Review

Artists-speakers

 Emmanuelle Vincent and Pierre Larauza, T.r.a.n.s.i.t.s.c.a.p.e company
 Aurélien Nadaud, visual artist/performer/poet
 Virginie Brylinski, film director and Caroline Amoros, performer
 Patrick Bokanovski, experimental films director

An eclectic audience attended, between thirty and sixty people at various moments of the day, including a class from local college Lycée de la Hotoie (option Arts and Video).

This year, the choice had been made to solely invite artists and understand how they cross the borders between various art forms - visual arts, video, dance, music etc., between their arts and the audience and between fiction and reality.

The seminar was moderated by journalist-author-researcher in outdoor arts Floriane Gaber, who managed to put into perspective, theorise, synthesise and clarify the artists’ work.

Most of these artists working in the public space are interested in the reaction of the audience to their work, and what happens between the moment when one sees a show and when one becomes a spectator.

Aurélien Nadaud, who uses caution tape, as well black, white and red gaffer tapes for his work in situ, which he refers to as ’visual rumor’ - in the collective mind, caution tape means prohibition, but is the produced work prohibited? Can we call his piece of art on the wall, made out of black, white and red gaffer tape, a graffiti? Should it be ephemeral? Is it part of an institutionalised framework, a commission, a performance or was it only triggered by the artist’s sole desire to create?

Caroline Amoros, through her various Princesses Peluches characters in the public space (Rose, Kristin, Madame LeJaune, Miss O’Range then Blanche) raised endless reactions, in France and beyond. And this is exactly what film director Valérie Brylinski was interested in, as she filmed the artist performing in the public space, providing a new perspective in how Caroline’s work is perceived.

The issue of experimentation was also very much at the heart of the day, in that the artists attending the seminar all experiment through decompartmentalisation: decompartmentalisation between what is human, built or material for Aurélien Nadaud, but also between art forms, mixing dance, music, performance, video and multimedia like the T.r.a.n.s.i.t.s.c.a.p.e’s performers in Chambre(s) d’Hotel.

Film director and visual artist Patrick Bokanovski explained his quest to decompartmentalise technics and genres, transforming images, pictures, optical. In his film Un Rêve, screened in the evening in Amiens Ciné St Leu, we barely recognise images from NoFit State Circus’s Barricade* and Générik Vapeur’s Waterlitz*. The film director blurs the frontiers between fiction and reality, lilke in Dali and Buñuel in Le Chien Andalou, or Man Ray in Etoile de Mer.

Perfect ending for an intense seminar, confirming once again the constant evolution of
Ubran Visual Arts as a endless mix of art forms and disciplines.

*Shows supported by the ZEPA 1 network (2008-2012)
Photos credit (speaker): Philippe Macret
http://www.aurelien-nadaud.com, http://www.princesses-peluches.com, http://www.transitscape.net