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.

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.

 Middle Gate Geel ‘13. Curated by Jan Hoet. Geel Belgium. Gasthuismuseum St.-DimpnaSeptember 28 - December 22 2013 MIDDLE GATE GEEL 13' tries to come to grips with the complex and multi-layered interactionbetween myths, psychiatry and the arts. Rather than pinpointing the differences, the exhibitionundertakes to reveal the connections and links, commonplaces and parallels of these phenomena.The historic and present-day context of the city of Geel, world-famous for its unique psychiatriccare system based on home nursing, adds an extra dimension to this exhibition, so much so thatthe interaction between Geel and this exhibition will be palpable and visible in every aspect.

 Middle Gate Geel ‘13. Curated by Jan Hoet. Geel Belgium. Gasthuismuseum St.-Dimpna
September 28 - December 22 2013

 

MIDDLE GATE GEEL 13'


 tries to come to grips with the complex and multi-layered interaction
between myths, psychiatry and the arts. Rather than pinpointing the differences, the exhibition
undertakes to reveal the connections and links, commonplaces and parallels of these phenomena.
The historic and present-day context of the city of Geel, world-famous for its unique psychiatric
care system based on home nursing, adds an extra dimension to this exhibition, so much so that
the interaction between Geel and this exhibition will be palpable and visible in every aspect.

CLOSELY FOLLOWED This short film by Maceo Bishop follows closely Amelie Chabannes as she prepares and produces her site-specific installation at the Aldrich Contemporary Art Museum.

CLOSELY FOLLOWED

 

This short film by Maceo Bishop follows closely Amelie Chabannes as she prepares and produces her site-specific installation at the Aldrich Contemporary Art Museum.

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.