PORTFOLIO 2018MarianneVillière

Born in 1989 in Nancy, France.Lives and works in France.

My work is focused on developing an approach that questions everyday ur-ban space. It is through observation and the composition of performative postures that I attempt to put the pu-blic sphere into play as a shared expe-rience. The collective, creative forms that I employ come out of my expe-rience in cultural mediation, theater, ci-vil disobedience and associative work. My interest in the incongruous has also led me to explore other disciplines, such as microsociology. I use context as a starting point to create unsettling, disruptive situations that inspire reflec-tion on how we live together in a given space. This approach allows for enga-gement with the rhetoric of specific ac-tions—sculpting and articulating select acts with critical intent.The main focus of my work is to spark debate, generate latent controversial energy, and negotiate alternatives to existing power relations.

http://mariannevilliere.net/mail@mariannevilliere.net

DISCO-DRONE, …AND THE WORLDWIDE WAKEFULNESS PARTY WATCHES OVER YOU

During our residency at Château Ephémère, Paul Heintz and I each designed an original ob-ject/apparatus to feature during a group event open to residents of the Carrières-sous-Poissy area. I created a drone-powered disco ball that can be flown and steered remotely: a custo-mized technical adaptation that transforms how the object is viewed and takes it outside the exhibition space. Paul Heintz developed a device that captures and broadcasts sound, using the techniques adopted by pirate radio stations. Link : vimeo.

La série des ADMINISTROPHONES 2016 - 2018The projects making up the Administrophones series arose from an unlikely exchange with the administrative staff in charge of public space in various French-speaking locations, including Canada, France, Luxemburg, Morocco and Switzer-land. Each began with a telephone call, during which I opened a discussion aimed at swapping our roles and disrupting the work environment, shifting the imaginative and driving force of the project from the artist to the government official. Each dialogue allowed for moments of complicity between the offi-cial and the artist and resulted in a proposal for a public art intervention. I then undertook to turn each idea, or text, into an in-situ performance in an urban space, thus bringing crea-tivity to places from which it is often banished.

My recorded conversations with the officials steered the conception of each project and led to their realization in a given context. I also transcribed each conversation and anno-tated it much as one would a sociological field study; to do so, I worked in collaboration with Anthony Pécqueux, director of the CRESSON laboratory in Grenoble, France, with support from the Maison de la Création and La Cinémathèque, also in Grenoble. The Administrophones are, first and foremost, conduits for shared listening. Audio recordings are accompa-nied by documentation of the performance.

Photo : Bohumil Kostohryz

Photo : Julie Deutsch

^ Fête Aujourd’hui, intervention 9 September 2017, Frédéric-Back Park, Montréal, Canada. The official in Montreal imagined someone playing in the wind with colored flags. He chose a windy, open space

< Arlequine, intervention 8 May 2017, Esplanade de la Caserne de Bonne, Grenoble, France.

Série des ADMINISTROPHONESLink : Maison de la Création, Grenoble.

^ Workout, intervention 7 May 2018, Ostwald, France.The official at the mayor’s office imagined a performance involving wor-kout equipment in the gravel pits outside town. The intervention was part of Strasbourg’s IN ACT festival (Syndicat Potentiel). Mélanie Yvon joined me during the performance.

< Mural, intervention 5 to 6 April 2018, Pérouse, France.The person who picked up the phone at City Hall happened to be the mayor himself. He imagined creating a mural in the playground of Pé-rouse’s primary school. Because we could not paint directly on the school walls, the group drew a mural on cloth with ink pens. Some thirty school-children, ages nine to ten, all contributed to the artwork over the course of two workshops. The piece was hung ephemerally from the wall, like a banner.

Série des ADMINISTROPHONES

« I LOVE YOU TOO / NOW I AM SCARED / IT IS ALL ... » Interventions in public space, during the Museum Night at Luxembourg City, the 14t Octobre 2017. Programm par le Casino, Forum d’art contemporain.

Les paroles sont issues de la vidéo « AIN’T GOT NO FEAR » de Mikhail Karikis [ 1.7 — 15.10.2017 - LOVE IS THE INSTITUTION OF REVOLUTION]. L’écriture furtive à la craie reste incomplète : la craie est laissée au sol de manière à laisser les passant-e-s imaginer la suite; ici a été ajouté le mot : « REAL ».

RIRES DE SIT’COM - interventions and sound installation

Sitcom Laughs – 2011This project consisted of installing a sitcom laugh-track in places that ins-pire similar feelings of interventionism. Just as televised comedies use a laugh-track to give brutally specific indications as to when the viewer should be amused, so does the context of the art gallery instruct visitors to think about the meaning and aesthetic ideals of the pieces on display; similarly, the moving walkways in transit hubs call upon commuters to move ever faster in a long, straight line. In 2011, I installed canned laugh-ter using portable speakers in a gallery (59 rue de Rivoli, Paris, at the invi-tation of Alain Snyers, member of the group INTEL) and in the Paris metro (moving walkway in the Montparnasse Bienvenüe station). I did it also in 2017 at the Musée d’Histoire Naturelle de la Ville de Luxembourg.

IL Y A (“There Is”) – Audio installation in collaboration with Paul Heintz, on display from 16 September to 19 December 2017 at Le Granit theater in Belfort, France, as part of the exhibition Brouhaha, curated by Mickaël Roy. Il y a takes as its starting point the news feeds or “walls” of social media platforms. On 19 May 2017, at Mabillon junction in Paris, we invited a number of passersby to give an oral description of the contents of their Facebook news feeds. The lengthy recording was presented in two for-mats: a printed 25 x 1100 cm rotulus, created in collaboration with Sébas-tien Trihan, and a 20-minute audio installation.

https://soundcloud.com/paulheintz/il-y-a-extrait

C’EST QUI LUI ? (“Who is that?”) - installation and websiteCollaboration with Paul Heintz and Fabien Zocco 10–16 September 2016. Generosity exhibition, curated by Point Contem-porain, Xpo.studio, Paris. The website www.cestquilui.fr is a text-generating website that replays transcribed speech overheard from visitors to Paris’ Grévin museum. For the opening of the exhibition, we collected new phrases from visitors to the Grévin museum and made them appear in real time on the website. Set against a white backdrop, these new additions were inserted amongst the replayed comments.

FOUR MUSICAL Musical Oven - Sonore installation - Created during a residency at Caravane Tighmert, Morocco, July 2016I built a traditional clay oven with help from the village, at various stages of con-struction, from local children and fellow artists. The above image shows the oven’s chimney rising up to the level of the terrace. I see this oven acting as a resonance chamber for the oasis, a place of breath and life, with the idea of en-riching the view with sound. I then created a soundtrack of the oasis in the form of improvised concerts and sound effects developed with the help of musician Mourad Belouadi.

)الفرن املوسيقي(

https://www.youtube.com/watch?v=HH4NKcYxSR8

ABRI DE GALERIE (Gallery Shelter) - Installation6–16 February 2012, ENSA, Nancy, NaMiMa GalleryExhibition: Cohabitation#2

This shelter was sewn and erected for the group exhibition Cohabitation#2, curated by Thierry Fournier and Jean-François Robardet. It resembles an igloo and is made from a thick layer of reflective insulating material sup-ported by a tent-like armature. Visitors were invited to warm themselves and take shelter from the white cube.

MANIFESTATION D’INDIFFERENCE (Show of Indifference) - Collective Per-formanceJanuary and May 2012, Nancy, France ; 7 April 2018, Belfort.A lethargic procession—without demands, ideals or denunciations—constitut-ing a critique of our current urban surroundings, which are based on flux. The demonstration positions itself against the mass standardization of behavior by caricaturizing that very behavior, its rationalization and its neutral nature. This parade of indifference blends into the day-to-day bustle of the street, but re-mains distinct through its rigor: participants walk at a fixed distance from one another (two meters apart) and maintain neutral facial expressions.

https://vimeo.com/44517664

WORKSHOP ENSA NANCYAuprès de 20 étudiants, niveaux et toutes options confondusdu 20 au 23 novembre 2017 à ENSAD Nancy.

Cet atelier vise, au travers de la figure de l’idiot, à questionner les participants sur la dimension critique de leurs démarches. Une approche pratique et collective est engagée. Nous avons tenté des actions-interactions en espace public. En prenant compte d’outils issus de la microsociologie, des théories critiques et des pratiques de désobéissance civile, il s’agit de composer des situations dissen-suelles (collectives ou non). Pour cela il nous faut sortir des cadres de légitimités conventionnels et donc sortir des murs pour s’exposer à la rue. Dans ce sens, le souci de la trace de la performance pourra être soulevé.

UNE LETTRE À SOI8 avril 2018, au Cercle Cité, à Luxembourg.

Le public présent dans l’espace l’exposition est invité à s’écrire à soi-même afin de créer/retrouver le lien avec soi, dans les installations.L’invitation, accompagnée du nécessaire (enveloppes, papiers, stylo, lampe de bureau et sous-main) vise à charger l’espace de cette énergie introspective. La réflexivité de chacun habite le lieu, se dépose sur les installations et les transforme. C’est un espace personnel qui se dilate et intègre l’ambiance comme une onde de concentration collective. Les participant-e-s repartent avec leur lettre.

PUBLICATION

DES GESTES SUR L’ÉCRAN AUX GESTES DE RUE.CITYLIGHTS DE CHARLIE CHAPLIN

La scène s’ouvre, le générique mentionne : « A tramp [un clochard] – Charlie Chaplin ». D’emblée, le personnage du vagabond aux lueurs de la ville peut faire penser à un flâneur. On entend déjà l’ambiance citadine, sortie des années trente. Le titre est figuré littéralement par les lumières de la ville, City lights. Le film met en lumière nos comportements et, dans cette première scène, exhibe les rituels autant que les figures d’autorités qui en jouent. Progressivement confronté à un tissu d’inte-ractions grotesques, le spectateur se prendrait presque à anticiper leurs façades et prolonger leurs poses. Le dispositif de projection cinématographique permet pourtant de prendre de la distance sur le quotidien, de considérer avec réflexivité les usages mis en scène. Nous faisant échos, les « mar-queurs » sensibles en représentation nous font face. Les gestes quotidiens, les attitudes, les interac-tions sont d’autant plus marquants qu’ils sont théâtraux. Malgré la cadence convenue d’avance et les caricatures, l’attraction est ailleurs. Le territoire d’expressivité de Charlie Chaplin revisite et aménage de façon alternative un espace commun (également entendu comme espace public). Via un rap-port particulièrement inventif au corps, à l’attention et aux légitimités figurées, Chaplin conduit une reconfiguration sensible et critique de nos mouvements urbains. (...)

http://www.multitudes.net/des-gestes-sur-lecran-aux-gestes-de-rue-citylights-de-charlie-chaplin/

Marianne VILLIERE

http://mariannevilliere.net/mail@mariannevilliere.net

+336 62 58 95 32

34, rue du Haut Chemin54170 Crepey

France

N° SIRET : 830270468 00010N° MDA : V588969

Née le 25 janvier 1989 à Nancy, France.

ÉDUCATION

2014 – Research-based Masters, Geneva University of Art and Design (HEAD), SwitzerlandGraduated with honorsThesis: Hiatus, un regard sur les micro-pratiques urbaines comme pratiques de liberté [Hiatus: An examination of urban micro-practices as exercises in freedom] (in French)

2012 – Masters, Ecole Nationale Supérieure d’Art et Design (ENSA), Nancy, FranceGraduated with honorsThesis: Articulations d’espace [Articulations of space]

2010 – Undergraduate Degree (Licence), Ecole Nationale Supérieure d’Art et Design (ENSA), Nancy, FranceGraduated with distinction

PUBLICATIONDes gestes sur l’écran aux gestes de rue - Citylights de Charlie ChaplinArticle édité en février 2017 dans la revue Multitudes.

PRIXWinner of the 2014 Gianni Motta Prize

GROUP EXHIBITIONS

«Mural», installation ; «Reconnaissance Vocal» Vidéo and «Il y a», sound installation (with Paul Heintz), exhibition: Brouhaha, Galerie du Granit, Belfort, France, Septembre 2017. Curator: Mickaël Roy

«Les animaux sauvages», installation/perfor-mance, exhibition: Jet Lag/Out of Sync, Young Creators Triennial, June–August 2017. Curator: Anouk Wies

«C’est qui lui ?», website (with Paul Heintz and Fabien Zocco), exhibition: Generosity, XPO Galle-ry, Paris, September 2016. Curator: Point Contem-porain

«Four musical», sound installation, Caravane Tighmert Residency/Festival, Morocco, July 2016. Curators: Mohamed Arejdal, Carlos Perez Marin

«Devenir Mime», installation/performance, exhibi-tion: Emergency, Fonderie Kügler, Geneva, Octo-ber 2014. Curators: Chiara Bertini, Elise Girardot and Maria Adelaida Samper (Emergency collec-tive)

«La dame du tram», radio reading, La Reliure, Geneva, May 2014. Curator: Alexandra RogerPara-site, installation, exhibition: À partir d’ici/distance retour, NaMima Gallery, ENSA Nancy, 14 March–4 April 2013. Curator: Harold Guerin

«Échappée belle», installation, and Rires de sit’com, sound installation, exhibition: PanTotal, 59 rue de Rivoli, Paris, 19–27 April 2012. Curator: Alain Snyers

«Ici et là», projection and performance, exhibition: Semaine des arts, Théâtre Mondésert, Nancy, 24 March 2012. Curators: Franck and Liza Natan

«Abri de galerie», installation, exhibition: Coha-bitation#2, Galerie NaMima, ENSA Nancy, 6–17 February 2012. Curators: Thierry Fournier and Jean-François Robardet

«Distribution de carottes», «File d’attente sans sens», absurbist group actions and performances, Excentricités festival, International Student Per-formance Conference, Besançon, France, 12–14 April 2011. Curator: Julien Cadoret

«Cortège», acrylic on canvas, exhibition: Grand PP2, Poirel Gallery, Nancy, 8–24 April 2011. Cura-tor: Nina Childress

RESIDENCIES

Château Éphémère, Carrières-sous-Poissy, France: 18 April to 18 May 2018 – with Paul Heintz.

“Art et Territoire” [Art and Territory] residency, Syndicat Potentiel, Strasbourg: 16 October to 9 December 2017. Research residency with Shin Alexandre Koseki (architect) and Antonia Taddei (playwright and member of the collective XTNT – Le code de la déconduite).

Caravane Tighmert festival residency, Tighmert, Morocco: July 2016 (two weeks).

EXHIBONE-OFF EVENTS - NEWS

Unauthorized postering in public spaces

«Metro Marathon», ritual, every 1st of May in the Paris metro: race in business attire

WORKSHOP

THE IDIOT, a critical and sensorial posture – spe-cial week #2, Ecole Nationale Supérieure d’Art et de Design, Nancy, 20–23 November 2017. At the invitation of Christian Debize.

Une lettre à soi, atelier participatif, Cercle Cité,Luxembourg, 8 April 2018.

«Here we might mention the performances of Marianne Villière, which, like Garfinkel’s “disruptive experiments” [2007, pp. 97–147; Pecqueux, 2012c] are a direct examination of our routines. One cannot but be arrested (forced to do a sensorial double-take) when one sees her and her accomplices enact a “meaningless queue” facing a wall (Nancy, 2010; Besançon, 2011), or when she installs a sitcom laugh-track in the Paris metro (2011) and in an art gallery (2012). One is made to understand that an ecology of attention implies economy, and vice-versa: the two are but different sides of the same coin, which one must tackle head-on.»

Anthony Pecqueux, in “Tordre l’attention. Ajustements perceptifs en situation. Partie : L’économie éthique et esthétique de l’attention” [Twisting attention: In-situ perceptive adjustments. Section: Ethical and aesthetic economy of attention]. L’éco-nomie de l’attention – Nouvel horizon du capitalisme ? [The Economy of Attention – New Horizon of Capitalism?] Dir. Yves Citton, Paris: La Découverte, 2014. p.228

«Marianne Villière engages in a highly articulate reflection on the artist’s place in society, public space, and the process of legitimation that validates or discredits practices with respect to different value systems. In an extension of the practices of Andrea Fraser—but taking the risk of working outside the field of art—or, perhaps more aptly, Ben Kinmont, Marianne Vil-lière undertakes a subtle interrogation of the instability and random character of art value systems and cultural systems.»

Sébastien Pluot: professor of art history and theory at the Ecole Supérieure des Beaux-arts-Tours Angers-Le Mans (An-gers campus); chief researcher, co-founder and director of Art by Translation; independent curator

*