All Day in Marseille: A Date With the City-wide Contemporary Art Love-in – 马赛全天:与城市当代艺术爱情的约会

City Report - 21 May 2018

All Day in Marseille: A Date With the City-wide Contemporary Art Love-in

How do you fit 70 exhibitions, 85 partners, 150 artists, and the contents of more than 48 maps and leaflets into 24 hours?

By Ellen Mara De Wachter

Sometimes visiting an art festival feels like trying to solve an impossible maths problem. How do you fit 70 exhibitions, 85 partners, 150 artists, and more than 48 maps and leaflets into 24 hours (and save enough time for a glass of rosé)? Every spring for the past ten years, the city of Marseille has organized the Printemps de l’art contemporain (PAC), an 18-day festival of contemporary art that launches with a four-day-long vernissage. With 70 exhibitions across Marseille and nearby towns including Aix-en-Provence, Istres and Port-Bouc, the PAC landed on 9 May, a day of national train strikes, which made the first 24 hours a strictly local affair. Adding another layer of complexity to the equation, this year Marseille has partnered with Glasgow, one of its 13 official twin cities, to organize ‘Love Letters’, a series of exhibitions and exchanges between artists and galleries in the two cities. Two years in the planning, the trans-European partnership also involved an exchange between Marseille’s Beaux-Arts school and Glasgow School of Art, led by artist and curator Kirsteen Macdonald with Vanessa Brito. The students, who took part in a weeklong workshop at Glasgow School of Art with artists including Douglas Gordon, Ciara Phillips and Charlie Jeffery last January, weren’t having any of the saccharine-sweet ‘Love Letters’ theme, and, seemingly in anticipation of the overwhelming list of things to see as part of PAC, made a show about labour and exhaustion, which they pertly titled ‘What’s love got to do with it?’

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All Day in Marseille: A Date With the City-wide Contemporary Art Love-in - 马赛全天:与城市当代艺术爱情的约会

‘What’s love got to do with it?’, 2018, featuring Gordon Douglas, Cicely Farrer, Charlie Jeffery, Ciara Phillips, Emmie McLuskey, Rosie O’Grady, Clara Ursitti, Alain Sonneville & Pierre-Claude de Castro and the students of Beaux-Arts de Marseille. Courtesy: © Kirsteen Macdonald 

Installed at Art-Cade Galerie Des Grands Bains Douches De La Plaine, a former public baths, the exhibition featured live performances by students, alongside work by Glasgow-based artists. The wry tone of the title carried on in Phillips’s punchy banners, including the Vanilla Ice homage Stop, Collaborate (2017), and Jeffery’s You can put them like this (2016), a funny video in which the artist holds up two pieces of cardboard to the camera in different configurations, repeating the title ad infinitum. Jeffery’s onscreen demonstration took a live turn at the opening, when he and Marseille student Erwan Badir played the same game with two metal table legs, perpetually re-arranging them for a packed audience, who watched while sipping drams of rhubarb-flavoured gin served by a student encased in an ambulant wheelbarrow-reception table hybrid sculpture.

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All Day in Marseille: A Date With the City-wide Contemporary Art Love-in - 马赛全天:与城市当代艺术爱情的约会

Valérie Horwitz, 5 Years (An interval), 2017–18, film still. Courtesy: the artist

From noon until midnight on Friday, La Nuit de l’instant (The Night of the Moment), a sub-festival of moving image, showcased video in 18 art and non-art spaces around Le Panier, Marseille’s oldest neighbourhood. Now in its eighth edition, the event was inaugurated in 2010 under the directorship of Eric Gudimart, who has also run the Centre Photographique De Marseille since 2007 and will oversee its move into new premises in the autumn. With venues ranging from the fancy InterContinental Hotel Dieu, in a former 18th century hospital perched high above the port, to rented shops and private addresses, the video marathon staged some poignant encounters between a work’s setting and its content. In Doctor Pini’s waiting room, accessed from a door that opens onto the Panier’s main street, local artist Valérie Horwitz’s video 5 Years (An interval) (2017–18) animated the photographic project she embarked on after being diagnosed with a chronic illness that made her highly sensitive to light. In response to her ensuing confinement, she used her camera – itself a light-sensitive tool – to document her transformed body through a series of intimate self-portraits.

A few streets away, Galerie Polysémie showcased the work of artists involved with Project Ability, a Glasgow-based organization that offers classes, workshops and exhibition opportunities to people with a range of disabilities and mental health issues. Glasgow-based artist Tommy Kemp’s city-scenes, which feature detailed buildings drawn in thick lines and urban plant life, evoked the work of the celebrated Scottish outsider artist Scottie Wilson (1888–1972), which was also on display.

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All Day in Marseille: A Date With the City-wide Contemporary Art Love-in - 马赛全天:与城市当代艺术爱情的约会

Rachel Maclean, Over the Rainbow, 2013, film still. Courtesy: the artist and Château de Servières, Marseilles

Further out from the centre of town, at the Château de Servières, a contemporary art centre housed in a former industrial building (and not a castle), a survey show covered the past five years of Glasgow-based artist Rachel Maclean’s output, and a new commission by French artist Nicolas Daubane. Daubane’s exhibition is the product of ‘MP2018 Quel Amour!’ (What a Love!), a residency programme that connects artists with local business and industry. Daubane was hosted in two resorts belonging to the Vacances Bleues holiday company, whose the serene atmosphere presumably lent his show its title ‘OKLM’ – a phonetic spelling of the French expression ‘au calme’, or ‘in peace and quiet’ – if not its content. In the middle of a gallery strewn with military surplus blankets stands a restored German air-raid siren, which is wired into the mains via a switch that will remain locked until the end of the show, at which point the siren will be swaddled with the blankets and set off in what the artist calls ‘my version of Munch’s “Scream”’. A series of iron filing etchings on glass, hung around the room, will likely shatter when the siren is set off.

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All Day in Marseille: A Date With the City-wide Contemporary Art Love-in - 马赛全天:与城市当代艺术爱情的约会

Das Hund performing at Galerie Crèvecoeur, Marseilles, 2018. Courtesy: the author

The ominous tone of Daubane’s show was echoed by an independent programme, put on for the third year running by the Marseille-based collective Post-Disaster Residencies. Through a residency attended by some 15 artists from Switzerland, the Netherlands, the UK, Canada and France, and performances underground in Marseille and in an abandoned concert stadium in the nearby town of Vitrolles, Post-Disaster Residencies have set themselves the task of scratching beneath the shiny surface of the PAC and finding new ways of encountering art in Marseille. Set up two years ago as an informal collective of artists, architects and philosophers, Post-Disaster Residencies work with abandoned or disused spaces and cast a wide critical net over issues such as gentrification, neo-liberalism, architecture and art. For a gig last Thursday by Das Hund, London-based duo Samuel Levack and Jennifer Lewandowski’s performance project, the audience descended into the dusty basement of Galerie Crèvecoeur, which Post-Disaster Residencies had commandeered for the evening. Crèvecoeur is one of seven shiny new art spaces on the recently redeveloped Rue du Chevalier Roze, who are benefiting from rent-free leases offered by the property developers in a bid to make the area more desirable. But its basement was another world altogether: cramped and lined with raw concrete and insulation material, it was a world in stark contrast to the official PAC love-in upstairs.

Main image: Rachel Maclean, Over the Rainbow (detail), 2013, film still. Courtesy: the artist and Château de Servières, Marseilles

Ellen Mara De Wachter

Ellen Mara De Wachter is a writer based in London, UK. Her book Co-Art: Artists on Creative Collaboration is published by Phaidon (2017).

City Report
Marseille
Printemps de l’art contemporain
Ellen Mara De Wachter
Rachel Maclean


城市报告- 2018年5月21日马赛全天:一个与全市范围的当代艺术爱情的日期,你如何适合70个展览,85个合作伙伴,150个艺术家,以及超过48个地图和传单的内容到24小时?艾伦.玛拉.德.瓦切特有时去参观一个艺术节,感觉像是在试图解决一个不可能的数学问题。你如何将70个展览,85个合作伙伴,150个艺术家,以及超过48张地图和传单24小时(并留有足够的时间为一杯ROS)?在过去的十年中,每年春天,马赛市都会举办一场为期18天的当代艺术节(Pac)。在马赛和附近的城镇,包括艾克斯,伊斯特尔和港口BUC的70个展览,PAC降落在5月9日,为期一天的全国火车罢工,这使得前24个小时是一个严格的地方事务。在这一等式中又增加了一层复杂性,今年马赛与格拉斯哥13个官方孪生城市之一合作,组织了“情书”,在这两个城市举办了一系列艺术家和画廊之间的展览和交流。在这两年的规划中,跨欧伙伴关系也涉及马赛美术学校和格拉斯哥艺术学院之间的交流,由艺术家和策展人Kirsteen Macdonald和Vanessa Brito共同领导。去年一月,参加了格拉斯哥艺术学院为期一周的研讨会的学生们,包括道格拉斯·戈登、Ciara Phillips和Charlie Jeffery在内的艺术家们,没有任何甜美甜美的“情书”主题。S作为PAC的一部分,展示了劳力和疲惫,他们直言不讳地说:“爱与它有什么关系?”“ART-CADEC-KIRTSTEN MACDONALALD JEST甜点-1.JPG WPA6021602IMG”与它有什么关系?2018岁的Gordon Douglas,Cicely Farrer,Charlie Jeffery,Ciara Phillips,Emmie McLuskey,罗茜奥格雷迪,Clara Ursitti,Tang&Apple和马赛美术学院的学生。礼貌:麦克唐纳德在艺术卡德里画廊安装DE Grand Beas Doul La PLAN,一个以前的公共浴室,展览以学生的现场表演为特色,同时还有格拉斯哥艺术家的作品。在菲利普斯尖锐的横幅上,包括香草冰敬意的停止,合作(2017),和杰弗瑞的你可以把他们像这样(2016),一个有趣的视频,其中艺术家持有两块纸板在不同的配置相机,重复。标题无限。杰弗瑞在屏幕上的演示在开幕式上进行了一次现场直播,当时他和马赛学生Erwan Badir用两个金属桌腿玩同一个游戏,不断地为拥挤的观众重新安排他们,他们边看边啜着一个被学生包裹的大黄调味杜松子酒。移动式手推车接待台混合雕塑。5年-AN-IATVAL.JPG All Day in Marseille: A Date With the City-wide Contemporary Art Love-in - 马赛全天:与城市当代艺术爱情的约会 ValeRee霍维茨,5年(间隔),2017 - 18,胶片仍然。礼貌:艺术家从中午到星期五午夜,La NuIT de L'瞬间(瞬间的夜晚),一个移动图像的子节,展示了马赛最古老的街区勒帕尼尔附近的18艺术和非艺术空间的视频。现在,在第八版中,该事件在2010由Eric Gudimart主持,他也运行马歇尔中心摄影术自2007,并将监督其迁入新房在秋季。在从一家豪华的洲际大酒店DeEU,在一个前十八世纪医院栖息在港口之上,租用商店和私人地址的场所,视频马拉松上演了一个工作的设置和内容之间的一些尖锐的遭遇。在Pini医生的候诊室里,从一扇通向潘尼尔大街的门进入,当地艺术家瓦莱埃里-霍维茨的视频5年(一段时间)(2017—18)拍摄了她被诊断出患有慢性疾病的摄影项目,这使她非常敏感。哦,光。为了应对接下来的禁锢,她用自己的相机——一种光敏工具——通过一系列亲密的自画像来记录她变换的身体。在几条街之外,Galeie Piulsie Mie展示了与项目能力相关的艺术家的作品,这是一个总部位于格拉斯哥的组织,为残疾和心理健康问题的人提供课程、讲习班和展览机会。格拉斯哥艺术家Tommy Kemp的城市场景,其特点是绘制在粗线条和城市植物生活的详细建筑,引起了著名苏格兰苏格兰艺术家Scottie Wilson(1888 - 1972)的作品,也在展出。城堡- DE-ServieSeriSoSoWrRaCurcMaLeLaNangC.RayChelMaCul.JPG WPAP6023 602IMG Rachel Maclean,彩虹之上,2013,胶片静止。礼貌:艺术家和C.TeaTeo ServieRes,马赛港,从镇中心,在C.TeaTouSerSeries,一个位于前工业建筑(而不是城堡)的当代艺术中心,一个调查显示覆盖过去五年的格拉斯哥艺术家Ra。chel Maclean的产量和法国艺术家Nicolas Daubane的新佣金。DuBabe的展览是“MP2018 Quel Amour”的产物!(多么的爱!)一个将艺术家与当地商业和工业联系起来的居留计划。Daubane被寄宿在两个度假胜地Beules假日公司,其宁静的气氛大概借出了他的名字“OKLM”——一个法语表达“AuCalMe”的语音拼写,或者“和平与安静”——如果不是它的内容。在一个充斥着军事盈余毯子的画廊中间矗立着一个恢复的德国防空警报,它通过一个开关一直保持到电源,直到开关的尽头,在那时,警报器将被毯子包裹起来,在艺术家的召唤下出发。我的版本MunCH的“尖叫”。挂在房间周围的一系列铁锉蚀刻,可能会在警笛响起时打碎。DSCY2602.JPG All Day in Marseille: A Date With the City-wide Contemporary Art Love-in - 马赛全天:与城市当代艺术爱情的约会 DAS Hund在GaleReCuri VeoeCurr,马赛港,2018表演。礼貌:作者DuBaNe的展示不祥的色调是由一个独立的节目,由马赛为基础的集体灾后居住第三年。通过来自瑞士、荷兰、英国、加拿大和法国的15名艺术家的驻留,以及在马赛的地下表演和在附近的维特罗勒城镇的废弃音乐会体育场,灾后居住地为他们描绘了下面的任务。他闪亮的表面PAC,并发现新的方式遇到艺术在马赛。两年前,作为一个非正式的艺术家、建筑师和哲学家集体,灾后居住地与废弃或废弃的空间一起工作,并在诸如绅士化、新自由主义、建筑和艺术等问题上投下了广泛的批评网。上个星期四,达斯·亨德,伦敦州的Samuel Levack和Jennifer Lewandowski的表演项目的演出,观众们来到了一个充满灰尘的地下室里。CR·VeCoeUR是最近开发的Ruuu CuValier-RoZe的七个闪亮的新艺术空间之一,它受益于房地产开发商提供的免租租赁,以使该地区更为理想。但是它的地下室完全是另一个世界:拥挤不堪,衬着生混凝土和隔热材料,这是一个与楼上官方PAC的爱形成鲜明对比的世界。主要图像:Rachel Maclean,越过彩虹(细节),2013,胶片静止。礼貌:艺术家和玛拉,马赛艾伦.德.瓦切特.艾伦.玛拉.德.瓦切特是英国伦敦的作家。她的书《共同艺术:艺术家创造性协作》发表于2017页。城市报道马赛普林斯普斯德艺术当代艾伦玛拉德瓦切特瑞秋麦克莱恩


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