Archives par étiquette : Charlotte Lagro

Charlotte Lagro, Art Rotterdam preview, The Beginning and Ending is Always Ambiguous

Lors de cette édition spéciale de printemps d’Art Rotterdam, dix-sept œuvres et installations monumentales seront exposées à l’extérieur de la Van Nellefabriek. Parmi celles-ci, The Beginning and Ending is Always Ambiguous, oeuvre de Charlotte Lagro.

Installation with umbilical cable, rubber, metal, tape, copper, nylon, 120 meter.
Installation view at Jan van Eyck Academy Open Studios, Maastricht

NL.

Charlotte Lagro werkt met gevonden objecten en bevrijdt deze van hun beoogde functie om ruimte te maken voor nieuwe mogelijkheden voor uitwisseling en verlangen. Ze stript de voorwerpen, speelt ermee en transformeert ze, maakt er video’s over, en nodigt vaak anderen uit deel te nemen aan dit proces. Met lichte toets laat Lagro zware objecten bijna gewichtloos aandoen. Het werk “The Beginning and Ending is Always Ambiguous” focust op de umbilical (navelstreng), een kabel die wordt gebruikt om diepzeeduikers van zuurstof, licht- en communicatiesignalen te voorzien. Vanaf honderd meter diep klimmen duikers aan deze kabel, hand voor hand, terug omhoog naar de oppervlakte. In het water bevatten de met lucht gevulde slangen precies genoeg ballast om rustig weg te zinken. Deze artificiële levenslijn materialiseert de kwetsbaarheid van het menselijk bestaan. En de zoektocht naar het vertrouwde in het onvertrouwde met geknutselde extensies. Een optimistisch reliek van het menselijk streven om de luchtbel te verlaten.

FR.

Charlotte Lagro travaille avec des objets trouvés, les libérant de leur fonction pour laisser place à de nouvelles possibilités d’échange et de désir. Elle dépouille les objets, joue avec eux et les transforme, réalise des vidéos à leur sujet et invite souvent d’autres personnes à participer à ce processus. Avec une touche de légèreté, Lagro fait paraître des objets pesants presque en apesanteur. L’œuvre « The Beginning and Ending is Always Ambiguous » (Le début et la fin sont toujours ambigus) se concentre sur le cordon ombilical, un câble utilisé pour fournir de l’oxygène, de la lumière et des signaux de communication aux plongeurs en eaux profondes. De cent mètres de profondeur, les plongeurs remontent à la surface sur ce câble, une main après l’autre. Dans l’eau, les tuyaux remplis d’air contiennent juste assez de lest pour leur permettre de couler sans problème. Cette ligne de vie artificielle matérialise la vulnérabilité de l’existence humaine. Et la recherche du familier dans le non familier avec des extensions bricolées. Une relique optimiste de l’effort humain pour quitter la bulle.

EN.

Charlotte Lagro takes found objects and relieves them of their intended purpose and function to accommodate new possibilities for exchange and desire. She strips them bare, plays with them and transforms them, and makes videos about them, often inviting others to join in the process. With sleight of hand, Lagro can make heavy objects appear almost weightless. The work “The Beginning and Ending is Always Ambiguous” centers around an umbilical cable used to supply oxygen, as well as light and communication signals, to deep sea divers. From a hundred meters below, divers climb the umbilical, hand over hand, to make their way back to the surface. In water, its air-filled tubes have just the right amount of added mass to gently sink. This artificial lifeline materializes the vulnerability of human existence. And the search for the familiar in the unfamiliar with handcrafted extensions. An optimistic relic of the human endeavor to the leave the bubble

Installation with umbilical cable, rubber, metal, tape, copper, nylon, 120 meter.
Installation view at Jan van Eyck Academy Open Studios, Maastricht
The Beginning and Ending is Always Ambiguous, 2021
Video 4K, 04:44 min. Color. Sound.

Charlotte Lagro, En Piste, La Boverie, Liège, les images

The Beginning and Ending is Always Ambiguous centers around an umbilical cable used to supply oxygen, as well as light and communication signals, to deep sea divers. From a hundred meters below, divers climb the umbilical, hand over hand, to make their way back to the surface. In water, its air-filled tubes have just the right amount of added mass to gently sink. Out of water, the cable is less at ease. It twists and twirls in all directions. To hold one is to wrestle with it. The 115-meter-long cable is comprised of bright blue, red, orange, and yellow tubes, like veins entwined. (It is a snake of mythical proportions.) This hallowed lifeline makes visceral the fragility of our bodies and the precarity of wedding them to machines. If something goes wrong, it goes terribly wrong.

Video 4K, 04:44 min. Color. Sound.
Installation with umbilical cable, rubber, metal, tape, copper, nylon, 120 meter

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Charlotte Lagro, The Beginning and Ending is Always Ambiguous, En Piste ! Musée de la Boverie, Liège, preview

The Beginning and Ending is Always Ambiguous centers around an umbilical cable used to supply oxygen, as well as light and communication signals, to deep sea divers. From a hundred meters below, divers climb the umbilical, hand over hand, to make their way back to the surface. In water, its air-filled tubes have just the right amount of added mass to gently sink. Out of water, the cable is less at ease. It twists and twirls in all directions. To hold one is to wrestle with it. The 115-meter-long cable is comprised of bright blue, red, orange, and yellow tubes, like veins entwined. (It is a snake of mythical proportions.) This hallowed lifeline makes visceral the fragility of our bodies and the precarity of wedding them to machines. If something goes wrong, it goes terribly wrong.

Video 4K, 04:44 min. Color. Sound.
Installation with umbilical cable, rubber, metal, tape, copper, nylon, 120 meter.

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Charlotte Lagro, The Beginning and Ending is Always Ambiguous, En Piste ! Musée de la Boverie, Liège

Dans le cadre de En Piste 2021, la galerie Nadja Vilenne a le plaisir de vous inviter à découvrir l’installation vidéo  de Charlotte Lagro : 

The Beginning and Ending is Always Ambiguous

Liège, Musée de la Boverie. Du 27 août, 10h, au 5 septembre 2021, 18h. 

Toujours au musée de la Boverie, aux même dates : 

  • Xiaochuan WANG. Espace Jeunes Artistes.Exposition du 5 août au 3 octobre 2021
  • Loïc Moons participe à l’exposition du Prix de la Création 2020 de la Ville de Liège. Du 27 août au 5 septembre 2021.

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Charlotte Lagro, De Geschiedenis is voorbij, Gouvernement aan het Maas, Maastricht, vernissage ce jeudi 6 février

Charlotte Lagro. The Day the Clown Cried, 2015. Double channel, loop, HD video, colour, sound, 00:10:40

Trio d’artistes invités au Gouvernement aah het Maas, à l’initiative de la Province du Limbourg : Roger Cremers, Charlotte Lagro,  Marta & Slava. De geschiedenis is voorbij, Metamorphose van de herinnering.  Exposition du 6 février au 12 juin 2020. Vernissage ce jeudi 6 février à 17h30. Performance du mime danseur Dönci Bánki qui collabora avec Charlotte Lagro à la réalisation du film « The Day the Clown Cried ».  Plus d’information à propos de cette oeuvre 

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Charlotte Lagro, The Day The Clown Cried, Bible, New York

Sam Branden/ Claudia Cortinez/ Charlotte Lagro
The Day the Clown Cried
January 13 – February 10, 2019

When I write a horoscope for you, I focus on one or two questions because I don’t have room to cover every single aspect of your life. The theme I’ve chosen this time may seem a bit impractical, but if you take it to heart, I guarantee you it will have practical benefits. It comes from Italian author Umberto Eco. He wrote, « Perhaps the mission of those who love humanity is to make people laugh at the truth, to make truth laugh, because the only truth lies in learning to free ourselves from insane passion for the truth. » I swear to you, Aries, that if you laugh at the truth and make the truth laugh in the coming days, you will be guided to do all the right and necessary things.
– Rob Brezsny

Sam Branden (b. 1991 Cleveland, OH) lives and works in Brooklyn. He received his BFA from the Columbus College of Art & Design in 2014. Exhibitions include a solo show at Quality Gallery, Oakland, CA; a two-person show at No Place Gallery, Columbus, OH; and in group shows at Scott Charmin, Houston, TX; E. Tay Gallery, NYC; Skylab Gallery, Columbus, OH, and at At Large Gallery, Brooklyn. He is a co-director and curator at Wick Gallery in Bushwick, Brooklyn.

Claudia Cortínez (b. 1985) lives and works between Buenos Aires and NYC. She received her BFA from the Rhode Island School of Design and her MFA at Yale University. She is the recipient of the Alice Kimball English Traveling Fellowship and the Blair Dickinson Memorial Grant from Yale University, and the Rema Hort Mann Emerging Artist Grant in NYC, among others. She has exhibited her work in solo and group shows in the US, Latin America, and Europe, and has curated exhibitions at the Shirley Fiterman Art Center in NYC and the Eduardo Sívori Museum in Buenos Aires. She has participated in various residencies including, LMCC Swing Space, Mass MoCA, Real Time and Space, and the NARS Foundation, among others. She is currently an artist in residence at the Loisaida Center in NYC.

Charlotte Lagro (b.1989) lives and works in Maastricht, the Netherlands. She was a resident at the Skowhegan School of Painting and Sculpture and Nars Foundation in New York. She won the Hermine van bers Fine Art Award in 2015. Her work has been exhibited internationally in FIAC/ Offielle Paris, Biennale de l’Image Possible Liège, Bonnefantenmuseum Maastricht, CIAP Hasselt, LOOP Video Art Fair Barcelona, among others.

Bible
19 Monroe Street
New York, NY 10002

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Charlotte Lagro, The Art-Shaped hole in my heart, Video Rental Store, Ottawa

Charlotte Lagro

The Art-Shaped hole in my heart, un film de Charlotte Lagro, a tout récemment rejoint l’exposition Le Jardin du Paradoxe, regard sur le cirque divers à Liège afin d’être projeté dans le décor de « Foncièrement la Petite Maison » à l’occasion de la journée « Femmes Artistes au Jardin du Paradoxe ».

En résidence à Skowhegan dans le Maine, aux Etats Unis durant l’été 2015, Charlotte Lagro découvre dans l’un des pavillons du centre d’art qui l’héberge une cuisine rustique et hors du temps. Y trône entre fenêtre, vaisselier et buffet, un réfrigérateur carrossé. Incongru dans le décor, hiératique, polissé, cellier moderne et ronronnant, celui-ci deviendra très vite l’objet de toute son attention, au point de devenir l’objet central de ses préoccupations artistiques. Durant les neuf semaines que dure sa résidence, elle invitera les artistes présents, les théoriciens invités et conférenciers de passage à s’exprimer à son sujet. Et ceux-ci, face caméra, se prêteront au jeu, scrutant ce réfrigérateur sous toutes ses coutures. Son gris graphite, ses poignées d’acajou aux fixations chromées, son look seventies. L’artiste transforme ce frigo en une singulière « conversation pièce ». Ouvrant, refermant le frigo, les protagonistes du film le remplisse ou s’y servent au fil de leurs considérations. Et c’est peut-être bien moins loufoque que cela en a l’air… Pour cette journée particulière, ce singulier frigo est installé au cœur même du théâtre du quotidien qu’est Foncièrement la Petite Maison, dispositif emblématique de l’action du Cirque divers. Côté cuisine bien évidemment.

The Art-Shaped hole in my heart est actuellement également projeté à Ottawa, au Canada, dans l’exposition : Video Rental Store, Knot Project Space, 26 April – 9 June 2018.

It is an exhibition, which operates like a video rental store that rents out artist’s videos. The project employs all the characteristics of the retail environment to connect with the local community, while challenging the gallery’s role as an intermediary that delimits the viewer’s direct access to art and artists. The video store was conceived of as an experimental form of engagement, where artists have the opportunity to receive responses directly from audiences. In turn, the viewer has an uncommon channel to the artist. In addition to payment, rental and return are also on an honour-system basis, removing barriers that exist due to membership, deposit, and return policies at commercial ventures.Since 2013, the Video Store has travelled to the ODD Gallery at the Klondike Institute of Art and Culture in Dawson YT, Access Gallery in Vancouver BC, Third Space Gallery in Saint John NB, Judith & Norman Alix Art Gallery in Sarnia, Union Gallery at Queen’s University in Kingston and New Gallery in Calgary. Under New Management are refreshing their titles in anticipation for this springtime exhibition at SAW Video.

Charlotte Lagro

Charlotte Lagro

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Charlotte Lagro, Look at me and see what I could not (yet) see, Bonnefanten – museum, Maastricht

Gilbert De Bontridder

Gilbert De Bontridder

Charlotte Lagro et le collectif Studio Oneindigheid (Charlotte Lagro, Chaim van Luit, Joep Vossebeld), participent à l’exposition d’hommage à Gilbert De Bontridder au Bonnenfantenmuseum à Maastricht.

Look at me and see what I could not (yet) see
21.04.2017 – 24.09.2017

Gilbert De Bontridder through the eyes of: Sara Bachour & Joep Linssen; Maarten Davidse & Simon Weins Studio Oneindigheid (Charlotte Lagro, Chaim van Luit, Joep Vossebeld) Tim Rutten & Roel Punsters and Krist Gruijthuijsen.Curators: Paula van den Bosch & Joep Vossebeld

Recently, Magda De Bontridder donated a series of works by her husband, Gilbert De Bontridder, to the Bonnefantenmuseum. In 2017, the annual Gilbert De Bontridder Award will be presented for the twentieth time, at the Maastricht Academy of Fine Arts and Design (MAFAD). The occasion has prompted an exhibition that focuses on the artist and on the recipients and organiser of the award.
Look at me and see what I could not (yet) see presents a concise overview of works by Gilbert De Bontridder in an unusual setting. Nine recipients of his award have adopted fragments of De Bontridder’s work and, through video and sound works, continue where his oeuvre prematurely left off twenty years ago.
The starting point for this collaboration is collage, which forms a central theme in De Bontridder’s work. The artists studied his paintings and writings in depth and found valuable details and shortcomings, or came up against unexpected similarities with their own work. The exhibition is the result of this process of adoption, and in its totality can also be seen as a collage: Cutting, sticking, ruminating and reanimating.
The painter Gilbert De Bontridder (1944 Sint-Genesius-Rode – 1996 Maastricht), who was originally from Belgium, played a pivotal role in the Maastricht art scene, following his appointment as a teacher at the Academies of Fine Art Maastricht, in 1985. On his death in 1996, Gilbert De Bontridder left behind an oeuvre of paintings and collages, some monumental works in Maastricht and its vicinity, and a series of publications and writings on painting. Since 1997, the MAFAD has been presenting the annual Gilbert De Bontridder Award to a graduate whose work operates on the borderline between practice and theory.

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Résonances, les images (3)

Résonances

Sophie Langohr

Sophie Langohr
Saint Pierre, plâtre polychrome, XXe siècle, Liège, Grand Curtius
de la série Open Geometric Structures, photographie noir et blanc, 66 x 100 cm, 2016.
Photo Charlotte Lagro

Jacques Lizène

Photo Charlotte Lagro

Jacques Lizène

Jacques Lizène
Art syncrétique, 1964. Sculpture génétique 1971.En remake 2011. Technique mixte, 65 x 30 x 30 cm. Sur colonne : 158 cm
Photo Charlotte Lagro

Emilio Lopez Menchero

Emilio López-Menchero
Sacs (de la série Indonésie !), 2008
Encre de chine sur papier, 195 x 157,5 cm
Photo Charlotte Lagro

Emilio Lopez Menchero

Emilio López-Menchero
Molenbeek, (de la série Indonésie !), 2008
Encre de chine sur papier, 195 x 157,5 cm
Photo Charlotte Lagro

Charlotte Lagro

Charlotte Lagro,
And it was quiet (…),
plywood with oak veneer and mahogany stain, 2015

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