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Projets réalisés avec Yona Friedman

VIGNE MUSEUM, LIVIO FELLUGA, Rosazzo,Italy. 2014-

VIGN MUISEUM MONTAGES-3

 

VM SITE 04

 

Photomontages Yona Friedman, photographies Jean-Baptiste Decavèle.

Liens/Links : Vigne museum domus 09 14

http://www.dacmeetings.com/dac-13-arte-e-impresa-a-tutela-del-paesaggio-rurale_udine/

 

 

Atemporary Studio :

VIGNE MUSEUM / LIVIO FELLUGA “100”

On the first of September 2014, Livio Felluga is turned hundred years old.

Livio Felluga embodies the history, heritage and values of the ancient craft he plies in Friuli Venezia Giulia. Located in the north-east Adriatic, where the Mediterranean meets Central Europe, the region today is renowned for producing some of the world’s finest white wines.

In celebration of this very special birthday, Livio Felluga’s family and winery have organized an international event that combines wine, art, science and architecture.

From 10 a.m. to 1 p.m. on 20 September 2014, the Abbey of Rosazzo and the hills round about began the setting for several significant moments:

A conference curated by Mario Pieroni and Dora Stiefelmeier from RAM radioartemobile, a part of the D/A/C (Shared Artistic Designation) project, and entitled Art and Enterprise Safeguarding the Rural Landscape. A multidisciplinary perspective is assured by contributions from eminent international speakers from the worlds of the arts and science;

 

Yona Friedman & Jean-Baptiste Decavèle for Livio Felluga "100"<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />
foto © Luigi Vitale

 

The inauguration of Vigne Museum, by Yona Friedman and Jean-Baptiste Decavèle created with D/A/C;

The presentation of 100, a specially created limited-edition wine dedicated to Livio Felluga

100 reflects the life of a far-sighted modern man whose intuition and love of the land defied the events of his time to revive Friuli’s hills, in the conviction that the only way forward was to grow crops of the very highest quality. Livio Felluga’s long journey, which began in the vineyards of Isola d’Istria, has been characterized by hard work, determination and passion.

Over his century-spanning life, Livio Felluga has created one of Italy’s most influential wine enterprises, earning the unanimously acknowledged title of “Patriarch of Friulian Wine”.

foto © Luigi Vitale

foto © Luigi Vitale

On September 20th 100 was presented for the first time to the public, inside the 18th Century cellar of the Rosazzo Abbey, the oldest of Friuli Venezia Giulia region.

It’s a precious wine, conceived for a special occasion.

100 is a 2013 Rosazzo released in 400 numbered magnums to celebrate the one hundredth birthday of Livio Felluga.
The Friulano-led blend with Sauvignon and Pinot Bianco is finished with a dash of Malvasia Istriana.
Fermentation was completed in oak casks, where the wine also aged before going into bottle on 30 July 2014.
100 is a tribute to the famous label map that symbolize the Livio Felluga Company since the Fifties.

To mark this unforgettable milestone, The Livio Felluga Company referred to art and architecture. Vigne Museum by Yona Friedman and Jean-Baptiste Decavèle with D/A/C is the result. It embellishes Livio Felluga’s hill country at Rosazzo. A huge Iconostase, Yona Friedman’s signature architectural structure, has been erected among the vines to become an integral part of nature and the landscape .

Also the conference took place at Rosazzo Abbey, near by the Vigne Museum. It was the first appointment to give content to the project. Many important guests were invited: Lorenzo Bendetti (director at de Appel arts centre in Amsterdam); Jean-Baptiste Decavèle (artist, author of the Vigne Museum together with Yona Friedman); Stefano Mancuso (plants neurobiologist); Mauro Pascolini (geographer and director of Literature Department at the University of Udine), Mario Pieroni and Dora Stiefelmeier (RAM radioartemobile). Moderator Adriana Polveroni (Director of Exibart, independent curator and writer).

During the conference a short version of the video reportage “Livio Felluga 100” by Luigi Vitale was shown to the public.

VIGNE MUSEUM FOR LIVIO FELLUGA “100″

ABBAZIA DI ROSAZZO (UD)
20.09.2014
www.liviofelluga.it

 

 

 

 La licorne de la liberté

Une proposition de Yona Friedman et Jean-Baptiste Decavèle 2012, 2013, 2014, 2015, etc…

Première floraison au printemps 2012, à L’Ecole Du Breuil, Paris.

licorne de la liberté IMG_9870 BW

L’Ecole Du Breuil s’ouvre à la création contemporaine et s’emploie désormais à tracer des routes communes entre les artistes et ses élèves et étudiants, qu’elle forme aux arts et techniques du paysage. C’est dans une école du regard que sont invités les artistes, car les jardiniers comme les paysagistes doivent avant toute chose apprendre à observer mais aussi à contempler. C’est aussi une école du vivant car le monde végétal y est compris et respecté, ce qui détermine un rapport au monde où la technique reste un instrument et n’a jamais le dessus.

Pour ces deux premiers projets, montrés à l’occasion des Journées Portes Ouvertes de l’Ecole, l’échange a été intense entre les élèves et les artistes, la transmission s’est opérée dans les deux sens et a enrichi le résultat final.

C’est dans cet esprit que l’Ecole souhaite désormais se placer : la maîtrise technique s’accompagne de ce « pas de côté » qui est le signe du jardinier attentif autant que du créateur. La liberté, de la licorne et des étudiants qui la font vivre, donne toute sa dimension à l’art du paysage.

L’Ecole devient aussi un lieu où les artistes se sentent chez eux, disponible pour leur communiquer un peu de son savoir et curieuse de leurs projets.

 

La licorne de la liberté

La Licorne de la Liberté a choisi de venir s’installer à Paris pour y être dessinée sous plusieurs formes  paysagères. Il y a trois ans, la Licorne Eiffel apparaissait au Centre International d’Art et du Paysage de l’île de Vassivière en Limousin, lors de l’exposition …Etc. Balkis Island[1] qui était aussi un projet d’exposition graphique dans le paysage. Elle mesurait 324 mètres et était dessinée dans la prairie.

Les étudiants de BTS de l’Ecole se sont emparés du choix de la licorne pour le réaliser et l’enrichir en y amenant leurs savoirs propres. Les deux dessins plantés de fleurs qui composent la Licorne de la liberté sont tracés, selon les techniques de la topographie, sur les pelouses du domaine de l’école, au pied des arbres les plus majestueux. La question du trait du dessin devient une question

de jardin : comment le tracer ? Comment faire vivre le dessin dans le paysage ? Le trait se distinguera du gazon environnant et sera planté de bulbes saisonniers. La licorne suivra le rythme des saisons et passera d’états à peine perceptibles à la renaissance colorée. Le rêve d’une inscription de cette figure dans le paysage s’inscrit ainsi durablement dans un beau jardin parisien, vivant la vie des plantes tout en s’intégrant, avec le même espoir de longévité, aux savoirs de l’école.

Cette réalisation est la première étape d’un processus appelé à se prolonger, l’Ecole étant attentive au projet de Musée des arbres de Yona Friedman. Pour observer la Licorne, un projet architectural pensé par lui s’installera peut-être l’an prochain dans un des grands arbres. Au-delà d’une simple réalisation, c’est donc un peu de la pensée architecturale de Yona Friedman qui se transmet dans les pratiques de l’école ainsi qu’au public.

[1] …Etc.Balkis Island, Yona Friedman & Jean-Baptiste Decavèle, 2009

 

 

Moscow 5th. Biennale

 

 

 

IMG_5663 mb site

 

Structure modulaire de Yona Friedman,

adaptation de Jean-Baptiste Decavèle avec les étudiants de l’Ecole d’architecture de Moscou, pour Yona Friedman

 

YONA IMG_5865

 

Photographies :

Jean-Baptiste Decavèle

Jean-Baptiste Decavèle, Nico Dockx avec Yona Friedman
Crossing informations
information #5 : La façade variable
SEVRES OUT-DOORS, 30 juin au 21 septembre 2014

 

 

IMG_7579

 

 

 

 

Jean-Baptiste Decavèle, Nico Dockx, Yona Friedman, Crossing informations,

en collaboration de la galerie Anne Barrault.

 

Photographies :

Jean-Baptiste Decavèle

M HKA, Antwerp

27 September 2013 – 05 January 2014

Iconostase1

The Royal Academy of Fine Arts of Antwerp celebrates its 350th anniversary! That is why the exhibition rooms of the upper floor of the M HKA temporarily are turned into a dépendance of the academy. This fusion generates an artistic no-mans land in which the possibilities and the borders of both contemporary art museum and art school will be explored.

MUHKADEMY contains works and/or interventions by, between others,Joseph Beuys, Nel Bonte, Kasper Bosmans, Marcel Broodthaers, Lorenzo Bruni, James Lee Byars, Jacques Charlier, Tine Colen, Bart De Baere, Jean-Baptiste Decavèle, Valerie de Ghellinck, Luc Deleu & TOP-office, Sarah De Wilde, Roger D’Hondt, Corinne Diserens, Nico Dockx, Olafur Eliasson & Institut für Raumexperimente, Charles Esche, Extra Academy, Robert Filliou, Yona Friedman, Jef Geys & Louise Osieka, Pascal Gielen, Mathias Goyvaerts, Thomas Grødal, Erik Hagoort, Saori Kuno, Ina Leys, Lea Lublin, Mark Luyten, Willem Sarah, Gustav Metzger & Leanne Dmyterko, Paolo Naldini, Nele Ooms, Panamarenko, Johan Pas, Michelangelo Pistoletto & Cittadellarte, Bhagwati Prasad, Raqs Media Collective, Mima Schwahn, Luc Steels, Sterkneus, Isa Tez, Joëlle Tuerlinckx, Steve van den Bosch, Annemie van Kerckhoven, Veroniek van Samang, Beatrice von Bismarck, Louwrien Wijers,…

 

http://ensembles.mhka.be/actors/yona-friedman

http://ensembles.mhka.be/items/8139

http://ensembles.mhka.be/items/8397

http://ensembles.mhka.be/

 

 

 

 MUHKAKADEMIA GRIBOUILLI-58

 

_MG_7271 mukha site

 

_MG_7304 mukha copy

 

IMG_7120 Mukha site

 

Concept & composition of MUHKADEMY: Nico Dockx & Johan Pas.

Adaptation d’un Gribouilli de Yona Friedman par Jean-Baptiste Decavèle et Nico Dockx, avec des étudiants de La Royale Académie d’Anvers,

dans le cadre de Muhkademy.

Photographies :

Jean-Baptiste Decavèle

 

La Citta Nuova, Oltre Sant ‘ Elia

Como, Villa Olmo du 24 Mars au 14 Juillet 2013

default

 

 

pdf villa olmo petite ville spatiale 17 mars 2013 como-5a

pdf villa olmo petite ville spatiale 17 mars 2013 como-10a

pdf villa olmo petite ville spatiale 17 mars 2013 como-29a

 

La petite ville spatiale, 2012-2013. From RAM in Roma to Villa Olmo in Como.

Yona Friedman & Jean-Baptiste Decavèle

Thanks to Dora Stiefelmeyer and Mario Pieroni.

Used cardboard boxes, plastic tubes, nylon câbles, tapes, plexiglass, transparency paper, two beamers,

two films en maquette :

Iconostase 25 i.s., RAM édition of one, 2012, Jean-Baptiste Decavèle.

Architecture d’aujourd’hui et architecture mobile, à Paris, le 05 septembre 2011, RAM edition of one, 2012, Jean-Baptiste Decavèle.

La petite ville spatiale was first proceed in January 2012 at RAM, Camere 17, a project curated by Chiara Parisi, including Yona Friedman & Jean-Baptiste Decavèle, Gianfranco Baruchello, Fabrice Hyber.

 

http://www.zerynthia.it/zerynthia.asp?id=401

http://lacittanuova.it/

Photographies :

Jean-Baptiste Decavèle

 

 

2013_02_27_macro_invito_pieroni

MACRO

Foto di gruppo. Galleria Pieroni, Zerynthia, RAM: 1970-2013

Mostra a cura di Stefano Chiodi
Inaugurazione mercoledì 27 febbraio ore 19:00
MACRO- Museo d’Arte Contemporanea Roma Project Room 1 – via Nizza, 138 00198 Roma
28 febbraio – 5 maggio 2013

MACRO- Museo d’Arte Contemporanea Roma Project Room 1 – via Nizza, 138 
Roma
Foto di gruppo 
Galleria Pieroni, Zerynthia, RAM: 1970-2013 
curated by Stefano Chiodi 
opening 27th february at 7 pm 
MACRO- Museo d’Arte Contemporanea Roma Project Room 1 – via Nizza, 138 Rome 
28 february – 5 may 2013

 Il Museo prosegue l’esplorazione del panorama artistico romano degli ultimi decenni e presenta la mostra Foto di gruppo. Galleria Pieroni, Zerynthia, RAM: 1970-2013, che ricostruisce criticamente l’intero arco dell’attività di una delle presenze più originali e significative nel panorama dell’arte più recente: la Galleria Pieroni e le sue successive metamorfosi negli spazi e nelle iniziative di Zerynthia e RAM radioartemobile. 

Dal 1970 a oggi, l’attività di Mario Pieroni e Dora Stiefelmeier rappresenta un punto di riferimento per la comunità artistica italiana e internazionale, e l’esposizione, attraverso una selezione di opere significative di più di 50 artisti contemporanei e decine di documenti perlopiù inediti, intende documentare la passione, l’apertura culturale e lo spirito di condivisione che hanno da sempre caratterizzato le iniziative dei suoi animatori. 

http://www.radioartemobile.it/

 

 MacLean 705

 

Yona Friedman & Jean Baptiste Decavèle

from 4 December

MacLean 705, a project space located within an office atrium of the School of the Art Institute of Chicago, is pleased to present Space Chain 18, a collaboration between the Hungarian-born architect Yona Friedman and the French artist and filmmaker Jean-Baptiste Decavèle.

Space Chain 18 takes as its starting point the notion that it is art and art exhibitions that make the museum, not the architecture of the museum itself.  In the 1950s Friedman argued that fixed architectural forms all but guaranteed their own eventual obsolescence: as people, society, and environments changed, it was more viable to create architecture that likewise changed, and could be changed, according to circumstances and need.   In a series of iconostases, which Friedman initiated with the collaboration of Jean-Baptiste Decavèle, the architectural space of the museum is remade as a flexible room of interconnected rings that are combined and recombined to create a permeable exhibition space.

The building itself is expensive and superfluous
You can create a museum without a building: it is the verb building, not the noun, that matters
A scaffolding supporting exhibits can do it
You can insert exhibits into the scaffolding
You can even insert whole rooms
And you can place people moving through the scaffolding as well
A space-chain scaffolding permits a great variety of shapes

Since 2010, Yona Friedman has realized several iconostase projects, first as a special project at Art Basel, and later at CNEAI in Chatou, France, and in Lyon at the Contemporary Art Museum, as well as in Warsaw.   Two recent iconstase constructions from the fall of 2012 include Architecture Without Building at De Vleeshal in Middelburg, and Iconostase 185 at the Marchesi Antinori Museum in Bargino, Tuscany.

Space Chain 18 at MacLean 705 presents a portable, reconfigurable, model of a potential iconostase.  The Space Chain consists of 150 copper rings 18 cm in diameter, which can be joined and rejoined, to create a scaffolding, or superstructure, for the display of art.  The public is invited to participate in the construction and reconstruction of Space Chain 18 in MacLean 705, and to bring art to be placed within the space of the scaffolding.  The exhibition includes One Eighty Five, a film Jean-Baptist Decavèle made as part of his spatial adaption of Iconostase 185 in Bargino; it is not so much ‘about’ the construction of Iconostase 18, as much as it is a part of the construction itself.

 

            Yona Friedman (b. 1923 in Budapest) has exhibited at many leading international art venues including the Venice Biennale in 2009 and 2003, The Drawing Center in New York in 2007 and Documenta in Kassel in 2002. He studied architecture at the Technical University, Budapest (1943), but he left Hungary in 1945, and completed his studies at the Technion, Haifa from which he received the Dip. Arch. in 1948.  In 1958 Friedman published his first manifesto on ‘mobile architecture’ and founded GEAM (Groupe d’Etude d’Architecture Mobile).  Over the next five decades, he developed a practice that imbricated architecture, ecology, and language as a model of sustainability before sustainability had a name.  He has written and provided drawings for more than fifty books, which include: Yona Friedman: Drawings & Models, 1945-2010 (Presses Du Reel, 2010); Architecture with the People, by the People, for the People (Actar, 2010); Alternatives Energetiques – Plaidoyer pour une Autosuffisance Locale (Editions Dangles, 2011); and Yona Friedman: Pro Domo (Actar, 2006).  In 2008, the Getty Museum in Los Angeles acquired Friedman’s archive of research and lecture notes, draft writings, correspondence, and sketches.
            Jean-Baptiste Decavèle (b. 1961 in Grenoble) has exhibited expansively across Europe and North America, and has also taken part in video festivals and presentations in Rome and France. He received the Villa Médicis Hors les Murs award in 1999 for his project Entre Ciel et Mer, Voyage Aide-Mémoires and again in 2001 for Nostalgie, la Demeurance et l’Icône, with South-African writer Tatamkulu Afrika.   He has also collaborated with Hervé Le Tellier (French Oulipien writer), Elina Löwensohn (Franco-American actress), Michaël Lonsdale (French actor), and Nico Dockx (Belgian artist).  His most sustained collaboration has been with the Yona Friedman, and their projects together have involved architecture, films, archives, photography, and the representation of spaces, landscapes and ideas.   Within the context of these collaborations Decavèle’s work is divided between a precise film practice and multiple processes in which he proposes and generates exhibitions of Freidmans’sIconstases, including Du Breuil in Paris, ciap in Ile de Vassiviere, and De Vleeshal in Middelburg.  These projects are essentially experimental stages and displays that he documents as potential unrealised films for which each intervenant, each person who is part of the creative process, from the technician to the curator, to the guest artists, are potential narrative figures of their own functions and fictions.

MacLean 705 is a project space devoted to short-term exhibitions that explore the space of art and human relations. Currently on view are projects by Nico Dockx, Åbäke, Benjamin Robert Haydon, Ryan Gander, Fran Betters, Zak Kyes, João Penalva, and a collaboration between Sam Davis & Benjamin Chaffee. The projects are organized by Joseph Grigely and administered by the Department of Visual and Critical Studies at the School of the Art Institute of Chicago.  The space is open when the door of MacLean 705 is open, and by appointment.  Please contact jgrigely@saic.edu for further information.

download pdf 

Dodecahedron for Iconostase 185 Bargino, October 16th 2012 Photo by Jean-Baptiste Decavèle

Yona Friedman & Jean-Baptiste Decavèle Architecture Without Building De Vleeshhal, Middelburg, 2012 Iconostase 150: Yona Friedman Adaption Spatiale: Jean Baptiste Decavèle Curator: Lorenzo Benetti

Space Chain in the apartment of Yona Friedman Paris, October 2012

Yona Friedman & Jean Baptiste Decavèle Boulevard Garibaldi, Paris, October 2012

 

UN-FIXED

Royal Academy of Fine Arts, Antwerp

Click to view the PDF Documents:

YONAcirkelvoorbeeld1.pdf

YONAcirkelvoorbeeld2.pdf

 

Yona Friedman, Jean-Baptiste Decavèle

Architecture without building

De, 14 September – 16 December, , curator: Lorenzo Benedetti

From 15 September to 28 October the Middelburg Foundation for Visual Arts (SBKM) will present Yona Friedman and Jean-Baptiste Decavèle’s exhibition Architecture without building at De Vleeshal in Middelburg.

The architect, theorist and author Yona Friedman (b. 1923 in Budapest) is one of this and the previous century’s leading thinkers on the history of architecture. At a time when urban planning, mobility, globalisation and migration were increasingly prominent issues, he developed such visionary concepts as ‘mobile architecture’, ‘The Spatial City’, ‘feasible utopias’ and ‘self-planning’ – all of them still very topical. For some years now he has been working with the photographer and filmmaker Jean-Baptiste Decavèle (b. 1961 in Grenoble), who studies representations of memory.

The guiding principle of Architecture without building is ‘start with the content’. There is a need to ‘be able to show something’, and this in turn requires a space, an architecture. Architecture without building sets out to ‘be at the service of something else’, without adapting to De Vleeshal. Spaces and art exhibits both have their limitations, and Architecture without building seeks to bridge the gap between them.

Iconostasis museum
Friedman’s design for De Vleeshal is a three-dimensional module consisting of 500 rings, a spatial structure in which works of art can be displayed. He calls this an ‘iconostasis museum’. The architectural features of the Iconostasis are not permanent, but can be used in various ways for various purposes, and removed, shifted, altered or renewed at any time.

Part of the Iconostasis will be located outside De Vleeshal, in the courtyard next to the town hall, thus forming an extension of De Vleeshal’s exhibition space. The content will not have to adapt to the space – at least not immediately. After the exhibition the Iconostasis will become part of the collection, and can be used as an additional space for exhibitions, meetings, presentations and other projects.

Yona Friedman’s architectural projects have often revolved around the notion of ‘the museum’. In the late 1960s, for instance, he produced a design for the Pompidou Centre based on a structure that would change over time. His relationship with the exhibition and the public is extremely important to him, which is why his project also focuses on the public as an element that helps shape ‘the museum’, De Vleeshal.

Debate on architecture
At 3 p.m. on Friday 14 September in the Brasserie at De Drvkkery, before the opening of Architecture without building, SBKM / De Vleeshal will for the third time organise a new edition of the D/A/C project, a round table discussion between artists and entrepreneurs. How can these two groups interact for each other’s benefit? The starting point for the debate will be the exhibition at De Vleeshal – the product of a partnership between an architect (Yona Friedman) and an artist (Jean-Baptiste Decavèle).

During the debate various people will set out their views on architecture, and how it can bring artists and entrepreneurs closer together. The artists taking part in the debate see themselves as ‘idea sponsors’, breaking away from traditional links between art and business and moving beyond the notion of sponsorship as simply a way of boosting corporate image. The added value that artists can bring to companies is their creativity.

Speakers will include Jean-Baptiste Decavèle, visual artist Dora Stiefelmeier, Lorenzo Benedetti (director of De Vleeshal), Dick Anbeek (director of De Drvkkery), visual artist Piet Dieleman and Bert van de Linde (director of the building firm Scheldebouw).

For this series of discussions, which have also been held in Rome and Paris, RAM(RadioArteMobile) has created the now registered brand D/A/C (Denominazione Artistica Condivisa or DAC, echoing Italy’s DOC quality assurance system for wines) so that the dialogue on the various ways of looking at a product will have a ‘shared artistic designation’. Guest speakers at the earlier discussions in De Kabinetten van De Vleeshal have included visual artists Gert Robijns, John Körmeling and Marinus Boezem, Connie De Lange (the owner of the local restaurant Vriendschap), Hans Codée (director of the nuclear waste processing and storage organisation COVRA), Bart Spaapen (director of the Norton Armaturen installation firm) and Annemieke Stallaert (representing the DELTA utility provider).

Biographies
Yona Friedman (b. 1923 in Budapest) has had his work exhibited at many leading international art venues (the Lyon Biennale, the Yokohama Triennale and the FIAC in Paris in 2011, the Venice Biennale in 2009 and 2003, The Drawing Center in New York in 2007 and Documenta in Kassel in 2002). He is a unique figure who ignores the boundaries between disciplines. Friedman has written and provided drawings for more than fifty books on his research into architecture, ecology and language. In the past ten years, France’s Centre national de l’Edition et de l’Art imprimé (CNEAI) has built up a close and fruitful relationship with him, resulting in a number of exhibitions: Dare to make your exhibition (2007, Chatou), Gribouillis, models scale 1/1 (2007, Chatou), Tu ferais ta ville (2008, with the CNEAI and Arc en rêve / CAPC, Bordeaux) and Yona Friedman, Improvisations: films d’animation (1960-1963) et oeuvres sans planification (improvisations: animated films and unplanned works, 2009, in partnership with the Musée d’art moderne de la Ville de Paris and theCNEAI).

Jean-Baptiste Decavèle (b. 1961 in Grenoble) has had many exhibitions in Paris, Ivry-sur-Seine, Winnipeg, Toronto, Vancouver, Rome, New York, Ile de Vassiviere, Antrewp, Lyon, Cape Town… and has also taken part in video festivals and presentations in Rome and France. He received the Villa Médicis Hors les Murs award in 1999 for his project Entre Ciel et Mer, Voyage Aide-Mémoires and again in 2001 for Nostalgie, la Demeurance et l’Icône, with south-african writer Tatamkulu Afrika.

His work has always been related to collaboration: Hervé Le Tellier (french Oulipien writter), Elina Löwensohn (franco-american actress), Michaël Lonsdale (french actor), Nico Dockx (Belgium artist).

Since many years now he ‘s been sharing time with the architect Yona Friedman in a very close exchange inbetween architecture, films, archives, photography, representation of spaces, landscapes and ideas. Now, his work is devided inbetween a very strict and precise film practise and multiple process in which he proposes and generates exhibitions, like Du Breuil in Paris, ciap in Ile de Vassiviere, De Vleeshal in Middelburg, that he considers as experimental stages and displays that he documents as potential unrealised films for which each intervenant, each person who is part of the creative process, from the technician to the curator, to the guest artists are potential narrative figures of their own functions and fictions.

 

http://vleeshal.nl/en/exhibitions/architecture-without-building

Photographies :

Jean-Baptiste Decavèle

 

CAMERE XVII

Des Mondes de Poche

Camere #17 Des Mondes De Poche

 

 

 

Camere #17 Des Mondes De Poche

 

CAMERE XVII
Des Mondes de Poche

GIANFRANCO BARUCHELLO
YONA FRIEDMAN & JEAN-BAPTISTE DECAVÈLE
FABRICE HYBER
a cur a di
Chiara Parisi

WHERE
RAM radioartemobile – Via Conte Verde 15 – Roma

WHEN
Opening 31st January 2012 at 19

HOURS
until March 30th 2012
Tuesday to Saturday 16.30 – 19.30

version française

Des Mondes de Poche/Pocket Worlds was born from a series of exchanges in the apartments of Rome and Paris in order to develop a device that is first and foremost a human adventure in which there is a redefinition of the political profile that would imply the establishment of networks on a local, personal and collective level. From its title, Des Mondes de Poche /Pocket Worlds, the project underlines the multiplicity of small communities for which it constitutes an act of encouragement based on the concept of sharing and quality encounters. The first proposal is a small- scale model by Yona Friedman&Jean-Baptiste Decavèle, La petite ville spatiale/The Small Spatial City, created specifically for the exhibition. This is an updated version of one of Yona Friedman’s key ideas: the Spatial City, an architectural example and theory that recalls the concept of the Camere project to which they have been invited: a space that has not been constructed, filled nor indeed modified as such, but has been merely made available for use. Since 1958, Yona Friedman has been creating the principals of the Spatial City, the most important application of mobile architecture, that is a piling structure in which inhabited volumes alternate with empty ones, forming “zones” where living areas are distributed freely. Raising these structures allows them to develop above unavailable, unbuildable or previously built-up areas as well agricultural land. In making this demountable and transportable model of the Spatial City for Rome, Yona Friedman and Jean Baptiste Decavèle are demonstrating (as Yona Friedman had anticipated in his manifesto Mobile Architecture) that the mobility does not have to be that of the building, but that of the user who is given new freedom. In fact, as the splendid installation in the first room shows, the Spatial City liberates the space, making it available without filling it. Jean-Baptiste Decavèle’s films are part of the model and are

presented as pocket-size films, projected onto portable card or trace paper modules. Architecture d’aujourd’hui, Architecture Mobile, Paris le 05 septembre 2011 is a 25 minute sequence in which Yona Friedman in his home goes over, page after page, his original manuscript of Mobile Architecture. Apart from being a testimony to the relationship tying Yona Friedman to his architectural concept, the film is above all a material and conceptual update of the thought of the artist at the heart of the Spatial City here presented. The same occurs with Iconostases 25 i.s., a sequence in which Yona Friedman improvises while building for the first time an almost 1:1 scale iconostasis (Art Basel 41, Art Unlimited, Special project, for the Paris Kamel Mennour gallery). To this end, for Camere Yona Friedman says: “New architecture can be improvisation by the inhabitants. It is necessary to conceive techniques that facilitate improvisation. This improvisation is a social solution for the individual. It could lead to a new aesthetic”. Demonstrating that each action constitutes a mere intermediate evolutionary stage in a gigantic building site in perpetual construction, Fabrice Hyber’s intervention in Camere encourages the renewal of customs and conducts. His proposal is developed around the presentation of a series of FOPs (Functioning Object Prototype) suspended from the ceiling with a multitude of drawings. Fabrice Hyber offers the visitor the possibility of being immersed into his universe in which the original function of a large number of familiar objects borrowed from everyday life has been altered. In this way our conscience and practice relating to these objects is modified as their new form stimulates and generates new attitudes. Fabrice Hyber transmits the message to the visitor that: “at home anything is possible. For the do it project by Hans-Ulrich Obrist, I had suggested: do whatever you want. A room is an everyday experience, desires are transpired there, and sometimes one dies there. Everything inside a room belongs to us and is for us: from memos to fingerprints”. The third and last room in Camere is by Gianfranco Baruchello. Rejecting the myth of a Duchampian predominance without errors, Baruchello perceives a formidable resource of liberty in the inheritance of his friend’s work. In his room he creates brain exercises, a Psychogym, with instructions and courses that places the visitor in front of an abyss through the reading of a critical and practical text where one finds oneself reliving one’s own life, a typical day, in which psychic activity is put to the test through images, objects and literary texts that are found all around. A gymnasium for imagination and ideas. Gianfranco Baruchello explains: “I have for many years made a choice that rejects the dualism between reality and unreality and that opens up to a third path of trend and propensity. That choice implies overcoming intermediate solutions such as self-conviction or the great fable- esque tale. Science and knowledge run alongside chance, the possible and the probable, venturing into the territories of uncertainty and a parallel intelligence. Derived from it is the sensation that human intelligence, in relation to the inescapable, precise and mathematical one of Matter/Nature, possesses in fact (like the new engine of a car) a diaphragm that prevents the boundaries to be exceeded, where the mind wavers and hesitates. Art today is the symptom (as yet precocious) that can go beyond that diaphragm. In order to do this new languages/hypotheses are required as well as a lot of courage in the face of risk. New technology is not enough, but it may at least compete and formulate the terms of the challenge more precisely. The artist continues however to ask questions and propose ideas, but also to trace new perimeters, searching for other images and modes around and inside his or her mind”. Des Mondes de Poche presents a human device relating to a group of two or more people that converges

towards a situation in which one can make the other progress. The ensemble as such aspires to exchange ideas without imposing itself, adding new behaviours or solutions rather than opposing those of others, in order to arrive at less dualistic visions to develop the idea of relativity, mobility and relations. Chiara Parisi

Des  Mondes de Poche est né à travers une série de rencontres dans des appartements à Rome et à Paris. Une aventure humaine pour une redéfinition politique de petites communautés qui encouragent les notions de partage et la particularité de la rencontre.

 

La première proposition pour Camere est une maquette de Yona Friedman & Jean-Baptiste Decavèle, La petite ville spatiale, réalisée spécialement pour cette exposition. Il s’agit d’une réactualisation d’une des idées clé de Yona Friedman : La Ville spatiale, exemple et théorie architecturale qui renvoie au concept même du projet, Camere. Un espace qui n’est pas construit, rempli, ou modifié, mais rendu disponible pour des usages.

Dès 1958, Yona Friedman établit les principes de la Ville spatiale, la plus importante application de l’architecture mobile, une structure sur pilotis alternant des volumes habités et des vides constituant des “quartiers” où se distribuent librement les logements. Sa surélévation lui permet de se déployer au dessus de sites indisponibles, de zones non constructibles ou déjà construites mais également de terrains agricoles.

 

En réalisant cette maquette démontable et transportable de la Ville spatiale pour Rome, Yona Friedman et Jean-Baptiste Decavèle démontrent - comme l’architecte avait déjà anticipé dans son manifeste L’Architecture mobile - que la mobilité ne doit pas être celle du bâtiment, mais celle de l’usager auquel une liberté nouvelle est conférée. En effet, comme le démontre l’installation qui surplombe la première chambre, la Ville spatiale rend l’espace libre et disponible sans le remplir.

 

Les films de Jean-Baptiste Decavèle font partie de la maquette et sont présentés comme des films de poche, projetés sur des modules portables, en carton et papier calque. Architecture d’aujourd’hui, Architecture Mobile, Paris le 05 septembre 2011 est un plan séquence de 25 minutes dans lequel Yona Friedman revient dans son appartement parisien, page après page, sur le manuscrit original de L’Architecture mobile. Au delà d’un témoignage  sur la relation qui unit Yona Friedman à son concept architectural, le film est surtout la réactualisation matérielle et conceptuelle de sa pensée dans le cœur même de la Ville Spatiale ici présentée. Tout comme pour Iconostases 25 i.s.,  durant lequel Yona Friedman réalise pour la première fois à l’échelle du 1:1 une iconostase.

 

Yona Friedman affirme que « l’architecture nouvelle pourrait être confiée à l’improvisation par les habitants. Il est nécessaire de concevoir des techniques facilitant l’improvisation. Cette improvisation est une solution sociale pour l’individu. Elle pourrait mener à une esthétique nouvelle ».

 

Démontrant que chaque action ne constitue qu’une étape intermédiaire et évolutive d’un gigantesque et perpétuel chantier de création, l’intervention de Fabrice Hyber au sein de Camere encourage le renouvellement dans les usages et les comportements. Sa proposition se développe autour d’une présentation d’une série de POF (Prototypes d’Objets en Fonctionnement) suspendu au plafond avec une multitude de dessins. Fabrice Hyber offre une possibilité de faire immerger le visiteur dans son univers où il déplace la fonction originelle de quantités d’objets familiers empruntés à notre quotidien. Ainsi, il modifie la conscience et la pratique que nous avons de ces objets quand leurs formes nouvelles induisent et génèrent de nouvelles attitudes.

 

Fabrice Hyber livre aux visiteurs ce message « Chez soi tout est possible, dans le do it à faire chez soi de Hans-Ulrich Obrist, j’avais proposé : chez vous faites ce que vous voulez. Une chambre est une expérience quotidienne, on y transpire ces désirs. Et parfois on y meurt. Tout dans la chambre est de nous et pour nous : des pense-bêtes aux empreintes ».

 

La troisième et dernière rencontre dans Camere se fait avec Gianfranco Baruchello. Refusant le mythe d’une prédominance duchampienne qui n’aurait jamais commis une erreur, Baruchello ressent dans l’héritage de l’œuvre de son ami comme une formidable source de liberté. Dans sa chambre, il créé un exercice pour le cerveau, Psicogim, avec des instructions ou des pistes qui mettent en abîme le visiteur à travers la lecture d’un texte critique et pratique, où il se retrouve à parcourir sa vie, une journée type, où l’activité psychique est mise à l’épreuve à travers des images, des produits, des objets, de la littérature, qu’il retrouve autour de lui. Une gymnastique pour l’imagination et les idées.

 

Gianfranco Baruchello explique « J’ai fait depuis des années un choix qui refuse le dualisme entre réalité et irréalité et qui ouvre la troisième voix de la tendance et de la propension.

Ce choix présuppose le surpassement de solutions intermédiaires comme l’auto conviction de l’essai ou les grands récits des fables.

Sciences et connaissances côtoient la casualité, les possibles et les probables, en s’aventurant dans les territoires de l’incertitude et de l’intelligence parallèle.

En découle, l’inquiétante sensation que l’intelligence humaine par rapport à celle inéluctable, précise et mathématique de la Matière-Nature possède en effet (comme les moteurs neufs des voitures) un diaphragme qui empêche de marquer les limites où la main vacille et hésite.

L’Art, aujourd’hui, est le symptôme (encore précoce) qu’il est possible d’aller au delà de ce diaphragme. Pour cela, nous avons besoin de nouveau langage-hypothèse et de beaucoup de courage face au risque.

Les nouvelles technologies ne suffisent pas mais peuvent quand même concourir à formuler avec plus de précisions les termes de ce défit. L’artiste continue dans tous les cas à se poser des questions et à proposer des idées mais aussi à tracer de nouveaux périmètres, en cherchant de nouveaux moyens et d’autres images dans sa main et aux alentours ».

 

Des mondes de Poche présente un dispositif humain qui se rapporte à des groupes de deux ou plus personnes et converge vers la situation où l’un fait évoluer l’autre. L’ensemble aspire ainsi à la modification des idées sans s’imposer à l’autre, d’ajouter des comportements, des solutions plutôt que d’en opposer d’autres, d’arriver à une vision moins dualiste et développer l’idée de la relativité, de la mobilité, de la mise en relation.

La petite ville spatiale

La petite Ville Spatiale, détail vue d’en dessous. Yona Friedman & Jean-Baptiste Decavèle, 2012.

Photographies :

Jean-Baptiste Decavèle

&, iconostases 25 i.s

Part I : 10 September – 08 October 2011

Part II : 15 October – 12 November 2011

Architect Yona Friedman and artist Jean-Baptiste Decavèle continue their collaboration in their second exhibition at galerie Anne Barrault, which follows on their joint project around the fictional territory Balkis Island in 2009. The first phase of …&, iconostases 25 i.s. comprises videos and photographs, objects and sculptures by Jean-Baptiste Decavèle arranged around Yona Friedman’s maquette Il ponte della libertà, a project for a ‘ville spatiale’ on the bridge that links the Italian cities Mestre and Venice.
Decavèle’s video Il ponte della libertà shows Yona Friedman building and taking apart his maquette. The viewer notes the swiftness and ease with which this architecture can be constructed and deconstructed—all of the elements of the maquette are neatly stored in a few cardboard boxes—but the film also provides a glimpse into the architects creative environment, filled with other maquettes, maps and murals, paper-cut outs accompanied by his ‘Simple Truths’ afffixed to the walls of his home.
The title of this exhibition…&, iconostases 25 i.s. conjoins the movement of film and photographic images to the iconostase, a mobile, adaptable and evolutive structure for the presentation of works of art, based on the iconostasis, a portable screen or wall that historically served in churches as a support for icons. Friedman has worked on his own concept of the iconostase for at least 50 years.
His is formed out of circular polyhedrons that can be linked together in what he calls a ‘space chain’ for holding art works. Decavèle’s video Iconostase 25 i.s., filmed from the heights of a cherry picker, documents Friedman circulating in and around the iconostase he built for Art Basel 41 in 2010, the first time Friedman had realized the iconostase on this scale. The video traces this unprecedented and fleeting installation from beginning to end, without any editing. Viewed from above, the metal rings of the ‘space chain’ recall the course and the lines of a drawing and the iconostase resembles a topographic map. The architect seems to be wandering through the materialization of his own architectural thinking.     This is consistent with Decavèle’s understanding of the role of documentary video here: it can in no way serve as a substitute for the realization of one of Friedman’s architectural projects, but it can signify a certain formalization of his ideas.
The walls of the gallery have been papered with cardboard, in order to play with questions of scale in the gallery, and to reflect upon possibilities for a more malleable and modular alternative to the white cube/black box for showing Decavèle’s images, like the Steroscopic Views of Balkis Island (2009), co-signed by Friedman and Decavèle. For this work, related to Decavèle’s first voyage to Balkis Island, Friedman sketched proposals for fictional but potentially realizable habitats on the stereographic images found by Decavèle. The use of stereographic plates links Balkis Island
to a specific region by recalling Decavèle’s first of several trips to the Arctic, where he travelled to research the traces of the lost Franklin expedition in 1845. The only surviving images of that expedition are daguerreotypes taken of the crew before their departure from England, with a camera on board.
Finally, Decavèle’s photomontages Iconostase superimpose dozens of images from single shot of Friedman building the iconostase. All of the images are taken from a fraction of a shot lasting between 15 seconds and 3 minutes in the video Iconostase 25 i.s. It is important to note that montage only intervenes in the photographic image, not in the videos, in order to introduce a rhythm and underline the reciprocity between continuity and discontinuity, construction and
deconstruction, a tempo and movement that is omnipresent in and shared by the work of the architect and the artist.

Vivian Sky Rehberg

Photographies :

Jean-Baptiste Decavèle

 Etc. Balkis Island

Yona Friedman et Jean-Baptiste Decavèle

5 juillet – 1er novembre 2009

Commissaire Chiara Parisi

Issue de la collaboration de Yona Friedman, grand théoricien de l’architecture et Jean-Baptiste Decavèle, photographe et vidéaste, cette exposition inédite réalise la transposition d’une géographie fictive (celle d’une île du Grand Nord), sur l’île de Vassivière. Les visiteurs sont invités à découvrir la cartographie imaginaire de Balkis island, ponctuée d’installations monumentales, à l’extérieur et à l’intérieur du Centre d’art, de maquettes, de photographies ou encore d’images en mouvement.

L’île de Balkis est ainsi la réalisation de la construction d’un monde, d’une structure que l’on ne peut appréhender par avance, mais que les visiteurs découvrent au moment où ils arrivent à Vassivière et deviennent les habitants de ce lieu.

A l’extérieur, Yona Friedman réalise une œuvre terrestre la Licorne Eiffel, visible du haut du phare de Aldo Rossi, qui recouvre l’intégralité de la prairie située devant le Centre d’art. Cette œuvre, dont le corps élancé rappelle de par sa taille (324 mètres) la tour construite par Gustave Eiffel, représente une paisible licorne anthropomorphe, aux allures féminines qui semble tenir dans la main droite le Centre d’art. Le poignet gauche de l’animal chimérique est orné d’un bracelet de modules en plexiglas dessinés sur l’idée d’un Musée dans la rue qui peut être activé, modifié et complété par les objets des visiteurs de l’île.

www.balkisisland.com

http://www.ciapiledevassiviere.com/fr/actualites_expositions.aspx?id=94

L’exposition Etc. Balkis Island est réalisée avec le partenariat de Naturalia beauté bio et Pro Natura.

Crédits photographiques : Jean-Baptiste Decavèle, Marc Domage, Yona Friedman.

La Licorne Eiffel est une Commande Publique, Centre national des arts plastiques (CNAP) / Délégation des arts plastiques (DAP).
La Licorne Eiffel, Yona Friedman, 2009.
 
Balkis Spatiale, Yona Friedman & Jean-Baptiste Decavèle, 2009.

 

L’oeil de la licorne. Yona Friedman & Jean-Baptiste Decavèle. 2009.

Dossier_de_presse …Etc. Balkis-island

Photographies :

Jean-Baptiste Decavèle

 

 

 

 

 

Copyright © Jean-Baptiste Decavèle 2011-2012-2013-2014-2015-2016-2017. All Rights Reserved.

 



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