PRIX BIC® POUR L’ENSAPC 2017
December 4th to 22nd
Société BIC and the Ecole Nationale Supérieure d’Arts de Paris-Cergy are pleased to announce the second edition of the BIC® Prize for Contemporary Creation for the ENSAPC. The purpose of this prize is to encourage the creation of new artistic forms by highlighting emerging artists who are studying at the ENSAPC. The BIC® Prize offers young artists the opportunity to explore, deepen, appropriate and reinvent all the artistic potential and imagination offered by the brand.
MERIS ANGIOLETTI, L’ANNEAU ET LE LIVRE (UN PROCÈS)
October 12 to November 26, 2017
Meris Angioletti’s works emanate from the need to reread a deadly story or to touch on the occult arts. Through her installations combining film, sound and plastic objects, the artist summons and intertwines characters and stories in a process that gives body and space to an unfinished story, whose entire esoteric dimension is destined to emerge.
For this new personal project, the artist’s research was guided by the story of the heretic Giordano Bruno (1548-1600), burned alive in Rome after eight years of trial. A prodigious mnemonist, this predecessor of great thinkers such as Kepler and Spinoza, had attracted the wrath of the ecclesiastical circle because of his marginality, leaning towards magic and other practices considered blasphemous at the time.
La pensée du tremblement
September 15 to October 5, 2017, Wednesday to Sunday, 1pm – 7pm
Opening on September 14 from 6 pm
La pensée du tremblement surgit de partout […] Elle nous préserve des pensées de système et des systèmes de pensée. Elle ne suppose pas la peur ou l’irrésolu, elle s’étend infiniment comme un oiseau innumérable, les ailes semées du sel noir de la terre. Elle nous réassemble dans l’absolue diversité, en un tourbillon de rencontres. Utopie qui jamais ne se fixe et qui ouvre demain, comme un soleil et un fruit partagés.
Édouard Glissant, La Cohée du Lamentin. Poétique V, Gallimard, 2005.
May 5th to 28th
Thought as a conclusion to the “Exhibiting Research in Art” program, the exhibition “The Secret” invites us to link the questions of the exhibition and those of secrecy as if it were a question of putting on view what is unknowable or confidential, or even incomprehensible or what cannot be said. It is therefore without being able to say what secrecy stands for, that the exhibition proposes to focus on its forms and effects: from singular identity to intimate dreams, through family stories or those of great history and state secrets, to the hermeneutics of deciphering works.
June 7 to July 9, 2017
At the beginning of the twentieth century, Russian formalists made strangeness a key operation in art and literature: “The process of art is the process of strangeness of objects, a process that consists in complicating the form, which increases the difficulty and duration of perception, because in art the perceptive process is an end in itself and must be prolonged. Art is a means of reliving the realization of the object, what has been realized does not matter in art”. (Victor Shklovsky, Art as Process, 1917)
March 13 to April 23
The Moving Images exhibition consists of a confrontation in a hanging of works by photographers from the Ecole Nationale Supérieure d’Arts de Paris Cergy. It is about experimenting thought and photographs as a real experience, extended to hanging as a collective artistic practice.
Viens, mais ne viens pas quand je serai seule
from 13 July to 10 September 2017
A summer festival (exhibitions, events, concerts, performances, dj sets) – a collective project of the ENSAPC 2016 graduates
Come and join us – it’s party time at YGREC!
We are a group of artists who lived together for 2, 3, 4, 5 or 6 years in the same artistic education structure, the Ecole Nationale Supérieure d’Art de Paris-Cergy, and came out of it mainly in the summer of 2016.
“When the curtain one day falls / I want it to fall behind me”
Haunted by Algorithms
January 21 to March 5
Haunted by Algorithms summons a multitude of non-human entities, organic and artificial life forms that communicate and act in the world – animals, plants, machines, robots, spirits, aliens. How can we give shape to this infinity of inter-species relations, translate sensoriums so different from ours? Against the backdrop of a generalized algorithmization, a diversity of writing modes will attempt to answer this question, weaving links between these different universes.