https://johnmirabel.cargo.site johnmirabel Sat, 28 Jan 2023 14:26:02 +0000 https://johnmirabel.cargo.site en https://johnmirabel.cargo.site/HOME Sat, 16 Nov 2019 17:06:50 +0000 johnmirabel https://johnmirabel.cargo.site/HOME &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; VISUAL ARTIST / CURATOR https://johnmirabel.cargo.site/Crying-How-Bright Sat, 28 Jan 2023 14:26:02 +0000 johnmirabel https://johnmirabel.cargo.site/Crying-How-Bright Crying How Bright. <img width="5504" height="6880" width_o="5504" height_o="6880" data-src="https://freight.cargo.site/t/original/i/2d0201bf3490018ad07396d26561b9084e00f9a1cecaeebade0ccd79ed9c79e3/John-Mirabel---Crying-how-bright-068---Ph-F_Stipari-HD.jpg" data-mid="166429078" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/2d0201bf3490018ad07396d26561b9084e00f9a1cecaeebade0ccd79ed9c79e3/John-Mirabel---Crying-how-bright-068---Ph-F_Stipari-HD.jpg" /> Steel, discoball motor, chain, lights and sound installation. 2021Text by Petra Chiodi, Milan 2021 Photographies by Fabrizio Stipari and Sergio Salomone Exhibitions at Spazio Bidet, Milan and Muta, Torino. “In the beginning it was a knuckle duster. Brass knuckles, iron fist or even rosette, for its bread-like swellings. From the times of the Nuragic warriors in Sardinia, passing through the Marseille and Parisian underworld, up to the troops of the First World War and the street clashes between demonstrators and police, this feral fist presupposes a close combat. With a double, an enemy, a master, an eidolon. But when the two horizons collide, the angry essence of the brass knuckles can also crumble and reveal the imaginary. John Mirabel is, so to speak, an «imaginalist» who works with the field of possibilities, from the invisible to the visible and vice versa. His fist / bread are the amorphous states, the allusions and symmetries, the anthropomorphic imagination, the median spaces that differentiate and bring symbolic and real closer together. Mirabel lets only the image speak - which is anything but harmless - treating his sculpture «like an old woman, perhaps a fallen, derelict high-class prostitute» who escapes the codes with which we would like to interpret it. Provocation, Dada game? Moreover. This is a distorted ready-made, created manually, cleared through customs, which re-enchants the world. The knuckles, first armed and strengthened in the fist, become a symbol of the not-yet-thought, of the not-yet-present. <img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/4ebbaf57fe4225b63624a171fde15a6ee217ec5dfefd69a17e8773e1129cbe38/compo_low_def.jpg" data-mid="166429080" border="0" src="https://freight.cargo.site/w/1000/i/4ebbaf57fe4225b63624a171fde15a6ee217ec5dfefd69a17e8773e1129cbe38/compo_low_def.jpg" /> Mirabel re-elaborates the form-concept of the brass knuckles starting from the multifaceted Belgian artist Édouard Léon Théodore Mesens (1903-1971) who began his career as the author of crazy Dada compositions; Mirabel adopts its strategy and then sets it aside in favor of more daring decisions. Mesens is an irreverent blagueur through and through. Comme ils l’entendent, et comme nous l’entendons - «as they would like» (a brass knuckles upside down, with the tips sticking into the living flesh) and «as we perceive it» (the brass knuckles in all its maximum expression ) -, Mesens’ 1926 explicitly Dada work, is redrawn on wood by Mirabel in the manner of an archive photo and framed by a thick layer of metal. From a simple process of inversion, Mesens extracts a brutal message, which finds a place in the apparatuses of punk and which is reinforced by the subversive poetry of the leader of Belgian Surrealism Paul Nougé. Mesens’ brass knuckles are soured with Nougé’s verbal violence. “Notre bouche est pleine de sang. Nos oreilles bourdonnent de sang. Nos yeux s’illuminent de sang. Si nous voyons, c’est la couleur de notre sang «(The silent syllables, 1990). The images and text combine to create a sense of threat and an intangible tension. As the epiphany of a minor real, a marginal object changes its sign to swell with the uncanny, the upsetting. <img width="3594" height="5391" width_o="3594" height_o="5391" data-src="https://freight.cargo.site/t/original/i/3974922ddf20bfb12d4434d0762341f67d02c40a2be1c72b7913eb0942caa554/_MG_8882a.jpg" data-mid="166429081" border="0" src="https://freight.cargo.site/w/1000/i/3974922ddf20bfb12d4434d0762341f67d02c40a2be1c72b7913eb0942caa554/_MG_8882a.jpg" /> The subversion of images, the eternal clandestine, the dangerousness of music, are all themes that lead back to the shift that John Mirabel also implements. Re-enact a brass knuckle, deprived of its most trivial connotations, and magnify it, accepting its considerable technical challenges. «Don’t think, look!» (Ludwig Wittgenstein). He looks at the iron body, titanic like a primordial force, masterfully welded, which whirls suspended, driving a disk ball engine; creature freed from its gravity, protean is projected in several directions, creating hypnotic shadows, in the scenic distance of a shop window. The sculptural object loses its aggressiveness and moves in slow-motion, to the rhythm of Phil Collins’ cruel ballad «In the Air Tonight», cut and slowed down by the divine hip hop DJ Screw. It is as if you get lost in the last beat of an audio cassette played underwater or in the depths of the earth, in the syncopated pulsation of a drum before it stops living. A new sense of time is perceived (which is that of the exhibition and at the same time it is not) wrapped in a sensual, languid and melancholy blanket. In the metallic embrace of a seductive hybrid object, I witness the sunset of a «naked» diva, the mocking deception of a game queen, an erotic dance on the verge of decline. Using the world, using shapes with a sense of beyond: Mirabel transforms, cuts out, decontextualizes Mesens. Fatal translation. «Crying how bright» is a form of survival in titanium, not without mystery, a firefly image that resists in spite of everything, right there where its marginalization and vocation to revolt are declared - the art historian Georges Didi-Huberman would say. -, a ceremony that creates resonance axes hidden in the folds of the sublime.” <img width="5065" height="3377" width_o="5065" height_o="3377" data-src="https://freight.cargo.site/t/original/i/995d656c8c272217d702039252f4464fed2812925e07cff073b1ac47fb90ad61/_MG_8844a.jpg" data-mid="166429082" border="0" src="https://freight.cargo.site/w/1000/i/995d656c8c272217d702039252f4464fed2812925e07cff073b1ac47fb90ad61/_MG_8844a.jpg" /><img width="8256" height="8256" width_o="8256" height_o="8256" data-src="https://freight.cargo.site/t/original/i/bb48868057d5160d5a2dd74a2ec27aa767c63cbce4fd2f51afbe63727310a8e5/1.jpg" data-mid="166429483" border="0" src="https://freight.cargo.site/w/1000/i/bb48868057d5160d5a2dd74a2ec27aa767c63cbce4fd2f51afbe63727310a8e5/1.jpg" /> https://johnmirabel.cargo.site/NON-PLUS-ULTRA Sun, 01 Mar 2020 13:24:59 +0000 johnmirabel https://johnmirabel.cargo.site/NON-PLUS-ULTRA NON. PLUS. ULTRA FRAC MECA BORDEAUX,&nbsp; 2019<img width="1940" height="1186" width_o="1940" height_o="1186" data-src="https://freight.cargo.site/t/original/i/e5b43678d9caa330418b33dd3d2ddf33025f80765db5b936cf4f60dc12a91273/Capture-decran-2020-03-01-a-14.36.02.png" data-mid="62374005" border="0" src="https://freight.cargo.site/w/1000/i/e5b43678d9caa330418b33dd3d2ddf33025f80765db5b936cf4f60dc12a91273/Capture-decran-2020-03-01-a-14.36.02.png" /> Le projet d’exposition pour le FRAC Nouvelle Aqui- taine à Bordeaux à la MECA est une installation qui lie une série d’impressions avec une série de pièces sonores. J’ai collaboré avec le musicien Ferdinand Perrot qui a composé les 4 pièces sonores. The exhibition project for the FRAC Nouvelle Aquitaine in Bordeaux at the MECA is an installation that links a series of prints with a series of sound pieces. This show ends the residency of “Le Pavillon”. I collaborated with musician Ferdinand Perrot who composed the 4 sound pieces. Les impressions sont faites à partir de négatifs de photographie argentiques scannés puis retravaillés, dans lesquels des jets de lumières sont apparues et ont crée ces compositions sur fond quasi noir. Des flashs, des rayons, des souffles, des étendus, nuage de couleur empreints d’une profondeur sans échelle, ces fuites de lumière s’ins- tallent côte à côte en dialogue direct avec une série d’en- ceintes du même nombre. Les compositions sonores sont faites à partir d’une collecte d’enregistrements sonores des fonds marins avec l’inconnu comme critère de sélection. The prints are made from silver photographic negatives scanned and recomposed, in which light appeared and created these compositions on a very dark background. Flashes, rays, breaths, expanses, clouds of color imprinted with depth without scale, these light leaks are installed side by side in direct dialogue with a series of speakers of the same number. The sound compositions are made from a collection of sound recordings of the deep ocean with the unknown as a selection criterion. <img width="7045" height="4697" width_o="7045" height_o="4697" data-src="https://freight.cargo.site/t/original/i/418e29297a8804d100420534c0133255d6411500101c495d87f98f5ab4e997ae/devier-suite4.jpg" data-mid="62373745" border="0" src="https://freight.cargo.site/w/1000/i/418e29297a8804d100420534c0133255d6411500101c495d87f98f5ab4e997ae/devier-suite4.jpg" /> Entre les années 1970 et 2006, une série d’enregistre- ments font débats dans la communauté scientifique et mi- litaires (aux origines des prélèvements sonores) car per- sonne n’est à même de certifier l’origine de l’émission de ces sons. Les théories sont multiples et nourrissent l’ima- ginaire, que ce soit par des raclement d’iceberg sur les premières couches de sédimentation jusqu’aux éruptions volcaniques sous marines en passant par des créatures gigantesques encore inconnues des êtres humains. Les enregistrements originels sont inaudibles à l’oreille humaine, cette-dernière ne pouvant capter et définir les fréquences trop basses (ici entre 20 et 60hz). Cependant, en échangeant avec des chercheurs du CNRS spécialisés dans la géologie marine, ils m’ont expliqué qu’ils «lisent» le son car il est d’abord retranscrit visuellement par des graphiques avec les- quels ils sont capables de connaître la nature de l’émission. En accélérant les fréquence on obtient également une écoute envi- sageable à l’oreille humaine qui permet de «se faire une idée». Dans mon installation, je décide d’associer une écoute à une lecture, un inconnu à un hasard pour confondre les rapports d’échelles et à la fois dans l’espace physique mais également dans l’espace de la pensée. Between the 1970s and 2006, a series of recordings caused debate in the scientific and military community (at the origins of sound samples) because no one was able to certify the origin of the broadcast of these sounds. The theories are multiple and feed the imagination, whether by iceberg scraping on the first layers of sedimentation to volcanic eruptions underwater through gigantic creatures still unknown to humans. &nbsp;The original recordings are inaudible at the human ear, which cannot pick up and define frequencies that are too low (here between 20 and 60Hz). However, by exchanging with CNRS researchers specializing in marine geology, they explained to me that they "read" the sound because it is first transcribed visually by graphics with which they are able to know nature. of the show. By accelerating the frequencies we also obtain listening that is possible with the human ear, which allows us to "get an idea". In my installation, I decide to combine listening with reading, a stranger with a chance to confuse the relationships of scales and both in physical space but also in the space of thought. <img width="4592" height="2584" width_o="4592" height_o="2584" data-src="https://freight.cargo.site/t/original/i/ee7e7f6bf44c56d8f1a4099a5e61eaad9790a2c17cfe15d6a6c96ce53f470137/P1010307.jpg" data-mid="62373746" border="0" src="https://freight.cargo.site/w/1000/i/ee7e7f6bf44c56d8f1a4099a5e61eaad9790a2c17cfe15d6a6c96ce53f470137/P1010307.jpg" /> 1-Captures 1/4-2/4-3/4-4/4, digital prints, 140x243 cm. <img width="3969" height="6909" width_o="3969" height_o="6909" data-src="https://freight.cargo.site/t/original/i/7deab577218f56b1f8d74c940ce6b317f6d1d850da6d7f1c5a56ada0470f8450/GREEN-LEAK.jpg" data-mid="62373748" border="0" src="https://freight.cargo.site/w/1000/i/7deab577218f56b1f8d74c940ce6b317f6d1d850da6d7f1c5a56ada0470f8450/GREEN-LEAK.jpg" /> <img width="3969" height="6909" width_o="3969" height_o="6909" data-src="https://freight.cargo.site/t/original/i/b8f0162f5380f2ec82039682c3c2aacc83cf64345e7740649e2c2d201ebc50a7/SPREAD-RED-LEAK.jpg" data-mid="62373751" border="0" src="https://freight.cargo.site/w/1000/i/b8f0162f5380f2ec82039682c3c2aacc83cf64345e7740649e2c2d201ebc50a7/SPREAD-RED-LEAK.jpg" /> <img width="3969" height="6909" width_o="3969" height_o="6909" data-src="https://freight.cargo.site/t/original/i/16873159b2941700aded06bd7ddf7f1cd082c63cd5648c71b44f14821a1bc905/BLUE-LEAK.jpg" data-mid="62373747" border="0" src="https://freight.cargo.site/w/1000/i/16873159b2941700aded06bd7ddf7f1cd082c63cd5648c71b44f14821a1bc905/BLUE-LEAK.jpg" /> <img width="3969" height="6909" width_o="3969" height_o="6909" data-src="https://freight.cargo.site/t/original/i/9fcb7792ca4a8d8b90aaed1b804b625a382939c2fbc728b8c33b7667353c40f5/RED-LEAK.jpg" data-mid="62373750" border="0" src="https://freight.cargo.site/w/1000/i/9fcb7792ca4a8d8b90aaed1b804b625a382939c2fbc728b8c33b7667353c40f5/RED-LEAK.jpg" /> 2- Murmurations 1/4-2/4-3/4-4/4 sound pieces of various lengh, speakers on steal stands 35x174 cm. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; «Non Plus Ultra est un espace où le temps, dans sa forme commune, n’existe pas. Lorsque les Murmurations racontent leur fiction, on se déplace dans un espace fixe, forcés d’imaginer un monde sans image, basé sur les Captures, un monde limité par l’infini.Non Plus Ultra est, dans son histoire mythologique la dernière frontière du monde, le départ de l’infini.Non Plus Ultra se situe dans la chambre noire d’une caméra ainsi que dans les abysses océaniques jusqu’à la zone Hadale. Non Plus Ultra est un dialogue sans paroles, un lien entre deux inconnus.» Non Plus Ultra dans la mythologie grecque représente les deux colonnes d’Hercules, qu’il aurait crée en fendant l’atlas et créant le détroit de Gibraltar. Cela désigne les limites du monde connus, du monde des mortels, avant le départ de l’infini. Captures est une série de photos dont des fuites de lumières sont apparues dans l’obturateur de l’appareil argentique venant se fixer sur la pellicule. Un travail sur les négatifs a permis de réaliser ces images. Murmurations est une série de compositions sonores réalisée avec pour base des enregistrements de sons in- connus dans les fonds océaniques. Le dialogue entre Captures et Murmurations permet de relier la notion d’inconnu avec la notion d’imprévu, mais également d’associer et de confondre des espaces, des échelles ainsi que des temporalité. Le Terme «Non Plus Ultra» possède intrinsèquement une tentative ratée de catégoriser, de séparer et d’organiser l’ensemble des choses et espaces alors qu’ici, il nous est impossible de définir ce qui reste encore à découvrir. "Non Plus Ultra is a space where time, in its common form, does not exist. When the Murmurations tell their fiction, we move into a fixed space, forced to imagine a world without images, based on the Captures, a world limited by the infinite. Non Plus Ultra is in its mythological history the last frontier in the world, the departure from the infinite. Non Plus Ultra is located in a camera’s dark room as well as in the ocean abyss to the Hadale area. Non Plus Ultra is a dialogue without words, a link between two strangers. ” Non Plus Ultra in Greek mythology represents the two columns of Hercules, which he would have created by splitting the atlas and creating the Strait of Gibraltar. It indicates the limits of the known world, of the mortal world, before the departure of the infinite. Captures is a series of photos of which leaks of light appeared in the shutter of the silver camera coming to fix itself on the film. Work on the negatives made it possible to produce these images. Murmurations is a series of sound compositions produced on the basis of recordings of sounds unknown in the ocean floor. The dialogue between Captures and Murmurations makes it possible to link the notion of the unknown with the notion of the unexpected, but also to associate and confuse spaces, scales as well as temporality. The term "Non More Ultra" inherently has a failed attempt to categorize, separate and organize all things and spaces when here, it is impossible for us to define what remains to be discovered. https://johnmirabel.cargo.site/TRACES Sun, 01 Dec 2019 18:41:25 +0000 johnmirabel https://johnmirabel.cargo.site/TRACES TRACES, P.I.P, 2019.&nbsp;<img width="1966" height="1110" width_o="1966" height_o="1110" data-src="https://freight.cargo.site/t/original/i/23640af17c9b60f879038be9d6e1b6196669c399ff5508b57a9451473c533a9b/Capture-decran-2019-12-06-a-17.13.13.png" data-mid="56146227" border="0" src="https://freight.cargo.site/w/1000/i/23640af17c9b60f879038be9d6e1b6196669c399ff5508b57a9451473c533a9b/Capture-decran-2019-12-06-a-17.13.13.png" /> A project created during the residency l’Art en Dordogne installed at the Pôle D’interprétation de la Préhistoire at les Eyzies-de-Tayac sur Sireuil, and in relation to the residency Le Pavillon, led by Ange Leccia and hosted by hte Bordeaux Fine Arts School EBABX. For the exhibition at the Pole for the interpretation of Prehistory, I presented a corpus of works between installation, printing, drawings and sculptures that raises the questions of line, the trace, which are witnesses to the history of men and women, but especially of life.Whether lines painted or engraved by the hand of our ancestors 15,000 years ago on the walls of caves, layers of sedimentations piled on top of each other and laid bare by drill cores, or even the action of the different climatic eras on the great rocky facades that rise from the vegetation and serve as landscape, the line and the trace express and draw the history.Through my research in the Dordogne and Cantabria around the various prehistoric "ornate" sites, I’ve made a set of three works that tend to reveal the formal relationships that determine the bridges between the scales of magnitude (micro / macro), various eras (prehistory, modern times), but erased between natural and hand-related events of men and women. TRACES 1/3 : Explorationseries of 10 ink drawings on paper, A2 format, 2019.<img width="2000" height="1226" width_o="2000" height_o="1226" data-src="https://freight.cargo.site/t/original/i/b41951c276b0fe04b79377ea61bef3ed48d5f93f11392cb425719298dc356fd0/Capture-decran-2019-12-03-a-18.19.25.png" data-mid="55917003" border="0" src="https://freight.cargo.site/w/1000/i/b41951c276b0fe04b79377ea61bef3ed48d5f93f11392cb425719298dc356fd0/Capture-decran-2019-12-03-a-18.19.25.png" /> In the project of access of the Vézère valley to the label "Grand site of France" which allows a protection of the inheritance, one of the gestures carried out is to clear the rocky façades of the covering vegetation to make appear these limestone massifs typical of this region and determinants for cave formations and prehistoric shelters.This work is an assembly of lines and traces which, in their multitude and their organization is associated with the representation of a landscape, that of the rocky ensemble of Laugerie in les Eyzies-de-Tayac sur Sireuil.Each of the 10 drawings is a single drawing in itself, while being an excerpt from the overall subject that appears in its entirety only with the complete series.The composition of his features reveals an analogy of forms with both the layers of sedimentation witnessed by the cores of boreholes, as well as the human gesture on stone from one era to another, as well as the composition of the landscape itself.Whether we change scale, space or even temporality, the links between all things inevitably appear. <img width="4487" height="1495" width_o="4487" height_o="1495" data-src="https://freight.cargo.site/t/original/i/8f708931df6bbe2ede6db0cddd07336c1d548d782037b506a323f4dbd2425b75/TRACES-Exploration-02.jpg" data-mid="55781629" border="0" src="https://freight.cargo.site/w/1000/i/8f708931df6bbe2ede6db0cddd07336c1d548d782037b506a323f4dbd2425b75/TRACES-Exploration-02.jpg" /> <img width="4592" height="2584" width_o="4592" height_o="2584" data-src="https://freight.cargo.site/t/original/i/4fbe0ef1e72f9b174bee68c9b4a5826eb97382eb29675cdf1f6b8b4e15b83c7e/TRACES-incision-exploration-03.jpg" data-mid="55782841" border="0" src="https://freight.cargo.site/w/1000/i/4fbe0ef1e72f9b174bee68c9b4a5826eb97382eb29675cdf1f6b8b4e15b83c7e/TRACES-incision-exploration-03.jpg" /> <img width="2258" height="3243" width_o="2258" height_o="3243" data-src="https://freight.cargo.site/t/original/i/cf9308bae0cbdd07abf39edbc1487e704840c81f3f1ba260aba5f3c6a118544c/retouche.jpg" data-mid="55782825" border="0" src="https://freight.cargo.site/w/1000/i/cf9308bae0cbdd07abf39edbc1487e704840c81f3f1ba260aba5f3c6a118544c/retouche.jpg" /> TRACES 1/3 : IncisionSilkscreen print on limestone, 37x165x8 cm, 2019. I’ve discovered this trace left by the action of modern man: a cut in the rock following the activity of an old quarry. On the facade of this bare rock, this line echoes directly with the signs seen in the caves.The artist therefore decides to capture this image and use it in a system of representation that goes from photography to screen printing to the sculptural object. The idea is to select a block of limestone and print the photography of this trace directly on its surface, print which will itself become the trace of the artist's action on the the environment, like that of the recent modern man who leaves a mark on his environment by cutting out the landscape for a habitat utility, or just as he did before him, the "old" modern man who engraved and painted the surface of the rock in a system of representation of its own. <img width="2531" height="4225" width_o="2531" height_o="4225" data-src="https://freight.cargo.site/t/original/i/5f4e32439bf89ab8f4097d5536299f89de2e50be034f03264af39615957abbdf/TRACES-Incision.jpg" data-mid="55783377" border="0" src="https://freight.cargo.site/w/1000/i/5f4e32439bf89ab8f4097d5536299f89de2e50be034f03264af39615957abbdf/TRACES-Incision.jpg" /> <img width="2584" height="4592" width_o="2584" height_o="4592" data-src="https://freight.cargo.site/t/original/i/25230ad361ee1fa516358cd36bdf00c895e21feb672be1b354dcb9867f6d08b5/TRACES-incision-exploration-02.jpg" data-mid="55783376" border="0" src="https://freight.cargo.site/w/1000/i/25230ad361ee1fa516358cd36bdf00c895e21feb672be1b354dcb9867f6d08b5/TRACES-incision-exploration-02.jpg" /> <img width="4592" height="2584" width_o="4592" height_o="2584" data-src="https://freight.cargo.site/t/original/i/fc65b505731d0bbd80e629be6a717d3504d33e62c802006ac7d6f8204a7948ec/TRACES-incision-exploration.jpg" data-mid="55784384" border="0" src="https://freight.cargo.site/w/1000/i/fc65b505731d0bbd80e629be6a717d3504d33e62c802006ac7d6f8204a7948ec/TRACES-incision-exploration.jpg" /> TRACES 1/3 : Extraction series sculptures, pigment and plaster, various formats, 2019. Core drilling is a type of exploratory drilling, aimed at taking a sample of the earth or marine subsoil. For the person who knows how to read it, the obtained carrot contains all the history of the earth within the limit of the drilling depth. The object obtained testifies to the various layers of sedimentation and the events that occurred, resulting in a succession of more or less dense lines of different qualities, all expressing a time of their own.An object that contains images, a sculpture containing drawing. <img width="4463" height="2511" width_o="4463" height_o="2511" data-src="https://freight.cargo.site/t/original/i/9c4e055939b1a495056b1c7e1875d0e1073c39023b4eb9716250a882b4cc4c22/TRACES-Extractions-04.jpg" data-mid="55787213" border="0" src="https://freight.cargo.site/w/1000/i/9c4e055939b1a495056b1c7e1875d0e1073c39023b4eb9716250a882b4cc4c22/TRACES-Extractions-04.jpg" /> <img width="2584" height="4592" width_o="2584" height_o="4592" data-src="https://freight.cargo.site/t/original/i/d6dfc3fd0ffe83dbc2f6b31ccdbe8c27615e6cbedfa2795a70f71c14fbce4a62/TRACES-Extraction-02.jpg" data-mid="55787210" border="0" src="https://freight.cargo.site/w/1000/i/d6dfc3fd0ffe83dbc2f6b31ccdbe8c27615e6cbedfa2795a70f71c14fbce4a62/TRACES-Extraction-02.jpg" /> <img width="2346" height="4353" width_o="2346" height_o="4353" data-src="https://freight.cargo.site/t/original/i/62ceb527ea7ae3a1aa060ee9b83f378ab95645813a871935c91971b712c728b1/TRACES-Extraction.jpg" data-mid="55787212" border="0" src="https://freight.cargo.site/w/1000/i/62ceb527ea7ae3a1aa060ee9b83f378ab95645813a871935c91971b712c728b1/TRACES-Extraction.jpg" /> <img width="2584" height="4592" width_o="2584" height_o="4592" data-src="https://freight.cargo.site/t/original/i/e79114ce30c32419836a69af6c16ad8134d8003042793c477ff99b4e3a4c5331/TRACES-Extraction-03.jpg" data-mid="55787211" border="0" src="https://freight.cargo.site/w/1000/i/e79114ce30c32419836a69af6c16ad8134d8003042793c477ff99b4e3a4c5331/TRACES-Extraction-03.jpg" /> <img width="3362" height="2412" width_o="3362" height_o="2412" data-src="https://freight.cargo.site/t/original/i/180b7a2a8a4c361f0f66bdeb3b91801cbd4553c7e883f35c411dbdf50c22c0b8/me-PIP.jpg" data-mid="55787638" border="0" src="https://freight.cargo.site/w/1000/i/180b7a2a8a4c361f0f66bdeb3b91801cbd4553c7e883f35c411dbdf50c22c0b8/me-PIP.jpg" /> https://johnmirabel.cargo.site/DERIVA Tue, 03 Dec 2019 17:33:59 +0000 johnmirabel https://johnmirabel.cargo.site/DERIVA DERIVA - Duo show with Francesca Mussi Residency and exhibition in Chiesa di San Celso, Milano, 2019. “For this show, we took elements of the place’s history, such as miracles and biblical facts to create site specific art works in one of Milan’s oldest churches.” <img width="2006" height="1228" width_o="2006" height_o="1228" data-src="https://freight.cargo.site/t/original/i/af27c26b29332ccab36e475297dd37f126cc1e0a9b95a60157c50dd74fb006d2/Capture-decran-2019-12-03-a-18.26.32.png" data-mid="55917930" border="0" src="https://freight.cargo.site/w/1000/i/af27c26b29332ccab36e475297dd37f126cc1e0a9b95a60157c50dd74fb006d2/Capture-decran-2019-12-03-a-18.26.32.png" /> <img width="1280" height="853" width_o="1280" height_o="853" data-src="https://freight.cargo.site/t/original/i/d6d5e1c899a09ea5c5aeac8a88213748bd98b0a43a453bc9a83745731cd4587a/Littoral_web.JPG.jpg" data-mid="55917932" border="0" src="https://freight.cargo.site/w/1000/i/d6d5e1c899a09ea5c5aeac8a88213748bd98b0a43a453bc9a83745731cd4587a/Littoral_web.JPG.jpg" />Installation “Littoral”, 12 pannels, fabric, wood, 203 x 77 cm each. <img width="804" height="1205" width_o="804" height_o="1205" data-src="https://freight.cargo.site/t/original/i/9a6e7b30abf09335a356630936c0b0fafb55a1e08e02219e783109b27760c4eb/112-DERIVA_Ph-F_Stipari---web.jpg" data-mid="55918180" border="0" data-scale="98" src="https://freight.cargo.site/w/804/i/9a6e7b30abf09335a356630936c0b0fafb55a1e08e02219e783109b27760c4eb/112-DERIVA_Ph-F_Stipari---web.jpg" /> 1-LITTORAL &nbsp; &nbsp; LITTORAL is an installation of 12 panels that represents the map of the liguria’s coast line in which the two saints (San Celso and San Nazaro) fled from the roman persecution during the first century and escaped from death by walking on the water. &nbsp; &nbsp; The panels are produced with fabric from which we subtracted the cotton’s pigment using various layers of bleach in order to recreate to cost line’s visual. The San Celso church was famous for hosting a painting of the virgin Mary with the baby Jesus, covered up by a piece of fabric, which was moved to the church next door, Santa Maria degli miracoli. During the bubonic plague, this painting came to life and another miracle narrates that the virgin put aside the fabric with one arm and presented the baby to a public of 300 people with the other. We decided to use fabric and to bleach it also referring to the clothes of migrants (such as San Celso) that loose their pigment by the action of the sun, salt and moon, during their desperate travel across the Mediterranean sea <img width="1205" height="804" width_o="1205" height_o="804" data-src="https://freight.cargo.site/t/original/i/e1d6d744d382f747d2fca10bafa9f2e0db368d7c2dae40476db03b9b087b1f56/06-DERIVA_Ph-F_Stipari---web.jpg" data-mid="55918176" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/e1d6d744d382f747d2fca10bafa9f2e0db368d7c2dae40476db03b9b087b1f56/06-DERIVA_Ph-F_Stipari---web.jpg" /> 2-CAMMINATA SULLE ACQUE <img width="804" height="1205" width_o="804" height_o="1205" data-src="https://freight.cargo.site/t/original/i/deab0ae6f0fbedd4d1a47166600d723b1739f4ce3332ed8d571bc8186489fa52/85-DERIVA_Ph-F_Stipari---web.jpg" data-mid="55918184" border="0" src="https://freight.cargo.site/w/804/i/deab0ae6f0fbedd4d1a47166600d723b1739f4ce3332ed8d571bc8186489fa52/85-DERIVA_Ph-F_Stipari---web.jpg" /> Camminata Sulle Acque (Walk On The Water) is an installation in two parts. The first is a 45 meters long by 1m50 roll of fabric installed vertically, which was used to pack the chewing gum sculptures and bleached so that the folding of the fabric creates an abstract visual. The second part is a video in which the two artists manipulate the fabric entirely from one end to another, with a regular movements recreating a path such as a treadmill on suggesting the path the two saints took to walk on the Mediterranean sea. <img width="1050" height="1680" width_o="1050" height_o="1680" data-src="https://freight.cargo.site/t/original/i/6323a09c5ed12e5e37ed799111b8f54b1357d09d07fec37365c08fd4f07a048c/Caminnate_Sulle_Acque2_web.png" data-mid="55917929" border="0" src="https://freight.cargo.site/w/1000/i/6323a09c5ed12e5e37ed799111b8f54b1357d09d07fec37365c08fd4f07a048c/Caminnate_Sulle_Acque2_web.png" />link to the video 3-PERMUTAZIONE Permutazione is an installation of gum prints fixed on stones. The image comes from photographies of the light and shadow composition taken inside the altar centered in the apse of Spazio San Celso. The stones are ones which were kept from the original construction of the place after the recent renovation. <img width="3888" height="2592" width_o="3888" height_o="2592" data-src="https://freight.cargo.site/t/original/i/80b7816b4b3f4e3a5eef2a59b2819548a53062ed8e965fc1b5950a040e52d7e1/Permutazione2.jpg" data-mid="55918234" border="0" src="https://freight.cargo.site/w/1000/i/80b7816b4b3f4e3a5eef2a59b2819548a53062ed8e965fc1b5950a040e52d7e1/Permutazione2.jpg" /> <img width="804" height="1205" width_o="804" height_o="1205" data-src="https://freight.cargo.site/t/original/i/a3a6becae0f9fdce1fabaeff05ec1025c365bd212c6493318711d864667dff08/114-DERIVA_Ph-F_Stipari---web.jpg" data-mid="55918186" border="0" src="https://freight.cargo.site/w/804/i/a3a6becae0f9fdce1fabaeff05ec1025c365bd212c6493318711d864667dff08/114-DERIVA_Ph-F_Stipari---web.jpg" /> <img width="804" height="1205" width_o="804" height_o="1205" data-src="https://freight.cargo.site/t/original/i/8afc6218aca533ea1f4150abbf7649de0302c65c3b84335de13b2e584a010c6b/116-DERIVA_Ph-F_Stipari---web.jpg" data-mid="55918185" border="0" src="https://freight.cargo.site/w/804/i/8afc6218aca533ea1f4150abbf7649de0302c65c3b84335de13b2e584a010c6b/116-DERIVA_Ph-F_Stipari---web.jpg" /> <img width="2592" height="3888" width_o="2592" height_o="3888" data-src="https://freight.cargo.site/t/original/i/95cc8414673f9ab5b0a9a840c0e2fb48bc9a85490dc6576712243bd11f4ba701/Permutazione4.jpg" data-mid="55918233" border="0" src="https://freight.cargo.site/w/1000/i/95cc8414673f9ab5b0a9a840c0e2fb48bc9a85490dc6576712243bd11f4ba701/Permutazione4.jpg" /> <img width="3888" height="2592" width_o="3888" height_o="2592" data-src="https://freight.cargo.site/t/original/i/5bb03cf97e49a5dbb518bca7fb0085c7c70b30b1242c2d07aabe25b54a50830e/Permutazione3.jpg" data-mid="55918232" border="0" src="https://freight.cargo.site/w/1000/i/5bb03cf97e49a5dbb518bca7fb0085c7c70b30b1242c2d07aabe25b54a50830e/Permutazione3.jpg" /> 4-CHEWING GUM CHEWING GUMS is a set of sculptures in the shape of already chewed chewing gums, using various techniques and dimensions. It’s in an analogy of form and aesthetic with the bodies of the two martyrs (San Celso and San Nazaro) which were found headless in the 4th century by San Ambrogio that the two artist create these sculptures and install them outside the front doors of the church, in the garden on the ground, placed as if they had stranded on the beach, and also as bodies seeking for asylum. Gum is a product that is bought, consumed and thrown away in a record time, but here, as art objects they are studied, looked at and valued. <img width="1280" height="960" width_o="1280" height_o="960" data-src="https://freight.cargo.site/t/original/i/b2a4259026e05d4fb411e4c365b231ef572bb2e11d031cec7b99eeba60027e9e/Chewing_Gums_web.jpg" data-mid="55917931" border="0" src="https://freight.cargo.site/w/1000/i/b2a4259026e05d4fb411e4c365b231ef572bb2e11d031cec7b99eeba60027e9e/Chewing_Gums_web.jpg" /><img width="2316" height="1415" width_o="2316" height_o="1415" data-src="https://freight.cargo.site/t/original/i/ab0fb6a61762a7dd57923511c8c0e8cccfe3dc45358061d1b6b903a43f41695c/77-DERIVA_Ph-F_Stipari---press.jpg" data-mid="55918570" border="0" src="https://freight.cargo.site/w/1000/i/ab0fb6a61762a7dd57923511c8c0e8cccfe3dc45358061d1b6b903a43f41695c/77-DERIVA_Ph-F_Stipari---press.jpg" /><img width="3550" height="2367" width_o="3550" height_o="2367" data-src="https://freight.cargo.site/t/original/i/048b06e58dbf1702d1cf6920a179b7cff6687e779008067a68ced66d785c96e9/79-DERIVA_Ph-F_Stipari---press.jpg" data-mid="55918571" border="0" src="https://freight.cargo.site/w/1000/i/048b06e58dbf1702d1cf6920a179b7cff6687e779008067a68ced66d785c96e9/79-DERIVA_Ph-F_Stipari---press.jpg" /> all of the photos have been taken by Fabrizio Stipari https://johnmirabel.cargo.site/INTERMEZZO Wed, 04 Dec 2019 20:24:47 +0000 johnmirabel https://johnmirabel.cargo.site/INTERMEZZO INTERMEZZO, Spazio Fico, Milano, 2019. <img width="3550" height="2367" width_o="3550" height_o="2367" data-src="https://freight.cargo.site/t/original/i/ab0309ec4eccdc5388230611bfb99631bce5df61b69f366d89cb9e208b60d02a/FAB_5951.jpg" data-mid="56015227" border="0" data-scale="98" src="https://freight.cargo.site/w/1000/i/ab0309ec4eccdc5388230611bfb99631bce5df61b69f366d89cb9e208b60d02a/FAB_5951.jpg" /> Intermezzo is a duo show of John Mirabel and Francesca Mussi. It is presented through works that contain, in their form, the tension and the dynamism of an action suspended in an instant, like in a sort of limbo, questionning the horizontality in its opposition to the verticality, where an interlude is considered as a “space in between”. A series of 3 artworks are presented.&nbsp; A large scale print representing a photography of the sky is attached horizontally at 1 m20 from the ground by 4 ropes and takes up most of the volume of the first room. 5 frames are hung on one of the walls, which are 5 prints in which Francesca’s figure is manipulating clay in a bathtub, with no background or context in the image, leaving the skyline in the room as its landscape. The second room is dark and filled with black water with a videoprojection on the facing wall in which John Mirabel’s enigmatic and disturbing movement is renewed in a continuous loop. The invariable and perpetual limbo remains inconclusive and therefore suspended in its ambiguity.Similarly, in the prints of Francesca Mussi, her figure remains ambiguous and floating, and her gesture cryptic. The artists have collaborated working directly on site creating environments in which different elements make real spatial interludes (intermezzi) and determine the fruition of the other works, forcing, proposing, permitting or directing the spectator to be active. 1- The Horizon is Only in Between,&nbsp; digital print on PVC tarpaulin, ropes, 2x5 meters. <img width="3550" height="2367" width_o="3550" height_o="2367" data-src="https://freight.cargo.site/t/original/i/4d62e699e01b3eef46d01dafff5fdf591c1c59a5845c7a498f6e1cbe7a71f197/FAB_5776.jpg" data-mid="56015222" border="0" src="https://freight.cargo.site/w/1000/i/4d62e699e01b3eef46d01dafff5fdf591c1c59a5845c7a498f6e1cbe7a71f197/FAB_5776.jpg" /> <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/75978c711e754e4824fa34e8c3bef63b35594865cffe50a1f60583302c3fbf1c/54525479_2317633228287707_3035038725617745920_o.jpg" data-mid="56015950" border="0" src="https://freight.cargo.site/w/1000/i/75978c711e754e4824fa34e8c3bef63b35594865cffe50a1f60583302c3fbf1c/54525479_2317633228287707_3035038725617745920_o.jpg" /> <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/908eff7bfe151cd81591537db0dbf81b963abe12764390e5a02d81bc2b5b6c8d/54256426_2317629438288086_6018402908695953408_o.jpg" data-mid="56015951" border="0" src="https://freight.cargo.site/w/1000/i/908eff7bfe151cd81591537db0dbf81b963abe12764390e5a02d81bc2b5b6c8d/54256426_2317629438288086_6018402908695953408_o.jpg" /> <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/495ebe53f9f2aff3eafe75a86bae75be6680c4f03a96859c64a68ad044c771a7/54434021_2317604578290572_6926743583621906432_o.jpg" data-mid="56015949" border="0" src="https://freight.cargo.site/w/1000/i/495ebe53f9f2aff3eafe75a86bae75be6680c4f03a96859c64a68ad044c771a7/54434021_2317604578290572_6926743583621906432_o.jpg" /> Prints by Francesca Mussi, extracted from the video “Unseen Performance #1”, gumprints, 50x70 cm. <img width="3550" height="2367" width_o="3550" height_o="2367" data-src="https://freight.cargo.site/t/original/i/f7b5a00c4336e194ce77a1fcbc8e5b5800cf7eb13afbe1afb5703f9a6b27d4db/FAB_5794.jpg" data-mid="56015223" border="0" src="https://freight.cargo.site/w/1000/i/f7b5a00c4336e194ce77a1fcbc8e5b5800cf7eb13afbe1afb5703f9a6b27d4db/FAB_5794.jpg" /><img width="3550" height="2367" width_o="3550" height_o="2367" data-src="https://freight.cargo.site/t/original/i/701f94a530a09b8f78094a404dc2bcabc1c5636b124f5b8496bace46bd4c3cef/FAB_5816.jpg" data-mid="56015224" border="0" src="https://freight.cargo.site/w/1000/i/701f94a530a09b8f78094a404dc2bcabc1c5636b124f5b8496bace46bd4c3cef/FAB_5816.jpg" /> BLOODRUSH, video installation, video projection, water, sound. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Link to the video here. <img width="3550" height="2367" width_o="3550" height_o="2367" data-src="https://freight.cargo.site/t/original/i/d29b4dfaa23c7d883aecd5d0e4b6fe1a9728aace6f1c4e562b71cc35875868d0/FAB_5917.jpg" data-mid="56015225" border="0" src="https://freight.cargo.site/w/1000/i/d29b4dfaa23c7d883aecd5d0e4b6fe1a9728aace6f1c4e562b71cc35875868d0/FAB_5917.jpg" /><img width="3550" height="2367" width_o="3550" height_o="2367" data-src="https://freight.cargo.site/t/original/i/dc486fc404531987f9a7c6206503355dbb36835ebc5e86ddcd9834ab5d3a7af6/FAB_5918.jpg" data-mid="56015226" border="0" src="https://freight.cargo.site/w/1000/i/dc486fc404531987f9a7c6206503355dbb36835ebc5e86ddcd9834ab5d3a7af6/FAB_5918.jpg" /> All photos taken by Fabrizio Stipari <img width="1958" height="1134" width_o="1958" height_o="1134" data-src="https://freight.cargo.site/t/original/i/1e16e58f0b99082ae726e56a10f52d6d960f52d8268f72a4ac3ac65d31bf06fa/Capture-decran-2019-12-06-a-16.27.58.png" data-mid="56143353" border="0" src="https://freight.cargo.site/w/1000/i/1e16e58f0b99082ae726e56a10f52d6d960f52d8268f72a4ac3ac65d31bf06fa/Capture-decran-2019-12-06-a-16.27.58.png" /> https://johnmirabel.cargo.site/CHEW-OVER Wed, 04 Dec 2019 21:21:52 +0000 johnmirabel https://johnmirabel.cargo.site/CHEW-OVER CHEW OVER, Spazio Bidet, 2019, Milano. Chew Over is a duo show by Francesca Mussi and John Mirabel exposed in an ex-public toilet at the project space Spazio Bidet, created and curated by Thomas Ferembach.&nbsp; A chewing gum is a tooth-engraved-object, shaped and transformed to create an ever-changing shape. From another point of view, it is an object that can be bought, consumed and discarded in record time. It can acquire the meaning of what can be called “occasional mutable sculpture”, because it has a changeable and multiple semantic value. In addition, Chewing Gum placed in Spazio Bidet suggests a continuous thinking presented as a futuristic vision of the past : “Chew Over”. The term suggests a hypothetical thought flow, from which multiple memories converge. From here, on the opposite side of the space, the work Fata Morgana (N.P.U) is placed. This big-sezed photography acts as a visual scenario for Hadal Zone&nbsp;: an immersive sound composition composed of unknown sounds recorded by scientists and military personnel in the ocean depths. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<img width="768" height="1152" width_o="768" height_o="1152" data-src="https://freight.cargo.site/t/original/i/22fbfb145c35704f4fbd5a085455d1d37c1d1ecf716edea145d25045bca641c0/IMG_8836-768x1152.jpg" data-mid="56021539" border="0" data-scale="81" src="https://freight.cargo.site/w/768/i/22fbfb145c35704f4fbd5a085455d1d37c1d1ecf716edea145d25045bca641c0/IMG_8836-768x1152.jpg" /> CHEWING GUMexpansive polyurethane foam, plaster, varnish, acrylic, MDF, 40x85x35cm. <img width="2522" height="3862" width_o="2522" height_o="3862" data-src="https://freight.cargo.site/t/original/i/89d011372ef5eb02c6a17935c79839798d9da6abb07afc09b91104b9423799df/Chewing-Gum-SB02.jpg" data-mid="56020607" border="0" src="https://freight.cargo.site/w/1000/i/89d011372ef5eb02c6a17935c79839798d9da6abb07afc09b91104b9423799df/Chewing-Gum-SB02.jpg" /> <img width="2528" height="3631" width_o="2528" height_o="3631" data-src="https://freight.cargo.site/t/original/i/e9c74be31f1776aa134d98644f9dbc19c228d50922f7a1a094867c69e4822a73/Chewing-Gum-SB01.jpg" data-mid="56021192" border="0" src="https://freight.cargo.site/w/1000/i/e9c74be31f1776aa134d98644f9dbc19c228d50922f7a1a094867c69e4822a73/Chewing-Gum-SB01.jpg" /> <img width="2528" height="3631" width_o="2528" height_o="3631" data-src="//freight.cargo.site/t/original/i/f0be6788e15d3c023a390d8301bb5ee37f44ade2b86b0bf4028dca4ee3548690/Chewing-Gum-SB01.jpg" data-mid="56019753" border="0" style="width: 781px; height: 1121.76px; display: none;"> <img width="2943" height="2431" width_o="2943" height_o="2431" data-src="https://freight.cargo.site/t/original/i/3637883a2fb255ef9cca926744794846243d86bd3887918d9a66c5d4babb2d95/Chewing-Gum-SB03.jpg" data-mid="56021491" border="0" src="https://freight.cargo.site/w/1000/i/3637883a2fb255ef9cca926744794846243d86bd3887918d9a66c5d4babb2d95/Chewing-Gum-SB03.jpg" /><img width="3829" height="2585" width_o="3829" height_o="2585" data-src="https://freight.cargo.site/t/original/i/08cd5ee49a8332e50aee118a737a4cb56b3e1ce426d3aed4277782fb529ba773/Chewing-Gum-SB04.jpg" data-mid="56021496" border="0" src="https://freight.cargo.site/w/1000/i/08cd5ee49a8332e50aee118a737a4cb56b3e1ce426d3aed4277782fb529ba773/Chewing-Gum-SB04.jpg" /> FATA MORGANA (N.P.U) Digital print from a scanned silver negative, printed on aluminium, 100x140 cm.This photography was taken in 2016 on the top of an abandoned building, the Lindenauer Hafen in Leipzig, built next to a river. The context experienced in the show gives access to a personal and mythological ascent in which the reader takes the place of the narrator: it is about the ancient legend of the columns of Hercules. This fact appears as a vision staged in the surrounding landscape, a reflection on the continuous and limitless flow of consumerism. <img width="2362" height="1576" width_o="2362" height_o="1576" data-src="https://freight.cargo.site/t/original/i/f70efbac89571585b6a9cf784d2abd85494bff9c87c543ea13508c832d687c01/190813-Mirabel-20x30-retouche.jpg" data-mid="56021840" border="0" src="https://freight.cargo.site/w/1000/i/f70efbac89571585b6a9cf784d2abd85494bff9c87c543ea13508c832d687c01/190813-Mirabel-20x30-retouche.jpg" /> <img width="4198" height="1500" width_o="4198" height_o="1500" data-src="https://freight.cargo.site/t/original/i/d473c33585774e3dbfba644d4d383e888211b4d5116b284be4433b6cc56f1a5f/Fata-Morgana-SB03.jpg" data-mid="56021903" border="0" src="https://freight.cargo.site/w/1000/i/d473c33585774e3dbfba644d4d383e888211b4d5116b284be4433b6cc56f1a5f/Fata-Morgana-SB03.jpg" /> HADAL ZONE 8’26. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; https://johnmirabel.cargo.site/BURNING-GEOMETRY-SPHERE Wed, 04 Dec 2019 17:55:55 +0000 johnmirabel https://johnmirabel.cargo.site/BURNING-GEOMETRY-SPHERE BURNING GEOMETRY : SPHERE, 2017 <img width="2067" height="2067" width_o="2067" height_o="2067" data-src="https://freight.cargo.site/t/original/i/5552e86a9e192be0e219989441d4c9e3a9da21dfebf1a1435a40988ac9ec0cef/BURNING-SPHERE-END-LOW.jpg" data-mid="56005910" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/5552e86a9e192be0e219989441d4c9e3a9da21dfebf1a1435a40988ac9ec0cef/BURNING-SPHERE-END-LOW.jpg" /> I build a 2 m3 wooden cube.I recreate a form that stands as a multiple semantic shelf.A square in volume. A basic geometry form.The cultural heritage defined it, is still defining it, and will continue to.A simple volume for a not so simple impact, significance.I wait for night and set it on fire.I set it on fire.I appose it a symbolic just as strong, multiple and defined.I impose it a new form, a new life.I obtain a form that is not complicated, but complex. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <img width="2006" height="1178" width_o="2006" height_o="1178" data-src="https://freight.cargo.site/t/original/i/6e57f605f93fdcbf3f786ac84e9ed0407230d0e2ee00415259f426bec8083468/Capture-decran-2019-12-04-a-19.04.08.png" data-mid="56006245" border="0" data-scale="66" src="https://freight.cargo.site/w/1000/i/6e57f605f93fdcbf3f786ac84e9ed0407230d0e2ee00415259f426bec8083468/Capture-decran-2019-12-04-a-19.04.08.png" />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; link to the video <img width="960" height="720" width_o="960" height_o="720" data-src="https://freight.cargo.site/t/original/i/d63fd3d9cec4db86094716223e10fb673de2818208bb09e06f18822b35abf218/21740431_1626561044061599_3569419630816780581_n.jpg" data-mid="56005881" border="0" src="https://freight.cargo.site/w/960/i/d63fd3d9cec4db86094716223e10fb673de2818208bb09e06f18822b35abf218/21740431_1626561044061599_3569419630816780581_n.jpg" /> <img width="720" height="960" width_o="720" height_o="960" data-src="https://freight.cargo.site/t/original/i/d7fed7aa1b5c70473e08f1c2641ef895ad39dbd7b1b040631143a0e3cd4717f8/21616194_1626561094061594_1117917990718860276_n.jpg" data-mid="56005877" border="0" src="https://freight.cargo.site/w/720/i/d7fed7aa1b5c70473e08f1c2641ef895ad39dbd7b1b040631143a0e3cd4717f8/21616194_1626561094061594_1117917990718860276_n.jpg" /> <img width="960" height="720" width_o="960" height_o="720" data-src="https://freight.cargo.site/t/original/i/e31784ad166d9ba11447af261c5d7ffb4df71b731de8ad0d94232afc776e6784/21617578_1626561160728254_2362930339109009469_n.jpg" data-mid="56005880" border="0" src="https://freight.cargo.site/w/960/i/e31784ad166d9ba11447af261c5d7ffb4df71b731de8ad0d94232afc776e6784/21617578_1626561160728254_2362930339109009469_n.jpg" /> <img width="720" height="960" width_o="720" height_o="960" data-src="https://freight.cargo.site/t/original/i/8ded9631f3fdec9ec78df3f35b8d42496adbae7ebd9fb11e043083e14a193694/21616136_1626561230728247_7370579566436524173_n.jpg" data-mid="56005876" border="0" src="https://freight.cargo.site/w/720/i/8ded9631f3fdec9ec78df3f35b8d42496adbae7ebd9fb11e043083e14a193694/21616136_1626561230728247_7370579566436524173_n.jpg" /> <img width="960" height="661" width_o="960" height_o="661" data-src="https://freight.cargo.site/t/original/i/5b1373ea8241456943ca8536360705f18cae8e51ff4af5dc0b223e3258842040/21751603_1626561200728250_5901579670223756589_n.jpg" data-mid="56005882" border="0" src="https://freight.cargo.site/w/960/i/5b1373ea8241456943ca8536360705f18cae8e51ff4af5dc0b223e3258842040/21751603_1626561200728250_5901579670223756589_n.jpg" /> <img width="720" height="960" width_o="720" height_o="960" data-src="https://freight.cargo.site/t/original/i/badbffcce14bddf8464f730a29e2326f712d0fca1f8535a4eaee07693033a883/21616306_1626561287394908_3243860285279563111_n.jpg" data-mid="56005879" border="0" src="https://freight.cargo.site/w/720/i/badbffcce14bddf8464f730a29e2326f712d0fca1f8535a4eaee07693033a883/21616306_1626561287394908_3243860285279563111_n.jpg" /> <img width="960" height="720" width_o="960" height_o="720" data-src="https://freight.cargo.site/t/original/i/797f24fa41564bf14172374e1726287a5e419075987aa88fd8b37557e1b96067/21751316_1626561340728236_946995722359560784_n.jpg" data-mid="56006425" border="0" src="https://freight.cargo.site/w/960/i/797f24fa41564bf14172374e1726287a5e419075987aa88fd8b37557e1b96067/21751316_1626561340728236_946995722359560784_n.jpg" /> <img width="720" height="960" width_o="720" height_o="960" data-src="https://freight.cargo.site/t/original/i/6b4f84fba939bf285853f702f1e04f18becafc16a1e3e3dbecc1b3038054f388/21616284_1626561380728232_5453371735482916239_n.jpg" data-mid="56005878" border="0" src="https://freight.cargo.site/w/720/i/6b4f84fba939bf285853f702f1e04f18becafc16a1e3e3dbecc1b3038054f388/21616284_1626561380728232_5453371735482916239_n.jpg" /> <img width="960" height="720" width_o="960" height_o="720" data-src="https://freight.cargo.site/t/original/i/00cb3d5e2df2359915536dab8ca36073fb81bd3ccdb98096e839381b05d83ec7/21616038_1626561450728225_7018863776418271613_n.jpg" data-mid="56005875" border="0" src="https://freight.cargo.site/w/960/i/00cb3d5e2df2359915536dab8ca36073fb81bd3ccdb98096e839381b05d83ec7/21616038_1626561450728225_7018863776418271613_n.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/3dbe463fb9e312adc81008e212b75239e00e5ae89d398d3edcdbcc05e6282f47/IMG_20170916_124333.jpg" data-mid="56005912" border="0" src="https://freight.cargo.site/w/1000/i/3dbe463fb9e312adc81008e212b75239e00e5ae89d398d3edcdbcc05e6282f47/IMG_20170916_124333.jpg" /><img width="2067" height="2067" width_o="2067" height_o="2067" data-src="https://freight.cargo.site/t/original/i/5552e86a9e192be0e219989441d4c9e3a9da21dfebf1a1435a40988ac9ec0cef/BURNING-SPHERE-END-LOW.jpg" data-mid="56005910" border="0" src="https://freight.cargo.site/w/1000/i/5552e86a9e192be0e219989441d4c9e3a9da21dfebf1a1435a40988ac9ec0cef/BURNING-SPHERE-END-LOW.jpg" /> Deconsacration Or, Symbols as Form. Der Musevm, Leipzig, 2018. For the exhibition in Der Musevm, I decided to install the video in loop when the fire is at its highest, without any pause or break for over 3 weeks, so that the sphere would burn continuesly as long as the show went on. All the photos were taken by Nicolas Rupcich &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<img width="1228" height="1220" width_o="1228" height_o="1220" data-src="https://freight.cargo.site/t/original/i/194b96f9a6fb431bd4da411221c1ff5b1b8ecec4f725c58ea99ee0df6ef6e8ab/Capture-decran-2019-12-04-a-18.59.11.png" data-mid="56006042" border="0" data-scale="71" src="https://freight.cargo.site/w/1000/i/194b96f9a6fb431bd4da411221c1ff5b1b8ecec4f725c58ea99ee0df6ef6e8ab/Capture-decran-2019-12-04-a-18.59.11.png" /> <img width="3507" height="5260" width_o="3507" height_o="5260" data-src="https://freight.cargo.site/t/original/i/6c29954941222bb8bfe819b580c279ac66450a4baef70aa6a79dc1be8bf31337/IMG_6218.jpg" data-mid="56008027" border="0" src="https://freight.cargo.site/w/1000/i/6c29954941222bb8bfe819b580c279ac66450a4baef70aa6a79dc1be8bf31337/IMG_6218.jpg" /> <img width="5187" height="3458" width_o="5187" height_o="3458" data-src="https://freight.cargo.site/t/original/i/94053c06b326f52e897180e1948bf6da9285b81b456d8f1fe7ed31ac98d1d0e5/IMG_6222.jpg" data-mid="56008028" border="0" src="https://freight.cargo.site/w/1000/i/94053c06b326f52e897180e1948bf6da9285b81b456d8f1fe7ed31ac98d1d0e5/IMG_6222.jpg" /> <img width="3744" height="5616" width_o="3744" height_o="5616" data-src="https://freight.cargo.site/t/original/i/6c40b2727c29c3623a0c409c66555c976225e925f21fd7b1da3a00d88f7d0431/IMG_6241.jpg" data-mid="56008030" border="0" src="https://freight.cargo.site/w/1000/i/6c40b2727c29c3623a0c409c66555c976225e925f21fd7b1da3a00d88f7d0431/IMG_6241.jpg" /> <img width="3368" height="5052" width_o="3368" height_o="5052" data-src="https://freight.cargo.site/t/original/i/526bf11c41ca58f5ffc1a0f50ac1d4c629a54a5301c377c3deb795b64f98f203/P1010880-copie.jpg" data-mid="56008031" border="0" src="https://freight.cargo.site/w/1000/i/526bf11c41ca58f5ffc1a0f50ac1d4c629a54a5301c377c3deb795b64f98f203/P1010880-copie.jpg" /> <img width="3744" height="5616" width_o="3744" height_o="5616" data-src="https://freight.cargo.site/t/original/i/b357d1ecf2743b696caf6f0b856c930e7ee2219cf66e977812ae3eeccab9e1b4/IMG_6188.jpg" data-mid="56008026" border="0" src="https://freight.cargo.site/w/1000/i/b357d1ecf2743b696caf6f0b856c930e7ee2219cf66e977812ae3eeccab9e1b4/IMG_6188.jpg" /> <img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/2e9f6226cefaa2af2fb674db55c1f61fcba0ac9649f94b28975d584459718b6f/P1010933.jpg" data-mid="56008032" border="0" src="https://freight.cargo.site/w/1000/i/2e9f6226cefaa2af2fb674db55c1f61fcba0ac9649f94b28975d584459718b6f/P1010933.jpg" /> <img width="3509" height="5263" width_o="3509" height_o="5263" data-src="https://freight.cargo.site/t/original/i/c87a9d56dd06d34351c6e276cb6298a8a8951e67bba6592b3d112b0c826e7d52/IMG_6240.jpg" data-mid="56008029" border="0" src="https://freight.cargo.site/w/1000/i/c87a9d56dd06d34351c6e276cb6298a8a8951e67bba6592b3d112b0c826e7d52/IMG_6240.jpg" /> https://johnmirabel.cargo.site/NOIRES-SUR-NOIR Thu, 05 Dec 2019 11:22:09 +0000 johnmirabel https://johnmirabel.cargo.site/NOIRES-SUR-NOIR NOIRES SUR NOIR, “Friche”, Bruxelles, 2016. With texts by Maxime Müller. Black parallels painted on black parallels, with a vibrating effect, using lights from cinema, so that when the viewer moves inside the installation space, the parallels appear and disappear.<img width="5379" height="3586" width_o="5379" height_o="3586" data-src="https://freight.cargo.site/t/original/i/2e2998e3e54708cb34146af5f4c9a73597eebedc335989ac2103d35b4714619e/Friche2016_VueExposition-84.jpg" data-mid="56054436" border="0" src="https://freight.cargo.site/w/1000/i/2e2998e3e54708cb34146af5f4c9a73597eebedc335989ac2103d35b4714619e/Friche2016_VueExposition-84.jpg" /> The line is something that often occurs in my art productions, may it be in plastic art, music, or even on the body. It’s a big semantic shelf on which I materialise a big quantity of values, as much conceptual as existential. When Sartre writes about existentialism, explaining that you can only trust the present moment because the past is an adaptation of the memory and the future only a projection, and that in any case all of that happens in a present action, I find it very frustrating. If, by example, I try to transpose this in a very simple formal way I get a point in the middle of a blank page. Thus if I consider a line rather than a point the feeling of loneliness lightens up a bit because there is a direction, a dynamic and even a temporality. Another heavy theme is the question of choice, the hypothetical possibility of “another way”.Therefore it’s not a point anymore but a wild and uncertain amount of scribbles, a tiring confusion of dots. But I keep the line and accompany it by others, parallels. Using several layers of different opacity and brightness of black paint, and the light on it at a fix point, the parallels appear and disappear in the eye of the viewer while he/she walks around the lines. So it comes to this simplicity of: «everything goes in the same direction, that way». Some how life is also like that : everything leads to the present moment, it’s just the present moment that’s always moving. It’s lighter. “Il n’est pas évident d’appréhender à priori ce qu’est une ligne. “Ligne” est le genre de signe trop utilisé en français dont le sens se débite au point de ne plus couvrir qu’un élément essentiel, certes facilement reconstituante par une approche constructiviste, mais difficilement transmissible sans un effort cérébrale inconsidéré. La ligne a été fracturée par la langue. La ligne que l’on trace, la ligne éditoriale, la ligne de bus, la ligne d’un design, la ligne que l”on doit conserver grâce à des yaourts, la ligne de séparation des eaux, la ligne d’horizon, etc. Certains mots gagnent du sens à force d’être répétés, d’autres en perdent, la ligne est de ceux-là; et ces mots, dont le sens doit sans cesse être reconstitué, sont par essence les terrains fertiles de l’art. Toutefois, en tentant d”aller y piocher un reste de sens et en s’appliquant de bienheureuses œillères linguistiques il est possible d’en découvrir quelques définitions. Une ligne possède toujours une forme, une longueur, et une épaisseur. Son épaisseur peut être nulle, elle existe tout de même. On touche ici à un premier point important. Il est impossible de percevoir par les sens avec lesquels nous appréhendons habituellement les formes, la vue ou le touché, une ligne dont l’épaisseur est zéro. Pourtant le chemin que suit un marcheur dans une ville, la courbe que décrivent les bras d’un danseur, la trajectoire d’une balle qu’on lance, restent des lignes. Elles peuvent être perçues ou pressenties, calculées. Elles existent. Elles existent dans le monde de l’information pure. Seul leur accomplissement permettrait de leur donner une épaisseur. Une épaisseur éphémère, à un instant t; et seule cette épaisseur permettrait de leur donner une existence dans le monde des mouvements et des chocs et donc de les rendre communicables. Cependant leur inaccomplissement n’enlève rien à leur existence. L’épaisseur d’une ligne ne définit que son degré de communicabilité, de potentiel, zéro à infini. Contrairement à l’épaisseur, la longueur d’une ligne ne peut être nulle. Une ligne possède intrinsèquement un début et une fin distincts, éventuellement interchangeables - une ligne n’a pas forcément de sens - mais distincts. Une ligne de longueur nulle serait un point, une portion quelconque mais atomique d’elle-même. Il est impossible de reconstituer la ligne à partir du point alors qu’il est possible de définir une infinité de points à partir de la ligne.&nbsp;Un point peut être considéré comme une partie d’une ligne avec un déficit d’information qui empêche sa reconstitution. Dans ce cas une ligne est un ensemble infini de points distincts, ce qui implique une temporalité nécessaire. Paul Klee s’amusait à dire qu’ ”une ligne est un point qui est parti se balader”. L’exploration de ces points, ou ensemble de points - souslignes ou tronçons - ne peut se faire que temporellement. Il n’est pas possible de réfléchir à la fois la ligne dans son ensemble et chacun de ses points - de ses instants - en même temps et instantanément. Pour explorer une ligne —pour la vivre— il faut en passer par une déambulation. Il faut parcourir son espace. Pour communiquer une ligne il faut lui donner de l’épaisseur et permettre le temps de son parcours. Ce qui définit une ligne en particulier par rapport à la ligne en général c’est son tracé. C’est sur le tracé que se définissent tous les mots qui héritent du sens de ligne. La droite, la courbe, l’entrelacs, l’arabesque, la spirale, le polygone, le gribouillage, la fractale etc. Le tracé de la ligne exprime sa singularité, son individualité, sa distinction dans la masse des lignes. Le tracé de la ligne est porteur de sens. Parmi l’infinité des tracés possibles il en est un qui se distingue par ses qualités inexorables qui sépare l’ensemble des lignes comme le zéro sépare l’ensemble des nombres. La droite débute à moins l’infini et termine à plus l’infini. Elle est constante et implacable, impossible à représenter —nous n’en voyons que des segments qui par définition n’en sont qu’une infiniment petite partie. Tous ses points se valent, aucun n’a la prétention de marquer le début d’un moindre changement ni d’être le garant en son nom propre de la continuité. La droite est la représentation symbo lique parfaite de la perception qu’a l’humain moderne du temps. Pour l’humain la droite c’est le temps, et le temps est une droite. Le segment de droite, ce qu’il peut symboliser, c’est une portion de temps, un accordé, un moment une vie, une inéluctable limitation d’un concept infini. Dans un temps cyclique le retard n’existe pas. Les travaux sont finis quand ils sont finis. Il n’y a que des degrés - ou des radiants - de vitesse. Dans un temps linéaire, quand la certitude est sise que seul un segment est accordé et que l’exploration de la ligne ne peut se faire point par point il devient impossible d’être dans les temps. On ne peut appréhender la ligne en dehors du parcours de son tracé, chaque point en étant potentiellement la fin.”&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Maxime Müller, 2016. <img width="5444" height="3629" width_o="5444" height_o="3629" data-src="https://freight.cargo.site/t/original/i/d6470af3c83d6a0bf8d4e5517ca88c28a648f7fe5f1a15b9f67167d4769534cc/Noires-sur-Noir-2.jpg" data-mid="56054437" border="0" src="https://freight.cargo.site/w/1000/i/d6470af3c83d6a0bf8d4e5517ca88c28a648f7fe5f1a15b9f67167d4769534cc/Noires-sur-Noir-2.jpg" /><img width="5410" height="3607" width_o="5410" height_o="3607" data-src="https://freight.cargo.site/t/original/i/a78bdb3fdaf6ec6fd499477c18296725b4bc7d909ae1bcb88b730bb1db07674e/Noires-sur-Noir.jpg" data-mid="56054438" border="0" src="https://freight.cargo.site/w/1000/i/a78bdb3fdaf6ec6fd499477c18296725b4bc7d909ae1bcb88b730bb1db07674e/Noires-sur-Noir.jpg" /> https://johnmirabel.cargo.site/ELLE-S-APPELLERA-VENGEANCE Thu, 05 Dec 2019 11:43:08 +0000 johnmirabel https://johnmirabel.cargo.site/ELLE-S-APPELLERA-VENGEANCE ELLE S’APPELLERA VENGEANCE Video installation, Faktor, Hamburg, 2017. 10 smartphones, chargers, multiplugs, ceramic tiles. With my smartphone I’ve captured a very pecular scene : a sparrow was vigourusly riping off a barbie doll’s hair, which was naked and tied up to an metal grilling. I’ve installed this video on 10 different smartphones using them as screens which all read the same video in the same time. <img width="2246" height="1082" width_o="2246" height_o="1082" data-src="https://freight.cargo.site/t/original/i/e579d65344550cd4b03aadfff0ddecefdd72292d7e50101e9d8157b072ed00f5/Capture-decran-2019-12-05-a-12.50.09.png" data-mid="56054846" border="0" src="https://freight.cargo.site/w/1000/i/e579d65344550cd4b03aadfff0ddecefdd72292d7e50101e9d8157b072ed00f5/Capture-decran-2019-12-05-a-12.50.09.png" /><img width="1189" height="1500" width_o="1189" height_o="1500" data-src="https://freight.cargo.site/t/original/i/4c610dbf935c9f51f1fa9ec40bbbbd4e03f4a2baf8e467cf7ad41d2b783237dd/IMG_20170331_220416_edited.jpg" data-mid="56054864" border="0" src="https://freight.cargo.site/w/1000/i/4c610dbf935c9f51f1fa9ec40bbbbd4e03f4a2baf8e467cf7ad41d2b783237dd/IMG_20170331_220416_edited.jpg" />