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2008. DISCUSSION PANELS PROGRAMME

Place: La Casa Encendida (Ronda de Valencia No. 2, Madrid)Date: 7th and 8th FebruaryTime: From 17.00 to 21.00 h.

Continuing the practice established in the last editions, this year the debate tables are organised once again in collaboration with La Casa Encendida.  As in previous editions, on the one hand, the debate tables will present the projects produced for Madrid Abierto and, on the other, they will introduce different initiatives developed within the sphere of art in the public space.

The round tables will include the active participation of the commission set up last year to debate the model of Madrid Abierto.  The commission's co-ordinator, Rocío Gracia, and its members, Cecilia Anderson, Guillaume Désanges, Jorge Díez, Ramón Parramon, María Inés Rodríguez and Fito Rodríguez, together with this edition's organisers, the collective DEMOCRACIA.

For the artists’ presentations, the event's organisers have established three groups, although aware that the groups may be pervious and that one same project may meet several of the established premises. On the one hand, we will have the projects that make the contemporary class conflict visible, as well as a temporary suspension of the exclusions generated by this conflict, on another hand, those that employ elements or the propagandistic language of the urban scene, and lastly, those more closely associated with forms of urban culture.

The artistic experience developed in the public space faces the complex task of intervening in a saturated and hyper-aesthetized space with few fissures. The temporary and ephemeral nature of these artistic practices often places obstacles in the way of the dissemination and development possibilities of many interesting proposals that would require more time, with respect to the prior investigation and the subsequent production of the interventions as well as the desirable convergence with other projects and other social and cultural agents. In light of this, the opening of new spaces is needed to encourage other forms of production and dissemination, as well as the creation of networks of information and collaboration between this kind of artistic practices. For this reason, every year Madrid Abierto aims to give exposure to other similar experiences. In this edition, Nelson Brissac and Vit Havranek will be responsible for presenting invited projects, offering their experience in the debate on the strategies applied to the city and the territory from an artistic perspective, with more or less emphasis on experimentation, multi-discipline, the process and interaction with the public.

THURSDAY 7TH FEBRUARY

17:00-18:15 Presentation of Madrid Abierto projects

Hell is coming/World ends today. Andreas Templin

Not for sale/No se vende. Alicia Framis

Welcome On Board. Guillaume Ségur

Gran Sur. Fernando Prats

Chaired by: Cecilia Andersson; Democracia

18:15-19:30 Presentation of Madrid Abierto video projects

Arturo-Fito Rodríguez introduced by Rocío Gracia

20:00-21:00 Vít Havránek, introduced by Guillaume Désanges

 

FRIDAY 8TH FEBRUARY

17:00-18:15 Presentation Madrid Abierto projects

Speculator + Empty World. Todo por la praxis

Construye tu casa en una azotea. Santiago Cirugeda

Explorando Usera. La Hostia Fine Arts

Videointervenciones móviles en contextos urbanos específicos. Fernando Llanos

Moderan: María Inés Rodríguez y Democracia

18:30-19:30 Presentation Madrid Abierto projects

Estado de excepción. Noaz/Dier

Proposal Nr. 19 + Gift. Anno Dijkstra

No more no less + La hucha de los Incas. Jota Castro

La guerra es nuestra. Immi Lee/Annamarie Ho

Moderan: Ramon Parramon y Democracia

20:00-21:00 Nelsson Brissac, introduced by Jorge Díez

 

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Cecilia Andersson is curator and director of Werk Ltd., a curatorial agency established in Stockholm. Werk collaborates internationally in the organisation, production, promotion and publication of contemporary art.

Her recent projects include SuperSocial, social events set up in different cities; a series of conferences and seminars in collaboration with Francesco Jodice; On Cities, an exhibition organised in Stockholm’s Museum of Architecture and an itinerant programme of Chinese video.

Cecilia is an independent consultant for Disonancias, an interchange platform between artists and companies in San Sebastián and is part of the Madrid Abierto Commission.

 

Nelson Brissac is a philosopher whose works is related to art and urban-planning issues. Since 1994, he is organiser and curator of Arte/Cidade www.artecidade.org.br, an urban interventions project in São Paulo.

 

Guillaume Desange, is curator, art-critic and co-founder of Work Method, an agency based in Paris dedicated to the production of artistic projects. As member of the Trouble publishing committee, he regularly collaborates with the magazines Exit Express and Exit Book (Madrid). From 2001 to 2007 he co-ordinated the artistic projects of Laboratoires d'Aubervilliers. He organised the exhibitions Pick-Up en Public>, Paris 2004, Untouchable, The transparency Ideal in Villa Arson, Nice and the Patio Herreriano Museum, Valladolid, in 2006-2007, Jiri Kovanda Vs rest of the World in the agency gallery gb, Paris; De Appel, Asmterdam; Centre d'Art Santa Monica, Barcelona, and has worked with Thomas Hirschhorn in the projects The 24h Foucault project and Musée Précaire Albinet. In 2007-2008 he is an invited curator at Centre d'Art Contemporain La Tôlerie. He is a lecturer at Ecole des Beaux-Arts de Clermont-Ferrand and is part of the Madrid Abierto Commission.

 

Vit Havranek is a theorist and a producer established in Prague. Since 2002 he works as Project Manager for the contemporary art initiative tranzit /www.tranzit.org/ sponsored by the Erste Bank Group. He has worked as curator in Prague’s Municipal Gallery and National Gallery. He is a lecturer at the Prague College of Applied Arts. His most recent projects, some of which in collaboration with others, include A CDEFGHIJK MNOP  STUV   Z, part of Societe Anonyme, Le Plateau, Paris, 2007; tranzit – Auditorium, Stage Backstage, Frankfurter Kunstverein, Frankfurt 2006; I, series of exhibitions in three acts: Secession Vienna; Futura Prague; tranzit workshops Bratislava, 2006. He has written articles for several magazines, such as, among others, Springerin, Artist and Flash Art.

 

Ramon Parramon, directs and manages projects within the area of contemporary art and creation. Since 1998, he directs the art project IDENSITAT. In addition, he has organised several projects, such as Territorios Ocupados, 2000; Barcelonas, 1999 and Visiones Periféricas, 1994-97. He has given conferences and seminars at the Polytechnic University of Valencia, the Polytechnic of Milan, the University of Vigo, the University of Granada, the International University of Seville, the University of Barcelona and the Barcelona Higher College of Architecture. His work evolves with a marked interest towards interdisciplinary projects and the roles that art can play in specific socio-political contexts. He is part of the Madrid Abierto Commission.

 

María Inés Rodríguez is an exhibitions curator. She has organised exhibitions and research projects on the public space appropriation strategies in different contemporary art spaces which relate art, design, architecture and urban-planning. In 2004, she created Tropical paper editions to develop the editorial projects of artists. In 2007, she developed the projects Habitat/Variations, BAC Geneva, La Casa Encendida, Madrid, Bermuda Triangle, Êcole de Beaux Arts de París, and was co-curator of MDE 07 Encuentro de Medellín. She is part of the Madrid Abierto Commission.

 

Arturo-Fito Rodríguez,member of Fundación Rodríguez, an artistic production collective that organises and co-ordinates projects associated with contemporary culture and new media, such as Tester and Intervenciones TV. He is part of the Madrid Abierto Commission.

 

Rocío Gracia is an art historian, member of RMS La Asociación, an agency established in 1998 in Madrid dedicated to organising, producing, promoting and disseminating contemporary art projects, and which has recently developed such projects as MadridProcesosRedes and ON SITE TOUR/TALK. The agency will shortly present a preview of Archivo VEO within the project Old News of CGAC and is preparing the exhibition Sur le dandysme for the Centro Huarte de Arte Contemporáneo.

 

Jorge Díez, director of Madrid Abierto and co-director of the MBA in Cultural Management, Santillana/Salamanca University. In 2007 he has co-curated with José Roca (Colombia) Cart[ajena] public art project promoted by SEACEX, developed within the IV Congress of Spanish at Cartagena de Indias, Colombia. He has lectured in the Spain-Japon Forum at Nagasaki, Actual experience in Public Art at the 16º Arts Symposium at Porto Alegre, Brasil and, Contexts and projects in Public Art. Ephemera models of intervention, at the MARCO. 

 

 

 

 

 

 

 

 

08mdtb1765

2008. ARTISTS / INTERVENTIONS / LINKS

Alicia Framis + Michael Lin    Not for sale/No se vende    www.aliciaframis.com Andreas Templin    Hell is coming/World ends today    www.andreas-templin.blogspot.com    www.worldendstoday.wordpress.com

Dier + Noaz    Estado de excepción    www.vdier.com www.noazmadrid.blogspot.comwww,flirck.com/photos/noazmadrid/

Anno Dijkstra    Proposal Nr. 19 + Gift    www.annodijkstra.nl

Fernando Llanos    Videointervenciones móviles en contextos urbanos específicos    www.fllanos.com

Guillaume Ségur    Welcome On Board

Fernando Prats    Gran Sur    www.fernandoprats.cl

Jota Castro No more no less + La hucha de los Incashttp://www.jotacastro.eu/

LaHostiaFineArts (LHFA)    Explorando Usera    www.lahostiafinearts.es

Santiago Cirugeda    Construye tu casa en una azotea    www.recetasurbanas.net

Todo por la Praxis    Speculator + Empty World    www.todoporlapraxis.com

Santiago Sierra    Bandera negra de la república españolawww.santiago-sierra.com

Annamarie Ho + Inmi Lee    La guerra es nuestra    www.annamariecho.comwww.inmilee.net

 

 

 

 

 

 

08prta1766

2008. DISCUSSION PANELS / 07 y 08 feb (images)

2008. DISCUSSION PANELS / 07 y 08 feb (images)

 

       

Fito Rodríguez, Rocío Gracia     Rafael Tunes, Diego Peris   María inés Rodríguez, Pablo España, Rafael Burillo    Diez, Noaz

Fito Rodríguez, Rocío Gracia    Fernando Llanos    Annamarie Ho, Inmi Lee    Dier, Noaz

           

Fernando Baena    Jota Castro    Dier     Anno Dijkstra   

Annamarie Ho    Inmi Lee  

 

 

 

 

 

 

 

 

08mdic1736

2008. Guillaume Ségur. WELCOME ON BOARD (theoretical data)

The installation has a double function: it is at once a public sculpture and a module for skateboarders to practice their sport. A gigantic Möbius strip (approximately 7 metres in diameter) is made of plywood and metal in the manner of skate park architecture. The materials from which the form is constructed suggest a ramp either for usage or as a recognisable object associated with skateboarding.

The sculpture would ideally be installed on the Plaza Colon, a site already well known for skateboarding. However, it is important for this work to encourage diverse types of usage.

WELCOME ON BOARD is a ‘space prototype’ derived from the consideration of skateboarders in an urban environment. From this important relationship between an environment and a practice, the aim is to rework the effects of this confrontation to produce a new form. I consider the work a ‘space prototype’ in the sense that it materialises the effects of sliding people on an urban environment. The challenge of this project is to produce a very specific object rather than a cultural “ready made” or a simple contextual displacement. The proposed object would have the multi function of public sculpture, visual tool and play space. The aim is to shift the idea of public sculpture from ‘monument’ to ‘motor’. The proposed architectural form becomes a vehicle for re appropriation, for a movement, for an action of the people on their surroundings. It aims to encourage the urban space to be interacted with in a new way: by turning it into a loop, by flipping it upside down, by deforming it in order to better grasp it.

It is impossible to interpret the town in its entirety, to imagine it as a whole. Because the town spreads, slips out of control each time one attempts to imagine it, it is necessary to consider the binding elements in order to grasp it as a single block. In public spaces, skaters start with a selection process. As Ian Borden states: “Skateboarders analyze architecture not for historical, symbolic or authorial content but for how surfaces present themselves as skateable surfaces”1. They fragment the architectural space into useful parts and produce continuity between the elements. It is the study of this decomposed urban space that this project focuses on. Through the sculpture I aim to give a form to the afore mentioned ‘binding elements’.

When I consider skateboarding in terms of the production of forms or spaces, it is the Möbius strip that comes to mind. Looping, twisting, inversion and continuous motion are all figures performed by the skater in the space surrounding him. The form is also of particular interest because it has often been utilised in public sculpture projects. It is one of the stereotypes of 1970s public sculpture. In this particular context, the work acts as a pattern, code, a recognisable symbol.

Similar to urban structures and architecture, public sculpture can be considered on a similar level to the elements in public spaces appropriated by the skateboarding genre. It offers new forms, spaces and surfaces to the skateboarders which in turn encourages the creation of new skateboarding figures. A series of superb examples can be seen in the work «Riding modern art” by Raphael Zarka which classifies the utilisation of public sculpture in skater videos

Skateboard Monument by Dan Graham or Skate Park by Peter Kogler are both works that re-utilise existing forms while celebrating the art of skateboarding. In Welcome on board the proposed module is conceived from skateboarding practice rather than with the intention of practice. The remaining challenge is whether it is in fact skateable.

1 A Performative Critique of the American City: the Urban Practice of Skateboarding, 1958-1998, Iain Borden

 

 

 

 

 

 

 

 

08prmc1891

2008. Guillaume Ségur. WELCOME ON BOARD (location)

Pº de la Castellana corner C / Goya, opposite Plaza de Colón

 

 

 

 

 

 

 

 

 

 

08intd2061

2008. Guillaume Ségur (Cv)

CASTRES, FRANCE, 1978 LIVES AND WORKS IN PARISWORK EXPOSED IN MADRID ABIERTO: WELCOME ON BOARD

STUDIES2006·    Student in Le Fresnoy - national studio for contemporary arts2004·    DNSEP in the national fine arts school of Lyon2003·    Exchange in Concordia University Montreal, fine arts department: interdisciplinary studies and electronic arts2002·    DNAP in the national fine arts school of Lyon

GROUP EXHIBITIONS2007·    RDV07, Les subsistances, Lyon, France·    Enlarge your pratice, Friche belle de mai, Marseille, France·    Platform for Urban Investigation, Island 6 art center, Shanghai, China

2006·    Notre meilleur monde (Panorama 7), Le Fresnoy, Studio national, Tourcoing, France·    Multipolaire, Halle 14, Baumwollspinnerei, Leipzig, Germany·    Royal Wedding Expanded, Console, Paris, France

2005·    Rendez-vous 2005 : la jeune création contemporaine (en résonance avec la Biennale d'art contemporain), Galerie des terreaux, Lyon, France·    Opus, Nouvelle présentation des collections permanentes, Musée d'art moderne Lille Métropole, Villeneuve d'Ascq, Fance·    Casting Stories (Panorama 6), Le Fresnoy, Studio national, Tourcoing, France·    Les enfants du Sabbat 6, le creux de l'enfer, centre d'art contemporain de Thiers, France

2004·    European Gemine Muse, Ivan Mestrovic gallery, Split, Croatia·    Installation, ENS-LSH, Lyon, France

2003·    Machin-Machine, Université Claude Bernard, Lyon, France·    Elsewhere 2, VAV gallery, Montréal, Canada

2001·    Sichere freiheit, Lothringer13, Munich, Germany

FESTIVALS2006·    XIIeme Gan Canarias Mediafest, Palma de Gran Canaria, Spain·    Viper festival, Kunsthalle, Bassel, Switzerland

2004·    Marathon vidéo des écoles d'art de la région Rhône Alpes, CRAC, Valence, France

2000·    Marathon vidéo des écoles d'art de la région Rhône Alpes, Le Magasin, Grenoble, France

AWARDS2006·    Winner of the «Villa Médicis Hors les murs» CULTUREFRANCE 2007 program's, for the Shaolin Park project co-written with Emmanuel Vantillard.

2005·    Winner of the Pézieux prize, awarded by a jury composed of: Marie Claude Jeune, arts representative of the DRAC Rhone Alpes, Anne Giffon-Selle, director of  "l'espace arts plastiques de Vénissieux", Dean Inkster, writter and teacher in the Valence fine art school and Yves Robert, Lyon fine arts school director's.

PUBLICATIONS2007·    Panorama 7: Notre meilleur monde, édition Le Fresnoy, 2006·    Panorama 6: Casting stories, édition Le Fresnoy, 2005·    Les enfants du Sabbat 6, exposition au Creux de l'enfer, édition le creux de l'enfer, 2005·    Gemine Muse: young artists in European museums, 2005

 

 

 

 

 

 

 

 

08prtb1786

2008. Fernando Prats. GRAN SUR (published text)

 The project Gran Sur uses the advertisement of the Imperial Trans-Antarctic Expedition led by Ernest Shackleton in 1914. The advertisement was published in a newspaper of that period with the aim of recruiting men to embark on the expedition to Antarctica. According to the legend, with time, the advertisement became famous.

“Men wanted for hazardous journey. Small wages, bitter cold, long months of complete darkness, constant danger, safe return doubtful. Honour and recognition in case of success”

The aim of the expedition was to cross the Antarctic continent via the South Pole. However, the expedition ship Endurance was beset and hit by pack ice before the crew was even able to disembark. All the members of the expedition managed to survive after an epic ordeal on Elephant Island. Shackleton and five other men crossed the Antarctic Ocean to South Georgia in an open boat called James Caird to sound the alarm at the Grytviken whaling station. After several rescue attempts, all the men on Elephant Island were finally rescued on the small Chilean boat Yelcho captained by Luis Pardo Villalón from Punta Arenas.

Shackleton did not lose a single man during the three-year length of the expedition. Shackleton’s adventure is possibly the most outstanding of all expeditions to the Poles, and although it failed to offer any material benefit or scientific finding, the personal experience of the protagonists and the survival of the participants are in themselves an enormous triumph, the victory of man against the elements founded on two fundamental principles, solidarity and a fighting spirit.

This advertisement is the driving force and central motivation of the installation. It is comparable with an artistic manifesto or thought. It is a synthesis through the written word that narrates the work. The drawing that traces and synthesises a story.

The compiled documents of the expedition, photographs, films and travel logbooks, reveal an experiential survival journey. The essence of artistic creation also involves an unexplored journey and directs the senses towards objectives that help us understand our own perception of the world around us. Our own limits highlight the borders that we must cross.

Sir Ernest Shackleton’s decision to embark on the journey is similar to any artistic idea whose end is to discover and reveal the unprecedented. He had an idea which no one else believed in.

The installation exhibits hidden images behind each illuminated word: a story, a time, a continent; in short, a rereading after 93 years of its first and only appearance in the press.

How many brief stories could be published in the form of an advertisement about the millions of Latin American immigrants who have also travelled and will eternally continue to cross the Atlantic with the aim of fulfilling a dream? We no longer have to look to the South Pole as the destination. The new region is the world. “The great strength of Ernest Shackleton as Explorer resides in that, in the Gran Sur, all mundane worries completely disappear”.

Fernando PratsBarcelona, 2007

................................................................................................................................................................................................................................................The work of Fernando Prats is a literary “objet-trouvé”, recovered and reedited to transform the façade of a building into a discursive support. To begin with, an institution is clearly a sedentary discourse that engraves in the public imagery what one can expect from the use of the words “casa” and “américa”. The institution is covered by a text that comes from another culture, which operates as a collective expression of desire aimed at mobilising multitudes.

The 28 exhibited words represent the terms of a migratory manifesto that authorises forms of notional movement between different areas of the social consciousness. Expressed, conceived to exist in their spaces of origin, these 28 words are deported to intervene in spaces that they were not conceived for, producing effects of meaning that will change the ways of reproducing their existence. “La Casa de America” is transformed into the referential “house of art”, from where, in a parodical way, it is possible to define the “away from home” spaces where an artistic energy that seeks to remove itself from the social control models of vulnerable populations is invested. The luminous body of the letters condenses the ominous burden of their own shadows.

Justo Pastor MelladoArt critic, Santiago de ChileNovember of 2007.

 

 

 

 

 

 

 

 

 

 

08intc2009

2008. Guillaume Ségur. WELCOME ON BOARD (published text)

 The installation has a double function: it is at once a public sculpture and a module for skateboarders to practice their sport. A gigantic Möbius strip (approximately 7 metres in diameter) is made of plywood and metal in the manner of skate park architecture. The materials from which the form is constructed suggest a ramp either for usage or as a recognisable object associated with skateboarding.

Welcome On Board is a ‘space prototype’ derived from the consideration of skateboarders in an urban environment. From this important relationship between an environment and a practice, the aim is to rework the effects of this confrontation to produce a new form. I consider the work a ‘space prototype’ in the sense that it materialises the effects of sliding people on an urban environment.

The challenge of this project is to produce a very specific object rather than a cultural “ready made” or a simple contextual displacement. The proposed object would have the multi function of public sculpture, visual tool and play space. The aim is to shift the idea of public sculpture from ‘monument’ to ‘motor’. The proposed architectural form becomes a vehicle for re appropriation, for a movement, for an action of the people on their surroundings. It aims to encourage the urban space to be interacted with in a new way: by turning it into a loop, by flipping it upside down, by deforming it in order to better grasp it.

It is impossible to interpret the town in its entirety, to imagine it as a whole. Because the town spreads, slips out of control each time one attempts to imagine it, it is necessary to consider the binding elements in order to grasp it as a single block. In public spaces, skaters start with a selection process. As Ian Borden states: “Skateboarders analyze architecture not for historical, symbolic or authorial content but for how surfaces present themselves as skateable surfaces”1. They fragment the architectural space into useful parts and produce continuity between the elements. It is the study of this decomposed urban space that this project focuses on. Through the sculpture I aim to give a form to the afore mentioned ‘binding elements’.

When I consider skateboarding in terms of the production of forms or spaces, it is the Möbius strip that comes to mind. Looping, twisting, inversion and continuous motion are all figures performed by the skater in the space surrounding him. The form is also of particular interest because it has often been utilised in public sculpture projects. It is one of the stereotypes of 1970s public sculpture. In this particular context, the work acts as a pattern, code, a recognisable symbol.

Similar to urban structures and architecture, public sculpture can be considered on a similar level to the elements in public spaces appropriated by the skateboarding genre. It offers new forms, spaces and surfaces to the skateboarders which in turn encourages the creation of new skateboarding figures. A series of superb examples can be seen in the work «Riding modern art” by Raphael Zarka which classifies the utilisation of public sculpture in skater videos

Skateboard Monument by Dan Graham or Skate Park by Peter Kogler are both works that re-utilise existing forms while celebrating the art of skateboarding. In Welcome on board the proposed module is conceived from skateboarding practice rather than with the intention of practice. The remaining challenge is whether it is in fact skateable.

1 A Performative Critique of the American City: the Urban Practice of Skateboarding, 1958-1998, Iain Borden

 

 

 

 

 

 

 

 

08intc2005

2008. Guillaume Ségur. KUNG FU MAT, 2007

2008. Guillaume Ségur. KUNG FU MAT, 2007

KUNG FU MAT, 2007Installation

Mat (vynil, polyethylen foam, velcro), steel wiresDimensions: 600x600x130 cm

This installation will be featured in the exposition Enlarge Your Practice, which will take place next July at the Friche Belle de Mai in Marseille.The mat has already been constructed. The relief of the mat will be created by attaching thin steel cables to the exhibition space ceiling.This project was created during a 5-month period spent in Shanghai with the Cultures France program « villa Médicis hors les murs ».

The installation is made of a deformed Kung Fu mat floating in the exhibition space.The surf ace is built on the base of a triangular grid, identical to those used in 3D software to create flexible surfaces. Beyond its extremely geometrical and synthetic aspect, this huge mat seems to outline a natural shape. Indeed, the forms extracted from technological construction tools tempt to reproduce the natural form of a mountain.

This work is also an adaptation of physical properties proper to digital kung fu movies. The development of the post-production and its result, which is the modification of the physical properties of materials, marks an important step in the evolution of gestures and forms of the kung fu in the cinema. In this production of effects, the substance is deformed compared to reality, the materials lose their qualities and become soft or hard, pure effects dependant on theiruse made by the body. The same effects are applied to the use of the architecture during the fights, so the space and the elements are totally controlled.

 

 

 

 

 

 

 

 

 

 

08aama1899

2008. Guillaume Ségur. UNTITLED (ENS), 2004

2008. Guillaume Ségur. UNTITLED (ENS), 2004

 

UNTITLED (ENS) 2004Video installationFurniture-architecture for video, wood, zdimension: 190x310x130 cm.1 LCD monitor, 1 monitor.2 DVD PAL, 4/3, coul0r, stereo sound, lenght:The walking girl, 9min 40The guitarist, 3min 20

The spectator finds themself in front of a wooden mass. It is unclear whether it’s a sculpture, a piece of furniture or a model. This “shelter” was in fact conceived from the mental imagary of a school. While representing the turns of inclined hallways, it further incorporates a warped perspective in proportion to its spatial volume. As a result: the collision of an abstract cube and a functional cube.

The actual school is relayed to the spectator by the images on the screen. At first, a labyrinth where the metronomotic wanderings of a young girl are used as a pretext for the spatial discovery, to film the architecture. This long walk is also a way to show the time, the measured time of a metronome of steps, the time, no longer fluid, passes through the hallways, through the use of this silhouette, who could be any student. On the second screen, a living room, where a guitarist plays a solo piece: a surreal tune between a rock melody and an electronic repetition. The music creates a feeling of vertigo where the revolving sounds make an echo to the incessant sound of steps of the first video.

The video come furniture has the effect to seem to contain everything, encapsulating its sounds and images. In fact, its continual movements in a game of interplaying the concepts of inside and outside saturate all the technical and thematic elements of the ensemble, a window looking out towards a garden, a hermetic hallway; one screen that propels out of the structure and the other which is superimposed; the sounds which cross the faces of the structure. The entirety of the elements caught in a play of circulation.

 

 

 

 

 

 

 

08aama1898

2008. Guillaume Ségur. WELCOME ON BOARD (2008.01 / technical data)

2008. Guillaume Ségur. WELCOME ON BOARD (2008.01 / technical data)

 

       

       

(January 2008) 

 

 

 

 

 

 

 

 

 

08inib1944

2008. Guillaume Ségur. WELCOME ON BOARD (technical data)

 

              

 

Plywood, steelDimenssions: 700x600x185 cm

DESCRIPTION OF THE ASSEMBLY SYSTEM AND TECHNICAL NEEDS OF THE PRELIMINARY PROJECT

The piece will be made with the help of a carpenter who is specialized in skate park projects. The carpenter will ensure a strong foundation for the structure. It will be built to hold a large number of people.

As far as the transportation needs, the sculpture will be divided into 8 parts which will be connected and screwed together. Reinforcements would be installed for these parts.

For the Madrid construction, in addition to both the carpenter and I, we need 2 more people to carry and to support the different parts of the structure. The supports used for the fabrication will also be used for the project assembly.

The unit must be installed on a flat and preferably smooth surface to guarantee its “skateabililty”.

The time frame estimated for the assembly of the project is one day.

 

 

 

 

 

 

 

 

 

 

 

08pric1897, 08prmc1892

2008. Guillaume Ségur. WELCOME ON BOARD (images)

2008. Guillaume Ségur. WELCOME ON BOARD (images)

 

       

       

          

 

 

 

 

 

 

 

 

 

 

 

08inic2003