Eric Baudelaire - Barbara Wien
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
Eric Baudelaire Afterimage Exhibition: February 16 - April 13, 2019 Opening: Friday, February 15, 6 - 9 pm Barbara Wien gallery & art bookshop Schöneberger Ufer 65, 3rd floor 10785 Berlin Germany fon +49-30-28385352 fax -50 mobil +49-173-6156996 bw@barbarawien.de www.barbarawien.de
Barbara Wien With Que peut une image ? [What an image can?], Baudelaire proposes another form of montage
gallery & art bookshop where pictures are also set apart from words: a light box vitrine showcases an assemblage of found
Schöneberger Ufer 65 (3rd floor) 10785 Berlin images and texts. In an attempt to define the elusive notion of terrorism, the textual parts develop,
T +49·30·28 38 53 52 F +49·30·28 38 53 50 once again, an abecedary. These entries, however, are lacunary, cut, incomplete, patchy: they fail to
Tue–Fri 1–6 pm, Sat 12–6 pm caption the corpus of images around them and offer room for uncertainty and therefore for our own
www.barbarawien.de, bw@barbarawien.de connections. Unlike Aziz’s physicality in the film, in this piece, bodies are hard to avoid: stripped bare,
posing, censored, erased, cut, injured, shot or even dead. Images of desire and images of violence,
impelling forces whose representations raise timelessly elusive questions.
Eric Baudelaire Afterimage
Eric Baudelaire was born in Salt-Lake City, USA in 1973. He lives and works in Paris. Baudelaire has
Exhibition: February 16 - April 13, 2019 had numerous international exhibitions including solo shows at the Centre Pompidou, Paris, France
Opening: Friday, February 15, 2019, 6 - 9 pm (2017); the Witte de With, Rotterdam, Netherlands (2017); the Ludwig Forum, Aachen, Germany;
Film screening times Also Known As Jihadi (99 min.) every Tue – Sat at 12 pm, 2 pm & 4 pm the Fridericianum, Kassel, Germany (2014); the Bergen Kunsthall, Norway (2014); the Beirut Art
Centre, Lebanon (2013); and the Hammer Museum, Los Angeles, USA (2010).
Galerie Barbara Wien presents its second exhibition with Eric Baudelaire, which coincides with his Baudelaire has also taken part in various international group exhibitions, for example at the
nomination for the Marcel Duchamp Prize 2019. Eric Baudelaire’s hybrid practice has been exhibited Cleveland Triennial for Contemporary Art, USA (2018); the Whitney Biennial 2017, New York, USA;
within contemporary art channels and presented at film festivals and in cinemas. Unlike our first the Biennale de Montréal, Canada (2016); the Sharjah Biennial, UAE (2015); Yokohama Triennial,
exhibition with the artist, where we decided to only exhibit the non-filmic facet of his work, Japan (2014); 8th Taipei Biennial, Taiwan (2012); and at La Triennale, Paris, France (2012).
Afterimage presents Baudelaire’s latest feature-length film Also Known As Jihadi, which premiered in
2017 for his solo exhibition at Witte de With, Rotterdam and was the centrepiece of Baudelaire’s Several of his films and installations are part of international museums’ collections such as The
exhibition Après at the Centre Pompidou in Paris the same year. Museum of Modern Art, New York, USA; the Museo Reina Sofia, Madrid, Spain; the Whitney
Museum of American Art, New York, USA; the MACBA in Barcelona, Spain; and the Centre
Also Known As Jihadi is the possible story of Abdel Aziz, a fictitious name given to a real young man Pompidou in Paris, France.
born in Val-de-Marne (France), who joined the al-Nusra Front in 2012 in Aleppo, Syria. In a rather
He has been the recipient of numerous prizes both for his films and exhibition works including the
unsettling manner, Aziz does not appear on screen; instead, successive scenes frame the landscapes
Future of Europe Art Prize (Leipzig, 2017); Sharjah Biennial 12 prize (2015); the SeMA-HANA
in which his story unfolds. Here Baudelaire quotes and loosely applies fukeiron (the landscape theory),
Award, Mediacity in Seoul, South Korea (2014); and the Special Jury Prize at DocLisboa Festival,
as formulated by the Japanese filmmaker Masao Adachi in the film A.K.A. Serial Killer (1969) which Portugal (2012 and 2014).
consists of shots of places Norio Nagayama traversed in his short life, before his arrest and
conviction for the murder of four people. Adachi and his fellow filmmakers perceived a political Following Eric Baudelaire’s nomination for the Marcel Duchamp Prize 2019, the Centre Pompidou in
dimension in these serial killings, and they imagined fukeiron as a way of questioning whether filming Paris, France will host a group exhibition with the four nominated artists, opening 8th October 2019.
landscapes could reveal the structures of power that contributed to Nagayama’s alienation and thus
provide context to the murders. Also Known As Jihadi is the third film in an on-going dialog between
Baudelaire and Adachi: in Baudelaire’s The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27
Years without Images (2011) Adachi was subject and narrator, in The Ugly One (2013) he was
scriptwriter, and with this third project, Baudelaire remakes Adachi’s seminal film and brings it into a
contemporary context.
Also Known As Jihadi traces Aziz’s journey through the landscapes he traversed: the clinic where
he was born in the Parisian suburb of Vitry, the neighborhoods he grew up in, his schools, university
and workplaces. Then, his departure to Egypt, Turkey and the road to Aleppo. In a departure from
Adachi’s fukeiron, Baudelaire unfolds a second storyline made of extracts from judicial records: police
interrogations, wiretaps, and surveillance reports. The documents, like pages from a script, are
intertwined with images and sounds to compose a film that pertains less to a singular character, Aziz,
than to the architectural, political, social and judicial landscapes in which his story unfolds. The film
allows us space for interpretation, far from the usual din that surrounds stories about terrorism. The
context is at the forefront while the subject remains invisible; it belongs to us to compose a
character through our projections.
Afterimage also includes a series of silkscreen posters that resulted from a collaborative abecedarium
Baudelaire developed together with participants from various fields as part of his exhibition Après at
the Centre Pompidou. The posters were made every night with the help of stenographers and
graphic designers as a record of the public program that took place daily over the course of fifteen
sessions. Here, a selection of four posters, A for Architecture, F for Fukeiron, J for Justice, H for
Hypnosis, give us some urbanistic, film-theoretical, legal and psychoanalytic food for thought on the
relationship between art and current events.
Barbara Wien Wiedergabe des öffentlichen Programms, das täglich an fünfzehn Tagen in seiner Ausstellung im
Galerie & Kunstbuchhandlung Pompidou stattfand. Wir zeigen daraus eine Auswahl von vier Plakaten: A für Architektur, F für
Schöneberger Ufer 65 (3. OG) 10785 Berlin Fukeiron, J für Gerechtigkeit (Justice), H für Hypnose. Die Texte liefern urbanistische,
T +49·30·28 38 53 52 F +49·30·28 38 53 50 filmtheoretische, rechtliche und psychoanalytische Gedankenanstöße und verweisen auf die
Di – Fr 13–18 Uhr, Sa 12–18 Uhr Beziehungen von Kunst und aktuellen Ereignissen.
www.barbarawien.de, bw@barbarawien.de
Mit Que peut une image ? (Was kann ein Bild?) schlägt Baudelaire eine andere Form der Montage vor,
in der Bilder und Worte separiert sind. In einer Lichtvitrine zeigt er eine Auswahl von gefundenen
Eric Baudelaire Afterimage
Bildern und Texten. Hier versucht er den schwer fassbaren Begriff des Terrorismus zu definieren; in
Eröffnung: Freitag, 15. Februar 2019, 18 - 21 Uhr den Textteilen entwickelt er dazu wieder ein ABC. Die Texte sind aber lückenhaft, angeschnitten,
Ausstellung: 16. Februar - 13. April 2019 unvollständig, unzusammenhängend: sie taugen nicht dazu, die Bilder zu untertiteln und bieten auf
Filmvorführung Also Known As Jihadi (99 Min.) jeden Di – Sa um 12, 14 & 16 Uhr diese Weise Raum für Ungewissheit, für eigene Verbindungslinien. Anders als Aziz im Film, der
körperlich nie anwesend ist, sind hier Körper unvermeidbar: nackt, sich in Szene setzend, zensiert,
Eric Baudelaires zweite Einzelausstellung in der Galerie Barbara Wien fällt mit seiner kürzlich zerschnitten, verletzt, erschossen oder sogar tot. Bilder von Lust und Gewalt - triebhafte Kräfte,
bekanntgegebenen Nominierung für den Marcel Duchamp Preis 2019 zusammen. Baudelaires deren Darstellungsformen zu jeder Zeit komplexe Fragen aufgeworfen haben.
Arbeiten werden sowohl im Kontext der zeitgenössischen bildenden Kunst als auch auf Filmfestivals
gezeigt. Anders als in seiner ersten Ausstellung in unserer Galerie 2016, die sich auf das nicht-
filmische Werk konzentrierte, zeigen wir in Afterimage Baudelaires neuesten Film in Spielfilmlänge, Eric Baudelaire wurde 1973 in Salt-Lake City, USA, geboren. Er lebt und arbeitet in Paris. Baudelaire
Also Known As Jihadi, der 2017 in seiner Einzelausstellung im Witte de With in Rotterdam Premiere hatte eine Vielzahl internationaler Ausstellungen, einschließlich Einzelausstellungen im Centre
hatte und im selben Jahr im Mittelpunkt seiner Ausstellung Après im Centre Pompidou in Paris stand. Pompidou, Paris, Frankreich (2017); im Witte de With, Rotterdam, Niederlande (2017); im Ludwig
Forum, Aachen, Deutschland; im Fridericianum, Kassel, Deutschland (2014); in der Bergen Kunsthall,
Also Known As Jihadi ist die Geschichte von Abdel Aziz. Dies ist der fiktive Name eines wirklich Norwegen (2014); im Beirut Art Centre, Libanon (2013); und im Hammer Museum, Los Angeles,
existierenden jungen Mannes, der im französischen Val-de-Marne geboren wurde und 2012 in Aleppo USA (2010).
in Syrien der al-Nusra-Front beitrat. Aziz erscheint selbst nicht auf der Leinwand; stattdessen werden Baudelaire hat an vielen internationalen Gruppenausstellungen teilgenommen, z.B. an der Cleveland
in verschiedenen Szenen Landschaften gezeigt, in denen sich seine Geschichte abspielte. Baudelaire Triennial for Contemporary Art, USA (2018); an der Whitney Biennial 2017, New York, USA; an der
zitiert damit die Filmtheorie fukeiron (Landschaftstheorie), die der japanische Filmemacher Masao Biennale de Montréal, Canada (2016); der Sharjah Biennial, VAE (2015); der Yokohama Triennial,
Adachi in dem Film A.K.A. Serial Killer (1969) formuliert hat. Adachis Film besteht aus Aufnahmen der Japan (2014); der 8th Taipei Biennial, Taiwan (2012); und an der Ausstellung La Triennale, Paris,
Orte, die Norio Nagayama in seinem kurzen Leben durchquert hat, bevor er inhaftiert und für den Frankreich (2012).
Mord an vier Personen verurteilt wurde. Adachi und seine Mitstreiter erkannten eine politische
Dimension in diesen Serienmorden. Sie entwickelten fukeiron als eine künstlerische Form, um Einige seiner Filme und Installationen sind Teil von internationalen Museumssammlungen wie dem
herauszufinden, ob die gefilmten Landschaften die Machtstrukturen aufdecken könnten, die zu Museum of Modern Art, New York, USA; Museo Reina Sofia, Madrid, Spanien; Whitney Museum of
Nagayamas Entfremdung beigetragen haben und zum Verständnis der Morde führen könnten. Also American Art, New York, USA; MACBA in Barcelona, Spanien; und Centre Pompidou in Paris,
Known As Jihadi ist der dritte Film eines andauernden Dialogs zwischen Baudelaire und Adachi: in Frankreich.
Baudelaires The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 Years without Images
(2011) war Adachi das Thema und der Erzähler, für The Ugly One (2013) hat er das Skript Er wurde mit zahlreichen Preisen ausgezeichnet, sowohl für seine Filme als auch für seine nicht-
geschrieben und in dem dritten Projekt verwendet Baudelaire nun Adachis filmisches Konzept, er filmischen Arbeiten, darunter der Future of Europe Art Preis (Leipzig, 2017); der Preis der 12.
erstellt ein "Remake" von Adachis bahnbrechendem Film und bringt dessen Konzept in einen Sharjah Biennial (2015); der SeMA-HANA Award, Mediacity in Seoul, Südkorea (2014); und dem
zeitgenössischen Kontext. Special Jury Preis beim DocLisboa Festival, Portugal (2012 und 2014).
Also Known As Jihadi folgt den Spuren von Aziz' Reise durch die Landschaften, die er durchquert hat: Anschließend an Eric Baudelaires Nominierung für den Marcel Duchamp Preis 2019 wird das Centre
wir sehen das Krankhaus in der Pariser Vorstadt Vitry, in dem er geboren wurde, die Nachbarschaft, Pompidou in Paris eine Gruppenausstellung mit den vier nominierten Künstlern ausrichten, die am
in der er aufwuchs, seine Schulen, die Universität und die Arbeitsplätze. Dann folgt seine Abfahrt 8. Oktober 2019 eröffnet.
nach Ägypten, in die Türkei und die Straße nach Aleppo. Angelehnt an Adachis Landschaftstheorie
entwickelt Baudelaire eine zweite Erzählebene, indem er Auszüge aus den Gerichtsakten verwendet:
Polizeibefragungen, Abhörprotokolle und Überwachungsberichte. Die Dokumente werden, wie
Seiten eines Skripts, mit Bildern und Sound verflochten. Baudelaire gestaltet auf diese Weise einen
Film, der weniger die einzelne Person, Aziz, beschreibt, als vielmehr die architektonischen,
politischen, sozialen und rechtlichen Landschaften zeigt, in denen sich seine Geschichte entfaltet. Der
Film gibt viel Raum für eigene Interpretationen, er ist weit entfernt von den üblichen Erklärungen, die
das Thema Terrorismus umgeben. Bei Baudelaires Film steht der Kontext im Vordergrund während
das Subjekt unsichtbar bleibt; es ist also an uns, einen Charakter aus unseren Projektionen
zusammenzusetzen.
In Afterimage zeigen wir außerdem Siebdruckplakate, die Baudelaire zusammen mit verschiedenen
Mitarbeitern als ABC erstellt hat. Sie waren Teil seiner Ausstellung Après im Centre Pompidou. Die
Plakate wurden jede Nacht von Stenographen und Designern entwickelt und waren eine
Installation view / Installationsansicht Afterimage, Galerie Barbara Wien, Berlin, Germany / Deutschland 2019
Installation view / Installationsansicht Afterimage, Galerie Barbara Wien, Berlin, Germany / Deutschland 2019
Installation view / Installationsansicht Afterimage, Galerie Barbara Wien, Berlin, Germany / Deutschland 2019
Que peut une image? 2017 Lightbox vitrine, 52 duratrans photographic prints, and magazines pages Previously exhibited / Zuvor ausgestellt: Leuchtkasten-Vitrine, 52 Fotodrucke auf Duratrans und Zeitschriftenseiten The Music of Ramón Raquello and his Orchestra, Witte de With, Rotterdam, Netherlands / Niederlande 2017 Vitrine: 96 x 603 x 73 cm The Music of Ramón Raquello and his Orchestra, Tabakalera, San Sebastian, Spain / Spanien 2017
Detail Que peut une image? 2017
Detail Que peut une image? 2017
Detail Que peut une image? 2017
Eric Baudelaire about the work:
“The figures on the prints are abstracted forms of scratchings, details from pages of western art magazines bought as is in Japan.
The blown-up offset printing pattern reveals the scale of the original material, and the titles refer to the source, the place and the
time of their scratching by anonymous hands (e.g.: Artforum XLVI #7 p.241 [sic],Yokohama, 2008).
Of Signs & Senses The process leading to the gravures retraces the itinerary and mutations of a form. In the beginning, there is an image, the re-
2009 production of a work of art in a magazine. When the magazine is imported in Japan, foreign press distributors manually scratch
Series of heliogravures on rag paper out, page-by-page, all visible genitalia. The bokashi is the space where ink was removed from the surface of the page. The gravures
Serie von Heliogravuren auf Büttenpapier sample bokashi from magazines bought in Tokyo and Kyoto in 2008.
The gravures also point to a paradox: what remains on the scratched page isn’t necessarily less evocative of desire, the erotic
Artforum XLVI #7 p.241 [sic], Yokohama, 2008 charge of an image may even be emphasized by the partial absence of the human figure. The gestures of anonymous scratchers
2009 sampled in the gravures don’t erase, they just transform the relationship between images and senses. And the gravures in turn
Photoengraving (triptych), framed don’t simply reproduce the forms, they pursue their transformation (through framing, enlarging and the use of a traditional
Photogravur (Triptychon), gerahmt western method of heliographic print making), prolonging their journey from art to pornography back to art. A round trip
Paper each / Papier je 48 x 37 cm, frame each / Rahmen je 51.5 x 40.5 cm journey as a literal Anabasis. And a deliberately absurd typological attempt that underscores art’s ability to transcend the
Edition: 9 opposition between visible and invisible.”Exhibition views / Ausstellungsansichten APRÈS, Centre Pompidou, Paris, France / Frankreich 2017 APRÈS 2017 12 silkscreen prints / 12 Siebdrucke Je / each 100 x 70 cm Edition: 12 The posters were made during the solo exhibition at Centre Pompidou in autumn 2017. Posters in French, English translation available as a leaflet. Die Poster wurden während der Einzelausstellung im Centre Pompidou im Herbst 2017 produziert. Die Poster sind auf Französisch, englische Übersetzung als Broschüre vorhanden.
APRÈS (A pour Architecture) APRÈS (F pour Fûkeiron, la théorie du paysage) 2017 2017 1 of 12 silkscreen prints / 1 von 12 Siebdrucken 1 of 12 silkscreen prints / 1 von 12 Siebdrucken
APRÈS (H pour Hypnose) APRÈS (J pour Justice) 2017 2017 1 of 12 silkscreen prints / 1 von 12 Siebdrucken 1 of 12 silkscreen prints / 1 von 12 Siebdrucken
Synopsis
Also Known As Jihadi Aziz, a young man native of Val-de-Marne in the outskirts of Paris, flew to Cairo in 2012 without telling his family. It is known that
2017 Aziz eventually joined the ranks of the Islamic state, and that he facilitated the crossing of the Syrian border for several friends
HD Colour Video, 5.0 surround sound, 99 min. from Val-de-Marne who came to join him. He said that he went to Syria to support the Syrian people in their struggle against
HD Farbvideo, Surround-Sound 5.0, 99 Min. Bashar El-Assad. He also said that he did not engage in combat, but there is a picture of him in Syria, Kalashnikov in hand, and
Edition: 5 wiretaps suggesting that he did. By way of explanation at his trial, which started three weeks after the massacres of November
Together with silkscreen print edition / Zusammen mit Siebdruckedition Après 13, Aziz simply said “I was looking for a purpose in my life.” He is currently serving a nine-year sentence.
Also Known As Jihadi is a voluntarily incomplete portrait of a man drawn through a series of landscapes and extracts of police and
Link to the film: https://vimeo.com/196408150 judicial documents. The film attempts to retrace Aziz’s journey by implementing a cinematic approach inspired by Masao Adachi’s
Password: also 1969 film AKA Serial Killer.Eric Baudelaire about the work:
“The film Also Known As Jihadi builds on a link between some of my previous work and the events that
recently occurred in our lives. I started thinking about this film a few years ago, before the events in Paris of
November 13, 2015 and before those of Charlie Hebdo in January 2015. In view of what is at stake, it
became urgent for me to get down to work. With this project, more than ever, I wanted to make a film that
affirms the position of trying (not) to understand. Or, in the words of Pierre Zaoui, to make a film that
“aims to understand and not to understand at the same time – to understand up to the point that one no
longer understands – and also to show, refusing to understand or explain, so that with a dreadful feeling of
confusion we are surprised to find ourselves understanding, discovering a subtle sympathy, telling ourselves
that maybe monstrosity is our shared condition.”
In 2012, Abdel Aziz (fictitious name), a young man native of Val-de-Marne, flew to Egypt. It is known that
Abdel Aziz eventually joined the ranks of the Islamic state, and that he facilitated the crossing of the Syrian
border for several friends from Val-de-Marne who came to join him. He said that he went to Syria to
support the Syrian people in their struggle against Bashar El-Assad. He also said that he did not engage in
combat, but there is a picture of him in Syria, Kalashnikov in hand, and wiretaps suggesting that he did. By
way of explanation at his trial, which started three weeks after the events of November 13, Aziz simply said
“I was looking for a purpose in my life.” He is currently serving a nine-year sentence.
Abdel Aziz grew up in Thiais in a housing estate. His education at the Guillaume Apollinaire School went
well. He took a degree in IT, and then worked as a deliverer-driver. Clean record; no trouble with the law.
His family and relatives are struggling to understand the path that led him to Syria and then to prison. This
film attempts to trace the route of Abdel Aziz implementing a cinematic approach called “landscape theory.”
The landscape theory (fukeiron in Japanese) was imagined for the first time in 1969 for the film AKA Serial
Killer. The latter intended to clarify the enigma of a young Japanese, Norio Nagayama, who killed five people
with a gun stolen from a US Army base. He never explained his actions, even after his arrest and trial. As
they were searching the locations for a film based on these events, avant-garde filmmaker Masao Adachi and
his co-directors came up with a radical idea: the footage from their location scouting was enough, it was the
film. AKA Serial Killer consists of a series of landscapes from the places where Nagayama lived or travelled
during the 19 years of his short life, before the murders.
This theoretical proposition interested me a lot when I shot my first feature film The Anabasis of May and
Fusako Shigenobu, Masao Adachi and 27 Years Without Images in 2011. In AKA Serial Killer the radicality of the
concept is the object of the film and I’m not sure that one knows more about Nagayama’s murders after
watching it. It was with an equally free spirit that I applied to the lives of Masao Adachi and May Shigenobu
the landscape theory in The Anabasis, retracing their biographical journey, thus projecting the theory onto
the theorist. But it was a second-degree use of the theory, more conceptual than literal.
Since The Anabasis, I have been haunted by the idea of rigorously testing landscape theory. No longer
considering it as a proposal, a provocation, but using it in a very sincere manner for a film, which has never
really been done. As in my previous works, for Also Known As Jihadi I began by conducting extensive
interviews. With the help of an experienced journalist, I drew a biographical account of Abdel Aziz from
interviews with friends, family, colleagues, from police sources, etc. This detailed biography determined the
places whose landscape was filmed.
The film evolved as the research has been conducted, in parallel to the investigative and shooting process. It
is impossible to know with certainty whether Abdel Aziz is simply a religious man who was committed at
first and is now disenchanted by the Syrian experience, as he said before the judges, or whether he was a
zealous recruiter for Daech, who started his way back to organize the attacks in France.
The goal was not to elucidate this ambiguity, but rather to explore it as such. What interests me is to think
about the space, both huge and infrathin, between spiritual commitment and nihilistic horror. To consider
the possible slip from active solidarity with the Syrian uprising against Bashar al-Assad, to the nightmare of
November 13. In the background of these dichotomies arise huge issues that are as vast as they are
unsolvable regarding a generation of French who feel at home neither here nor elsewhere, and a sense of
alienation or identity quest that can sometimes result in taking the road to Raqqa.”
Film stills
Also Known As Jihadi
2017Installation view / Installationsansicht Afterimage, Galerie Barbara Wien, Berlin, Germany / Deutschland 2019
Installation view / Installationsansicht Afterimage, Galerie Barbara Wien, Berlin, Germany / Deutschland 2019
Installation view / Installationsansicht Afterimage, Galerie Barbara Wien, Berlin, Germany / Deutschland 2019
Installation view / Installationsansicht Afterimage, Galerie Barbara Wien, Berlin, Germany / Deutschland 2019
Installation view / Installationsansicht Afterimage, Galerie Barbara Wien, Berlin, Germany / Deutschland 2019
Installation view / Installationsansicht Afterimage, Galerie Barbara Wien, Berlin, Germany / Deutschland 2019
V-Blank 2006 3 gelatin silver prints, framed / 3 Silbergelatinedrucke, gerahmt Detail Photos each / Fotos je: 51 x 65 cm; frames each / Rahmen je: 53 x 67 x 3.4 cm V-Blank Edition: 5 2006
Detail Detail V-Blank V-Blank 2006 2006
Eldgja Canyon 2018 Gravure and letterpress on paper Tief- und Hochdruck auf Papier 33 x 25 cm Edition: 30
You can also read
