Ludovic Hadjeras - selected works
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Ludovic Hadjeras
selected works
Like a TV series, the works produced over the past three years operate in the form of seasons, made up of episodes: the works, which are grouped according to their theme. The first season, My beautiful land, tackles the subject of a troubled Franco-Algerian identity, that of my grandparents, mixing an intimate and individual story with the history of two countries. The second season, Tribute to Gilles Garnier, focuses on the figure of the werewolf, predator in the popular imagination, but also a diplomat, because between two worlds, the lupine and the human. The third season, Calls to Daddy, consists of works addressed to a dead man. Hybridity is an integral part of my work, through characters that I embody through the seasons: the half-breed, the werewolf, the medium. Pieces are produced under hybrid identity and function as plastic indices of a presence in several worlds. Similar to rumors, they spread their stories by being distorted, amplified, transcending the temporal boundaries of an exhibition like the Grandpa’s Fig Tree, by being glimpsed at the corner of a street like The Wolf Cannot Watch the Moon Without Get Out of the Woods, addressing non-humans, such as Calls to Daddy.
Ludovic Hadjeras bonjour@ludovichadjeras.fr +3367923517 EDUCATION * DNSEP (master) in progress, Haute école des arts du Rhin, art, RESIDENCIES No Name group, Strasbourg, june 2020 * « Cryptococktails », with Anne-Sarah Huet and No Name, * DNA (bachelor), mention for delicacy, Haute école des arts du Rhin, Syndicat Potentiel, Strasbourg, France, 2020 No Name group, Strasbourg, 2015 - 2018 * « La vie est un long fleuve de sport d’équipe (saison première) », * Preparatory class for Fine-arts schools, Beaune, 2014 - 2015 Lion-en-Sullias, France, 2019 SHOWS CURATING * « Fiasco chéri », collective show, Le 19, Montbéliard, France, 2020 * « La vie est un long fleuve de sport d’équipe (saison première) », * « 9 hacks : outils potentiels », collective show organised by Lola feat. Alexandre Caretti, Lion-en-Sullias, France, 2019 Fontanié and Jade Lièvre, In Extenso, Clermont-Ferrand, France, 2020 * « Avant-Première 2017 », with Alexandre Caretti, Anne Delerue, * « caméra silex patates germées », collective show, Ingwar del Maestro, Mélina Giboire, HEAR, Strasbourg, France, 2017 Casino Luxembourg, Luxembourg, 2019 * « Pousse 2 », collective show in collaboration with Neil Beloufa, STAGES La Chaufferie, Strasbourg, France, 2019 * Work experience at Janssen Gallery, 2019 * « Les martinets dorment en volant », collective show, * Film steward for Grégoire Beil, Les Jeunesses d’Or, 2019 Centre Rhénan d’Art Contemporain, Altkirch, France, 2018 * Work experience with Neil Beloufa for the « Pousse 2 » show, 2019 * « Devenez propriétaire », collective show, Les Brasseries, * Performer for Edith Dekyndt, One Thousand and One Night, Maxéville, France, 2017 57th Venice Biennale, Venice, Italy 2017
The Wolf Cannot Watch the Moon Without Get Out of the Woods
Photographie © S. Becker
On the opening day of the exhibition ‘‘caméra silex patates germées’’, I walk around the city
of Luxembourg, hidden under a howling wolf mask. Starting from the Pétrusse Valley, Performance activated during varnishing and finishing
I arrive at the Casino at the opening night, just before the full moon rises. When I arrive from the exhibition «‘‘caméra silex patates germées’’,
in the art center, I head for the sculpture Never Doubt the Invisible to hide there and put the days before a full moon.
mask on it. I return a month later, to the full moon, the last day of the exhibition, to take Casino Luxembourg, Luxembourg
the opposite path. 2019
New Enemy In the exhibition space, at canine height and in strategic places, are sprayed markings composed of 50% of wolf’s urine and 50% of my own. Urine allows canids to mark their territory and provides information on the origin of the one who left this trace. Although we are overwhelmed by this language as humans, we are able to imagine what it represents Wolf’s urine, human’s urine to canids. This almost empathetic capacity induces a shift in the gaze, a first step towards Mural painting by Kelly Weiss becoming garou. 2020
Calls to Daddy: Two Swallows Calls to daddy is a display including a series of pieces produced in collaboration with my father, who died in 2005. The display was presented during the exhibition «Fiasco chéri», at 19, Center d’art regional d’art contemporain de Montbéliard , city in which my father, plastic artist, had his workshop. Most of the pieces were designed by my father’s presence during dreams or meditation sessions. Two Swallows is a part that Electric planes, paint, feathers activates at night: the employees of the art center start the planes before to leave. The two swallows Variable dimensions then run into the exhibition space at night, in the dark. 2020
Calls to Daddy: Swansong Swan song is a sculpture that activates when someone or something is Infrared emitter, feathers, going through the infrared ray, causing an alarm to go off. infrared receiver, buzzer The alarm worked, several times, without a physical presence having Variable dimensions passed in front. 2020
Calls to Daddy: Fatballs In the art center, beyond the borders of the room reserved for the “Fiasco chéri” exhibition, Six or seven fatballs for birds six or seven fatballs for birds are suspended from beams, above a door, in the attic of the Variable dimensions building, at outside, like scattered offerings. 2020
Calls to Daddy: Nightingale Nightingale is a sculpture that lights up after the lights of the art center are turned off, diffu- Phosphorescent resin sing its green glow into the darkness of the room. Like all the works that make up Calls for 3 x 5 x 2 cm Daddy, Rossignol is aimed at an absent audience, existing all the more when no one can see it. 2020
Calls to Daddy: Drinker ; Cedar ; Little Bird Plaster, polyester resin, silicone, gold leaf, black tea, squeezed Aluminum bottle, lemon, raisins cedar essential oil Stainless steel, firecracker, feathers 20 x 20 cm 5 x 2 x 2 cm 20 x 5 x 5 cm 2020 2020 2020
Hunting Board
Drone, fox tails, synthetic urine
The drone, augmented with fox fur and urine, was an object of canine excitement before its fox, mixed materials
death. Its remains, displayed on his transport tray, becomes a wall sculpture, between the 85 x 120 cm
stuffed animal and the still life. 2020Never Doubt the Invisible
Photographie © S. Becker Photographie © S. Becker Photographie © S. Becker
Hunting hides offer a strategic point of view on a territory. The sculptures work in duo, one reveals
its structure, on which is engraved the story of Amange’s werewolf, when the other, covered with Etched aluminum structure, brandy
military fabric, offers to the one who enters a hunting and camouflaged look on the exhibition space. gentian, camouflage fabric, mask
The covered hide served as a hideout for the performance mask The Wolf Cannot Watch the Moon Without Getting Out Variable dimensions
of the Wood, at rest between two full moons. 2019Paradisiac Island feat. Moktar Hadjeras To earn some money at the start of his artistic career, Moktar (1961-2005) Painted thumbtack made pins from Fimo and painted landscapes on thumbtacks. 0,9 x 0,9 cm By exhibiting this discreet painting, I summon the presence of my father. 1990 - 2020
Grandpa’s Fig Tree My grandparents, Algerian, had a fig tree plantation before having to leave their country Fig tree planted during the opening under the name of harkis. In France, they planted a fig tree in the gardens of each house of the exhibition ‘‘Les Martinets dorment en volant’’ they lived in. This planted tree came from a cutting of one of their fig trees, and continues CRAC Alsace, Altkirch to grow today in the garden of CRAC Alsace. 2018
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