ℜ2 Tom K Kemp and Mónica Mays
Current Residency 16.08 - 16.09
Tom K Kemp uses roleplaying game design, group improvisation and animation to collectively parse the eerie consequences of global systems on intimate and immediate human relations. His works generate semi-autonomous Weird fictions, where gamification and collaborative storytelling are combined into a deviated method of complexity modelling.
Kemp studied with the School of The Damned, an autonomous free art pedagogy programme in the UK. Selected projects and exhibitions have included La Casa Encendida, Madrid ES, Rupert, Vilnius LT, Quad, Derby UK, MKG Hamburg, DE and the Eye Filmmuseum, Amsterdam NL. He will be a resident at the Rijksakademie van Beeldende Kunsten for 2021-2023
Styleframe for After the Maestro →
Mónica Mays (ES) sculptural work materializes through scavenging and extracting paranthropological symbolism to engage with forms of cosmological belonging. Materials with winding, ambulatory histories of global circulation and redistribution intermingle with fabulations and vernacular stories of the home. She draws on ornamentation in folk and domestic artefacts as forms of tacit, unintelligible speech which pass on the irregular and unspoken histories of their making.
← Sand Shine, soil, nails, glass, cardboard, 2020
ℜ1 Aurélien Lepetit and Arthur Tramier
08.05 - 08.06 .2021
Nomads' locus amenus ,the one belonging to human condition,
the path of humans towards their civilization.
A symbol of spiritual perfection, a place of happiness,
a mirage, a miracle, a secret place that can be reached by crossing the desert.
"Il sogno mediterraneo" Ludovico Corrao
Aurélien Lepetit is an artist and designer based in Amsterdam (NL). S’He graduated from École Nationale Supérieure des Beaux-arts de Lyon (FR), the School of Design of the East China Normal University, Shanghai (CN) and the Dirty Art Department at the Sandberg Instituut in Amsterdam (NL). They have been researching about toxic masculinities and the impact of white cis-heteronormative and patriarchal schemes after experiencing them during their 400m hurdle training practice. It became the base of the body of work STAMINA (2017-2020) which ended after experiencing a burnout while being a precarious cultural worker within several art- and educational institutions in The Netherlands. S’He used this ‘crash’ to reflect, initiate and curate the online interventions Speed Series from a Xeno-feminist perspective and, start a new body of work creating ephemeral multi-sensorial sculptures and mutating site-specific art installations. They hijack environments and situations where they are interested in performing productivity through ephemeral digital archive and the live documentation of a constant evolving practice in ‘becoming’. The exploration of constant growth and the destructive aspect of the human eternal search for limitless life and energies, stamina, bodily exhaustion, burnout, the sustainability of material and their potentialities to be reused, mutated or left, are often reflected upon with a problematic: What stays when bodies cease to be visible?
↑Wellness (Speed - Part 1), 2020. Coloured wax, scent, plaster (detail) @Marineterrein, Amsterdam (NL)
←Wellness (Speed - Part 1) Missing pieces, 2020. Coloured wax and plaster, scent, ropes, variable dimensions @Marineterrein, Amsterdam (NL)
Arthur Tramier (1991, FR) is an artist and designer whose skills encompass the field of material research. He holds an M.F.A. in Art and Design (aka Dirty Art Department) from the Sandberg Instituut in Amsterdam. From 2018 to 2020, he has been developing his research on symbiotic and organic design and elasticity at the Art and Design Research Laboratory of ENSAD—PSL University in Paris. He has been working with Alessandro Mendini in Milan and his work has been exhibited in art spaces (Glassbox FR, Deborah Bowmann BE, Kelder UK, De Frabiek NL, etc.) bubbles and squats (Macao, IT, Postnorma NL, etc.) He investigates the complex interrelations between the inert and the living, the synthetic and the organic. His work is caught in a nexus of ever-evolving, transindividuating and transforming forces. He creates sculptural forms and ideas that —like those of the baroque— can unfold, evolve, and envelop, to create a labyrinth of contracting and expanding continuous elastic surfaces. His practice is deeply influenced by Frederick Kiesler’s theoretical, practical, and laboratory research on endlessness, vitalism, morphology, affect, elasticity and multiplicity. His work aims to develop techniques, materials and objects that work within and among the heterogeneous forces that condition synchretic individuations in a complex entanglement between the physical, the vital and the psychosocial.
…)absolute interiority, as an inner surface with only one side, nonetheless has another side, or a minimum of outside. The « unilaterality » of the monad implies as its condition of closure a torsion of the world, an infinite fold that can be unwrapped in conformity with the condition only by recovering the other side, (…) as the outside of its own interiority : a partition, a wall, a supple and adherent membrane coextensive with everything inside; Such is the vinculum : the unlocalizable primary link that borders the absolute interior.
Deleuze, G. (1993). The Fold, Leibniz and the Baroque. p.111. The Athlone Press.