{"id":2969,"date":"2019-10-22T22:41:11","date_gmt":"2019-10-22T22:41:11","guid":{"rendered":"http:\/\/www.annasolal.com\/index\/?page_id=2969"},"modified":"2019-10-25T00:31:31","modified_gmt":"2019-10-25T00:31:31","slug":"le-jardin","status":"publish","type":"page","link":"http:\/\/www.annasolal.com\/index\/?page_id=2969","title":{"rendered":"Le jardin"},"content":{"rendered":"\n
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Installation view<\/strong><\/p>\n\n\n\n

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 Graille sans couverts <\/em> 2019 – Broken smartphone screens, bike chains, tulle, metal thread, colored pencil on paper, plexiglass – 30 x 20 x 1 cm<\/strong><\/p>\n\n\n\n

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 D\u00e9jeuner sur l’herbe – <\/em> 2019 – Broken smartphone screens, metal thread, photography – 70 x 50 x 1 cm<\/strong><\/p>\n\n\n\n

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Umbro bird – <\/em> 2019 – Broken smartphone screens, metal thread, clothespin, bike chain, comb, shoes, socket, ropes – 120 x 50 x 5 cm<\/strong><\/p>\n\n\n\n

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Reebok bird – <\/em> 2019 – Metal thread, carpet, clothespin, bike chain, , shoes, ropes – 120 x 50 x 5 cm<\/strong><\/p>\n\n\n\n

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Net belly bird – <\/strong><\/em> 2019 – Carpet, metal thread, clothespin, bike chain, comb, shoes, socket, ropes – 120 x 50 x 5 cm<\/strong><\/p>\n\n\n\n

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Ladybug bird –<\/em> 2019 – Broken Iphonescreen, clothespin, bike chain, comb, slipper, socket, ropes – 120 x 50 x 5 cm<\/strong><\/p>\n\n\n\n

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Forest bird –<\/em> 2019 – grater, metal thread, clothespin, bike chain, comb, kid shoes, socket, ropes, rules – 120 x 50 x 5 cm<\/strong><\/p>\n\n\n\n

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Forest bird –<\/em> 2019 – Carpet, rape, metal , clothespin, bike chain, comb, kid shoes, ropes, rules – 120 x 50 x 5 cm<\/strong><\/p>\n\n\n\n

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Marguerite –<\/em> 2019 – Basketball, stickers, sponge, tulle, photography, metal thread, broken I-pad screen, plexiglass, cheap diamants, rope, metal – 120 x 120 x 8 cm<\/strong><\/p>\n\n\n\n

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Rose –<\/em> 2019 – Velvet fabric, basketball, broken I-pad sceen, I-phone screens, metal thread, bike chain, tulle, plexiglass, plastic bag, shoes part, plastic fabric, metal – 120 x 120 x 8 cm<\/strong><\/p>\n\n\n\n

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Sunflower –<\/em> 2019 – Basketballs, dices, military fabric, carpet car, stickers, tulle, metal thread, broken I-phone screen, plexiglass, rope, metal – 140 x 140 x 9 cm<\/strong><\/p>\n\n\n\n

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Tears Bird <\/em>– 2019 – Shoes, rope, clothespin, metal, plexiglass, fabric – 70 x 40 x 4<\/strong><\/p>\n\n\n\n

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Le jardin<\/p>\n\n\n\n

The exhibition is on view from 05.10.2019 until 04.01.2020 at CAC passerelle de Brest <\/a>
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  The works of Anna Solal bring into play an almost primitive system of figuration. Or more precisely: primordial. That is to say that they flatten all of the intrinsic categories that normally equip our gaze, which are fundamentally oriented by their relationship to the real. The entire system of western art, its foundational myths, its evolution and its conceptual armature, rests upon a perpetual oscillation between the two extreme poles that are realism and abstraction. To this system, Anna Solal does not oppose a difference of degree, but indeed of kind. She extracts herself from it. If her assemblages seem primitive or primordial,it is because we can no longer understand them according to the usual coordinates, for the simple reason that they call for yet a third category: neither realist nor abstract, they are real. Real, not in the sense that they have not undergone a process of creation, or that they do not make use of images or symbolic motifs. Real, in the sense that their process of fabrication proceeds the specific space-time of the artist, her position in a geography, in a socio-economic organization and of the symbols integrated into the collective imagination. In this respect, the assemblages and drawings by Anna Solal, as well as their recontextualization through each exhibition, are understood as so many infra-worlds adhering to the methodology of \u201csituated knowledges.\u201d <\/strong><\/p>\n\n\n\n

  This term was invented by Donna Haraway for an article a 1988 article of the same name. She tests it against a contemporary world in which the neoliberal economic system has gradually eroded the historical structures of western democracy, up to the point that it has substituted itself for them. Born in 1988, the artist is today based in the close-in suburbs of Paris. She became known for assemblages that she realizes using vernacular urban materials \u2013rubbish, then \u2013that are found or sourced in local and informal circuits. Broken screens and smartphones, soles of soccer shoes, disposable razors, bicycle chains and various pieces of string and other pieces of metal, plastic and cloth are manually knotted together. They are then recomposed as clocks, kites, or swallows. A way, she explains, to enter as little as possible into a relationship of domination with the materials. Simultaneously, these assemblages progressively incorporate a central drawing. The assemblages are frames, supports or jewelry for meticulous pencil drawings, colored like clouds, cups of tea or intimate genre scenes.To say it another way, by following the tripartition expounded by Tiziana Terranova in the introduction to her essay Network Culture(2004), Anna Solal echoes the way in which each technological transformation gives birth to \u201cconcepts, techniques and milieux\u201d inside a given society. <\/strong><\/p>\n\n\n\n

  This technological transformation in question joins what we have already posited as a socio-economic structure: the realization of neoliberalism through information technologies. This then also implies contract work that is detached from its site of production (the factory, the office), made flexible, individualized and delocalized throughout, and which for this reason, coincides with the entire sphere of praxis: what Marxist terminology, and the branch of Italian Automatist Marxism to which the author claims to adhere, designates as the phenomena of \u201csubsumption.\u201d The most recent cycle of Anna Solal\u2019s exhibitions testifies even more explicitly that there is no longer any exterior or underside to networked culture. Centered around the construction of a fictional domestic space, the first in the series of exhibitions this summer at Futura in Prague she installed the elements of a bathroom. This time,at Passerelle in Brest, the second exhibition which preceeds a third at the Galerie Edouard Manet \u2013Ecole des Beaux-Arts de Gennevilliers, the artist concentrates on the space of a garden. <\/strong><\/p>\n\n\n\n

  There are swallows here, which function as a clue to the impossibility of escaping outside, of escaping these downgraded materials found in the street, and through them, of escaping the total hold that a system of dematerialization enabled by communication technologies has on every human, penetrating walls and making data of flesh, even at home, in supposedly private spaces, propelling thelocal into the global scale. Anna Solal makes her work at home \u2013this detail is not insignificant \u2013producing her work alone and whose scale is that which her own domestic space allows. In that, her works are real, immanent and intimately sensitive. The density and the ambiguity belonging not to the things, but to the works, are acquired in the sense that they especially give witness to the space of disadherence allowed to each individual in this system, who then creates within this given situation in order to map out at her scale, at a human scale, precarious constellations that are at once enchanting and resilient. <\/strong><\/p>\n\n\n\n

Ingrid Luquet-Gad<\/strong><\/p>\n\n\n\n

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French version <\/strong><\/p>\n\n\n\n

  Les \u0153uvres d’Anna Solal mettent en jeu un syst\u00e8me de figuration quasi-primitif. Ou plus exactement: primordial. C’est-\u00e0-dire qu’ils remettent \u00e0 plat toutes les cat\u00e9gories intrins\u00e8ques qui d’ordinaire appareillent notre regard, fondamentalement orient\u00e9es par le rapport au r\u00e9el. Tout le syst\u00e8me artistique occidental, ses mythes fondateurs, ses d\u00e9veloppements et son armature conceptuelle, repose sur une perp\u00e9tuelle oscillation entre ces deux p\u00f4les extr\u00eames que sont le r\u00e9alisme et l’abstraction. \u00c0ce syst\u00e8me, Anna Solal n’oppose pas une diff\u00e9rence de degr\u00e9, mais bel et bien de nature. Elle s’en extirpe. Si ces assemblages paraissent primitifs ou primordiaux, c’est qu’on ne peut d\u00e8s lors les appr\u00e9hender selon les coordonn\u00e9es usuelles, pour la simple raison qu’ils font appel \u00e0 une troisi\u00e8me cat\u00e9gorie encore: ni r\u00e9alistes, ni abstraits, ils sont r\u00e9els. R\u00e9els, non pas au senso\u00f9 ils n’auraient pas subi de processus de mise en forme, ou n’appelleraient pas \u00e0 des images et motifs symboliques. R\u00e9els, au sens o\u00f9 leur processus de fabrication proc\u00e8de de l’espace-temps situ\u00e9 qui est celui de l’artiste, de sa position au sein d’une g\u00e9ographie, d’une organisation socio-\u00e9conomique et de symboles int\u00e9gr\u00e9s \u00e0 l’imaginaire collectif. \u00c0 ce titre, les assemblages et les dessins d’Anna Solal, ainsi que leur recontextualisation en installations au fil de chaque exposition, se lisent comme autant d’infra-mondes adh\u00e9rant \u00e0 la m\u00e9thodologie des \u00absavoirs situ\u00e9s\u00bb. <\/strong><\/p>\n\n\n\n

  Ce terme, qui appara\u00eet sous la plume de Donna Haraway \u00e0 la faveur d’un article du m\u00eame nom de 1988, elle le met \u00e0 l’\u00e9preuve d’un monde contemporain o\u00f9 le syst\u00e8me \u00e9conomique n\u00e9olib\u00e9ral a progressivement grignot\u00e9, au point de s’y substituer, les structures historiques de la d\u00e9mocratie occidentale. N\u00e9e en 1988, l’artiste, aujourd’hui bas\u00e9e en proche banlieue parisienne, se fait conna\u00eetre par des assemblages qu’elle r\u00e9alise \u00e0 partir de mat\u00e9riaux urbains vernaculaires \u2013des d\u00e9chets, donc -, trouv\u00e9s ou sourc\u00e9s dans des circuits locaux et informels. Ecrans de smartphone bris\u00e9s, semelles de chaussures de foot, rasoirs jetables, cha\u00eenes de v\u00e9lo et divers bouts de ficelle et autres parties de m\u00e9tal,plastique et tissus sont manuellement cousus ou nou\u00e9s ensemble. Ils recomposent alors des horloges, des cerf-volants ou des hirondelles. Une mani\u00e8re, explique-t-elle, d’entrer le moins possible en relation de domination avec les mat\u00e9riaux. Simultan\u00e9ment, ces assemblages int\u00e8grent progressivement un c\u0153ur dessin\u00e9. Pour de minutieux dessins au crayon de couleur de nuages, de tasses de th\u00e9 ou de sc\u00e8nes de genre cosm\u00e9tiques, ceux-ci se font cadre, support ou parure.Pour le dire autrement, en suivant la tripartition expos\u00e9e par Tiziana Terranova en introduction \u00e0 son essai Network Culture(2004), Anna Solal r\u00e9percute la mani\u00e8re dont chaque transformation technologique donne naissance \u00e0 l’int\u00e9rieur d’une soci\u00e9t\u00e9 donn\u00e9e \u00e0 \u00abdes concepts, des techniques et des milieux\u00bb. <\/strong><\/p>\n\n\n\n

  Cette transformation technologique en question rejoint ce que nous avions auparavant pos\u00e9 comme une structure socio-\u00e9conomique: la r\u00e9alisation du n\u00e9olib\u00e9ralisme par les technologiques de l’information. Cela implique alors \u00e9galement un travail \u00e0 lat\u00e2che d\u00e9tach\u00e9 de son lieu de production (l’usine, le bureau), rendu flexible, individualis\u00e9 et d\u00e9localis\u00e9 \u00e0 travers et qui, pour cette raison, co\u00efncide avec la sph\u00e8re de la praxis tout enti\u00e8re; ce que la terminologie marxiste, et la branche du Marxisme Autonomiste italien dont se r\u00e9clame l’auteure, d\u00e9signe comme le ph\u00e9nom\u00e8ne de \u00absubsomption\u00bb. Qu’il n’y ait plus ni dehors ni envers \u00e0 la culture en r\u00e9seau, le dernier cycle d’expositions d’Anna Solal en t\u00e9moigne plus explicitement encore. Centr\u00e9es autour de la construction d’un espace domestique fictif, la premi\u00e8re d’entre elles posait cet \u00e9t\u00e9 \u00e0 Futura \u00e0 Prague les cadres d’une salle de bain. \u00c0 Passerelle \u00e0 Brest, la seconde exposition avant une troisi\u00e8me \u00e0 la Galerie Edouard Manet \u2013Ecole des Beaux-Arts de Gennevilliers, l’artiste se concentre cette fois sur l’espace du jardin. <\/strong><\/p>\n\n\n\n

  Les hirondelles s’y retrouvent, indice de l’impossibilit\u00e9 d’\u00e9chapper au dehors, \u00e0 ces mat\u00e9riaux d\u00e9class\u00e9s de la rue, et \u00e0 travers eux, \u00e0 l’emprise totale qu’exerce sur chaque \u00eatre humain, m\u00eame chez lui, m\u00eame dans ces lieux cens\u00e9ment priv\u00e9s, d’un syst\u00e8me o\u00f9 la d\u00e9mat\u00e9rialisation permise par les technologies de communication p\u00e9n\u00e8tre les murs, informe les chairs et propulse le local dans l’\u00e9chelle globale. Anna Solal produit chez elle -le d\u00e9tail n’est peut-\u00eatre pas si anodin -r\u00e9alisant seule les \u0153uvres dont la circonf\u00e9rence est celle que lui permet son propre espace domestique. En cela, elles sont r\u00e9elles, immanentes et \u00e9pidermiques. La densit\u00e9 et l’ambigu\u00eft\u00e9 propre non pas aux choses mais aux \u0153uvres, elles l’acqui\u00e8rent au sens o\u00f9 elles t\u00e9moignent aussi et surtout de l’espace de d\u00e9sadh\u00e9rence permis, au sein de ce syst\u00e8me, \u00e0 chaque individu, qui alors compose avec le donn\u00e9 pour y tracer, \u00e0 sa mesure, \u00e0 mesure humaine, des constellations pr\u00e9caires \u00e0 la fois enchant\u00e9es et r\u00e9sistantes.
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Ingrid Luquet-Gad<\/strong><\/p>\n\n\n\n

On invitation of Etienne Bernard. Thanks to Aline Rainer & Clarisse Marguerite Dagod<\/a> for her precious help and support.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Installation view  Graille sans couverts  2019 – Broken smartphone screens, bike chains, tulle, metal thread, colored pencil on paper, plexiglass – 30 x 20 x 1 cm  D\u00e9jeuner sur l’herbe –  2019 – Broken smartphone screens, metal thread, photography – 70 x 50 x 1 cm Umbro bird –  2019 – Broken smartphone screens, metal thread, clothespin, bike […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"http:\/\/www.annasolal.com\/index\/index.php?rest_route=\/wp\/v2\/pages\/2969"}],"collection":[{"href":"http:\/\/www.annasolal.com\/index\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.annasolal.com\/index\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.annasolal.com\/index\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.annasolal.com\/index\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2969"}],"version-history":[{"count":64,"href":"http:\/\/www.annasolal.com\/index\/index.php?rest_route=\/wp\/v2\/pages\/2969\/revisions"}],"predecessor-version":[{"id":3126,"href":"http:\/\/www.annasolal.com\/index\/index.php?rest_route=\/wp\/v2\/pages\/2969\/revisions\/3126"}],"wp:attachment":[{"href":"http:\/\/www.annasolal.com\/index\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2969"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}