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= Pauline Curnier Jardin = Pauline Curnier Jardin (born 1980, Marseille, France) is a visual artist working mainly in drawing, performance, film, video and installation. She lives in Rome and Berlin. In her work, Curnier Jardin has revisited Joan of Arc, Bernadette Soubirous, the Goddess Demeter, the birth of Jesus and his saint Family, the Anatomical theatre of the Renaissance, as well as pagan and catholic rites in Central and Southern Europe.

Biography
Pauline Curnier Jardin studied fine art at École Nationale des Beaux Arts de Paris-Cergy and film studies at École nationale supérieure des arts décoratifs, Paris. Together with Maeva Cunci, Virginie Thomas et Aude Lachaise she founded the dada-femme Cabaret group “Les Vraoums”.

Has work has been shown internationally in festivals, biennales, museums, and galleries. Selected solo and group exhibitions, commissioned projects and screenings include: 57th Venice Biennale, IT; Tate Modern, London (2017), UK; Cobra Museum of Modern Art, Amsterdam, NL; International Film Festival, Rotterdam, NL; Video Art At Midnight; Berlin, Schirn Kunsthalle Frankfurt, DE; Futura, Prague, CZ; Ellen de Bruijne Projects, Amsterdam, NL (2018). Performa 15, New York, US; The Fondation Cartier pour l’Art Contemporain, Paris, FR; Migros Museum of Contemporary Art, Zurich, CH; University of São Paulo, São Paulo, BR (2015). MIT List Visual Arts Center, Cambridge, US (2014). Haus der Kulturen der Welt, Berlin, DE; Palais de Tokyo, Paris, FR (2013). Centre George Pompidou, Paris, FR (2012). Musée d’Art Moderne, Paris, FR; ZKM Museum of Contemporary Art, Karlsruhe, DE (2010).

She was a visiting tutor at Kunsthochschule Kassel and at the Dutch Art Institute where she led the seminar “OPERA CORRUPTION” together with the art organization If I can’t Dance, I Cannot be a Part of your Revolution and semiotician-curator Sara Giannini. Since 2020 she has been tutor at De Ateliers in Amsterdam.

In 2020, together with Alexandra Lopez, she initiated the Feel Good Cooperative, a cooperative of sex-workers in Rome.

Pauline Curnier Jardin is represented by Ellen de Bruijne Projects, Amsterdam.

Art Practice
Working across the mediums of drawing, performance, music, installation, and film, Pauline Curnier Jardin, use an approach that combines ethnography and fantasy; with a particular awareness of the role’s women have played in mythology, folklore, and conventional narrative cinema; roles that are commonly stereotyped as saint, witch, mother, or mystic. “''In her films, reality is dismantled in a non-linear succession of dreamlike sceneries in a way that recalls Ulrike Ottinger’s cinema and her ability to embody the fantasy of a place one “has never seen, but has certainly imagined”. Drawing on Ottinger’s suggestion of a “ticket of no return” from heterosexist cinematic time and space, Curnier Jardin’s videos open up the possibility of a kind of non-binary visual pleasure, in which the staging of hyperbolic (and often eroticized) gender performances is negotiated by a queer/feminist gaze. Indeed, in her work she often combines the documentary and the fictional; it sometimes starts as a performance before turning into a filmic material that can become part of an installation, a sculpture, or a live event''.”

Awards and Residencies
In 2015-2016 she completed a residency at the Rijksakademie Van Beeldende Kunsten, Amsterdam. She was the winner of the Dutch prize NN Award (2018) and laureate of the Prix Fondation d’Entreprise Ricard (2017). She is the winner of the 2019 Preis der Nationalgalerie and recipient of the 2019/2020 Villa Medici Residency in Rome and the 2021 Villa Romana Fellows in Florence.

Grotta Profunda, the moody chasm
2011

In the film-work Grotta Profunda, les humeurs de gouffre, the moody chasm (2011) Curnier Jardin explores the life of Bernadette Soubirous (Maria Bernada Sobeirons), the Pyrenean visionary, who on 11 February 1858, claimed she saw a young girl in a cave at Massabielle.

In Pauline Curnier Jardin’s Grotta Profunda, les humeurs du gouffre Bernadette has another vision. She is no longer a girl child, now she is a young man in drag. He/she wears a headdress and white apron with block-heel sandals, and follows the vision into the grotto, touching its rocky, muddy walls. Unexpectedly, she is transformed into a limbless all-seeing eye. While navigating the caves passages she discovers a parade of fantastical creatures. In turn, the young nun begins pondering philosophical questions on creation and the human condition.

In 2017 the film was exhibitied as part of the installation Grotta Profunda Approfundita at the 57th Venice Biennale. Grotta Profunda Approfundita is an environment which the viewer enters through an opening in the palm of a giant hand.

Ausgeblutet, Bled Out, Qu’un sang impur
2019

Qu’un Sang Impur began as a loose remake of Jean Genet’s “Un Chant d’Amour” (1950), a homoerotic love story between inmates in a prison, under the yearning watch of a sadistic prison guard. In Curnier Jardin’s film, shiny young male bodies are replaced with post-menopausal women, who celebrate their erotic power after shedding the patriarchal construct which places them ‘of the market' (as author Virginie Despentes would say). Having escaped the endless reproductive loop, the artist ascribes a special power to this stage in a woman’s life, uncoupled from being an object of desire. In their moment of need, they bleed again.

It was commisioned for the Bergen Assembly Triennal and later exhibitied at the Hamburger Bahnhof, installed in the Hot Flashes Forest, an immersive installation thought to combine a multiple of works that deal with reproductive idea of the woman’s body.

Fat to Ashes
2021

As the winner of the Preis der Nationalgalerie 2019, Curnier Jardin presents the extensive video installation Fat to Ashes in 2021 exhibited at Hamburger Bahnhof - Museum für Gegenwart, Berlin, 2021. The exhibition centers on the filmic work «Fat to Ashes», which combines 3 storylines: a religious festival in honor of St. Agatha, the slaugther of a pig, and the carnival in Cologne.

A large-scale amphitheatre encompasses the film installation as the centre of the spectacle, and thus transformations, processions, and practised performance in ritualised excess are the content and formal attributes of Pauline Curnier Jardin’s Fat to Ashes.

As part of Fat to Ashes the installation «Feel Good» is located in the columned arcade on the left side of the museum’s Historische Halle. Church loudspeakers, decorated with large candles that were blessed in Sicily, are mounted onto the columns, and pour forth a soundtrack made up of clicking high heels and the swoosh of traffic. Together with drawings the artist commissioned a group of sex workers to make that illustrate their life realities. The drawings were made by: Alexandra Lopez, Andrea, Alexandra Mapuchina, Gilda Star & Giuliana, all members of The Feel Good Cooperative.

Filmography

 * 2008 - Ah! Jeanne (instal),
 * 2009 - Ami (instal),
 * 2010 - L.O.V & T.V.O (instal),
 * 2011 - Grotta Profunda les humeurs du gouffre/Grotta Profunda the moody chasm (instal),
 * 2012 - Coeurs de Silex, Hearts of Flint - a french surbburbian epic (short)
 * 2013 - Viola Melon, Baiser Melocoton (instal)
 * 2014 - Blutbad Parade/Bloodbath Parade (instal),
 * 2016 - Resurrection Plot (instal),
 * 2016 - Explosion Ma Baby (short),
 * 2017 - Teetotum (short),
 * 2018 - Solo Pour Genevieve (instal.)
 * 2019 - Ausgeblutet, Bled Out, Qu’un sang impur (short),
 * 2020 - Le Lente Passioni (short)
 * 2021 - Fat to Ashes (short).

Solo exhibitions

 * 2021: Fat to Ashes, Preis Der Nationalgalerie - Hamburger Bahnhof, Berlin, DE; CRAC Occitanie/Pyrénnées- Méditerannée, Sète, FR; Index Stockholm, SE; FEATURE, Art Basel, Basel, CH.
 * 2019: I still send you a lot of affection and I kiss you through my denture, 1646, The Hague, NL; Parties sans éteindre les lumières, Fondation Ricard pour l’Art Contemporain, Paris, FR.
 * 2018: Sebastiano Blu,Tomaskerk, Amsterdam, NL (performance); Den Frie Centre of Contemporary Art, Copenhagen, DK; You think you are within in me now, KRIEG,Hasselt, BE.


 * 2017: Ellen de Bruijne Projects, Amsterdam, NL


 * 2016: Le Granit, Scène Nationale de Belfort, Belfort, FR; The Shower of Sister Bondage, Ellen de Bruijne Projects, Amsterdam, NL; Blutbad Parade, Théâtre Nanterre-Amandiers, Paris, FR.


 * 2015: The Resurrection Plot, Performa 15, Pioneer Works, New-York, US; Parade-Bain-de-Sang, Soirées Nomades, Fondation Cartier pour l’art contemporain, Paris, FR.


 * 2014: Mémoires Perdues, Europäische Kulturtage Karlsruhe, Karlsruhe, DE; MIT List Visual Arts Center, Cambridge, US; Viola Melon, Baiser Melocoton, Galerie Edouard Manet, Gennevilliers, FR.
 * 2013: Art Berlin Contemporary (ABC), Berlin, DE ; Viola Melon, Baiser Melocoton, PSM Gallery, Berlin, DE.
 * 2012: Crèche Vivante, Fondation Cartier pour l’art contemporain, Paris, FR; The Mysteries of Creation without Hands, L’Antenne, FRAC Ile-de-France, Paris, FR.