Understeading
(A game for islanders, island visitors, their kids and any other companions. Conceived to exorcize fiction layers and destabilise hegemonic Realestate designs - non of these will work in the end but we can still have some fun)
by Cyriaque Blanchet and Jean-Damien Charmoille
Curated by Kunsthalle Tropical
Understeading
(A game for islanders, island visitors, their kids and any other companions. Conceived to exorcize fiction layers and destabilise hegemonic Realestate designs - non of these will work in the end but we can still have some fun)
by Cyriaque Blanchet and Jean-Damien Charmoille
Map (A2 recto verso), Laser engraved dice, Oil painting on technical camping blanket
I Wish I Was A Real Bat so I Could Sleep All Day
Curated by pendingskills platform
Artists : Jean-Damien Charmoille, Data Rhei (Cyriaque Blanchet & Jules Brière), Emile Frankel & Luke Deane, Antonin Giroud-Delorme, Aaron McLaughlin
When I first arrived to this place I was actually amazed by the clear sensation I connected. To access my private space the steps were way easier than expected, all my basic information was displayed transparently, I could organize my personal stuffs as I wanted in many compartments designed for this. Quickly, the feeling of being somewhere I knew, somewhere I owned, disappeared. I could see myself forced to be as close as possible to the design, to forget where I might be from, why I wanted to be here and what the plan might be. This experience of emptiness gave me the ultimate desire to produce contrast, to feel vibration from an inner space, to actually lives-through what I conceived till now as my own bodiness. From this corporal introspection I started to reflect on myself from the outside, to inhabit a time where commodification meets alternate narratives. To be able to invent new reasons, for what I actually forgot, this potential as the purest ideal could leave sexual fantasies to actual reproduction rite and allow me to transform to an unpredictable matter for the first time ever. The challenge still continues in an off-center vision to host differences themselves, being their own guest first. I know now what I liked coz you commented on it, but if I comment back on, it can maybe modify, tensify what you actually took as a fact, but if I chose to sleep all day dreaming on something else you will probably be able to become someone else, as may I. Else Else Else
The.bird.citizen.SRT, 2018
subtitle file based upon CitizenM users Instagram translated to Bird Language, video projection, 19min loop
Link for download :
https://www.opensubtitles.org/fr/subtitles/7492704/bird-citizen-fr
The exhibition project I Wish I Was a Real Bat, so I Could Sleep All Day has been created collectively materializing a hidden entity / activity in one room of the hyperglobal CitizenM Hotel in Amsterdam through different gestures and angles. Theses over-layered subtly the physical space for a brief period, attempting to re-empower themselves from the contextual social constraints and regulations.
Artworks produced before the show and others especially made for this situation were invited to occupy strategically the place and create a new landscape together. Online social-media activities around the room identity and qualifications have been taken mainly as a matter to extend the notion of production time and art piece borders rather than a media only. Involved sometimes directly as a raw material for the artworks to bring back into the room space-time itself and/or as a speculation of its future mediation and archive conditions.
The audience could find itself being at the same time the guest and the host of this ‘undefined character’ incarnated by the collective show, as if they owned the room the time of the visit. Each visitors invited to single-person appointment by pre-arrangment had to meet an interlocutor and collect the magnetic key to head discreetly and freely to the room 109 for 30min.
The interlocutor was waiting visitors for pre and post visit meetings in the hotel’s lobby or on a public bench behind the hotel building, offering also a privileged time for informal exchange and mediation around the project itself right after the visit.
This project took a sort of role game format aiming to complexify the approach of the current challenges for the symbolic and its potential efficiency in the digital media era.
List of works :
The.bird.citizen.SRT, Jean Damien Charmoille,
subtitle file based upon CitizenM users Instagram translated to Bird Language, video projection, 19min loop, 2018
Corporette, Data Rhei (Cyriaque Blanchet & Jules Brière),
embroidery on towels, CititzenM hotel reviews, 50x100cm, edition of 4, 2018
Stone Telling, Emile Frankel & Luke Deane,
videogame, laptop and headphones, 2018
Ramalina Menziesii (hosting), Antonin Giroud-Delorme,
UV-print on clear window decals, hundreds of personal work/leisure images, rephotography for Instagram posts, 238x97cm, 2018
HDWP02, Aaron McLaughlin,
autonomous vacuum cleaner, dog leash, 2018
Complete archive of the project on pendingskills’ MEGA account :
https://mega.nz/#F!OiI3jAyK!FhKiza02RXonsYdejKxUcQ!GuYljaqS
The Value of What ?
Curated by Korto Bojovitch, Jean-Damien Charmoille, Marian Luft & Ronny Szillo (Soej Kritik X BSMNT)
In the scope of SeaNaps Festival, Music & Blockchain, Leipzig
Artists : 333 Boyz, Alza54, Anica Kehr, Clemens Reinecke, Don Elektro & Ian Bruner (Ideath), Dylan Tull, Florian Hesselbarth, Jake Kent, Jean Damien-Charmoille, Joachim Benedris, Karoline Schneider, Korto Bojovic Amar, Marian Luft, Ronny Szillo, Samuel Gouttenoire, Schlüchtënstörch (Dj Schlucht & Blue Stork)
THE VALUE OF WHAT ? focuses on the notions of the economy of cultural and artistic events by exploring how these practices can create and shape their own concept of value. The traditional art markets and cultural spheres are put into perspective by the apparition of blockchain technologies. Many examples exist of how this technology can provide a more “artist-friendly” ecosystem, based on the fundamental promises that arise with the blockchain — decentralization, security and anonymity. Proof of authenticity, identity, ownership and fundamental rights can now be stored in this pu- blic ledger and serve as a counter-image against theft, fakery and copyright infringements, which are abundant in the art markets. The costs tend to be lower and smart contracts can provide a way to keep track of royalties and assure a certain economic structure that empowers the artists and their economic paradigms. But this attractiveness also brings its dark side — new undesirable factors and horrendous possibilities emerge: Ideas such as pre-determinism and behavioural engi- neering are in sight, creating apocalyptic visions about the relation between us, nature and technology. This validates the importance of a critical and playful attitude that artists can present by doing a very necessary testing on the range of the political, philosophical and technical consequences.
The evening at BSMNT takes the form of a happening and will focus on key elements of these topics while retaining room for improvisation. The boundaries between the artists and the viewers are deemed to be both formally and conceptually eliminated, opening a space for dialogue, understanding and the discussion of ideas about meanings and consequences of the blockchain in the art world — as well as conversations about the relevance of blockchain-based art collections.
Freund der Family
Curated by Jonathan Cyprès & Cécile Gallo
Artists : Korto Bojovitch, Jean-Damien Charmoille, Cassidy Lura Clingman, Héloïse Colrat, Clément Davout, Lauriane Dine, Léo Fourdrinier, Céline Germès, Lisa Kottkamp, Chloé Piot, Andrėja Šaltytė et Hendrik Voerkel.
L'exposition interrogeait le lien qu’entretiennent les différents membres d’une famille, dans sa structure, sa généalogie, ses flux d’interaction et la place du spectateur, généreusement accueilli, en qualité d’ «ami» (freund) de la famille. L’espace est construit comme autant de recoins qu’une maison familiale peut offrir d’informations sur l’histoire de ses résidents.
S’y embrassaient certaines intuitions : de détournement (Chloé Piot, Heloïse Colrat), de stockage de données/souvenirs (Lisa Kottkamp, Jean-Damien Charmoille, Cassidy Clingman), de secret (Korto Bojovic Amar), d’opacité (Hendrik Voerkel), d'attachement (Léo Fourdrinier), de migration (Andrėja Šaltytė), de langage (Lauriane Dine), de nostalgie (Céline Germès) et d’individu (Clément Davout).
Une dérive dans les détails caractérisant un espace étrangement familier, où les réminiscences se mêlent aux fantasmes d'un avenir collectif.
Understeading
(A game for islanders, island visitors, their kids and any other companions. Conceived to exorcize fiction layers and destabilise hegemonic Realestate designs - non of these will work in the end but we can still have some fun)
by Cyriaque Blanchet and Jean-Damien Charmoille
Map (A2 recto verso), Laser engraved dice, Oil painting on technical camping blanket
I Wish I Was A Real Bat so I Could Sleep All Day
Curated by pendingskills platform
Artists : Jean-Damien Charmoille, Data Rhei (Cyriaque Blanchet & Jules Brière), Emile Frankel & Luke Deane, Antonin Giroud-Delorme, Aaron McLaughlin
When I first arrived to this place I was actually amazed by the clear sensation I connected. To access my private space the steps were way easier than expected, all my basic information was displayed transparently, I could organize my personal stuffs as I wanted in many compartments designed for this. Quickly, the feeling of being somewhere I knew, somewhere I owned, disappeared. I could see myself forced to be as close as possible to the design, to forget where I might be from, why I wanted to be here and what the plan might be. This experience of emptiness gave me the ultimate desire to produce contrast, to feel vibration from an inner space, to actually lives-through what I conceived till now as my own bodiness. From this corporal introspection I started to reflect on myself from the outside, to inhabit a time where commodification meets alternate narratives. To be able to invent new reasons, for what I actually forgot, this potential as the purest ideal could leave sexual fantasies to actual reproduction rite and allow me to transform to an unpredictable matter for the first time ever. The challenge still continues in an off-center vision to host differences themselves, being their own guest first. I know now what I liked coz you commented on it, but if I comment back on, it can maybe modify, tensify what you actually took as a fact, but if I chose to sleep all day dreaming on something else you will probably be able to become someone else, as may I. Else Else Else
The.bird.citizen.SRT, 2018
subtitle file based upon CitizenM users Instagram translated to Bird Language, video projection, 19min loop
Link for download :
https://www.opensubtitles.org/fr/subtitles/7492704/bird-citizen-fr
The exhibition project I Wish I Was a Real Bat, so I Could Sleep All Day has been created collectively materializing a hidden entity / activity in one room of the hyperglobal CitizenM Hotel in Amsterdam through different gestures and angles. Theses over-layered subtly the physical space for a brief period, attempting to re-empower themselves from the contextual social constraints and regulations.
Artworks produced before the show and others especially made for this situation were invited to occupy strategically the place and create a new landscape together. Online social-media activities around the room identity and qualifications have been taken mainly as a matter to extend the notion of production time and art piece borders rather than a media only. Involved sometimes directly as a raw material for the artworks to bring back into the room space-time itself and/or as a speculation of its future mediation and archive conditions.
The audience could find itself being at the same time the guest and the host of this ‘undefined character’ incarnated by the collective show, as if they owned the room the time of the visit. Each visitors invited to single-person appointment by pre-arrangment had to meet an interlocutor and collect the magnetic key to head discreetly and freely to the room 109 for 30min.
The interlocutor was waiting visitors for pre and post visit meetings in the hotel’s lobby or on a public bench behind the hotel building, offering also a privileged time for informal exchange and mediation around the project itself right after the visit.
This project took a sort of role game format aiming to complexify the approach of the current challenges for the symbolic and its potential efficiency in the digital media era.
List of works :
The.bird.citizen.SRT, Jean Damien Charmoille,
subtitle file based upon CitizenM users Instagram translated to Bird Language, video projection, 19min loop, 2018
Corporette, Data Rhei (Cyriaque Blanchet & Jules Brière),
embroidery on towels, CititzenM hotel reviews, 50x100cm, edition of 4, 2018
Stone Telling, Emile Frankel & Luke Deane,
videogame, laptop and headphones, 2018
Ramalina Menziesii (hosting), Antonin Giroud-Delorme,
UV-print on clear window decals, hundreds of personal work/leisure images, rephotography for Instagram posts, 238x97cm, 2018
HDWP02, Aaron McLaughlin,
autonomous vacuum cleaner, dog leash, 2018
Complete archive of the project on pendingskills’ MEGA account :
https://mega.nz/#F!OiI3jAyK!FhKiza02RXonsYdejKxUcQ!GuYljaqS
The Value of What ?
Curated by Korto Bojovitch, Jean-Damien Charmoille, Marian Luft & Ronny Szillo (Soej Kritik X BSMNT)
In the scope of SeaNaps Festival, Music & Blockchain, Leipzig
Artists : 333 Boyz, Alza54, Anica Kehr, Clemens Reinecke, Don Elektro & Ian Bruner (Ideath), Dylan Tull, Florian Hesselbarth, Jake Kent, Jean Damien-Charmoille, Joachim Benedris, Karoline Schneider, Korto Bojovic Amar, Marian Luft, Ronny Szillo, Samuel Gouttenoire, Schlüchtënstörch (Dj Schlucht & Blue Stork)
THE VALUE OF WHAT ? focuses on the notions of the economy of cultural and artistic events by exploring how these practices can create and shape their own concept of value. The traditional art markets and cultural spheres are put into perspective by the apparition of blockchain technologies. Many examples exist of how this technology can provide a more “artist-friendly” ecosystem, based on the fundamental promises that arise with the blockchain — decentralization, security and anonymity. Proof of authenticity, identity, ownership and fundamental rights can now be stored in this pu- blic ledger and serve as a counter-image against theft, fakery and copyright infringements, which are abundant in the art markets. The costs tend to be lower and smart contracts can provide a way to keep track of royalties and assure a certain economic structure that empowers the artists and their economic paradigms. But this attractiveness also brings its dark side — new undesirable factors and horrendous possibilities emerge: Ideas such as pre-determinism and behavioural engi- neering are in sight, creating apocalyptic visions about the relation between us, nature and technology. This validates the importance of a critical and playful attitude that artists can present by doing a very necessary testing on the range of the political, philosophical and technical consequences.
The evening at BSMNT takes the form of a happening and will focus on key elements of these topics while retaining room for improvisation. The boundaries between the artists and the viewers are deemed to be both formally and conceptually eliminated, opening a space for dialogue, understanding and the discussion of ideas about meanings and consequences of the blockchain in the art world — as well as conversations about the relevance of blockchain-based art collections.
Freund der Family
Curated by Jonathan Cyprès & Cécile Gallo
Artists : Korto Bojovitch, Jean-Damien Charmoille, Cassidy Lura Clingman, Héloïse Colrat, Clément Davout, Lauriane Dine, Léo Fourdrinier, Céline Germès, Lisa Kottkamp, Chloé Piot, Andrėja Šaltytė et Hendrik Voerkel.
L'exposition interrogeait le lien qu’entretiennent les différents membres d’une famille, dans sa structure, sa généalogie, ses flux d’interaction et la place du spectateur, généreusement accueilli, en qualité d’ «ami» (freund) de la famille. L’espace est construit comme autant de recoins qu’une maison familiale peut offrir d’informations sur l’histoire de ses résidents.
S’y embrassaient certaines intuitions : de détournement (Chloé Piot, Heloïse Colrat), de stockage de données/souvenirs (Lisa Kottkamp, Jean-Damien Charmoille, Cassidy Clingman), de secret (Korto Bojovic Amar), d’opacité (Hendrik Voerkel), d'attachement (Léo Fourdrinier), de migration (Andrėja Šaltytė), de langage (Lauriane Dine), de nostalgie (Céline Germès) et d’individu (Clément Davout).
Une dérive dans les détails caractérisant un espace étrangement familier, où les réminiscences se mêlent aux fantasmes d'un avenir collectif.