mari einert défense yokohama - frac paca...press kit marie reinert, défense yokohama frac...

Press release

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FRACFondsRégionald’ArtContemporain

ProvenceAlpesCôte d’Azur

20, bd de Dunkerque 13002 Marseille www.fracpaca.org Frac press contact: Marie-Aurélie Elkurde [email protected] t +33 (0)4 91 90 30 47The Fonds Régional d’Art Contemporain (Regional Fund for Contemporary Art) is financed bythe Provence-Alpes-Côte d’Azur region and the Ministryof Culture and Communication / Regional directionof cultural affairs Provence-Alpes-Côte d’Azur.It is a member of Platform, a group of Regional Funds for Contemporary Artand founding member of the Marseille Expos network.

Mécènes du Sud press contact: Bénédicte Chevalliere [email protected] +33 (0)4 91 02 49 01

project press contact: Patricia Joannidese [email protected] +33 (0)6 12 24 01 11

Marie ReinertDéfense

Yokohama The exhibition is coproduced

with Mécènes du Sud

Exhibition from September 27th 2014 to February 28th 2015

Press Kit Marie Reinert, Défense Yokohama FRAC Provence-Alpes-Côte d'Azur

Press conferenceFriday, September 26, 11.00

OpeningFriday September 26 starting at 18.00

Exhibitionfrom September 27 to February 28 2015

Friday Late HoursFree entry: 18.00 – 21.00 Fridays: 10/24; 11/21; 12/12; 1/16; 2/13/15

• January 16, 2015 at 7 pm: Opération Béton: Round tableon the history of the industrial film, a little-known genrein the world of cinema;• February 13, 2015 at 7 pm: How to carry out aninvestigation in a just-in-time manufacturing world?Discussion between artist Marie Reinert and CatherineDavid, Associate Director, Musée national d’art moderne,Centre Pompidou, Paris.

Curators:

Pascal Neveux and Florence OstendeAround the exhibition:The following can be viewed at the Documentation Center:• Marie Reinert’s ‘ephemeral library’, a bibliographical carte blanche accompanying the current exhibition and providing viewers with multiple approaches to the exhibition,• Documentary resources in connection with the exhibition,• A shared interview between Marie Reinert, Florence Ostende and Pascal Neveux can be listened to in the center (Directed by Xavier Thomas, in partnership with radio Grenouille).

Press contacts:• Frac: Marie-Aurélie [email protected] / +33 (0)4 91 90 30 47• Mécènes du Sud : Bénédicte [email protected] / +33 (0)4 91 02 49 01• Project press contact : Patricia [email protected] / +33 (0)6 12 24 01 11

Marie ReinertDéfense Yokohama Fonds Régional d’Art Contemporain Provence-Alpes-Côte d’AzurCoproduced with Mécènes du Sud


Table of content

The exhibition by Florence Ostende, curator 4

List of works 7Stage exhibition 1 7Stage exhibition 2 10 multimedia stage 11 Biographies 12

The FRAC 13

Mécènes du Sud 14

Practical information 15


Committed to accompanying and providing financial support to new exhibition venues in the wake of Marseille Provence Capitale euro-péenne de la Culture in 2013, the Mécènes du Sud collective has joined forces with the Fonds régional d’art contemporain Provence-Alpes-Côte-d’Azur to co-produce the first large-scale solo exhibition by French artist Marie Reinert, born in 1971, living and working in Berlin. This event is also the occasion to see how deeply her work is submerged in the heart of the economic world.

Ubiquitous in any harbor town, Yokohama fenders are enor-mous inflatable bumpers that protect ships from banging into the wharf. By taking the name of these shock absorbers, the exhibition identifies itself right away as an enigmatic object whose massive black shell calls up images of futuristic architecture.A familiar object in the industrial harbor environments that have inspired Marie Reinert’s latest films, this buoy slips into the cracks of maritime life in exactly the same way that Reinert’s artistic prac-tice slips into different surroundings. Since the late 1990s, the artist has been infiltrating the bowels of the working world, and retracing the experience of a body in total immersion in closed-off places, inaccessible to the public at large, through her films, objects and performances.On the occasion of the first major solo exhibition of her work, Défense Yokohama is evidence of the level of commitment involved in this unique body of work which has been in constant evolution for the past fifteen years.

Marie Reinert is attentive to the movements and circulation of people, merchandise and stocks and bonds. She has developed her work around the notion of flow, be it material or immaterial. Since studying at the Arts Décoratifs of Strasbourg, the artist has concentrated her research on the physical manifestation of human movement in the public space, which she makes visible through furtive, albeit tangible gestures.A former track athlete with a body disciplined through rigorous training, she observes, follows, or even diverts the trajectories of workers, pedestrians and consumers in order to make the traces of their conditioned actions visible. Time spent at the Laboratoires d’Aubervilliers reinforced her affinity to contemporary dance and performance art, to which is added her penchant for sociology, ergonomics and urban planning.

After experimenting in road and rail construction sites, supermarket shelves and city intersections, Marie Reinert has tur-ned to more complex and difficult-to-access territories, going back to the source of the phenomena that she retranscribes. The sponta-neous and clandestine infiltrations of her earlier years have been transformed into long periods of residency, often in the margins of existing artistic networks:

‘Unlike someone working in a studio, I have to think in terms

Défense Yokohama, courtesy of the artist, 2014


of residency, a period of immersion that is often long. I have to constantly think about how to get my foot in the door, especially in the case of companies.Each residency is a journey on which I investigate the transforma-tion of a body moving through a place and getting acquainted with it’* From the negotiations of collective spaces to the intimate orga-nization of an office, her forays into the working world reveal the mind-boggling cogs at the heart of the machine and its underlying economy. Her films and performances are the fruit of the long, hard observation of functional places, as easily exposing the mainte-nance gestures of an archivist as a company’s private meeting rooms.

Défense Yokohama is divided into three parts and takes a panoramic look at Reinert’s artistic practice from the late 1990s up to her most recent works. Upon entering the exhibition, the visitor is immersed in a large installation of three films revealing the artist’s latest explorations: the closed-off world of a bank in Amsterdam, the industrial landscape of the oil shipping port of Fos-sur-Mer, and the crossing from Marseille to Algiers on board a roll-on-roll-off ship. Marie Reinert has invented a way to film, a kind of mix between the slow tracking shots of a Western movie and the fast jolting action filming of a GoPro camera like the one used for extreme sports. In this new trilogy using action camera techno-logy, what is reenacted is no longer the trace of the flow, but rather the physical experience of the artist’s movement back to its point of origin, where bodies and machines beat to the rhythm of produc-tion. ‘In Roll-On, Roll-Off, I didn’t want to show the sailors as we expect them to be at work.I was more interested in these fragmented bodies inside the boat. There are no outside shots. You get into the machine, into the unit. It’s a piece in praise of the motor!’

Exhibited for the very first time in their integrality, the tools of infiltration, demonstration and filming that have been tailor-made to fit the dimensions of the artist’s own body are presented in the form of an inventory, as if she were archiving the contents of a storage room. Amongst these there is a measuring stick made from a telescopic surveyor’s level onto which the artist’s exact anatomi-cal dimensions (finger, elbow, ankle) are transferred in order to define the scale of a film shoot: ‘The presence of a body behind the camera can be suggested by tools adapted to the body. I make these objects for my explorations by reproducing a declination of my measurements and altering the universal unit for my own purposes. Everything I make must have a utilitarian sense.’ Confronting the introspective gaze of the artist with the communi-cation tools used by the corporate world is the purpose of the Plateau multimedia, a space dedicated to a continuous program of industrial films, providing an occasion for the general public to


discover this little-known cinematographic tradition. In fact, it was an industrial film that marked the origin of the history of cinema, taking the form of the famous footage of workers leaving the Lumière factory in 1895.Although this genre evolved in the shadow of fictionbased cinema, it remains an indispensable witness account of the technical, eco-nomic and political upheavals of a territory. In homage to the great industrial myths, this selection of films, principally shot in the Mediterranean area between the 1950s and the 1970s, reveals the fascinating ambiguity of a language torn between the didactic limits of any commission and the free celebration of production tools.

The last part of the exhibition is the fruit of a long process involving meetings with several companies on the subject of the value of their production. The result of these encounters took the form of collaboration with a law firm in order to make a perfor-mance piece using the codes belonging to speeches for the defense.

Inspired by the structure of a company organigram, the artist developed her own diagram, replacing each administrative post with a reflection or a question gleaned from these exchanges and left to the interpretation of two lawyers. By provoking a deliberate contrast between her real experience in the company, and its inter-pretation in a legal register, the artist delegates the transcription of her subjective exploration into a rhetorical discourse, governed by collective laws and intended for the audience invited into the context of a meeting room.

Florence OstendeCo-curator of the exhibitionTranslation by Patricia Chen


LIST OF WORKThe exhibition is located on Plateaus 1 and 2, as well as on Plateau Multimedia, in which a program of industrial films will be screened.

Stage exhibition 1

Globus, 2014, 12 blocks (graphite mixture 7B), Ø 45 cm, transport crate 79 x 70 x 70 cmAssistant Elia KragerudTechnical design Ivan LacazeCoproduction Faber Castell

Fouille, 2007, Video triptychBlack and white, 6 min 15 secCollaboration Triangle France

Études-Geste, 2010-2013 4:54:54 ; 4:42:19 ; 4:57:38 ; 6:13:14 ; 6:29:58 ; 5:18:58 ; 6:57:57 ; 3:23:10 ; 3:40:46 ; 3:14:15 ; 5:53:07, 2010-2013 Graphite pencil 7B on tracing paper, metal platesSeries of 12 drawings: 84 x 84 cm; plates: 93 x 93 cm Coproduction Frac Provence-Alpes-Côte d’Azur

Tools (from left to right)

Visionneuse code, 2014Conversation with Marie Frampier 05.26.2012Tracing paper roll, aluminum, cylinders50 x 20 x 20 cmProduction Frac Provence-Alpes-Côte d’Azur

Valise/vidéoprojecteur, 2013Carrying case, video beamer, audio system, power transformer, mirror, 12 volt-battery, bellows25 x 47 x 32 cm folded; 55 x 180 x 60 cm unfolded Collaboration Mechanical workshop/FluxelCoproduction/residencies Frac Provence-Alpes-Côte d’Azur, Mécènes du Sud, CAC Arts visuels Région Paca, La Compagnie, Dicream

Axe, 2010-2013Graduated metal ruler, various components12 x 73 cmProduction Frac Provence-Alpes-Côte d’Azur


Reste 1, 2014Graphite pencil, wooden plate140 x 10 x 5 cm

Tête motorisée pour caméra, 2010Twin-axial engine, aluminum25 x 27 x 10 cmCollaboration Guillaume StagnaroCoproduction/residencies Frac Provence-Alpes-Côte d’Azur, Mécènes du Sud, CAC Arts visuels Région Paca, La compagnie, Centre national des arts plastiques

Échelle 1, 20102 elements: metal band, 14 x 300 x 1 cm, outstretchedmetal ruler, 4 x 2 x 500 cm, outstretched

Sur tes traces, 2001 Colour video, 17 min 44 sec

Masse graphite, 2014Graphite block, metal handles26 x 9 x 13 cmCollaboration Faber Castell

Atex 1, 2013Explosion-proof housing with metal frame for camera45 x 56 x 66 cm

Atex 2, 2013Explosion-proof housing with straps for camera13 x 30 x 14 cmCollaboration Mechanical workshop/Fluxel. Coproduction/residen-cies Frac Provence-Alpes-Côte d’Azur, Mécènes du Sud, CAC Arts visuels Région Paca, La Compagnie, Dicream

Ballant, 2014Wooden plate, metal rod, graphite block, various components15 x 49 x 27 cm

Boussole, 2013Electronic compass, programmed microcontroller, wi-fi connection circuit, stepper motor, Rotary encoder12 x 8 x 7 cmTechnical design Guillaume Stagnaro. Collaborations Dutch National Bank, VBCN Netherlands, Dicream


Gare du nord, 2005, Colour video, 12 min

Conformateur, 2014Wood, aluminum210 x 60 x 10 cm Production Frac Provence-Alpes-Côte d’Azur

Avancer reculer, tracer , 2010-2014, Aluminum, engine, sensor, graphite pencil, 12-volt battery. 230 x 110 cm Collaboration Guillaume StagnaroCoproduction/residencies Frac Provence-Alpes-Côte d’Azur, Mécènes du Sud, CAC Arts visuels Région Paca, La compagnie, Centre national des arts plastiques, Maison Populaire

Roll On Roll off, 2008-2010Colour video, sound, 24 minCollection Frac Provence-Alpes-Côte d’Azur Coproduction Marfret, Mécènes du Sud, Festival de Marseille, FRAC Provence-Alpes Côte d’Azur. With the support of : Centre national des arts plastiques, Ministère de la Culture et de la communication/Drac Provence-Alpes-Côte d’Azur, Région Provence-Alpes-Côte d’Azur, Ateliers de l’EuroMéditerranée Marseille-Provence 2013. Collaboration Guillaume Stagnaro

Quai, 2012-2014, Colour HD video Collaboration Head cameraman Guillaume MariottiCoproduction/residencies : Frac Provence-Alpes-Côte d’Azur, Mécènes du Sud, CAC Arts visuels Région Paca, Dicream. With the support of La Compagnie, Marseille.

Bull & Bear, 2014Colour video, 20 minCoproduction Dutch National Bank, VNCN, Dicream


stage exhibition 2

Infiltration, 1996-in processDiaporama of 112 images

Meuble d’archives, 2014Prototype, metal, architecture plans of the Clé à molette (1967) 106 x 80 x 114 cm (open)Collaboration Noël Haddad, Graphitheque Production Frac Provence-Alpes-Côte d’Azur

Défense, 2014 Sound installation : defence speech, loudspeakers, tables, chairsCollaborations Amaury Dumas-Marze, Nicolas Keramidas (Lexcase), Simone Bardot, Xavier Thomas


september 26-December 20, 2014

BP Lavera, Jean Hubinet,1950, 13 min, © Les Filmsdu Soleil

L’Acier du mistral,Jean-Paul Bourdeauducq,1975, 40 min, © D.R.

Europort du Sud(Le Port de Marseilleen construction),Daniel Absil, 1969, 12 min,© Port de Marseille Fos

Le Verrou de la vallée,Jean et Jacques Hubinet,1964, 12 min, © Les Filmsdu Soleil

Les Dieux du feu,Henri Storck, 1961, 12 min,© Fondation Henri Storck

Les Sources de la ville,Jean Hubinet, 1959, 27 min,© Les Films du Soleil

Opération béton,Jean-Luc Godard, 1954,20 min, © Actua Films

Images de notre temps,Jean Hubinet, 1955,23 min, © Les Filmsdu Soleil

January 6 – February 28, 2015

Quillan : capitale Formica,anonymous, c. 1960–1965,21 min, coll. InstitutJean Vigo

Le Chant du Styrène,Alain Resnais, 1958, 14 min,© Les Films du Jeudi

La Guerre des moustiques,Jean Hubinet, 1955, 18 min,© Les Films du Soleil

Man & computer,a perspective,Peter de Normanville, 1971,22 min, coll. InstitutJean Vigo

Mouvements des eaux,Louis Guilbert etJacques Rouxel, 1974,15 min, © Société du Canalde Provence

Serre-Ponçon,Jean Hubinet, 1958,32 min, © Les Filmsdu SoleilTriomphez de l’objection,anonymous, 1953, 31 min,

multimedia stageScreening programme of corporate films, 2 sessions:


Marie Reinert was born in 1971 in France. She lives and works in Berlin. Her work has been exhibited numerous times in France and abroad: the Aichi triennial, Nagoya, Japan (2013), the Dutch National Bank, Amsterdam (2013); Festival Hors Pistes, Centre Pompidou, Paris (2013); La Virreina,Centre de la Imatge, Barcelona (2012); the Arsenal Museum, Kiev (2011); Stedelijk Museum, Amsterdam (2011); Bunker, Berlin (2011); Printemps de Septembre, Musée des Abattoirs, Toulouse (2010); MAC/VAL, Vitry-sur-Seine (2009); Le Plateau, Frac Île-de-France (2007). Her work is included in several public collections: the Collection départementale d’art contemporain du Conseil général de la Seine-Saint-Denis, the Conseil général d’Ille-et-Vilaine, Frac Provence–Alpes–Côte d’Azur, Centre National des Arts Plastiques. Défense Yokohama at Frac Provence–Alpes–Côte d’Azur is her first solo exhibition.

A curator, writer and art historian, Florence Ostende recently orga-nized A Story of Two Museums: The Museum of Jurassic Technology and The Museum of American Art (City University of New York), Pierre Huyghe +/- (The Artist’s Institute), Louise Hervé & Chloé Maillet (Dallas Contemporary) and the symposium These Things Called Exhibitions (New Museum). Adjunct curator at Dallas Contemporary (2011–14), curator at Maison Populaire, Paris (2010) and curator-in-residence at Palais de Tokyo, Paris (2009–10), she is currently a faculty member at HEAD University of Art and Design, Geneva.


The FRACs were created 30 years ago to build up public col-lections of contemporary art and to support artistic creation. The Frac Provence-Alpes-Côte d’Azur, the only Frac of the new genera-tion to be found in an urban “hyper-center,” has a new building of 5,400 m2 (of which 1000 m2 are dedicated to exhibitions). It also hosts all of the activities corresponding to its missions on the same site: acquisitions, diffusion and mediation. The Frac Provence-Alpes-Côte d’Azur’s collection includes 1,016 works by 440 interna-tional artists. The Fonds régional d’art contemporain is financed by the Region Provence-Alpes-Côte d’Azur and the Ministère de la Culture et de la communication / Direction régionale des affaires culturelles Provence-Alpes-Côte d’Azur. It is a member of Platform, a collective of FRACs and is a founding member of the Marseille Expos network.

Mécènes du Sud is a collective, created in 2003, born of the desire of companies of the Aix-Marseille territory to support contemporary artistic creation. Not only providing financial bac-king, but also accompanying the development of prize-winning projects, the companies have the legitimate conviction that they contribute to the culture of their company and the cultural wealth of their territory. More than 85 projects, selected by an Artistic Committee of art world personalities, have been supported. Today the collective brings together more than 40 companies who have actively defended the candidature of the territory for Capitale Européenne de la Culture. It has inspired the Ateliers de l’EuroMé-diterranée, developed ten artists’ residencies in companies, and hosted filmed musical improvisations in the context of the Watt Archipels project.


Practical information

The Frac is open Tuesday through Saturday: 12 to 7 pm.The Frac will be closed on December 24, 2014 and january 1st 2015 Group receptions available by appointment Tuesdaythrough Saturday 12 to 7 pm: [email protected]

Upcoming exhibition: Marie BovoMarch 28 – June 6, 2015Opening: Friday, March 27starting at 6 pm.


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