12/04/2012 – 20/05/2012 – Indépendance Palais, Astana
├ Michel CASTAIGNET ┤ Joseph CHOI ├ Anne-Charlotte FINEL ┤ Herve IC ┤
├ Nataliya LYAKH ├ Cyril HATT ├ Galim MADANOV ┤ Almagul MENLIBAEVA┤
├ Saule SULEIMENOVA ├ Gaisha MADANOVA ├ Alexander UGAY ┤
Gallery Nivet-Carzon presents french-kazakhstan contemporary art exhibition /Ultramemory/
with the support of Akimat (Mayor) of Astana and the French Embassy in Kazakhstan.
/Ultramemory/ reveals interaction of painting, photography and memory.
‘Painting is becoming closer to poetry, now that photography has freed itself from the need of storytelling’ Georges Braque
‘Photography is the conscience of painting. She constantly reminds the latter what it should not do. So that painting takes its responsibilities.” Brassai.
According to the myth of the daughter of Butadès the Potter from Sycione, painting was invented by outlining a shadow. Photography didn’t exist then but already gave birth to painting.
While the painters of the late nineteenth century were convinced that the emergence of photography would completely decimate their art, it is now photography which is throwing bridges towards an increasingly close relationship between these two media, especially in the figurative movement. It’s a sort of revenge of painting. In contemporary societies, our eyes and thoughts are flooded with all kinds of images. It is therefore vital to filter this constant visual flow. This is a new challenge for contemporary artists to generate a new emotion from already existing images by their choice & creative reinterpretation. Nostalgia, empathy, surprise, repulsion are just some examples of reactions that question directly sensory and visual memory of the public. Whether the goal is narrative or aesthetic, historical or symbolic, what happens between what the artist wanted to convey and what the viewer perceives is partly random & depends on the personal associations with a particular image. Well known for his 3D reproductions of consumer goods, the artist Cyril Hatt tries to deconstruct reality with humour. He dissects his subject by shooting it from various angles and then recomposes it as a fictive object made of the images. As if they were exploring the potential of memory, the works of Hervé Ic are the expression of the constant stream of images that invades our post-modern society and that we cannot do without. When components add up without destroying themselves, painting must react to the build-up of images often trivialized and confined to anonymity. Through details, artists oppose the power of imagination to the cold indifference one feels in front of a stream of images. In the series “Windscreen” Nataliya Lyakh recalls fragments of our collective memory through reflections in the rearview mirror. The skilfully touched up archives of the artist Michel Castaignet give back to essentially mechanical images the inside emotion they would lack. The “People” series of the Franco-Korean painter Joseph Choi expresses “the fake familiarity established by television between the viewers and the actors of History whose faces have become as usual as those of soap movies stars or international sportsmen and performers.” In
Anne-Charlotte Finel’s video / Mist /, painting, photography and video seem to communicate with each other. By the
succession of rhythms of the composition, the artist plays with our viewer instincts. Galim Madanov’s “Conversations
with the sky” investigates traditions and customs, leaving and coming back to life and the lives of ordinary people
living in the steppes. In the Almagul Menlibaeva’s video /Queens/, while literally representing a single borough, in
universal terms it is a testimony to the idea that diversity becomes the foundation for a rich culture by keeping
individual traditions alive. In Saule Suleimenova’s /Kazakh chronicle/, when overlaying the old photos onto the
speckled walls, deeply symbolic thing occurs: mixing times as for denying the vector nature of time, as a straight
arrow shooting from the tradition to modernism. Alexandr Ugay’s video is a research relating to the heritage of the
Utopia and its influence on future generations. In Gaisha Madanova’s “The Loneliness of the Mind” photos are made
up with the help of a binocular which is the essential tool of the conceptual and aesthetic basis of the project – the
objects snatched out and removed from the context of their natural existence.