Movement of Obedience ~ Paperweight 2017 in collaboration with Nora Hansen at DYE house 451 London
Images by DYE house 451
Movement of Obedience ~ Paperweight is a project by Nora Hansen and Frederique Pisuisse in collaboration with DYE HOUSE 451. Following fashions' bold and fun-loving language, Nora and Frederique present a number of outfits designed to facilitate key characteristics for the guests and hosts of DYE HOUSE.
In the tradition of Commedia Dell’Arte, a form of 17th century Italian theatre characterized by a finite set of masked types and iconic costumes, Nora and Frederique designed outfits exploring the roles of Gallerist, Artist, Intern and Spectator. Clothed in contemporary textures and traditional fabrics, the cast of Paperweight is surrounded by a landscape of video and sculpture - a possible backdrop for this play.
Commedia Dell’Artes` stage set is built permanently into the theatre, allowing the artists to improvise each performance within the constant parameter of character and set. Working with the aesthetic of webshop video, bubblegum and the ritual of a showcase, Movement of Obedience ~ Paperweight approaches the infrastructure of the space to invite you to try on, play your role, and shed what does not suit.
A pink rubber wall to capture the light. Sugar coated paperweights. Rubber footprints on chewinggum ~ this set is made from layers and layers of glue.
Performance reading of the play The Artist Talk during the Conch, a crit session open for the general public. The script is based on a text about Frederique's practice, written by Nathalie Boobis for this occasion.
Take a look at the script HERE
A podcast with interviews, music and lolz. For the inaugurational opening event at ClearView.ltd
Mama Margaux | Rieneke and Frederique Pisuisse 2016 PANDO Enclave Lab
Images by Frederique Pisuisse, Exhibition structure Ecksenis by Anne de Boer
For this exhibition Pando has invited mother and daughter Pisuisse to form a collaborative duo. Departing from the female body, one body gave birth to the other, the duo worked together on a site specific installation in the wine cellar of a summer residency in France.
Growing up during the ‘Second Wave’ of feminism, Rieneke Pisuisse connects with artists like Barbara Hepworth and Eva Hesse; dealing with the female body, ideas of domesticity, and personal experience, without necessarily explicitly identifying with feminism as such. During later years, she focusses more on postmodern theory within her sculptures.
For the exhibition, Rieneke has taken her visual cues from the examination of the body in a mere intellectually withdrawn manner. Her statues, naked, and carved out of different kinds of stone, convey an immediate message to the viewer; unequivocally connecting the work to the personal space of the artist. Lucy Lippard said, “When women use their own bodies in their artwork, they are using themselves; a significant psychological factor converts these bodies or faces from object to subject.”
Frederique Pisuisse, expands the definition of her mother’s feminism as she is fundamentally Rieneke’s proxy in the physical and behavioural sense – representing her mother in the world. Departing from the sculptures of her mother, she edits and reproduces the work, filling it up-to-date according to contemporary art standards.
In Memoriam of a Past Gallery Life 2016 GOLDSMITHSGALLERY
Images by Rebecca Lennon
In the video which is hold up by a re-imagination of a Henry Moore sculpture, David E. Weekly, production manager at Google, explains the moment of going into a so called flow-state: a mental state that highly skilled programmers can reach while imagining a complex set of coding by arranging various databases and visual outputs in their mind.
The hand gestures of the programmer start to draw a complex pink shape, by motion tracking his index finger. The outcome of his gestures forms the outlines of a laser cut Perspex sculpture which is supported by one of the 'gallery collumns' balancing on a vacuum sealed stack of Frieze Magazines, generously donated to the gallery in the form of a sponsorship.
The decorated and glossy white painted 'gallery collumns' carries the title: 'In Memorial for a Past Gallery Life'. It recalls a history of grandeur, which is now crumbling down with neo-liberalism.
GOLDSMITHSGALLERY, was founded by Frederique in 2015. It is the artist’s response to the current controversial planning of a gallery on the campus of Goldsmiths, by the head of the Fine Art department. The domain name www.goldsmithsgallery.co.uk is for sale for £16,200; reclaiming Goldsmiths as a support structure for its students. Find more infor about the project here.
How it all Threads Together 2016 part of In Memoriam of a Past Gallery Life GOLDSMITHSGALLERY Degree show
Interview by VPRO Backlight, Intervewee David E. Weekly, Music by Cinematic Orchestra
GOLDSMITHSGALLERY Auction 2016 part of In Memoriam of a Past Gallery Life GOLDSMITHSGALLERY Degree show
Courtesy of the artist, Goldsmiths Degree Show, Auctioneer Jeremy Jacobs, Documentation by Iain Clark
Auctioneer Jeremy Jacobs sold 5 out of 14 available lots, revealing the uncomfortability of publicly selling art works ‘out in the open’, and made the audience look at the artworks as commodities. An auction exposes the mechanisms of affirmative desire; an apparent factor in the art world which is based on trust and confirmation.
The lots were provided by all 14 artists that exhibited at GOLDSMITHSGALLERY since its establishment early 2015. The works of the following artists were auctioned: Andrea Williamson, Anne de Boer, Helen Knowles, Jonathan Clark, Josefine Reisch, Laura Yuile, Madeleine Stack, Marcel Darienzo, Joe Ridgeon, Nora Hansen, Ruth Waters, Shane McCarthy, Tom Kobialka, Zbong Lee.
6 New Truths (You Didn't Know) About Ducks and Other Noumena 2016 Greenray London
Part I of the exhibition series at Greenray.
‘If it looks like a duck, swims like a duck, and quacks like a duck, then it probably is a duck’ is a statement used to explain how we categorise and identify things using ‘abductive reasoning’.
How can objects change their meaning and identity according to their context. Are they sculptures, objects, readymades or props? Does art have an inherent meaning, or is meaning-giving is a process in itself?
The objects exist as sculptures at the mezzanine of Greenray until activated by various performances, events and rules.
STANDBY | Everything You Know About Ducks and Other Noumena 2016 Greenray London
Toolbox for presentation. Part II of the exhibition series at Greenray
Swag Bag 2016 GOLDSMITHSGALLERY London
The objects from the installation are informed by the expectation of the viewer which most certainly expects to see art in a gallery. The work includes a presentational performance, soundpiece and discussion.
Elevator Pitch 2016, in collaboration with Saemundur Thor Helgason
Acting by styrmir örn guðmundsson, Saemundur Thor Helgason, Frederique Pisuisse
Trailer for Elevator Pitch; a TV series and network formula, broadcasted on YouTube.
Five artists and five curators meet each other in the elevator of a skyscraper. They pitch their work and practice to each other and at the same time share their ideas with the rest of the world. Each individual pitch will last around 30 - 60 seconds, depending on the height of the building.
Soft day light-
a clock ticks diligently
into the mirror 2015 GOLDSMITHSGALLERY London
Imagine yourself as an art school teacher. It is early June and soft day light leaves unwanted traces on white walls everywhere on campus.
It is your task to mark the works of 49 Master students presenting their work in a set-up; no visitor will ever come.
A clock ticks diligently
into the mirror
Alanis Morissette – Citizen of the Planet (OFFICIAL MUSIC VIDEO) 2015, YouTube
This video is a reimagining of the installation Soft day light- a clock ticks diligently - into the mirror. The music video features three sphere which depicts a distorted view of three of my favorite video’s: A Minute Ago by Rachel Rose 2014, Fiorucci made me Hardcore by Mark Leckey 1999, and Forecast by Anne de Vries 2012.
The work is uploaded as an official music video for the 2008 song Citizen of the Planet by Alanis Morisette. Frederique has been given permission by the management to use Alanis' music. People that search for the song on YouTube watch 21 seconds longer than the viewers forwarded through the artists website.
#Film #VHS #Digitalzoom #GoPro #Drone 2015 Area51 London
Curated by Angles Miralda Tena
This video was made for an event called #Magichour. #Magichour was part of the European event 6PM Your Local Time. Documented under #6PMEU. The #Magichour event took place from 6-9pm, during sunset. It is a 3 hour compilation video of surf footage in different (outdated) formats. The various camera devices each highlight different aspects of surfing.
Due to Realistic Suspicion 2014 Pakt Amsterdam
A video challenging the attention span of the viewer. In between the dream-like scenes depicting floating objects and symbols, long empty scenes occur, sometimes black, sometimes fading from one color to the other.
The video, is especially made for the situation of the opening of a group show; where the viewer only has a so much time to watch a video before being interrupted by a friend. The sound and image are not synchronised, resulting in what seems to be a very long video; not recognizable as loop.
Hands on Hands, Snap! 2013 Kim? Riga
The three vinyl blob-sculptures of the installation were originally short videos. Despite the transformation to sculpture they kept an important quality of the moving image; time, as they deflate slowly during the day. They are a slow motion GIF.
The floor projection functions as a spacious timeline. The single image changes colour from blue to green in the timespan of 75 minutes; the maximum length the dvd it is played from can store.