Media Art Studies

Blade Runner 2049

Response — Object

Ora-Ito, hack-mac, 1999

Thomas Hirschhorn, The Map of Headlessness, 2008 Carton, papier, imprimés et photocopies, ruban adhésif, feutre, feuille plastique

Inaugural Summit, Morschach (2013), GCC art collective.

GCC takes the idea of the art collective to a global level; more than just artists working together, the nine female and male members – Fatima Al Qadiri, Abdullah Al-Mutairi, Amal Khalaf, Aziz Al Qatami, Barrak Alzaid, Khalid al Gharaballi, Monira Al Qadiri, Nanu Al-Hamad and Sophia Al-Maria – are exploring the very meaning of the 'collective' and its possibilities by mimicking pan-regional political models (its name is based on the Arab government body, the Gulf Cooperation Council). Here, Al Qadiri introduces GCC with an exclusive transmission on the theme of the six GCC countries.

Upon entering Achievements in Swiss Summit, London's first GCC exhibition at Project Native Informant, it becomes immediately apparent that the luxurious setting is apt - the Rolls Royce hovering by the entrance on the opening night is not a mode of transportation for an ostentatious Frieze-goer but a prop that plays an integral part of the show's concept. Achievements in Swiss Summit acts as a formal celebration of the artistic union of the GCC collective, an auspicious event that reinforces its first meeting in Morschach, Switzerland and announces through speakers in controlled, mellow tones its intentions as a High Level Strategic Dialogue.

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Camille Blatrix

As part of the Fondation’s opening, Camille Blatrix has explored for one year a concealed space of the building that may be seen only if accompanied by a cultural mediator. Located near the production workshop – where the piece was assembled – and at a distance from the exhibition space – where we would expect to find it, the young artist's semi-permanent installation echoes the Fondation’s technical functions. It was inspired by the geothermic wells and the network that irrigate the building at its heart: Camille Blatrix interprets these fluids as the generator of a continual flow that releases an unremitting energy. Despite a smooth and glazed appearance and the aesthetics of standardized production that features them, Camille Blatrix's pieces seek to establish an emotional and poetic connection with the viewer, thus blowing the heat or the cold. These animated machines show the worrying condition of bodies in today's world. Inspired by advertising and film strategies that manipulate emotions, fears and fascinations, Camille Blatrix continually questions, admires and depreciates stereotypical images, as well as their impact on our imagination and feelings. Born in 1984 (Paris), Camille Blatrix trained at the École Nationale Supérieure des Beaux-Arts in Paris and is laureate of the Fondation d’entreprise Ricard prize (2014).

Response — Object

Katja Novitskova, Shapeshifters

25 x 37 x 13 cm broken silicon wafers epoxy clay nail polish appropriated acrylic case appropriated wooden capital