Ahoy, matey! The City's model sailboats will return to the P...
Marc Aufraise holds a doctorate in contemporary art history. A former instructor at the Université Paris I Panthéon-Sorbonne and the École Supérieure d'Art de Lorraine (Metz), he is currently a lecturer at the Institut National du Patrimoine and at ENSAD (Paris). He also leads workshops on visual culture (public schools, adult education, correction centres). He is an author and independent art critic in charge of editorial research and an editor for ERSILIA, the digital platform for visual literacy of the BAL (Paris). He has published numerous critical articles on the history of photography and on contemporary art.
Guided by the narratives that shape our collective memories, she travels, photographs, writes and archives. Her investigations and methods range from tourist rituals and the gestures of archaeologists to the obsessions of collectors and the techniques of archivists. Using reproduction, misappropriation and alienation, her images, editions, installations and performances attempt to disrupt the unwritten rules of production, dissemination and arrogation of historical knowledge.
Based on the fragility and power of memory, his creative approach puts his own memories in dialogue with those who build our collective memory. Gaps, falsifications and erasures enter into a dialogue in his drawings and installations with repetitive sequences, reminiscences and resurgent images. By giving form to these recurring elements that are necessary to the writing of history, Pensato subtly reveals how their authority is constantly destined to disappear.
Exploring her memory and the memories of her loved ones – trying to appropriate the archives of family history – she questions our ability to accept and transmit memories and their images. Her practice strives to give form to the tentative processes of learning, accepting and becoming as a means to examine both the appropriateness of the words, objects and rituals we use to understand ourselves and the unspeakable facts, the mistakes and omissions that line our paths.
He models, assembles and transforms wood, plaster, frames, paintings, words and photographic archives. His unstable constructions and landscapes of ruin occupy the space: the space of art, but also the transitional space of emergence, both marked by confrontation, combat, rejection and love. His sculptures and paintings instantiate his romantic quest to build the unbuildable.