centre d’art contemporain genève

IMAGE

MOUVEMENT

WORKS ON SHOW

IMAGES FOR MAEVE CONNOLLY AND SADIE MURDOCH

2010, 24 b/ framed analogue photographs, 98,5 x 90,5 cm

Selection of photographes form the Travelogue, sent to Maeve Connolly and Sadie Murdoch.

SADIE MURDOCH - MAEVE CONNOLLY

2010, digital photo film, b/w, sound, 11'
2010, digital photo film, b/w, sound, 13'

MAEVE CONNOLLY and SADIE MURDOCH are the fruit of a collaboration between the artist and the two women, Moth having sent each of them the same selection of photographs from the Travelogue. While one receives the images and a voice recorder, the other is photographed as she looks at and comments on the photos. Left free to interpret these spaces and places however they wish, Connolly and Murdoch, respectively author/critic and artist, go on to communicate their own ways of seeing, with Moth subsequently using their approaches as the basis for two films. All the same, a certain dislocation remains, from the use of still images in the film and the creation of a discrepancy – this is particularly true for Maeve Connolly – between the voice-over, which seems palpable, and the timeless images.

NOTING THOUGHTS

2011, 7 tables, 1,2 x 2 x 0,9 m, Welded stell frames, 12 mm sheet plywood, 5 mm sheet glass assorted colored Lee filters, images A5, A4, A3 mounted on folded aluminium sheets 3 mm thickness, text (used in fragmented form in installation) Alice D.Peinado 'Continuous Trajectories - Broken Utopias'

In NOTING THOUGHTS, which was inspired by Raoul Haussmann’s archives of the Musée Rochechouart where she was invited to exhibit, Moth sets out on a winter journey in the footsteps of the Dadaist artist on the island of Ibiza – where Hausmann lived from 1933 to 1936. The images that result from the journey, associated with other, older ones, but also, more directly, Hausmann’s archives, lead to a meeting with anthropologist Alice D.Peinado. Peinado has studied notions of national identity and citizenship in the context of migratory movements, but also questions to do with insularity and settlement. ‘‘Continuous Trajectories – Broken Utopias’’, the text she wrote and from which Moth has taken some passages, evokes Hausmann’s view of the island and its architecture – which he sees as outside of civilization, forgotten by time and progress –, but also sense of place and its ubiquity (Ibiza, like everywhere else, is made up of several different, parallel universes), as well as the symbolic way in which this sense is constructed, incarnated and finally perceived in the construction of dwellings.

UNTITLED (FIGTREE)

2008, b/w digital print, 63 x 43 cm, slide projector with interval timer, 81 individually colored slides with Lee filters

UNTITLED (FIGTREE), illustrates more formal investigations that are more firmly focused on the question of light and colours; finely tuned mechanisms which – like traditional photography – have latent magic effects.

THE ABSENT FORMS

2010, video, b/w, sound 10', text Francesco Pedraglio, sound Sean Dower

For ABSENT FORMS Moth uses a device similar to that of NOTING THOUGHTS; photographs of the street named after the modernist architect Robert Mallet Stevens (all of the buildings on it were constructed by him) are combined with a text written by the artist Francesco Pedraglio. A poetic fiction set to the rhythm of artist Sean Dower’s percussion, and in which objects become protagonists in a timeless framework, this film evokes, through its aesthetic and its structure, the silent, often ironic films of the early 20th century.

SCULPTURE MADE TO BE FILMED

2012, 6 wooden light boxes, each 99 x 71 x 32 cm, 286 colored bulbs

SCULPTURE MADE TO BE FILMED is confronted spatially by photographs of unusual objects taken in the apartment of a writer/collector (some of whose texts have been crucial artistic reference points for Moth). There can be no doubt that the sculpture is encouraging us to examine light; a recurrent element in the artist’s work, and one, moreover, that recalls Le Corbusier’s position: ‘‘Architecture is the masterly, magnificent and correct play of masses brought together in light’’. It also suggests, by its proximity to the photographs, the duration of time, the processes and, more particularly, the kinetic potentialities of objects.

TO SEE THE THINGS AMONGST WHICH WE LIVE

2012, b/w, analogue photographs, 40 x 58 cm

Photographs taken in the apartment of a writer/collector.

IN UNEXPECTED PLACES, IN UNEXPECTED LIGHTS AND COLOURS (A SCULPTURE MADE TO BE FILMED)

2012, 16 mm film transferred to video, b/w, silent, 3'

IN UNEXPECTED PLACES, IN UNEXPECTED LIGHTS AND COLOURS (A SCULPTURE MADE TO BE FILMED), the light boxes are filmed in desert landscapes (in Texas), constantly in flux between the sublime and the absurd.

STUDY FOR A TRAVELOGUE IN MOTION

2012, 16 mm film transferred to video, color, silent, 6'

STUDY FOR A TRAVELOGUE IN MOTION, which includes further images recorded in Texas, also features material shot in Portugal and the south of France in 2011. This new work provides scenery, spaces, universes, architectural features, speculative histories.

BOOK INSTALLATION
- VISIT OF VILLA E.1027, ROQUEBRUNE-CAP-MARTIN, FRANCE, SPRING 2011
DISPLAY IN VILLA OF JOURNAL - E.1027 EILEEN GRAY, JEAN BADOVICI
MAISON EN BORD DE MER, L'ARCHITECTURE VIVANTE' 1929
- PROXIMITY - PROPOSITION AT LAVOMATIC, SAINT-OUEN, FRANCE, 2011
- STUDIES FOR A 16 MM COLOUR FILM, 2011
- LIGHT STUDIES - OBJECTS, 2011
- LIGHTS STUDIES - ARCHITECTURE, 2011
- TRAVELOGUE 1999 - 2011

2011, 56 pages presented on a cork alining

The BOOK INSTALLATION seems to provide a kind of conclusion to the exhibition and also allows the Travelogue to be grasped in a more immediate and tangible form: set out on cork panels are the 56 pages of a publication – one which form is inspired by a book by Eileen Gray and Jean Badovici’s about the E-1027 house – made up of unbound pages. They can be hung like traditional photographs or simply reconfigured, so refusing any crystallisation of meaning and enabling thus the status of the book to be questioned. This installation and the pages displayed confirm a sense of repetition that challenges memory, through the use of photographs, places and atmospheres in various works and in different arrangements.

CHARLOTTE

MOTH

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MOUVEMENT 2011

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MOUVEMENT 2010

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