Amelie Chabannes

Current and Upcoming Shows

Solo exhibition at the Aldrich Contemporary Art Museum, CT. March - August 2013

Double Portraits and a Fourth Hand

The drawings of Amelie Chabannes explore extreme dependency between individuals, and how these relationships blur and destroy individual identity. Working with well-known couples from the art world—including Oskar Kokoschka and his lover Alma Mahler, artists Marina Abramovic and Ulay, and musician, poet, and performance artist Genesis P-Orridge and Lady Jaye—Chabannes fuses their individual images, and hence their relationships, through an obsessive, overlapping drawing technique that emphasizes both psychological and artistic obsession. For her first solo museum exhibition, Chabannes will complete two large, site-specific wall drawings that will involve cutting into the Museum's walls. This exhibition is curated by Aldrich exhibitions director Richard Klein.

RH Gallery. New York, NY.

Closing : 7th of february 2013

13.0.0.0.0

is pleased to present 13.0.0.0.0, an exhibition influenced by the Mayan long count date marking the end of the 13th Bak’tun cycle, which, according to many scholars, falls on December 23, 2012. The artists included in the exhibition are AES+F, Rina Banerjee, Marcos Castro, Amelie Chabannes, Alex La Cruz, Myla Dalbesio, Tamar Ettun, Micah Ganske, Andrey Klassen, Jeremy Kost, Maria Kozak, Noel Middleton, Dane Patterson, Kristofer Porter, Elaine Reichek, Kirstine Roepstorff, Jean-Pierre Roy, Emily Stoddart, and Matthew Stone.

CB1 Gallery. Los Angeles

Performing Methods

Curated by Chris Oatey.

Amelie Chabannes

Marc Philip Van Kempen

Joey Kotting

Pascual Sisto

Maria Walker

Joe Winter

Exploring the limitless notion of Identity, its various derivations and representations within philosophy, psychology and art history has been the main subject, which has haunted my work over the past years.I first aspired to associate the exploration of the self with archeological procedures. My recent installations have stood as excavation sites and their sculptural objects were submitted to raw and meticulous recovery in which debris and artifacts are observed as remains of our individuality. As I engaged in deeper research on fewer specific aspects of our identity, I became profoundly drawn to extreme fusional relationships that exhaust the sense of individuality. By using and manipulating with great obsession, documents depicting Marina Abramovicz and Ulay while intensely performing, Genesis P Orridge and Lady Jaye attempting to resemble each other, Linda Montano and Tehching Hsieh practicing the far-off “year of the rope”, I include in my work cases of individual disappearance through extreme collaboration and witness its deep impact on the process involved in my practice. First, a map of the original picture is drawn upon numerous layers of tracing paper; then, the data is endlessly flipped over, transferred and overlapped on a wood panel until the borders of each of the protagonists fade away.I deliberately demolish parts of my drawings and sculptures, not only with the intention to recall the archeological protocol, gestures and its metaphoric strength, but also to suppress specific areas where the inseparable collaborators I mentioned earlier are in physical contact, where stands the third identity they created. I also attempt to challenge and destroy the established icons I chose to employ and therefore evoke my search for a new found expression. Such iconoclastic actions fuel my hope of recalling a long history of prohibited representation; they also allow me to confront the conventionality of the fabrication of an art object. Altering an artwork already sacralized by the time and the virtuosity involved is definitely an act of defiance.