Sat 9, Sun 10 Nov 2019, 13.00–19.00
Chuglu (Clémence Mimault & Daniel Mitelberg), Mahatsanga Le Dantec, Renate De Bonis, Daniel de Paula, Aurélie Nyirabikali Lierman, Andrea Eva Győri.
Clémence Mimault and Daniel Mitelberg, T-shirt Room, 2018
Foundation B.a.d. and Paviljoen aan het Water present our international guests at Foundation B.a.d.
Three performances, Sun 10 Nov
18.00 Chuglu ‘Guest Suit’
18.30 Aurélie Nyirabikali Lierman and Mahatsanga LeDantec – live music meeting
19.00 Aurélie Nyirabikali Lierman – sound performance
Aurélie Nyirabikali Lierman
Rawandan born Aurélie Nyirabikali Lierman moved at the age of two to Belgium, where she grew up. She is an independent radio producer, vocalist and composer, trying new directions by fusing radio art, vocal art and composition. She is dedicated to her personal field recordings: a large collection of unique sounds and soundscapes from rural and urban contemporary East‐Africa. Sound‐bit by sound‐bit, she is transforming and sculpting them into something she would call “Afrique Concrète”. Lierman’s work has been broadcasted, exhibited and performed throughout Europe, Israel, Morocco, South Africa, Australia, New Zealand, Canada and USA.
Renate De Bonis
Renata De Bonis (1984) is an artist living and working between São Paulo (BR) and Rotterdam. Her work contemplates the apparently invisible, forgotten, and insignificant, amid the immediacy of our accelerated, Anthropocene lifestyles. Her manoeuvres offer aesthetic strategies and solutions of form, from sculptural investigations to ephemeral investigative sound-pieces about sublime landscapes and aesthetic-ecologies; from the appropriation of specific geographies’ flora, with their embedded narratives, to repurposing civil construction materials; and from time-based paintings to cyanotype prints. Within the competitive hyper-immediacy of contemporary human experience, these actions prompt contemplative states of perception in the viewer.
(Clémence Mimault & Daniel Mitelberg)
People from Chuglu often travel to meet and gather somewhere. Once, they swapped the dots of two letter I’s from two light advertisements facing each other on two rooftops in Bagnolet, Paris. Another time, they stood on top of the water tower in Marseille’s Chutes Lavie neighbourhood, dressed in pyjamas, and used zinc pipes to request silence. Last month, in the Swiss canton of Grisons, they painted a barn with 15 kilos of mountain-picked blueberries. Once, they made a Soupe aux Cailloux. Another time, they descended two mountains in the Toggenburg, their winking coloured umbrellas spread out, until they disappeared into the landscape. Once, they asked 49 people to wear a 98-legged pair of trousers and walk together as one. Only two puked. From time to time, they play football. I remember when they tried to stop a train with a rugby maul, or did they?
Daniel de Paula
Daniel de Paula (1987) lives and works between São Paulo and Rotterdam. He is interested in how the production of space is also a reproduction of dynamics of power. His work takes the form of critical investigations concerning the political, social, economic, historical and bureaucratic structures that shape places and relationships. Working within and beyond the visual-arts, his practice and productions are intersected by geography, geology, architecture and urbanism. He is interested in understanding the complex social form hidden within materiality. He was recently a resident at the Jan van Eyck Academie in the Netherlands.
Mahatsanga Le Dantec
“My first experience of monumental creation was when I worked as a carpenter. After a few days of assembly stood the complete framework of a house – a rewarding completion of weeks of preparation and planning in the workshop. Such materialisation is fascinating. Starting by conceiving a geometrical arrangement in negotiation with the constraints of materials, site and human needs, a space is formed in which daily behaviours adapt over time, a space that inspires gestures and which is also rehabilitated by gestures. This process of adapting constraints interests me. It produces forms and objects that assimilate the landscape and which are readjusted to produce even more forms and other objects. It is a mechanism of self-digestion. I consider architecture and urbanism as shaped forms of the world, which affect our perception and emotions. It’s an instinctive thing, a kind of sensitivity, an imperious need and visceral connection to the environment.”
Andrea Éva Győri
Andrea Éva Győri (1985, Budapest Hungary) studied in Fine Arts, at Hungarian University of Fine Arts in Budapest and Video/Performance/Sculpture/Installation at Staatliche Akademie der Bildenden Künste, Stuttgart in Class of Christian Jankowski, Mike Bouchet, Felix Ensslin. She also studied Fine Arts at HONGIK University; Asien Oriental painting studies, Seoul, Korea.
Andrea Éva Győri is currently an artist in residence at Jan Van Eyck Multiform Institute for Fine Art and Reflection, Maastricht (2017-2019); at SeMA NaNJI Residency Program for Art – Seoul Museum of Art, Seoul Korea (2015); in 2019 is artist in residence with one year fellowship at Künstlerhaus Schloss Balmoral, Bad Ems, Germany.