29 October 2016 – 26 November 2016
A Juan Project is proud to announce its second exhibition Exploded Views with recent works by Naïmé Perrette.
A Zoomed out view of a peninsula, a planar expanse of land. A moment of suction occurs before the aerial view turns into street-view. It is the representational threshold between two illusions of perspective. A land for a slab. A map for something more concrete. A moment of liminality in between views. As the hyper-realist cannot distinguish between map and land, so is an omnipresent google-earth a symptom of the same psychosis.
The sculptural assemblage on display garners its form from such a liminal moment in between views. Perrette draws on her background in animation, where an image sequence suggests movement. So are the exploded views conjoined in space, into an object that owes its form and shape to the assemblage of images. The transparent prints seep light through each other while reflecting its surroundings in situ; its layers laid bare as an allusion to the virtual existence of the image. By connecting places that have come to be loaded by their political, social and environmental significance, their assemblage blurs the claim that its representation lays upon reality. What remains is a semblance of setting, a fruiting fungus on top of a conglomerate of land; the setting for an absurdist play, or a post-apocalyptic emblem of growth.
In re-asserting the sculptural properties of cartography, the artist draws on the complexities of geo-political convergence; Calais’ jungle is one such place, where the cities’ allocated zones are regenerating, in constant change. So does a highway viaduct looming over the camp transpose the zone’s function into vestibule – until the French state evicts the camp’s inhabitants, removing symbolic evidence of the havoc. Ideologies can be expressed through territorial affirmation as well as through ground engineering. Island politics can serve as palpable examples of a state’s philosophy. New Zealand appoints a handful of people to preserve Raoul Island from the rest of humanity. Each year for a few months, they remove alien vegetation in order to preserve an idea of original nature, while the Netherlands construct a natural paradise by erecting an archipelago of mud-banks in the Markermeer. Such transformative zones form constituent parts of the assemblage.
By engaging with fiction, Naïmé Perrette investigates through various media the way in which identity is accrued, whether through the performance of social relations, or a nation’s staging of its own environmental intervention. Narratives are juxtaposed against the artist’s own re-construction, distant from her own experience, in order to investigate their definitions of value.
Text by Daniel Vorthuys
Naïmé Perrette (1989, France), lives and work in Amsterdam. She has completed a master in Film Animation at ENSAD (Paris) and was resident at Rijksakademie in Amsterdam in 2014-2015. She has been awarded grants by Werkbijdrage Jong Talent, Mondriaan Fonds voor Kunstenaars. Her recent shows include The National or the Skip, Averard Hotel, London (2016), Relève at Galerie du Crédit Municipal, Paris (2016), [Re]framing Utopias at De Eye, Amsterdam (2016), The Waves We Part With (solo show), Petra Ark Space, Amsterdam , The After Images of Raoul Island at Witteveen, Amsterdam (2016), Les Rencontres Internationales at HKW Berlin and La Gaîté Lyrique Paris (2016), Rijksakademie Open (2014-2015), Collection Vaskiolty-feldman, Cinnamon, Rotterdam (2015), Artefact at STUK, Leuven (2014). Her films has been selected in various international film festivals such as the International Short Film Festival of Vienna, Merdar Video Festival (Cairo), Les Ecrans Documentaires (Arcueil), FIPA (Biarritz) and programmed at Forum des Images (Paris).