ADRIAN REGNIEREDOUARD BURGEATMADDY SMITHSAMANTA ARETINOJOSEPH SMEDOPHILLIP ALTSTATTCHRISTOPHER OWEN NELSONRASKE JASKEEVA ATHANASIADOUARTA r t R e v i e wLandEscape
SUMMARYC o n t e m p o r a r y A r t R e v i e wSpecial IssueMy work comes fromconcerns for theenvironment, whichstimulates a passion inme to make artworksfrom something whichwould otherwise end upin our bins and then intolandfill sites. I believewe have forgotten ourrelationship with nature.We created oursynthetic world and wedump leftovers aroundus. I believe we mustprotect theenvironment/land-scapefrom pollution and thenthe natural, clean naturewill bring back healthand joy into our lives. Istrive for my artwork tohave an aesthetic appealand originality andthrough them I attemptdiscreetly to connect theviewer with my life'sphilosophy – thenecessity to think andact towards theimprovement onecological state.Since the very beginningof my life as an artist Iwas attracted to soundas a mean to express myself. When I startedusing sounds, it wasmore of a tool ofdocumentation, in orderto highlight real lifeepisodes and bring themalmost as is into the artscene. These could beintimate conversationtook place in the publictransport system, or abunch of constructionworkers singing abouttheir love. Therecordings ended upwoven in installation.The sounds and voicesare usually a realisticdocumentation of anevent, but at times mightbe pre-manipulated if Iknow in advance what Iintend to do with them.Adrian RegnierMexicoChristopher Owen Nelsonthrives in the vast aridlandscape of theAmerican West. As aColorado native, hestudied fine arts at RockyMountain College of Artand Design where helearned classical methodsin drawing and painting.While developing a deepappreciation forcomposition and form,Nelson focused onemploying alternativematerials: sculpting withused carpet, found objectsand painting on glass. Hecontinued on to pursue acareer in construction,whereby gaining valuableknowledge in concrete,steel and woodworkingthat would eventually laythe substructure for anew and innovativeartistic approach.C. Owen NelsonUSAI am inspired by thebigness of the worldand the even biggerdepths ofimagination. Thisinspiration drivesmy ambition to itslimits. Whenconceptualizingnew work, I oftenencounter criticismbecause it isdifficult for othersto imagine theinventiveness thatwill go into theexecution of thefinal product. Inorder to achieve theseeminglyimpossible worldsthat I create, I haveto start with themechanisms thatallow me to contortreality.Phillip AltstattUSAGifted with a strongaffinity for cityscapesand color, many ofAretino’sphotographs focus onwomen, children, andurban landscape.However, her worknever comes off assomething simplydedicated to a cause.With clever andskillful framing,Aretino forces herviewers to care abouther subjects and takean interest in them.Although theyappear frequentlyisolated, there’s animplication of theworld around themthat makes themmore than lonely,existential figures.Samanta AretinoArgentina/SpainRaske JaskeUnited KingdomBy expanding my research innature, I have beenparticularly involved in thesense of vulnerability thatnature possesses particularlyto changes in theenvironment. Byexperimenting with differentqualities of materials I havecreated works that are'physically vulnerable' tochanges in the environmentsuch as touch, light and heat.By looking at the protectiveforms of cocoons I wasinspired by the sense ofclosure and safety theyrepresent, contrasting withhow marine ecosystem isvery susceptible to anychanges in the environment.I have been particularlyinfluenced by d’ArcyWentworth Thompson’s book,‘On Growth and Form’ inwhich he studies nature inimmaculate detail to provethat biological forms are the'product of mathematicalphysical principles' meaningthat they are a product oftheir own environment.Maddy SmithUnited KingdomCONTEMPORARY ART REVIEWLand scape
Special IssueSUMMARY426Christopher Owen Nelsonlives and works in USAEdouard Burgeatlives and works in FranceAdrian Regnierlives and works in MexicoSamanta Aretinolives and works in Madrid, SpainJoseph Smedolives and works in USAEva Athanasiadoulives and works in GreeceEsther Cohenlives and works in IsraelRaske Jaskelives and works in the United KingdomPhillip Altstattlives and works in USA507090112134162184Special thanks to Haylee Lenkey, Martin Gantman ,Krzysztof Kaczmar, Joshua White, Nicolas Vionnet,Genevieve Favre Petroff, Sandra Hunter, MyLoan Dinh,John Moran, Marya Vyrra, Gemma Pepper, MichaelNelson, Hannah Hiaseen and Scarlett Bowman, YelenaYork Tonoyan, Haylee Lenkey, Martin Gantman , KrzysztofKaczmar and Robyn Ellenbogen.My approach tocreating art is throughdeep introspectiveexploration. The eventswe experiencethroughout our livesleave a permanent markon our souls whether itbe good or bad; it stillremains there,sometimes hiddenaway. I have made aconscience decision toattempt to purge myselfof these marks throughmy artistic creationprocess. I feel that thisallows me to free upspace to allow newmarks to be formeddown the road. So farthis process has servedme well. It revealseverything from newborn butterflies toreleasing some ghoststhat have haunted mefor way too long.Joseph SmedoUSAEdouard graduated fromdesign in Central SaintMartins in 2012, sincethen he diverse hispractice which nowincorporates installation,sculpture, photography,film and drawing, Heexplores therelation/connectionbetween times in historythrough specificeconomic, aesthetic andcultural situations . In amultidisciplinary andsocio politically engagedapproach, heaccomplishes aninsightful analysis on theevolution of our modernworld, establishing deepinvolvement with theviewers on both theintellectual level and theemotional one. Heproposes a very personalreflection that can becynical, sometimescritical, light or complexon todays society &contemporary life.Edouard BurgeatUnited KingdomIn my project deals witha treaty which alreadystarted research fromsecondary education.Impetus for this studywas the treatise ofPlato on the Allegory ofthe cave. Platoattempts an incision inbipolar shape sensible -conceivable. The senseand intellect are a basicprinciple in mostresearch fields. This isevidenced in the field ofbiology, philosophy andpsychology and refersto the empirical(sensory) knowledge ofthe world.Empiricalknowledge based oncommonly acceptedcause - and - effectrelationship. Inquantum physics aredifferent viewsconcerning the validityof the aforementionedrelationship.Eva AthanasiadouGreeceCONTEMPORARY ART REVIEWLand scape
classical methods in drawing and painting. Whiledeveloping a deep appreciation for compositionand form, Nelson focused on employingalternative materials: sculpting with used carpet,found objects and painting on glass. Hecontinued on to pursue a career in construction,whereby gaining valuable knowledge in concrete,steel and woodworking that would eventually laythe substructure for a new and innovative artisticapproach. Electric power tools became primaryinstruments, with paints and textiles applied atlater stages in conceptual evolution.Nelson’s creativity is fathomless, as is evident inall aspects of his life. As a successfulsongwriter/musician, he conveys feelings ofbeauty and loss lightness and dark intertwine.These same concepts are mirrored in his visualart, where barren, leafless trees fracture solitaryspace. Nelson’s portraiture suggests that eventhe people we are the most intimate with willforever remain mysterious beings. Here, beautyis drawn from the darker aspects of life. There isa consistent thread that runs throughout allbodies of his work: a need to transform shadowand grit into something beautiful and smooth.Critical attention and art world accolades havebeen swift and abundant. Early honors includethe Most Promising Artist Scholarship Award,and being named as one of “21 Under 31Emerging Artists” earmarked for success bySouthwest Art Magazine. Recently Nelson’sachievements in the arts have been featured inseveral national publications, including: WesternArt Collector; Luxe Interiors and Design; WesternArt and Achitecture; Santa Fean magazine, andAmerican Art Collector.Representation of Nelson’s work has beenstrongly focused in the greater southwesternregion. However, through prestigious exhibitionsand collections, his artworks have travelled theglobe. Already in his career, this young artistboasts over a dozen solo exhibitions. BoulderMuseum of Art, Boulder, Colorado; The ArtMuseum at the University of Kentucky, Lexington,Kentucky, and St. John’s College, Annapolis,Maryland are amongst the many museums anduniversities who have exhibited his work.Corporate and public art collections include:Wisdom Tree Investments, New York, New York;Rocky Mountain Cancer Center, Boulder,Colorado; Distant Cellars Vineyard, Fiddletown,California; Goodwill Industries; and Ritz Carlton.Nelson’s creations reveal the dynamic nature ofintrinsic existence, as thought and feeling alignwithin a medium that is uniquely his own.Combining elements of his skills in painting,construction and songwriting, Nelson illustratesdeliberate yet subconscious narratives guided bylucid dreamscape. His work continues to grow inscale and in concept. Nelson is bound by nomedium; he creates in a perpetual state ofresearch and development. Striking his own path,he cuts a wide road for future pioneers. Nelsonexists in leaps and bounds. The art world followsin double time.An artist's statementhristopher Owen Nelson thrives in thevast arid landscape of the AmericanWest. As a Colorado native, he studiedfine arts at Rocky Mountain College of CArt and Design where he learnedLand scapeCONTEMPORARY ART REVIEWChristopher Owen NelsonLives and works in USA
Artist Christopher Owen Nelson's work is acombination of seemingly disparate elements inunexpected ways: more than simply replicating hissubjects, Nelson seeks to understand them. Heseeks to capture the essence of the mysteriousaspect of beauty to draw the viewer to become apart of the work. In his mixed media sculptureentitled Apparition that we'll be discussing in thefollowing pages, he elegantly conveys bothstrength and refined aesthetics that reject anyconventional classification. One of the mostimpressive aspects of Nelson's work is the way itexplores a flawed human perception ofpermanence in relation to the natural world: weare very pleased to introduce our readers to hisstimulating artistic production.Hello Christopher and welcome to LandEscape: wewould start this interview with a couple ofquestions about your multifaceted professionalbackground. In particular, how do the classicalmethods in drawing and painting that you havelearnt at the Rocky Mountain College of Art andDesign affect the way you currently relate yourselfto art making? And in particular, how does yourexperience as a songwriter/musician inform yourwork as a visual artist?The majority of my time at RMCAD was spentlearning how to conceptualize. How to presentobjects, whether canvas and paint or pieces ofglass or carpet, as parts of a greater story. Iloved to paint with oils back then, but wasbeginning to use anything I could get my handson to realize a concept. The classical methodsof painting and composition remain a solidfoundation from which all of my work benefits.One of the most important lessons I learnedwas how hard I would have to work and how Ihad to set myself apart as an artist. Beingsurrounded by so many brilliant people for thefirst time in my life really put me in a place ofhumility that I have never left. Though I amproud of where I have made it as an artist, I stillknow that my work has barely begun, and thatit will be a lifelong pursuit of innovation andrebirth for myself to be the best artist I can be.In music, I find that I can express certain thingsthat I may not be able to in my artwork at anygiven time. Being able to find a home for thatoverflow of expression has proved to beimportant for me. Instead of getting too hungup on how to convey something in one field orthe other, I simply apply it to a more suitablemedium and move on with creating with lessblockage.You are an innovator of medium and we wouldsuggest to our readers to visithttp://www.chrisnelsonfineart.com in order to geta synoptic view of your work: would you like to tellAn interview by Katherine Williams, curatorand Josh Ryders, [email protected] scapeCONTEMPORARY ART REVIEWLandEscape meetsChristopher Owen Nelson
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our readers something about the evolution ofyour style? In particular, could you explain yourtechnique and how you developed it throughthe years?One of my techniques started as a way topass the slow time at a job I had at askateboard shop when I was a teenager.There were scrap sheets of acrylic layingaround, left over from repairs we would usethem for. I used to file down wood screws toa razor sharp point and use them as tools tocreate extremely detailed etchings oflandscapes, motorcycles,snowboarders…whatever felt cool to me atthe time, not thinking too much about it atall, just enjoying myself. One day I decided totry to carve into the acrylic to see whateffect it would have. I dug a small bit ofmaterial out and was so excited at theresults that I went to a plastics distributor,bought a larger block of acrylic, then to thehardware store to get some real carvingtools. I literally spent every dime I had onthat investment, not caring if rent wascovered or if I could buy food for the rest ofthe week (a trait that has stuck with me!)Eventually my carvings and the process grewlarger and more complex, adding color andtexture, investing in custom tools that werebetter suited for the job, and adding ovensand torches for added effects. Over the pastseveral years I have been primarily focusedon three-dimensional work, and exploringnew processes and approaches therein.Your approach reveals an incessant search of anorganic symbiosis between a variety oftechniques and your practice is focused onemploying alternative materials, sculpting withused carpet, found objects and painting onglass. While walking our readers through yourusual process and set up, we would like to askyou if you ever happened to realize that such across-disciplinary approach is the only way toexpress and convey the ideas you explore.There is really no “usual” setup for me. Therecan’t be. I strictly work as I want or need to.It’s very sporadic and aggressive at times butit’s the best way for me to get the best workand to push the boundaries of my abilities.When I finally work through a new idea in myhead, which is usually highly process-basedand sometimes takes years, I will then layouta science experiment day or somethingchildlike to keep things fun and light. It'stherapeutic to play with materials andchemicals to determine how they might betastefully used to add to my other bodies ofwork.In particular, how do you manage to mergecontrasting materials into a cohesive whole?What kinds of connections do you make inbetween the materials?This is a constant struggle for me. To remaincohesive across such a broad scope of mediaand subject matter is next to impossible. Ihave come to realize that to a certain extent,this cohesion exists regardless of what Icreate. Still, I am always searching for gapsbetween bodies that need bridging. One wayI like to approach that is by using similartooling and composition philosophies, whichapply to all branches of my work.For this special edition of LandEscape we haveselected Apparition, a captivating mixed mediawork that our readers have already started toadmire in the introductory pages of this article.This piece allows an open reading, a multiplicityof meanings and interpretations: associativepossibilities seem to be of greater importance.How important is this degree of openness?Christopher Owen Nelson Land scapeCONTEMPORARY ART REVIEW
It is of paramount importance. Something Ireally enjoy about life is not knowing whatthings mean or don’t mean. There issomething about that mystery anduncertainty that I find attractive and allowsmore space for reflection. I also secretly likewhen people make up positive andlighthearted assumptions about a work thatin my mind may have a more ominousmeaning.As you have remarked once, you spend amajority of your time outdoors, particularly in afew areas where you like to fish and walk yourdog: how does direct experience fuel the wayyou develop your subconscious narratives? Inparticular, how do you view the concepts of thereal and the imagined playing out within yourworks?I am always mentally absorbing textures ofbranches, bark, stone, etc, whilesimultaneously philosophizing and analyzinghuman beings in contrast. In a way, myrepresentations of beauty and simplicity innature are mirroring my image of theugliness in man.Your work addresses the viewers toenvironmental topics such as deforestation,overpopulation and waste, but while artistsfrom the contemporary scene, as Ai WeiWei ormore recently Jennifer Linton, use art toexpress open socio-political criticism in theirworks, you seem more interested to hint thedirection, inviting the viewers to a process ofself- reflection. Do you consider that your workscould be considered political in a certain senseor did you seek to maintain a more neutralapproach? And in particular, what could be inyour opinion the role that an artist could play inthe contemporary society?I believe that more can be accomplished bymaking succinctly executed suggestionsthan by shoving giant opinions downpeoples throats. I believe this to be true inart as well as in governing law. Artwork isnot neutral territory for me. The concepts inmy work are what they are to me, butanyone can interpret them however theywould like.I have very little faith in political, judicial andeconomic systems throughout the world,and sadly that lack of faith bleeds into myoutlook on humanity as a whole. The worldwill never work for humans because ofgovernment and religion. That said, artistsare the only people I understand and so I dothink their contribution to society should beallowed to be greater, but that will alsonever happen at a level that would make anysort of impact.We like the way your portraiture inquires intothe complexities and subtleties of individualityto capture the mysterious side of beauty,showing the intrinsic kaleidoscopic feature ofhuman nature. Who are the people you drawinspiration from for your portraits? What areyou looking to draw out of them, and how doyou hope viewers connect with your finishedpieces?I spoke earlier of my lack of faith inhumanity. Occasionally there are people thatcome into my life that make me feeldifferently about that. There exists somesort of hope or purity in them that compelsme.It seems that a common quality among mysubjects has been an ownership ofunconditional love and acceptance, and lackof judgment. I like people like that and wantto share that the only way I can.Christopher Owen Nelson Land scapeCONTEMPORARY ART REVIEW
Both the intimate and monumental sculpturalobjects you create, as the interesting Footprintsand Earth Like, provide the viewers with animmersive experience: how do you see therelationship between public sphere and the roleof art in public space? In particular, how muchdo you consider the immersive nature of theviewing experience in your process? And whatare the most important rules for you for anoutdoor sculpture?The ability for the viewer to become immersed in a piece of art is what makes theexperience truly profound, therefore it ishigh on the checklist while conceptualizing anew piece, whether monumental orintimate. Either has the ability to create animmersive space that alters thoughts andfeelings. A few main guidelines for me are:-The use of geometric and organic shapestogether-Orientation and pose or attitude-Finish of materialsLand scape Christopher Owen NelsonCONTEMPORARY ART REVIEW
Your works have been showcased on severaloccasions and you had 16 solo shows, includingyour recent Sentience, at the WaxlanderGallery, Santa Fe. The spectator plays a veryactive role in determining and extractingmeaning for your work. Could you elaborate onthat role in terms of what you intend as well asthe larger significance of the viewer'sparticipation?It is always a treat at shows to be able tosee, and even discuss, the viewer’s reactionsto the work. As I mention above, evokingemotion of any kind is the focus for me and Ilike to see it happen.I thrive on those moments actually. It’s easyto get caught up in the work having to beperfect and exacting to my standards, and toforget about the effect it may have.It is nice to be reminded when you unveilsomething new and interact with theviewers.Christopher Owen Nelson Land scapeCONTEMPORARY ART REVIEW
Thanks a lot for your time and for sharing yourthoughts, Christopher.Finally, would you like to tell us readerssomething about your future projects? How doyou see your work evolving?I will continue to refine the parts of my workthat I find to be indispensable.I will never settle down.Land scape Christopher Owen NelsonCONTEMPORARY ART REVIEW
I will always innovate. I hope to progressinto creating architectural elements that aretruly immersive pieces of work.Christopher Owen Nelson Land scapeCONTEMPORARY ART REVIEWAn interview by Katherine Williams, curatorand Josh Ryders, [email protected]
incorporates installation, sculpture,photography, film and drawing, Heexplores the relation/connection betweentimes in history through specificeconomic, aesthetic and culturalsituations .In a multidisciplinary and sociopolitically engaged approach, heaccomplishes an insightful analysis onthe evolution of our modern world,establishing deep involvement with theviewers on both the intellectual level andthe emotional one. He proposes a verypersonal reflection that can be cynical,sometimes critical, light or complex ontodays society & contemporary life. His recent exhibition included Berlin artweek, SCOPE Art show miami, Friezelondon, Marrakech biennal. In 2014 hefounded NoD, a brand editingcontemporary design, and working onartistic direction for scenography,interior design & art event.douard graduated from designin Central Saint Martins in2012, since then he diverse his E practice which nowEdouard Burgeat
Exploring the expressive potential of awide variety of materials,polidisciplinary artist EdouardBurgeat's works considers the vitalrelationship between direct experienceand visual intepretation, to draw theviewers through a multilayeredjourney. In his Discussion betweenTimes that we'll be discussing in thefollowing pages he encapsulated bothtraditional heritage andunconventional sensitiveness, totrigger the viewers' perceptualparameters. One of the mostimpressive aspects of Burgeat's work isthe way it accomplishes the difficulttask of showing our unstable andeverchanging world: we are verypleased to introduce our readers to hisstimulating and multifaceted artisticproduction.Hello Edouard and welcome toLandEscape: we would start thisinterview with a couple of questionsabout your multifaceted background.You have a solid formal training andafter your studies at the Ateliers deSèvres, Paris you moved to London tonurtured your education with a BA ofDesign, that you received from theprestigious Central Saint MartinsCollege of Art and Design: how dothese experience influence the way youcurrently conceive and produce yourworks? And in particular, how doesyour cultural substratum inform theway you relate yourself to the aestheticproblem in general?My experience in art and design allowed meto create using different medium, it explainswhy I use such a large variety of techniquesand materials, at the end the techniqueused is dictated by the concept of the piececreated so I use these techniques as tools toexpress myself. As a neo-art-archeologist, Idig my inspiration in my numerous wondersaround the globe as well as in modernhistory & crisis. I often takes specifichistorical events or places as point ofdeparture and engage into a very personalreflection on it, that can be cynical,sometimes critical, light or complex. I dontsee aesthetic as a problem and rarely thinkabout it while work- ing, it builts up by itselfwith the evolution of the artwork.You are a versatile artist and yourapproach encapsulates a wide varietyof media and techniques and materials, revealing an incessant search ofan organic symbiosis between a varietyof viewpoints. The results con- veytogether a coherent sense of unity,An interview by Katherine Williams, curatorand Josh Ryder, [email protected] scapeCONTEMPORARY ART REVIEWLandEscape meetsEdouard Burgeat
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that rejectsany conventionalclassification. Before starting toelaborate about your production, wewould suggest to our readers to visithttps://www.edouardburgeat.com inorder to get a synoptic view of yourmultifaceted artistic production: whilewalking our readers through yourprocess, we would like to ask you if youhave you ever happened to realize thatsuch multidisciplinary approach is theonly way to express and convey the ideayou explore.To me at least it is the only way to expressand convey my works. This diverse practicewhich incorporates installation, sculpture,photography, film and drawing, explores therelation/connection between times in historythrough specific economic, aesthetic andcultural situations. This multidisciplinaryapproach allowed me to talk about everythingand anything, it also allows a deeper reflectionon the topic considered, than if I was justworking on paintings for example.When you conceive a piece, do youmethodically elaborate it in order to geta precise idea of what it will be or do youprefer improvisation?It depends. My series are methodicallyelaborated with a long process of inspiration,research, material choice, concept, moreresearch, new definition and finally the mainidea is enlarged to a series of pieces referringto the same topic. But then within the sameseries, some pieces can be created verynaturally on improvisation and some otherstake months to be achieved.We have highly appreciated the way yourapproach goes beyond a merelyinterpretative aspect of the con- textsyou refer to. As the late Franz West didin his installations, the Discussionbetween Times shows uncon- ventionalaesthetics in the way it deconstructsperceptual images in order to assembleLand scape Edouard BurgeatCONTEMPORARY ART REVIEW
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them in a collective imagery, urging theviewers to a process of self-reflection.Would you shed a light about the role ofmetaphors in your process?Well Discussion between Times is a body ofphotographic superposition, where I combinemy pictures to the one of my ancestor, AndréBurgeat born at the end of the XIX century, whodied in the 60s. Juxtaposing these picturesallows an analysis on the evolution of ourmodern world, over a century. Thephotographies super- posed follow the samesubjects: the city, the nude, family etc.. Itrelates strongly with the theme ‘Evidence’, thepictures of my ancestor are used as direct proofof the past, reinterpreted in modern ways.Evidence of our changing world and of the everchanging view of photographers. This implies areal implication & reflection from the spectatorif he wants to perceive it.You have once stated that you use a lot ofyour experiences as well as the history ofyour family. So we would take thisoccasion to ask you if in your opinionpersonal experience is an absolutelyindespensable part of a creative process...Do you think that a creative process couldbe disconnected from direct experience?In my opinion it can’t, I need experience to beinspired, I travel as often as I can to discovernew cultures, col- ors, smells, lifestyles, shapes,etc. For me you have to research, experience,test, improve, fail, travel through life before youcan talk about it. Being open minded andcurious is the key to creation, and one shouldtalk about subjects he doenst know orunderstand fully.Your exploration of the intrinsic power ofdeconstruction in Rocket accomplishesthe difficult task of stopping a moment toinvestigate about the relationshipbetween perception, memory andpersonal imagination, to challenge theviewers’ parameters.What is the role of memory in your work?Edouard Burgeat Land scapeCONTEMPORARY ART REVIEW
Memory is an important ingredient of mywork, memories re-unite times which areto many people consid- ered asdisconnected entities. Einstein said “Thedistinction between the past, present andfuture is only a stubbornly persistentillusion.” I can only agree with this. It canbe individual or collective or nationalLand scape Edouard BurgeatCONTEMPORARY ART REVIEWagnés et les poilus
memo- ry, to me it is only proof of time &History. Now when I use objects it is mostlyobjects from the past century, materialscharged with memory & historyaccumulated over the years, which I called“modern relics”. I re-in- terpret them usingcontemporary techniques and materials.This act allows me to draw a discussionEdouard Burgeat Land scapeCONTEMPORARY ART REVIEW
between times, giving new meaning toHistory’s landmarks. ‘Rocket’ is aninstallation, part of the Hijack Creationseries, which was made in 3 phases :creation-destruction-reinterpretation.First the creation of a large map, acollage of daguerreotypes cast intoresin, then the destruction of this pieceLand scape Edouard BurgeatCONTEMPORARY ART REVIEWPress - the fall
by a world war 2 rocket recorded as a shortfilm, then finally the display of theinstallation as the result of this process. Itdenunciates the destruction of ancientartifact experienced lately in the cultural warof the XXI century, and suggests a possiblere-creation from the dust, reinterpretingremaining physical witnesses of memorywith a contemporary language.Edouard Burgeat Land scapeCONTEMPORARY ART REVIEWPress - A century between us
, 38x42, 2010Is important for you that the viewerselaborate personal interpretations?Or you prefer that your audienceresponds as more exactly as possibleto your initial idea?I think it is important to let the viewer havea freedom of interpretation & perceive thepiece as he wishes. On the other hand allmy pieces are oriented towards my initialLand scape Edouard BurgeatCONTEMPORARY ART REVIEW
idea or critic, and I believe that the viewerif he takes the time to dig into the piecewould inevitably connect to the originalidea, but all my works are very much opento interpretations.When juxtaposing your pictures youanalyze on the evolution of ourmodern world and you seem to conveyan effective socio political criticismconcerning our materialisticallyEdouard Burgeat Land scapeCONTEMPORARY ART REVIEW
driven culture that saturate ourcontemporary age. But while artistsfrom the contemporary scene, as AiWeiWei or more recently JenniferLinton, use to express open sociopolitical criticism in their works, youseem more interested to hint thedirection, inviting the viewers to aprocess of self-reflection that maylead to subvert a variety of usual,almost stereotyped culturalcategories. Do you consider that yourworks could be considered political ina certain sense or did you seek tomaintain a more neutral approach?And in particular, what could be inyour opinion the role that an artistcould play in the contemporarysociety?In a certain extent yes my work has apolitical twist, our consummeristcontemporary society is calling for it,however it isn’t obvious and one has to digto understand the real sense of the pieces.During the past couple of years, my workhas become increasingly installation based,using spaces to create environmentscharged with historical or political meaningwhere the viewer is confronted with thepast dynamically and invited to questionhistory beyond the lense of personal ornational identity. An active experience ofthe artwork, con- fronting the viewer withfacts & mouvements in time such as therepetition of humans mistakes through theyears and the effect of capitalism &globalisation on contemporary life.I think an artist has his responsability in thesociety and in that extent one can chooseto make a point about it or not, look atMatisse for example who went through bothworld wars yet never created politicallyengaged paintings.Over your career you have exhibited inseveral occasions, including yourscape Edouard BurgeatCONTEMPORARY ART REVIEWLand
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Land scape Edouard BurgeatCONTEMPORARY ART REVIEW
Edouard Burgeat Land scapeCONTEMPORARY ART REVIEWrecent solo La tete dans les nuages at theNeu West Berlin. One of the hallmarks ofyour work is the capability to create adirect involve- ment with the viewers, whoare urged to evolve from a condition ofmere spectatorship.So before leaving this conversation wewould like to pose a question about thenature of the relationship of your art withyour audi- ence. Do you consider the issueof audience reception as being a crucialcomponent of your decision-makingprocess, in terms of what type of languageis used in a particular context?Of course audience reception is really important,and I think it’s the same for every artist, creationis made to be criticised and that only works withan audience. My work is an invitation to createnew narratives, a fascination for new ways ofinterpreting the commonly known history insteadof taking it for granted and embracing it withoutquestioning or reflecting on it. Therefore I alwaysadapt my language with the context to make it asclose as possible to the reality.Thanks a lot for your time and for sharingyour thoughts, Edouard. Finally, would youlike to tell us read- ers something aboutyour future projects? How do you see yourwork evolving?At the moment I am working on few projects forthe future: - an exhibition taking the form of aninstallation with parts of the Berlin Wall, followingthe Hijack Creation series, with the 3 phases :creation-destruction-reinterpretation made live byperformer during the show - I am working on twofilms that I have shot last month in India - Nextmonth I am going in Marrocco for an art recidencyand in september in Beirut for another one - I amalso working on new Shelther for Memories,human size, that will be displayed on top of treesin for- ests;
my self. When I started using sounds, it wasmore of a tool of documentation, in order tohighlight real life episodes and bring themalmost as is into the art scene. These couldbe intimate conversation took place in thepublic transport system, or a bunch ofconstruction workers singing about theirlove. The recordings ended up woven ininstallation.Over time, and with much greater focussince starting my MFA studies, I wasattracted to a more abstract interpretationand expression of what I hear. My currentsworks are still predominantly triggered bythe surroundings - I find myself forced toreact at or after the fact in way ofreconstruction. My first and main role isdocumentation.These documents will then constitute theevidences and voices of the events I wasattracted to and found some interest in. Theevents or details might be trivial, but for methey are a major discovery. These are piecesof reality that are lying unused beyond theirbasic functionality, but the way theycrossed my path arouse something withinme. Usually these moments will have a selfexplanatory narrative that will tell its storyat the moment of revelation. Most of thetimes these will be routine urban scenes.The relevant materials are finding their wayinto my recording devices, and from thereAn artist's statementince the very beginning of mylife as an artist I was attracted Sto sound as a mean to expressCONTEMPORARY ART REVIEWAto my archive on my mac. The sounds andvoices are usually a realistic documentationof an event, but at times might be premanipulated if I know in advance what Iintend to do with them. However, these arenot ready-mades, which will find the way intomy final composition as is. Their combinationat this point seems random. At this stagethese are nothing more than coded symbolsthat function as links to an experience, ormemory.In my studio, I will listen to the archivematerials, and mark the points from which Ican start my journey. The sounds and visionsthat were recorded and archived will gothrough a series of manipulations andinterpretations, to create meaningfulsentences. The abstract and chaotic isgathering a form, a meaning, and usually willbe directed into a semantic field that is anecho to the basic experience I was triggeredby.These compositions, creations, are filtersthrough which I can express my views aboutmy experiences, and the processes we aregoing through. These sounds are tellingsomething about the world, they have anopinion, they might agree or protest, andeventually they are transforming a realityinto an alternate one. Through the sound, Isale to fictitious locations, to emotionalexperiences that portraits the places I livedin for several minutes.drian RegnierLand scape
Visual artist Adrian Regnier's work rejectsany conventional classifications and ismarked with freedom as well as rigorousformalism, when encapsulating a carefulattention to composition and balance. Inhis La Fuga series that we'll be discussingin the following pages, he effectivelychallenges the relationship between theviewers' perceptual parameters and theircultural substratum to induce them toelaborate personal associations, offeringthem a multilayered aesthetic experience.One of the most impressive aspects ofRegnier's work is is the way it accomplishesthe difficult task of unveiling theubiquitous connections between microcosmand macrocosm: we are very pleased tointroduce our readers to his stimulatingand multifaceted artistic production.Hello Adrian and welcome to LandEscape:before starting to elaborate about yourartistic production would you like to tell ussomething about your background? Youhave a solid formal training and yougraduated in the field of Visual Arts fromthe National School of Sculpture, Paintingand Engraving, \"La Esmeralda\". How didthis experience influence your evolution asan artist? And in particular, how does yourculturalHello, thank you for having me, it is a great honorto be featured in LandEscape. Let’s go!I enrolled into “La Esmeralda” on 2008, fresh outof high school; I was a very different person backthen. Up until then, I had a very integralupbringing: strong academic and cientificinfluences, surroundings and practices, as well asdeep fascinations with all things related todrawing, video games, scienc fiction and politicalhistory. When it came to choosing paths, it was avery, very close call between art school andpursuing a career in physics – utlimatelly, my lifelong connection with drawing proved morealluring. Even then, my relationship with art andculture was the polar opposite of what it is now;and art school was “kind” enough to show me theerror of my ways. You see, without prior relationsto the art world, I based my early artisticendeavors on the mere refining of a very specificset of drawing skills. As I saw it then, “success asan artist” boiled down to the emotionallyequivalent of “being the very best at what therewas”; coupled with La Esmeralda’s everaspirational tendencies and predatoryatmosphere, I spent the first two years of artschool in this perfect miasma of a storm.A disclaimer here: I intend not to sound bitter, butrather to objectively describe the specific way inwhich Mexico’s cultural system has functionedsince I first dipped my feet into it. You see,Mexico (as many other “ ’developed’ countries indevelopment”) is in a constant state of culturalimplosion: over-centralization, cuts in funding anda general misconception of the inter-connectivityof things have constructed a cultural panoramathat is not only comprised by vague niches andthe fleeting occupants that come to fill them, butthat is also very fickle to the broader, moreuniversal currents to which it is a subset to. Insum, I see it as a fleeting imaginary of socialupheaval with very little impact in general: akinAdrian RegnierAn interview by Katherine Williams, curatorand Josh Ryders, [email protected] scapeCONTEMPORARY ART REVIEWLandEscape meets