N 12 ° E is 1 ° north of 80 ° representing area of the North Pole (80 N to 90 N)
So this project was the logical continuation of my Amazon project forming in my work, a sort of current diptych of 5 years ...
Throughout this project as for the Amazon Project, an archive was published online by creating a blog down all project phases throughout its chronology:
http://www.ny-alesund-pole0.org

Being based for a month to the Polar Base at Ny Alesund, this represents stay with one of many expeditions to the 80 ° North, for tracking the production and filming of my installation named Geopol. A trailer may be seen on this link :
http://www.vimeo.com/7863829

I performed this residence during on one month on May 2007, and I was part of the scientist team for summer campaign on 2007. That brought to me a great opportunity to apply scientitific methodology in the way I am producing my art. Scientist and artists have on fact in common that they’re dealing with the way they’re looking the world subject :
Scientist are doing it on objective way
Artists are doing that on subjective way
A film was produced to show that, it may be seen on this link :
http://www.vimeo.com/8590645 « Ny Alesund Pole 0 » video installation 38 minutes

That’s giving a new way to produce art not on a planified and scheduled way as we use to do during our productions, but on an opportunistic way, by following scientists in their Works to get new focus to deal with…
I can say that’s the main reason why I produced specially videos for videos installations which were shown in different contemporary arts institutions in Europe such like Espace d’Art Concret de Mouans Sartoux, Musée des Beaux Art de Nîmes, Palais de Tokyo in Paris, Verbeke Fondation in Belgium and Jeu de Paume on 2011… This new way to produce art has brought me to think about how to define art ecology outside artworld and studios ? On a certain way, it’s tuning back to a form on romantism issued from 19Th century when artists wanted to escape cities to face nature like Caspar David Fiedrich.
The best is to quote my blog to illustrate what I am meaning, it illustrates perfectly the feelings and impressions that I crossed:

« In cities, the destination without wanderings lead to very Joycian epiphanies not devoid of beauty, poetry. But
what about a polar wandering? This is totally surreal, because walk requires a leave go, and inner calm. But is this possible with a rifle scarf and 306 balls in his pocket? This cross of hell will finally overshadow ...
But it all starts, when, after hours of walking on the banks of a fjord, we sit on a driftwood failed allowing water to leave lick the tip of my shoes. It was Bandalpyten. The rifle resting on my side, horizon leads the ballet. The lead curtains clash under clouds with very low curtains very white lights declining shades of purple and azure. The water is smooth as a sheet of steel, not a flood. A black scarification appears around the islands on slicks white (opposite sides) and vanish into the white sky.
Then a black comma strokes the water surface, a deep breath cleaves the silence, and then this thing goes to the bank and leads a ballet to ten meters away. Eiders fly tidal water, are circled above this small Orqual and time stretching ... 20 good minutes that seem to ten ... We dream, then getting up, you realize that if one verbalizes this experience, it becomes a cliché worthy of the 'lonely planet'.... Everything has already been seen and experienced, and this contemplation can not single be shared, but selfishly lived with a shy smile ... "

Valéry Grancher 2010

lundi 18 janvier 2010

"Polar expedition" Fondation Verbeke, Belgique




Some videos footage of the collective show curated by Simon Delobel at Verbeke Fondation in between Gend and Antwerp in Belgium.
This collective show is dealing with artists who has been to the Poles since the seventies.
It's running from January 16 to May 15 2010.


Valéry Grancher

lundi 11 janvier 2010

Bonne année



Je vous souhaite une bonne année faite d'harmonie, de paix et de santé....
I wish you an happy new year with harmony, peace and health...

Valéry Grancher 2010