currently:

Hosted in Athens

22-29 May 2012

The Association of Greek Archaeologists, Ermou 136 Athens, (GR)

BEST-OFF/Vlorë, Blightman Bofiliou/Berlin, Daily Lazy Projects, Athens, Expograph/Vienna, Front Views/Berlin, GRUPPE UNO WIEN/Vienna, Les Editions Horror Vacui/Paris, Lykakis Karamanolis/Athens, MUD OFFICE/Paris, Nauru Project/Online, Niemandsland/Vienna, P O S T/Athens, SKOUZE3/Athens, Spazi Docili/Florence, collective,Trace/London, Under Construction/Athens, XYZ/Bratislava, Versaweiss/Athens, 3 137/Athens

Graphology

10 May – 30 June 2012

The Drawing Room London, UK

participing artists:

William Anastasi, Carl Andre, Fiona Banner, Anna Barham, Pierre Bismuth, Juliana Borinski, Marcel Broodthaers, Stefan Brüggeman, Tony Conrad, Mekhitar Garabedian, Dean Hughes, Wim Janssen, Peter Kubelka, Anthony McCall, László Moholy-Nagy, Brian O’Doherty, Man Ray, Paul Sharits, Thomas Zummer

Article Timeout London

Article II

Pierre Bismuth, "Following the Right Hand of Sigmund Freud," 2009. 16mm film, 01:30 min, silent.*

Graphology considers the range of graphic devices, used by artists working across the disciplines of film, photography, painting and sculpture, to mediate direct experience.  The scope of the exhibition reaches back to the beginning of the 20th century and includes artists working today with techniques that translate direct experience into different forms of systematised representation, between the trace and the sign, between writing and drawing.

The exhibition focuses on the human hand as a living seismograph of inner life, but with extra attention to the ‘mechanical unconscious of the machine’ which imposes itself on the human eye. It will consider how graphic techniques of reproduction start to live their own lives.

Automatic writing spans a long tradition, with an obvious strong moment during the heyday of Surrealism, as illustrated by the image of the typewriter on the cover of the first issue of ‘La Révolution Surréaliste’ (1924). This is typical of the range of techniques that have been employed by artists and writers to visualise their ideas, allowing for a particular tension between the hand and the medium, between automatism and automation.  This exhibition investigates the ways in which drawing intersects with typography, photography, film and computer-graphics.

The exhibition explores the link between drawing and typography through works that use a diverse range of methodologies, from the type-written concrete poetry works produced by Carl Andre in the 1970s to work being produced today such as Fiona Banner’s ‘Mother’, an interactive work that includes a reconstructed typewriter and a ream of paper.  The work references both the roots of language and the frustrations associated with the short-comings of language. Dean Hughes’ plinth-based work consists of strewn staples that, variously distorted through use and in disarray, begin to resemble a cryptic language. Stefan Brüggemann’s ‘Make See’ (2009) is a work consisting of neon letters that are sprayed black each time they are exhibited, leading to the gradual obliteration of legibility. In works that range from hand-woven carpets to wall-drawings, Mekhitar Garabedian adopts his half-learned native Armenian language to collapse the distinction between legible words and image.

The parallels between photography and drawing are examined through the work of Pierre Bismuth and William Anastasi.   Bismuth has made a series of ‘Left Hand Tracing’ works which fuse still or moving images of famous people with furiously scribbled lines.  Graphology will include the 16mm film, ‘Following the Right Hand of Sigmund Freud’ (2009) in which these scribbled lines, which follow the movements of Freud’s hand, are drawn with light, a reference to the origins of photography.   William Anastasis’s ‘Pocket Drawings’, which are a continuation of the ‘Subway Drawings’ he began in 1964, are presented as a series of modular, framed scribbles that are produced in the artists’ pocket (a makeshift darkroom) as he takes a walk of a pre-determined duration.

The employment of electronic mediation and of generative procedures is explored through the contemporary work of Anna Barham and Wim Janssen, alongside work produced in the 60s by the Structuralist film-maker Paul Sharits and the artist and theorist Brian O’Doherty. O’Doherty’s ‘Boxed Duchamp’, (1967-8) is part of a suite of works derived from mechanically produced ‘cardiogram drawings’ of Duchamp’s heartbeat. 

The durational unfolding of drawing, its linearity and capacity for rhythm, tie it inextricably to film. Anthony McCall’s ‘Two Pencil Durations’ (1974) is generated through the setting of a simple task. The simplicity of means (household paint applied to cheap paper) used by Tony Conrad to produce ‘Yellow Movie, 1/12-13/73’ (1973) generates a movie that unfolds imperceptibly slowly and indefinitely.  The presentation of Man Ray’s ‘La retour à la raison’ (1923) as a strip of film that is displayed on a light box brings it back to its original drawn condition.

Graphology is developed in collaboration with Edwin Carels (curator, M HKA, Antwerp and researcher in the arts KASK/Hogent) from a series of exhibitions that took place at M HKA, Antwerp, Belgium, during 2011.

recently:

1+1=0

Galerie 22,48 qm

30, rue des Envierges
75020 Paris
M: Pyrénées

Opening hours

Wednesday – Saturday, 2 PM – 7 P.M. or by appointment

www.2248m2.org

Article Paris Art

The exhibition "1 + 1 = 0" originates from a hybrid work, whose nature is described by a paradoxical equivalence. 
This ambiguous object – which has been realised in unlimited edition since 2009 – gradually reveals itself as a knot of meanings, which activates a critical analysis of the European single currency and of the complex economical framework from which it emerges. By cutting the nickel silver borders of two one-euro coins and by joining them in a configuration where two spheres get into contact, Juliana Borinski obtains an apparently harmless but striking product. 
This permutation interferes with the modes of functioning of money, as it rectifies its function and redirects its circulation. The metal coin - understood as a reserve of value which can be accumulated while keeping its fluidity – migrates from a status of "mean of exchange" to a status of "luxury good" and "design object". 
The illegal operation that initiates "1 + 1 = 0" breaks the symbolic integrity of the one-euro coin, disconnecting the equivalence between attributed value and exchange value. Borinski distils in the structure of this transient object a third sphere of value that doesn't rest anymore on the system of trust underpinning the abstraction of money. This work appears as a real "billon", taking into account a declared value that exceeds the amount of metal price, production costs and the intellectual property rights. 
Conceived as an action of diversion, "1 + 1 = 0" deeply integrates Borinski's artistic production as far as it shares with all her works an iconoclastic attitude that she applies, in this particular case, to the prohibition of destroying money to extract metal. This aggression of one-euro coins brings to the foreground an enigmatic artistic value, proceeding from the dissolution of the monetary value. 
By creating confusion between the place of exhibition and the place of commercial transition, this proposal articulates a new reflection on the adoption of abstract currency as the intellectual bases of exchange in the permanent crisis situation.

SONIC ACTS - TRAVELLING TIME

Sonic Acts Festival: 23 to 26 February 2012 Exhibition: till15 April 2012, NIMk, Amsterdam (NL)

Time is a complex and ambiguous concept. Relativity theorists and quantum mechanics have tinkered with the seemingly unambiguous concept of time since the beginning of the previous century. Art, film and music make abstract notions of time tangible and comprehensible, and manipulate how we experience it. The ongoing development and implementation of technology constantly challenge, change and undermine our perception of time. Communication networks function at the speed of light, and computers process data in real time, without human intervention. The rapid advances in technology are creating a gap between ‘machine time’ and ‘human time’. Travelling Time is a quest to reveal the significance and the intricacies of time and how we experience it.

Travelling Time examines the need for speed when performing improvised music, and the unavoidable amount of time that is spent programming or constructing an artwork, as well as time travel and how art can be a vehicle for imaginary journeys. The four-day festival brims with performances, lectures, exhibitions and presentations that intensify the experience of time.

participing artists:

JULIANA BORINSKI / MARK FELL / JOE GILMORE /  PHILIP LACHENMANN / JULIEN MAIRE / TAO SAMBOLEC / PAUL SHARITS

"du monde clos à l'univers infini"

opening 27.01.2012

6:30 p.m.

quartier, centre d'art contemporain de quimper
10, esplanade François Mitterrand
29000 Quimper
www.le-quartier.net

curator: Marc Bembekoff

exhibition 28.01.2012 - 25.03.2012

participing artists:

Zbynek BaladrÁn, Rosa Barba, Juliana Borinski, Nicolas Cilins, Bruce Conner, Julien Crépieux,
Raphaël Hefti, Runo Lagomarsino, Elizabeth McAlpine, Vesna Pavlovic, Steven Pippin, Florian & Michaël Quistrebert, Paul Sharits

Words, Words, Words!

curated by Sozita Goudouna

Out Of The Box Intermedia

Exhibition: 18-29 of January, 2012
Opening on the 18th of January 2012 | 20.00

BETON7 Athens (GR)

Isidore Isou, Maurice Lemaitre,
Gilles Wollman, Marc' O, Jean-Luc Godard, Jean Cocteau, Guy Debord, Dwarf Valaoritis, Irene Gonou, Eleni Oikonomou & George Papadopoulos, Panagiotis Papafragas, Pentzikis, Christina Sgouromyti, Juliana Borinski, Tamarin Norwood. Performance from the opening dance FingerSix (Wisdom Mavragani, Tadeu Liesenfeld, Drosos Scotland)

Biography

Juliana Borinski est une artiste basée à Paris, et travaille dans le champs de la photographie et de la vidéo. Elle développe des installations à l'intersection de l'iconographie et de l'iconoclasme.

Ses travaux intègrent souvent des techniques et matériaux qui construisent des liaisons qui convergent avec la théorie du déconstructivisme. Se positionnant en regard de la complexité technologique contemporaine, ils évoquent des expériences sensibles: la contemplation de phénomènes abstraits, qui questionnent profondément la légitimité de l'interface, par sa déconstruction et par conséquent l'absence de quelque chose dans la visée originelle du média.

Ses travaux se proposent comme des traducteurs imparfaits du réel, qui ne s'attachent pas seulement à remettre en cause son fonctionnement et son esthétique potentielle, mais qui prolongent la question du média comme interface.

Son oeuvre a ÈtÈ montrÈe rÈcemment dans diffÈrents ÈvÈnements artistiques Graphology Chapter # 4, Muhka, Belgique, IFFR Rotterdam, Huis Sonneveld National Architecture Institute (NAI) (exposition personelle) the Netherlands, Tantamount, Kanazawa, Japan,ÝISEA 2010, MKK Dortmund, Almost Cinema, Voorhuit Gent, Belgium, DisseminaÁ“o IV, Palýcio das Artes, Belo Horizonte, Brazil, WRO biennal for media art, Wroclaw,ÝPoland. Zur Zeit,ÝK¸nstler Palais Thurn & Taxis, Bregenz, Austria,ÝTransterritoriale Generation,ÝPaÁo das Artes, S“o Paulo, Brazil,ÝBorderline Behaviour, TENT, IFFR 2007, Rotterdam,ÝExpanded Media, 20th Stuttgarter Filmwinter,ÝW¸rtembergischer Kunstverein, Stuttgart,ÝGermany ou AutopsiaÝandPerforming Media pendant Art Cologne 2006 et 2007.

Elle a été nominée pour différents prix, notamment le Karl Schmitt-Rottluff bourse pour des talents artistique exceptionnelles (DE) 2012, Time is Light Award (DE) 2011, Tiger Award, Rotterdam 2011 & 2007 (NL), Aide à la Création, DRAC Ile de France (FR) 2011, BM.Mediale, Begheim (DE) 2008, Media in Space, Stuttgart (DE) 2008 et Liedts-Messen Foundation Award in collaboration with ZKM (DE), Gent (B) 2009 & 2012 et WRO media art biennal (PL) 2009.

Née en 1979 à Rio de Janeiro, Brésil, elle a étudié à l'academy of Media Art Cologne (KHM) en Allemagne où elle a obtenu son diplôme avec mention en 2007. Entre 2004 et 2005, elle a étudié à la Villa Arson, à Nice. Depuis 2011 elle enseigne à academie royale (KASK) de Gand (B) et réside actuellement à la Cité Internationale des Arts Paris (F).

 

Juliana Borinski is a Paris based visual artist, working in the field of photography, videography and installation experimenting the conjunction between iconography and iconoclasm.

Often fundamental techniques and materials are used to build liaisons that converge with the theory of deconstructivism. Juxtaposed with the contemporary technological complexity, they evoke sensitive experiences: the contemplation of phenomena or abstract images, which deeply question the legitimacy of the interface, due to their deconstruction and consequently absence of something in the original means of the media.

Not only do these works propose to be inefficiently translators of the "real" that not only focus on the original role of media and its aesthetic potential, they push the question of the media as an interface much further.

Her work was recently exhibited in contemporary art events such as Graphology Chapter # 4, Muhka, Belgium, IFFR Rotterdam, Huis Sonneveld National Architecture Institue (NAI) (solo show) the Netherlands, Tantamount, Kanazawa, Japan, ISEA 2010, MKK Dortmund, Almost Cinema, Voorhuit Gent, Belgium, DisseminaÁao IV, Palacio das Artes, Belo Horizonte, Brazil, WRO biennal for media art, Wroclaw, Poland. Zur Zeit, K¸nstler Palais Thurn & Taxis, Bregenz, Austria, Transterritoriale Generation, PaÁo das Artes, S“o Paulo, Brazil, Borderline Behaviour, TENT, IFFR 2007, Rotterdam, Expanded Media, 20th Stuttgarter Filmwinter, W¸rtembergischer Kunstverein, Stuttgart, Germany or Autopsia and Performing Media during the Art Cologne 2006 and 2007.

She has been nominated for different art prices, notably the Karl Schmitt-Rottluff grant for exceptional artistic talent 2012 (DE), Time is Light Award (DE) 2011, Tiger Award, Rotterdam 2011 & 2007 (NL), Aide à la Création, DRAC Ile de France 2011 (FR), BM.Mediale, Begheim (DE) 2008, Media in Space, WKV Stuttgart (DE) 2008, or Liedts-Messen Foundation Award in collaboration with ZKM (DE), Gent (B) 2008 & 2012 and WRO media art biennal (PL) 2009.

Born in Rio de Janeiro, Brazil in 1979, she studied at the Academy of Media Art Cologne (KHM) in Germany, where she graduated in 2007 with a MFA in audio-visual media. Between 2004 and 2005 she studied at the Villa Arson, art school in Nice, France. Since 2011 she teaches at the royal academy of arts (KASK) in Ghent (B) and is artist in residence at the Cité Internationale des Arts in Paris (F).

Sine (digital / analog converter)

Sine (digital / analog converter) Juliana Borinski & Pierre-Laurent Cassière, 2006

Installation / cinéma élargi, dimensions variables,
(bande vidéo digibeta, projecteur de théatre, ventilateur, microphone de contact, système audio)

# 3 + 1

© courtesy les artistes

Une bande de vidéo numérique (DigiBeta), activée par un ventilateur, vole dans le cône de lumière d'un projecteur de théatre.
Son ombre dessine au mur un mouvement chaotique et fluide. Les vibrations de ce ruban en mouvement sont captées par un microphone de contact puis amplifiées et diffusées en direct.

Sine (digital / analog converter) Juliana Borinski & Pierre-Laurent Cassière, 2006

Expanded cinema installation, variable dimensions
(Digibeta video tape, projector, fan, contact microphone, sound system)

# 3 + 1

© courtesy by the artists

 

A strip of digital videotape, activated by a fan, flies and snakes a theatre spotlight's
cone of light. A sinuous, undulating shadow dances randomly on the wall. A contact
microphone captures the videotape's vibrations which are then amplified and played into the room.

Extracted from its cassette, the videotape exists for itself.
Data become elusive. Discrete information is swallowed by continuous movement
autonomously generating picture and sound. The videotape's concrete material is torn out its functional container and oriented to conjure a cinematic and dreamlike entity. This entity does not evolve; it varies in a permanent
indecision, never repeating itself. Linear time, an abstract phantasmagoria,
is formed by ephemeral movements. This new entity banishes the recording from this infinite and
unpredictable projection. There are no special effects. The flying videotape crosses the space
over the spectators' heads. The visible devices are part of the work. The
screen initially shows the videotape's opaque shadow moving in a frame.
The videotape's metallic onyx skin also reflects arcs and slivers of light that
cut away the frame and allow the work to illuminate the walls, ground and
ceiling of the exhibition space. Cinema expands beyond the frame as a strip of digital videotape
explores its essence.

Sine reco(r)ded

Sine reco(r)ded

Juliana Borinski & Pierre-Laurent Cassière
Vidéo sonore noir et blanc sur DVD, 3'', 2008

# 5 + 1

© courtesy les artistes

Sine reco(r)ded est une animation vidéo réalisée à partir de photographies numériques de l'écran de projection de l'installation Sine (digital/analog converter). Du fait de la vitesse de prise de vue et du montage à la fréquence vidéo basique de 25 images par seconde, les mouvements originels de la bande volante et de son ombre sont considérablement accélérés et saccadés. Le montage linéaire alterne images positives et négatives, créant ainsi un effet de flicker. Les images positives sont montées dans leur ordre chronologique, les négatifs sont montés à l'envers et intercalés. Au milieu de la vidéo le montage d'ensemble est inversé, rejoué à l'envers, afin que l'image finale corresponde à la première, permettant une lecture en boucle de l'animation. La bande son est composée de clicks numériques synchronisés avec les images et alternant entre les deux voix stéréophoniques.

Sine reco(r)ded

Juliana Borinski & Pierre-Laurent Cassière
Black and white video with sound on DVD, 3'', 2008

# 5 + 1

© courtesy by the artists

Sine reco(r)ded is a video animation made of more than a thousand digital photographs from the projection of the expanded cinema installation Sine (digital/analog converter). According to the speed of the photo camera the real movement of the flying tape is considerably accelerated by the animation of the video, which is built at the basic digital video frame rate of 25 pictures per second.The linear montage alternates positives and negatives photographs, creating a flicker effect. When the positives images are firstly played in their chronological order, the negatives are time reversed. At the half of the video all is inverted, as if the first part was playing backward, so the final frame correstpnds to the first one, allowing a playback in loop. The sound is made of digital clicks synchronized with pictures and alternating between left and right channels of the stereophonic soundtrack.

Photogram / Rayogramme de Sine reco(r)ded, © Borinski / Cassière 2008

Camera Obscura

Camera Obscura / 2008

Camera Obscura / 2008

site specific installation at the Art Center Clans, France

Camera Obscura is the transformation , the "customization" of the main space
of the residency atelier expérimental in Clans, situated on the flank of a mountain into a black chamber.
The wall faced to the landscape receives the projection (returned up side down) thanks to an
optic lense placed into the window shutter of the house for the glance of the
spectacle of the animated projection of the landscape as an experience of a cinema of the real..

 

H.D.T.V

H.D.T.V

installation cinéma élargi

H.D.T.V. est une animation d'air chaud comme matière principal pour une projection infini.
le phenomène de mirage est arrangé pour une mise en scène critique du spectale quotidien d'une société mediatisé
par le home cinéma par le simple manque d'une image lui même.

H.D.T.V

expanded cinema installation

H.D.T.V. is an animation of hot air as source material for an infinite projection
Mirage and the optical phenomena of hot air is arranged to produce a critical approach of
the over meditiazed spectacle of home cinema by the simple absence of an image itself..

 

CAMERA BURN

 

© courtesy l'artiste avec le soutiens du Timelab, Gand

L'oeuvre CAMERA BURN est une simple modification d'un mode d'enregistrement digital afin de représenter un processus d'auto-destruction faisant référence au fameux mensonge de Joseph Plateaux, au début du XIX ème siècle, sur ses expériences avec la lumière du soleil et son prétendu aveuglement consécutif. L'oeuvre CAMERA BURN fonctionne par la combinaison d'une installation architecturale qui dirige la lumière de manière à mettre hors d'action une caméra digitale par la destruction de sa lentille optique. Au fur et à mesure qu'elle enregistre, la lentille optique sera exposée directement à la lumière du soleil jusqu'à ce que les parties techniques de la puce photo-sensible soient brûlées par les forces naturelles. La caméra enregistrera ce processus de sa propre mort et l'image sera projetée simultanément. Il n'en reste que cet enregistrement vidéo- et les reliques d'un instrument optique inutile.

 

© courtesy of the artist with the kindly support by Timelab Ghent (B)

The art work CAMERA BURN consists in a simple modification of a digital recording device with the aim of a representative self destroying process as a tribute to the most famous lie about Joseph Plateaus experiences with sun light in the early XIXth century and his so-called related blindness..
The piece CAMERA BURN works through the combination of an architectural light directing device in order to disable the function, the optical lens, of a digital video camera. While recording the optical lens
will be exposure to direct sunlight until the technical parts of the light sensor chip will be burned by natural forces. The camera will be recording that process of its own death and the image will be projected in the mean time. What remains is the video recording - and the relic of a useless optical instrument.

model for reoriente lux

 

model for re-oriente lux / 2011

Sculpture en aluminium avec du savon liquide spécial
est. 30 cm x 40 cm / 2011
Ed. 2+1

© courtesy l'artiste et le soutiens du Musée de Sciences, Gand (B), Université Gand et Patricke Lamielle (CNRS Mulhouse)

La sculpture " Modèle pour lux re-orient(alis)ée" est un hommage à toute la connaissance de la lumière, de la vision et de la perception qui a fait son
entrée dans l'Europe de la Renaissance près de cinq cent ans après sa découverte par les cultures orientales, retard imputable à la traduction tardive
du livre Kitab-al-Manazir (1021) d'Alhazan traduit sous le titre "Thesaurus opticus" en 1572. La sculpture cache et dévoile en même temps ses qualités
optiques puisque ce n'est que par la participation active du spectateur qu'elle révèle sa magie optique. Une structure métallique soudée en deux
anneaux enserre un liquide savonneux temporairement figé et une bougie blanche brûle devant. En regardant à travers les lentilles temporaires de la
sculpture en direction de la bougie, sa flamme apparaît deux fois plus grande.

 

model for re-oriente lux / 2011

Aluminium sculpture with special soap liquid / est. 30 cm x 40 cm / 2011
# 2+1

© courtesy by the artist with the kindly support by the Museum of Science, University of sciences Ghent (B) and Patrick Lamielle (CNRS Mulhouse)

The sculpture model for re-oriente lux is a tribute to all optical knowledge of light, vision and perception that was entering Europe in the Renaissance about 500 years after the eastern cultures discoveries. This sculpture shows and hides its optical quality in the same time as only by the active observation it reveals its magic of optics. A metal structure is welded into two rings that embeds a temporary resistant soap liquid a white candle is burning in front of it. Looking through the sculptures temporary lenses towards the burning candle, the candle light appears twice times enlarged.

light spectrum

 

light spectrum

projecteur dia/ filtre de lumière/ afiches sérigraphiques avec de l'incre flurescent / lumière
film structurel/ dimensions variables
# 3+1

La chromatique des couleurs est difficile à transmettre dans la mesure où, comme vous le savez, elle ne veut peut seulement être lue maiselle veut être effectuée/réalisée/faite" J. v W. Goethe

Tandis que Newton expérimentait avec un prisme dans une chambre pour noir pour extraire d'un rayon de lumière toutes les couleurs qu'il contient, Goethe résistait profondément à ces expériences et se demandait vraiment: "la couleur n'appartient-elle pas au visage et n'apparaît-elle pas dans l'oeil?"
light spectrum est une installation cinématographique élargi qui déconstruit l'éclairage cinématographique, le réduit à ses plus purs éléments et met l'accent sur le conflit, depuis le début du XVII ème siècle, entre la lumière et la perception des couleurs.
Le mot "spectre" émerge de la première description qu'en fait Goethe dans son livre "La théorie des couleurs" et cette installation est le detour de la couleur blanche la plus pure, comme il l'a appelé.
Dans la production cinématographique la lumière est sert à produire des fictions pour accroître le pouvoir d'illusion du cinéma. L'installation "light spectrum" plonge le spectateur dans une projection d'éclairage cinématographique. La couleur filtre dans toutes les tons mais rien (pas d'image) n'est projeté. La lumière pure dans tout le spectre se présente, d'un mur à l'autre. Ce système de projection déduit soulève des questions autour de la vision et de la perception des couleurs en faisant réfléchir à notre compréhension des effets de l'éclairage artificiel au cinéma. Cette installation minimale est un simple arrangement pour faire ressentir le pouvoir de la lumière et reprendre la réflexion sur sa fonction émotionnelle et sa signification.

 

light spectrum / 2011

slide projectors / light filters / silk screen prints with fluroscent ink / spot light
structural film installation/ variable dimensions
# 3+1

"The chromatics of color is difficult to transmit, because it wants, as you know not only to be read, it wants to be done" J. v. W. Goethe

While Newton was experimenting with a prism in a dark chamber to extract a ray of light that contains all colors,
Goethe resisted deeply against these experiments and asked authentically: doesn't the color belongs to the face and arises in the eye?

light spectrum is an expanded cinema installation that deconstructs cinematographic lightning in its purest elements and focusses in the conflict of light and color perception since the early 17th Century. As the word spectrum emerge from its first description of the after image by J.W. von Goethe in the book Theory of Colors, this installation is the reversion of the purest color, as he named it from "white" into all its ratio. In cinematographic production light is to create fake realities in order to increase its illusionistic power. The installation light spectrum surrounds the spectator with a projection of cinematographic lightning. Color filters in all their range, nothing more or less is projected. Pure light in all its spectrum is present, from one wall to the other. This reduced projection system reveals questions about vision and perception of colors towards our understanding of the cinematographic effect of artificial lightning. This installation is a pure reduction and a simple arrangement to feel the power of light and consider its emotional functionality and meaning new.

Surfaces of Plateau (1,001 pictures) / 2010-2012

projet de recherche Surfaces of Plateau (1,001 pictures), en cours

research project Surfaces of Plateau (1,001 pictures), ongoing

 

Surfaces of Plateau (1,001 pictures) / The Dark Mirror

projet de recherche Surfaces of Plateau (1,001 pictures), en cours

The Dark Mirror °0001-°0090
cinéma structurel / 2011
90 cadres diapositives preparés, chaque comporte 24 images
d'un 35mm métrage trouvé #1

© courtesy l'artiste avec le soutiens du timelab Gand (B)

rupture de la question fondamentale de la transformation de la photographie vers le cinéma:

la possibilité de capturer le temps et reproduire un mouvement fluide est rendu impossible
par le simple geste de superimposer 24 images les unes sur les autres dans l'œuvre The Dark Mirror.

 

research project Surfaces of Plateau (1,001 pictures), ongoing

 

The Dark Mirror °0001-°0090
structural film / 2011
costumized slide frames, each of them filled with 24 film stills
of 35mm Found Footage # 1

© courtesy of the artist with the kindly support by timelab Ghent (B)

rupture with the fundamental question that raised with
the transformation from photography to film:

the possibility to capture time and reproduce a fluent movement
is disabled by the simple gesture of superimposing 24 image frames,
one on the top of each other in the art work The Dark Mirror.

Surfaces of Plateau (1,001 pictures) / Photograms

 

projet de recherche Surfaces of Plateau (1,001 pictures), en cours

 

© courtesy by the artist with the kindly support by Timelab & KASK Ghent

research project Surfaces of Plateau (1,001 pictures), ongoing

The image in all its states On the work of Juliana Borinski Pieter Van Bogaert Juliana Borinski has a thing about images. That's what she's trained for. She has a thing about movement. That's what her images aim to show. She has a thing about media. That's what images and movement are made with. She uses media not – as is most often the case – to capture images, but – she is after all an artist – to set them free. She is interested in the way media move; the way they try to escape the label that attaches to them. In 'LCD' she places liquid crystals, like those in our television screens, on a slide. She projects them until they crystallize – which is what they did for the first silver nitrate photographs at the beginning of the nineteenth century. She prints them on copper plates – which is what they did for the first photogravures in the second half of that century. She prints them on paper – just as the first printed illustrations were made. It was her unorthodox work with liquid crystals that led her to the 'Institut de chimie des surfaces et interfaces' in Mulhouse, where she found and made images of surfaces which played a role in her subsequent work. In 'Surfaces of Plateau (1,001 pictures)', for example. Her research into the Belgian scientist Joseph Plateau (1801-1883), who as well as doing pioneering work in the optical sciences also carried out important research into surface tension, brought her to Ghent. It seems to be an inevitable whim of fate for this media artist and researcher (or perhaps 'media archaeologist' is a better word). Plateau was one of the originators of the physical principles that led to the creation of cinema at the end of the nineteenth century. His statue stood at the entrance to the Film Museum in Brussels for many years and the major Belgian film prizes were named after him. In his archive, which is preserved at the University of Ghent, Juliana Borinski found drawings and formulae for instruments and solutions. She is reconstructing them during her residency at Timelab. Her recent research in Mulhouse and Ghent raises a number of questions about the image. These questions are as unexpected as they are fundamental. 1. First question: "What is an image?" It is a deceptively simple question. The answer isn't. There are probably as many answers as there are observers. In the case of Juliana Borinski the first answer seems to be: "not something that is fixed". The image moves. It is free and you have to capture it to see it. The image is wild and Juliana Borinski is a hunter. It helps if there is wild streak in the hunter too. A good hunter is not afraid of straying off the beaten track. That is how you learn the tricks of the trade. Juliana Borinski is a poacher. She looks for the terrain's back roads, for the profession's shortcuts. She doesn't shy away from turning the projection round and (in 'LCD') producing a negative of an image that doesn't have a negative. She freed up a digital tape (in 'Sine – digital/analog converter', her collaboration with Pierre-Laurent Cassière) to capture it again as a film that is no longer a film; a kinetic sculpture. She made living lenses from liquid soap (in 'Surfaces of Plateau'). Like a hunter who puts out game for shooting, she liberates images so as to be better able to entrap them afterwards. In her case, the cycle of putting out-hunting-trophy becomes experimenting-understanding-presenting. The negative, the tape, the lens,… these are her images. Like a good hunter/poacher, Juliana Borinski takes a healthy interest in the mechanism of the image. She mixes digital and analogue techniques. She uses media from the pre- and post-cinema. She applies them to printing techniques that have their origins in the art of drawing and painting: engraving, etching and silk-screen printing. She changes the framework of images, techniques and media. She takes them out of their frame and places them in a new one – from a television screen to a slide mount; from a slide projector to a copper plate. She gives two-dimensional images a third dimension, which turns them into sculptures: 24 frames from a worn 35-mm copy of 'The Dark Mirror' pressed together give depth to the image; time (one second) becomes space (the depth of the layers of film). She sets her images free before capturing them again (and then freeing them once more). This mixing of techniques, images and traditions is embodied in 'Surfaces of Plateau (1,001 pictures)'. Borinski shares Plateau's archaeological interest in the science of the image. In his case, too, old and new media were intertwined. He made lenses of soap, just as Galileo Galilei had done a few centuries earlier. His moving images resemble those of Duchamp (or, more recently, Bram Vreven's), a good century later. The inspiration for the one serves as inspiration for the others. "An image is what we see". Perhaps that's a good answer to the first question. 2. "The image is what we see"? Still there are many things that are visible, which are seen, and yet we don't call them an image. Therefore, the answer to the first question is linked to the second: "What do we expect of an image?" We expect the image to tell us something. We want the image to interest us. We want a place in the image. And yet we scarcely look beyond the surface. That is what 'Surfaces of Plateau' is about: the surface, what is visible and what Juliana Borinski wants to look through. That was her main reason for going to Mulhouse: to study the surface and what is in it. She made 'In the Soul of Film' there. In that series of twelve photographs a nano-microscope zooms in on a thin layer of gold on a piece of film. A whole world becomes visible in the depth of the surface – two dimensions (think of the 24 frames of 'The Dark Mirror') become three. Each image passes over the surface. From the lens which registers it and the lens which projects it, over the face (surface) and the medium (interface) to the lens which captures it (the eye). It was his research into surfaces that Plateau eventually applied to his research into the optical lens. So as to be able to calculate the surface tension – with which Plateau laid the foundations for something now applied on a daily basis in architecture – he constructed strange objects with diverse forms. Soap provided the surface between the ribs of the sculptures – it provided the tension, the meaning. That is how Plateau laid the foundations for film. The first lens is a film: a gossamer-thin layer of soapsud. During her residency in Ghent, Juliana Borinski reconstructs those objects as sculptures. They tell us something about Plateau. She tests the perfect formula for a lens of soap on those sculptures. That tells us something about science. She makes images of the objects – 'Rayograms' - by placing them on photographic paper and exposing them to light, as Man Ray did in the 1930s. Stereo-images in Plateau's archive inspired her to make images with a digital scanner. It shows the depth of the surface – the sculpture's third dimension. The image is more than what we see. It is what we project, by looking. A look is never neutral. We only see what we want to see. We only look for what we want to find. The image is more than its surface, its face, its appearance. Every surface has a depth which shows more than there is to see. This becomes clear in the 'LCD' prints. Images of the slide with the liquid crystals, which is where it all started, were projected onto a copper plate. Printing such a plate is only possible because the image disappears and appears in the depth of the surface. Look at the prints of the copper plates on paper. There are twelve of them in total (that figure refers to the original radix, but also to the minimum number of images for the illusion of movement). They provide a picture of a projection. Or look at the colours of the soap bubbles on the scanner: red, yellow and blue. What we see is what we project: the colours of the scanner. Is that a good answer to the second question? "We expect of the image what we ourselves project onto it."? 3. There is also a third question. This one may be even tougher than the first two: "What does the image expect?" As we have already said, the image is a surface. It is an emergence. It is a face. The head, that still belongs to the body. The face, however, the surface, belongs to the realm of the image. It looks at us. It expects us to look back. To react. To act. To imagine. We can see a lot in an image of Juliana Borinski. Take another look at the twelve prints on paper of 'LCD'. I can see a face (LCD II), a landscape (LCD IV), a universe (LCD XII or VII). They are surfaces that come to life. It's in the depth of the print. It's in the process; from the projection to the copper plate. It's in the context, the artist, her references. It's in the title, the way we talk about it. The title of her latest project – 'Surfaces of Plateau (1,001 pictures)' – is a wonderful image, full of depth and expectation. It embodies a whole world. It begins, I repeat, with the surface. It is the surface that took her to the 'Institut de chimie des surfaces et interfaces' in Mulhouse. But of course it also has to do with Plateau's surface, with the Ghent scientist's experiments into the (surface)tension of liquid soap. It can also be read as the surface of the plateau; it gives this image the promise of geographic depth. The '1001' in the subtitle leads to a parallel world. It could suggest a reversal and extension of Deleuze and Guattari's book 'A Thousand Plateaus' in which those geographic depths under the surface play a major role (and in which Deleuze and Guattari wrote several wonderful pages about the face, the 'faciality', of the image). It is a reference to the binary code: the 0 and the 1. But it also reminds us of the infinite, the unbridled imagination of the stories of the 'One Thousand and One Nights'. It leads us to the Arabs who were so important to the historical development of optical science which – lest we forget – this project is about. And then of course there is also that one word, the 'rest', what remains: the image, the images, the pictures. That brings us back to the surface. The first word, the beginning of looking, of sense, of meaning. What does the image expect? A reaction. (Plateau lost his sight as the result of a misjudged reaction to the image). It expects us to look at what is visible. To reflect on it. To do something with it. To constantly look for answers to the first question: "What is an image?" Realize that an image is always more than its surface. That a reality lies in, under and behind the surface of the emergence. And that that reality only becomes visible if we expect something of the image. That expectation has a name: imagination. And that imagination is what Juliana Borinski's work is all about.

 

1+1=0 / 2009-2011

1+1=0 / 2009-2011

édition illimité

© courtesy l'artiste

1+1=0 interroge la création et la dissolution de la valeur. Par l'hybridation d'objets de valeur d'échange (des pièces de 1 €) et de produits de luxe (des bijoux), l'artiste crée une troisième sphère de valeur. La destruction de l'argent et de sa valeur associée, pour le plaisir d'en faire un bijoux, renvoie l'argent à un autre aspect de la valeur elle-même. Au sein du bijou lui-même se joue une compétition entre deux systèmes de valeur : valeur de l'argent, valeur de l'art. Tout aussi matériel qu'il soit, l'objet 1+1=0 reste un noeud de conflits et de continuité parmi tout ce que peut être la valeur.

1+1=0 / 2009-2011

unlimited edition

© courtesy of the artist

1+1=0, interrogates the creation and dissolution of value. By hybridizing exchange value objects (1euro coins) and luxury goods (jewels), the artist creates a third sphere of value. The destruction of money and of its related value, for the pleasure of turning it into a jewel, projects money on another side of value as such. Inside the very jewel is a competition between value systems: value of luxury, value of money, value of art. As objectual as it is, 1+1=0 remains a node of conflicts and continuities within whatever value can be.

untitled / 2011-2012 / courtesy of the artist

1+1=0 prélude / 2012

The history of sciences teaches us that zero -- a neutral number with respect to addition -- has been invented far later than arithmetics. Nowadays zero is a crucial element of arithmetics. It was first thought as the numerical origin of the -- infinite -- space of integers. The idea of making zero a finite limit number, after which everything starts all over again, came out even later. Today mathematicians denote by "cyclic groups" sets of numbers where addition does not make them progress towards an (unreachable) infinity. Space is distorted so that a finite value -- 2 here for instance -- and the origin -- 0 -- coincide. Integers fall from their linear representation to adopt a circular disposition: in girum imus... nocte?

Thus the seemingly paradoxical equation "1 + 1 = 0" is not fundamentally illogical, neither absurd. It just picks an unusual set of calculus rules, in which only two values -- 1 and 0 -- co-exist, instead of the implicit infinity of natural integers we are used to. It states the opposition between the atomicity of duality and the vacuum of infinity. When it comes to interpreting calculus, which is the point, the only limit is the exegete's imagination.

Through the question of the meaning of common algebraic signs, Juliana Borinski's work points to the very limits of our representations. To see how far it goes, let us leave the coin and money for a while, and let us focus on its metaphysical dual, that is time. As opposed to addition, that has long been thought as a forward process -- with no possible return to zero --, the motion of time, has long been thought -- and still is in some beliefs -- as a cyclical process. In our western world, since Newton and Kant, time has been conceived as running on an infinite line. Ever since, "the time [has been] out of joint" as Hamlet predicts at the end of first act, and one hardly sums up this conceptual revolution in a better way. Juliana Borinski's work points to the nature of the commonly accepted link between time and value, through their respective numerical representation. If our conception of time could leave its circular representation to embrace a linear representation, why couldn't we take our conception of money on the trip, but the other way around?

Behind the limits of numerical representation, Juliana Borinski's piece questions the notion of value. By choosing 1€ coins, the atoms of trade exchange value, the lowest level of social evaluation is reconsidered in depth. Indeed, "1 + 1 = 0" suggests to imagine a concept of exchange that would be independent of accumulation. It also questions the social legitimacy of the mathematical architecture underlying global trade. It breaks the equivalence of work, upon which modern societies are built, through a work of art, by using the vehicle of this equivalence -- money -- as a raw material. It echoes Nietzsche's ambition of creating new sets of social and moral values. By working on this Nietzschean project by questioning the economical mechanism of monetary and surplus creation, Juliana Borinski accomplishes a true tour de force.

(Samuel O. Rosnin)

Stadthimmelskörper

Stadthimmelskörper / 2010

video 7'16 min. / NTSC
# 3 + 1

"Absurd? Verortung?" (Paris, 8 SEPT 2010).

Juliana Borinski's "Stadthimmelskörper" is a video artwork shot in São Paulo, 2010. It proposes to approach the ecology of a contemporary cosmopolis on a generic level.
One or another; because what matters here is the vertical topography out of which fluxes of individuals are ruled, whoever may they be. "Lumpa-Fun Park für proletariat"1. At first glance, it is a due tribute to Thea Gabriele von Harbou and her husband Fritz Lang, a couple that created the film-novel Metropolis, therefore incarnating this word in the visual arts regime for generations. You know the plot:
an ounce of society is living in the skies, far from the handworking zombies staying
in the caves.

Over São Paulo are throning 1100 heliports, nodes of the capitalist transportation übernetwork. They do overfly the people, muddy pleba, "da heathen"2, condemned to the
traffic jams of criminality. Rulers must survolate the Real; they daily 'thriller' It. "Stadthimmelskörper" is also about reading the stars, attempting to read another future in the moving patterns of choppers daily chopping our sky, and their passengers, shopping our lives.

And the future being what it is, the camera remains static, recording machine, a petrified eye, the amazed eye, the gorillic retina, stuck in the midsty middle of some Niemayer Tower (Copan Building). Observatory spot, audiovisual lectorium for a nocturnal and 'anthropophagical'3 hunger, this freedom of our eyes.

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1 Cf. L'Imagination construite des Âges Moyens, Bernardo Gui, Montpellier, princeps 1340 (P.U.F., Paris, 1989).
2 Cf. Heathen, B. Nesta Marley, Kingston, JA, 1979.
3 Refers to Oswaldo de Andrade's Manifesto do Anthropophagismo & Hélio Oiticica's Tropicalismo.

 

Shooter

Shooter / 2006-2009

video performance

Shoots firing in direction of passing people on a side walk, bullets of red paint splash on the
window surface. The public targets sees paint exploding at the window covering
the view and creating an action painting.

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selection of photographs

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"règlement" / 2010 60 cm x 40 cm/ inkjet mat / # 3 +1   "Grenade" / 2011

Dead Citizens / 2011-2012 /

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