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(8071,	NULL,	6,	NULL,	NULL,	NULL,	3,	'2020-11-26 16:31:28',	'2020-11-26 16:31:28',	'<p>Interview with Pierre Rabardel, sculptor, photographer and ergonomist, for the website&nbsp;<a href=\"http://revue-bancal.fr/\">revue-bancal.fr</a> Posted November 20 2020 &nbsp; <strong>Pierre Rabardel:</strong><em>... you said earlier that you still feel like you&rsquo;re in transition.</em> &nbsp; <strong>Heidi Wood:</strong> I felt more and more like my practice was going nowhere. I&rsquo;d set up a system that needed to be broken down. My work had been grounded in a sort of alternative tourism. I&rsquo;d visit unlikely destinations and then create offbeat promotion campaigns for them: down-at-heel suburbs of Paris, hidden corners of the ex-Soviet empire, deindustrialized areas, towns made accessible by low-cost flights&hellip; I&rsquo;d create a set of pictograms to express the essential physical characteristics of the place, like subtitles. Then works would be made based on the pictograms. They could be poster campaigns in a city&rsquo;s advertising space, souvenir plates, tourist trinkets or an imaginary visitors&rsquo; center, for example. I practiced that studious tourism for ten years. In the end, I thought it was too simplistic given the complexity of the places I was representing. Systematically formatting them into pictograms weakened their specificity. It didn&rsquo;t do them justice. Reading translation theory, with its distinction between target and source-oriented translations confronted me with the limits of my approach. So I decided to take a year off and do the second year of a Masters program at Paris 8. I needed some theoretical baggage to move forward. &nbsp; <em>Translation theory?</em><em>&nbsp;</em> When you do a translation you can either play to the reader - the target-oriented approach, which is sometimes seen as colonizing the original text &ndash; or to the source, even if it confuses the reader (i.e. source-oriented translations). This framework allowed me to question my utterly target-oriented way of working up until then. Making the source readable for the audience puts it at a distance. By working that way, instead of paying homage to these strange places I love, I was helping smooth over their specificities. I realized there was an ideology at work despite my intentions, and that it didn&rsquo;t match the values I felt I held. &nbsp; That&rsquo;s what I came looking for at university, as well as a fine-tuning of my written French. It&rsquo;s a language that still isn&rsquo;t mine after all these years and I wanted to use it in my work. The choice of French is dictated by the fact that I live in France. I thought my visual work could be better and more complex with the addition of words. &nbsp; At Paris 8 I studied &quot;Fish Story&quot; by Allan Sekula, which was emblematic of the direction I wanted to take. Sekula makes a brilliant back-and-forth use of texts and images to study maritime transport and allow a subtle understanding of political context. He began the work in 1989 and it marks a break with his previous proselytizing work as a militant Marxist. He renews his language, seeking a more indirect way of pursuing class struggle in a post-communist era while integrating the rise of identity politics. &nbsp; At the same time as this apprenticeship in academic writing, I began building a new hybrid language using elements gleaned from the world for a project specific to that year, called <em>Cartographie d&rsquo;une ann&eacute;e sans voyages</em> (Mapping a Year Without Travel). It includes, for example, extracts from the administrative correspondence to do with my naturalization and anecdotes about the occupation of Paris 8 by refugees. &nbsp; The monthly diary I send out to my electronic mailing list is an extension of this written and visual language. It began with the yellow vest protests. I looked for traces of conflict in the streets, but I also explored the outrageous new means of surveillance involved in &ldquo;evaluating your delivery man&rdquo;. We&rsquo;re constantly asked to police those who provide us with services. In the first diary, I juxtaposed these profound changes in relations between consumers and workers and the tensions revealed by the yellow vest demonstrations. Then Covid hit and it became my lockdown diary. &nbsp; <em>With the diary, words become part of your work.</em> &nbsp; Initially, there were no words in my work, then they appeared gradually to accompany my paintings. They were already essential to the work I did to earn a living: teaching English, translating and subtitling. There&rsquo;s a convergence happening in my work at the moment. The work with words has infiltrated my art practice. This &ldquo;narrative turn&rdquo; is a throwback to my Australian origins because Australia is a country in which people are suspicious of elitist culture. Few visual artists gain mass public recognition. The only cultural form that is acceptable in popular culture is telling stories. Combining text and image is the way my work is heading now. I started with abstract painting, moved on to playing with the codes of communication (logos, signage, advertising slogans, etc.) and now I&rsquo;m working on a language that portrays the world we live in. &nbsp; <em>How about your website?</em> &nbsp; After my year at university, I created a new website that was less predictable. It&rsquo;s turned into a bit of an obstacle course with some kooky functions. For example, when you&rsquo;re scrolling through reproductions of paintings, you might come across a Detour card. If you click on it, you find yourself on a new page. There&rsquo;s a picture, a sentence or two, nothing very coherent. You flick through three or four of them and suddenly, you&rsquo;re catapulted into a different place in the website. The Detours are absurd moments that unhinge the orderly visit of my archives. There is also Oracle, a sort of electronic card game that randomly draws cards, generating combinations of Covid-era imagery with prophecies and snatches of conspiracy theories. It&rsquo;s like a game of tarot but it&rsquo;s not clear exactly what it is. I was trying to recreate the atmosphere that Covid brought about: the hunger for answers and the impossibility of getting any. It sums up the spirit of a particular place at a given time. &nbsp; <em>You left your gallery a few years ago.</em><em>&nbsp;</em> The relationship was at a dead end but I couldn&rsquo;t blame my dealer because I was less and less convinced myself by what I was doing. I was already at a point where most of my fundamental research took place on the computer. Only a few objects were made for the gallery based on that research. At one point, I offered a catalogue of virtual paintings that would only be made to order. Later I announced that all my paintings would be destroyed if nobody had bought them within a five-year period. It was a way of completely stripping the work of its aura. Maybe that&rsquo;s why collectors weren&rsquo;t interested. Now I hardly make any intermediary objects like paintings of framed photographs. There&rsquo;s not much between the PDF files you can download from my website and the monumental works I make for public commissions. With these big commissions, I put forward a proposal, which is only ever comes to fruition if I win the competition. The work starts out as fiction. The images made during the periods of research adapt to a context and an audience. If the project goes ahead, the visuals emerge from the computer and come to life in the urban environment. These projects allow me to earn a living and they subsidize new periods of research. &nbsp; <em>How do you see what lies ahead?&nbsp;</em><em>&nbsp;</em> It&rsquo;s hard to know. My life is on hold until the pandemic decides what it&rsquo;s doing. For the last five years I&rsquo;ve been moving towards something but I don&rsquo;t know what it is exactly. I&rsquo;ve come up with a method that needs to find an outlet in a more lasting form, in publications or elsewhere. Maybe my practice is more source-oriented now, moving back-and-forth between image and text to tell stories. Over the last year, I&rsquo;ve missed the dialogue that art centers allow. I&rsquo;m dying to exhibit again. &nbsp; &nbsp;</p>',	'<p>Entretien avec Pierre Rabardel, sculpteur, photographe et ergonome, pour le site&nbsp;<a href=\"http://revue-bancal.fr/\">revue-bancal.fr</a></p><p>Mise en ligne le 20 novembre 2020</p><p>&nbsp;</p><p><strong>Pierre Rabardel&nbsp;:</strong></p><p><em>... tu m&#39;as dit tout &agrave; l&#39;heure que tu te sens encore dans un moment de transition&nbsp;</em></p><p>&nbsp;</p><p><strong>Heidi Wood&nbsp;:</strong></p><p>Je me suis sentie de plus en plus bloqu&eacute;e dans mon parcours artistique. J&#39;avais mis en place un syst&egrave;me qu&#39;il fallait bousculer.</p><p>Mon travail s&#39;appuyait sur une sorte de tourisme alternatif o&ugrave; j&#39;allais dans des endroits un peu d&eacute;class&eacute;s pour r&eacute;aliser des campagnes de promotion touristique d&eacute;cal&eacute;es. Une ville de banlieue d&#39;&icirc;le de France, des recoins de l&rsquo;ex-empire Sovi&eacute;tique, des zones d&eacute;sindustrialis&eacute;es, des destinations d&eacute;senclav&eacute;es par les vols low-cost... Je r&eacute;alisais un r&eacute;pertoire de pictogrammes exprimant l&#39;essentiel physique de ces lieux, comme des sortes de sous-titres. Et je produisais des &oelig;uvres &agrave; partir de ce r&eacute;pertoire. &Ccedil;a pouvait &ecirc;tre une campagne d&#39;affichage sur les panneaux publicitaires d&#39;une ville, des assiettes souvenir, des bibelots touristiques ou un syndicat d&#39;initiative fictif, par exemple.</p><p>&Ccedil;a a dur&eacute; dix ann&eacute;es de voyage et de tourisme studieux. Progressivement &ccedil;a m&rsquo;a sembl&eacute; trop simpliste par rapport &agrave; la complexit&eacute; des endroits que je visitais : cette fa&ccedil;on syst&eacute;matique de poser un regard pictographique sur les lieux avait tendance &agrave; affaiblir leur sp&eacute;cificit&eacute;, ne leur rendait pas vraiment justice. La lecture de la th&eacute;orie de la traduction et la distinction entre traduction cibliste et sourci&egrave;re m&rsquo;a mise devant les limites de mon approche.</p><p>Alors j&#39;ai d&eacute;cid&eacute; de faire une pose d&rsquo;une ann&eacute;e et je me suis inscrite &agrave; Paris 8 pour me donner un outillage th&eacute;orique pour repartir.</p><p>&nbsp;</p><p><em>... ?</em></p><p><em>&nbsp;</em></p><p>Quand on fait une traduction soit en favorise les lecteurs, c&#39;est le choix cibliste qu&rsquo;on assimile parfois &agrave; une colonisation du texte d&rsquo;origine. Soit on privil&eacute;gie la source, quitte &agrave; rendre perplexe le lecteur : c&#39;est la traduction sourci&egrave;re. Cette th&eacute;orie m&#39;a permis de remettre en cause radicalement ma fa&ccedil;on r&eacute;solument cibliste de proc&eacute;der. La lisibilit&eacute; privil&eacute;gi&eacute;e par la voie cibliste produit un &eacute;loignement de la source, un formatage. En suivant cette voie, au lieu de rendre hommage &agrave; ces lieux particuliers que j&#39;affectionne, je participais &agrave; l&#39;aplatissement de leur sp&eacute;cificit&eacute;.<br>J&#39;ai pris conscience qu&#39;il y avait dans cette pratique une id&eacute;ologie, &agrave; l&#39;&oelig;uvre malgr&eacute; moi, qui ne correspondait pas aux valeurs auxquelles je pensais adh&eacute;rer.</p><p>&nbsp;</p><p>C&#39;&eacute;tait &ccedil;a que j&#39;&eacute;tais venu chercher &agrave; la fac et aussi une &eacute;tape ultime d&#39;apprentissage de cette langue fran&ccedil;aise, qui n&#39;est pas la mienne et qui m&#39;&eacute;chappe toujours, pour pouvoir int&eacute;grer l&#39;&eacute;criture dans mon travail. Si je tiens &agrave; &eacute;crire en fran&ccedil;ais c&rsquo;est parce que je vis en France. Avec l&#39;id&eacute;e que le travail visuel pouvait &ecirc;tre am&eacute;lior&eacute;, devait &ecirc;tre complexifi&eacute; par une couche de lecture.</p><p>&nbsp;</p><p>&Agrave; Paris 8 j&#39;ai travaill&eacute; sur &quot;Fish Story&quot; d&#39;Allan Sekula, une &oelig;uvre tr&egrave;s repr&eacute;sentative de la pratique vers laquelle je voulais aller. Sekula utilise de fa&ccedil;on exemplaire textes et images en champ contre-champ pour &eacute;tudier le transport maritime et permettre une compr&eacute;hension fine du contexte politique. R&eacute;alis&eacute;e &agrave; partir de 1989, c&rsquo;est une &oelig;uvre qui marque une rupture avec sa pratique d&rsquo;avant de Marxiste engag&eacute; ayant une &eacute;criture militante. Il se renouvelle, cherchant une mani&egrave;re d&eacute;tourn&eacute;e de poursuivre la lutte des classes &agrave; l&rsquo;&egrave;re post-communiste, tout en int&eacute;grant l&rsquo;essor de la politique identitaire.</p><p>&nbsp;</p><p>En parall&egrave;le de ce travail en direction du texte j&#39;ai commenc&eacute; &agrave; construire une nouvelle &eacute;criture visuelle en utilisant des &eacute;l&eacute;ments du monde pour le projet sp&eacute;cifique de cette ann&eacute;e l&agrave; :&quot;Cartographie d&rsquo;une ann&eacute;e sans voyage&quot;. On y trouve notamment des extraits de correspondance administrative li&eacute;e &agrave; ma naturalisation et des anecdotes sur l&rsquo;occupation de Paris 8 par des exil&eacute;s.</p><p>&nbsp;</p><p>Le journal que j&#39;envoie dans les boites mails prolonge cette &eacute;criture visuelle et textuelle. Je l&rsquo;ai commenc&eacute; avec les gilets jaunes en cherchant des traces de conflit dans la rue, mais aussi en r&eacute;fl&eacute;chissant autour des nouvelles pratiques inadmissibles de surveillance, genre &quot;&eacute;valuez votre livreur&quot;. On demande constamment &agrave; chacun de nous de fliquer ceux qui nous fournissent des services. Dans ce premier journal j&#39;ai mis en parall&egrave;le ces transformations profondes des rapports entre les consommateurs et les travailleurs avec les tensions sociales dont t&eacute;moignaient les manifestations des gilets jaunes. Ensuite le Covid est arriv&eacute; et c&#39;est devenu mon journal confin&eacute;.</p><p>&nbsp;</p><p><em>Avec le journal ce sont aussi des mots qui arrivent dans tes &oelig;uvres ?</em></p><p>&nbsp;</p><p>Au d&eacute;but les mots &eacute;taient absents de ma pratique artistique puis ils sont mont&eacute;s progressivement dans l&#39;entourage de mes tableaux alors qu&#39;ils &eacute;taient d&eacute;j&agrave;, par ailleurs extr&ecirc;mement pr&eacute;sents dans mes activit&eacute;s d&rsquo;enseignement d&rsquo;anglais, de traduction et de sous titrage. Dans mon cheminement actuel il y a une unit&eacute; de mes activit&eacute;s qui se construit. Le travail des mots qui &eacute;tait alimentaire devient partie int&eacute;grante de mon travail artistique.</p><p>Ce &laquo;&nbsp;tournant narratif&nbsp;&raquo; remonte &agrave; mes origines australiennes, pays dans lequel toute culture &eacute;litiste est extr&ecirc;mement suspecte. Tr&egrave;s peu d&#39;artistes visuels y ont une reconnaissance dans l&#39;espace public culturel. La seule forme culturelle qui soit admise au sein de la culture populaire c&#39;est raconter des histoires.</p><p>La cohabitation texte image est la forme narrative vers laquelle je vais maintenant. J&#39;ai d&eacute;but&eacute; par la peinture abstraite, poursuivi vers un d&eacute;tournement de la communication (des logos, panneaux indicateurs, des slogans publicitaires etc.) et maintenant vais vers un langage au service d&#39;un regard sur le monde.</p><p>&nbsp;</p><p><em>Et ton site internet ?</em></p><p>&nbsp;</p><p>Suite &agrave; mon ann&eacute;e universitaire, je l&rsquo;ai refond&eacute; afin qu&#39;il devienne moins pr&eacute;visible, un parcours avec des embuches. J&#39;ai rajout&eacute; des fonctionnalit&eacute;s un peu d&eacute;cal&eacute;es. Par exemple des propositions de d&eacute;tour surgissent dans les diaporamas. On est en train de regarder des peintures ou autre et une carte D&eacute;tour surgit, si on clique on se retrouve sur une autre page avec des images, des bribes de texte, tout &ccedil;a pas tr&egrave;s coh&eacute;rent, une sorte d&#39;ambiance o&ugrave; on avance, et puis &agrave; un moment donn&eacute; on se retrouve propuls&eacute; ailleurs dans le site. Les d&eacute;tours sont des moments d&#39;absurdit&eacute; qui viennent d&eacute;r&eacute;gler la visite de mes archives.</p><p>Il y a aussi Oracle une sorte de jeu de carte &eacute;lectronique avec tirage al&eacute;atoire qui formule des proph&eacute;ties, des bouts d&#39;analyse complotistes, ce genre de choses. &Ccedil;a ressemble &agrave; un jeu de divination mais on ne sait pas vraiment ce que c&#39;est. Je cherche &agrave; restituer l&#39;ambiance Covid, la soif de r&eacute;ponses et l&rsquo;impossibilit&eacute; d&rsquo;en avoir. L&#39;esprit d&#39;un lieu, d&#39;un temps.</p><p>&nbsp;</p><p><em>Tu as quitt&eacute; ta galerie il y a quelques ann&eacute;es ?</em></p><p><em>&nbsp;</em></p><p>La relation &eacute;tait devenue st&eacute;rile et aboutissait &agrave; un blocage mais je pouvais d&#39;autant moins lui en vouloir puisque je n&#39;&eacute;tais plus convaincue moi-m&ecirc;me de l&#39;int&eacute;r&ecirc;t de ma d&eacute;marche. J&#39;&eacute;tais d&eacute;j&agrave; dans un processus de travail o&ugrave; ma recherche fondamentale se faisait sur ordinateur, seuls quelques objets &eacute;taient r&eacute;alis&eacute;s &agrave; partir de cette recherche pour alimenter la galerie. &Agrave; une &eacute;poque, je proposais des tableaux &agrave; choisir sur catalogue : ils &eacute;taient r&eacute;alis&eacute;s seulement s&#39;ils &eacute;taient achet&eacute;s. Plus tard, j&rsquo;annon&ccedil;ais que les tableaux seraient d&eacute;truits au bout de cinq ans si ils n&rsquo;avaient pas trouv&eacute; preneur. C&#39;&eacute;tait une fa&ccedil;on de</p><p>d&eacute;pouiller totalement l&#39;&oelig;uvre de son aura. Peut-&ecirc;tre que c&#39;est pour cela que les collectionneurs n&#39;en ont pas voulu ? Maintenant je ne fais presque plus d&#39;objets interm&eacute;diaires comme des tableaux, des photos encadr&eacute;es ou autres. Il n&#39;y a plus grande chose entre le PDF et l&#39;&oelig;uvre monumentale que je cr&eacute;e dans le cadre du 1% artistique. Avec les commandes publiques, je propose un projet qui n&#39;est r&eacute;alis&eacute; que s&#39;il remporte le concours. Dans un premier temps, l&rsquo;&oelig;uvre est une fiction. Les r&eacute;pertoires cr&eacute;&eacute;s pendant les p&eacute;riodes de recherche s&rsquo;adaptent &agrave; un contexte, aux usagers. Si le projet est r&eacute;alis&eacute;, les images sortent de l&rsquo;ordinateur et prennent vie dans l&rsquo;espace public. Et puis, ces commandes me font vivre, permettant d&rsquo;autres cycles de recherche.</p><p>&nbsp;</p><p><em>Le chemin qui est devant toi comment l&#39;imagines tu ?</em></p><p><em>&nbsp;</em></p><p>J&#39;ai tr&egrave;s peu de visibilit&eacute;, je suis en suspension dans ce monde covid&eacute; qui attend de voir ce qu&#39;il va devenir. Depuis cinq ans je sens que je suis en mouvement vers quelque chose mais je ne sais pas quoi. J&#39;ai d&eacute;gag&eacute; une m&eacute;thode qui doit trouver une forme p&eacute;renne, dans des publications ou ailleurs. Je suis peut-&ecirc;tre devenue &agrave; moiti&eacute; sourci&egrave;re. Champ contre-champ, image texte, raconter des histoires. Depuis un an, le dialogue avec le public dans des centres d&rsquo;art me manque. J&rsquo;ai soif d&rsquo;exposer &agrave; nouveau.</p><p>&nbsp;</p><p>&nbsp;</p>',	'INTERVIEW, REVUE-BANCAL.FR',	'PIERRE RABARDEL',	'INTERVIEW, REVUE-BANCAL.FR, 2020',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'interview-pierre-rabardel-2020',	'interview-pierre-rabardel-2020',	'',	'',	'2021-06-29 11:37:30',	NULL,	'2021-06-29 11:37:30',	'2023-10-30 19:37:12',	'',	0,	'https://www.heidiwood.net/?post_type=doc_article&#038;p=8071',	0,	'doc_article',	'doc_article',	'',	0),
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(9830,	NULL,	6,	NULL,	NULL,	NULL,	3,	'2018-10-15 12:12:39',	'2018-10-15 12:12:39',	'<p><strong>Le principe fondamental et partag&eacute; de la programmation anniversaire des 30 ans&nbsp;des FRAC est de demander &agrave; un artiste de cr&eacute;er un dispositif in&eacute;dit de diffusion d&rsquo;&oelig;uvres de la collection. Comment as-tu r&eacute;pondu &agrave; cette invitation&nbsp;?</strong> &nbsp; J&rsquo;ai depuis longtemps l&rsquo;envie de mettre en sc&egrave;ne des &oelig;uvres des autres, comme je l&rsquo;ai fait avec mes propres tableaux abstraits d&egrave;s ma premi&egrave;re s&eacute;rie photographique <em>Serving Suggestions</em>. Mais si je me permets de malmener mes propres &oelig;uvres en soulignant le devenir d&eacute;coratif de la peinture abstraite, il est plus compliqu&eacute; de le faire avec des &oelig;uvres qui ont des pr&eacute;occupations toutes autres. Ici, je me suis donn&eacute; le r&ocirc;le de commissaire d&rsquo;exposition dont les regroupements associent une &oelig;uvre physiquement pr&eacute;sente avec deux autres &eacute;voqu&eacute;es par des silhouettes peintes sur le mur. C&rsquo;est le fonctionnement du FRAC qui m&rsquo;a int&eacute;ress&eacute;e dont un des modes d&rsquo;action remarquables, tant en mati&egrave;re de diffusion que de m&eacute;diation consiste &agrave; associer ses diff&eacute;rentes &oelig;uvres afin de d&eacute;gager des pistes de lecture, des th&eacute;matiques communes, des oppositions, des rapprochements formels&hellip; &nbsp; <strong>Dans ton travail en cours <em>Mus&eacute;es du monde,</em> tu te concentres, pour les dessiner, sur des objets constitutifs des collections de mus&eacute;es d&rsquo;histoire, de science ou de civilisation. Quel regard portes-tu sur ces objets ?</strong><strong>&nbsp;</strong> Le projet <em>Mus&eacute;es du monde</em> est consacr&eacute; &agrave; toutes sortes d&rsquo;objets&nbsp;trouv&eacute;s dans un mus&eacute;e &agrave; l&rsquo;exception des &oelig;uvres d&rsquo;art. Ceux que je retrouve dans beaucoup de villes sont des uniformes et des armes militaires, des troph&eacute;es de chasse, des f&oelig;tus humains en bocal et des outils agricoles primitifs. En faisant un inventaire subjectif en dessin de ce qu&rsquo;une ville choisit de conserver pour les g&eacute;n&eacute;rations futures, je cherche &agrave; voir si un portrait de cette ville se d&eacute;gage de l&rsquo;accumulation d&rsquo;objets. C&rsquo;est un prolongement de mon travail sur les pictogrammes qui d&eacute;cantent l&rsquo;identit&eacute; visuelle d&rsquo;un lieu choisi. &nbsp; <strong>Quelle est ton approche des &oelig;uvres contemporaines autres que les tiennes&nbsp;? Quel type d&rsquo;int&eacute;r&ecirc;t peuvent-elles susciter en toi&nbsp;? Quels crit&egrave;res d&rsquo;appr&eacute;hension retiens-tu&nbsp;? Les &eacute;values-tu en relation ou ind&eacute;pendamment de ta propre d&eacute;marche artistique&nbsp;?</strong><strong>&nbsp;</strong> Je suis &eacute;mue devant des &oelig;uvres aussi diverses que les photographies des Becher, les aquarelles de Walton Ford ou les installations picturales de Kara Walker. Mais je pense que tout artiste qui consacre sa vie &agrave; la cr&eacute;ation d&rsquo;un univers ne peut pas s&rsquo;emp&ecirc;cher d&rsquo;en chercher les &eacute;chos dans les &oelig;uvres des autres. Par exemple, quand je travaillais sur les parall&egrave;les entre le mod&egrave;le &eacute;conomique de l&rsquo;entreprise et les pratiques artistiques, je m&rsquo;int&eacute;ressais &agrave; Jeff Koons et Damien Hirst, moins pour leur valeur esth&eacute;tique que pour leur valeur marchande et leurs m&eacute;thodes de production. J&rsquo;aime l&rsquo;abstraction g&eacute;om&eacute;trique moderne et ses manifestations contemporaines. Je pense, par exemple, &agrave; St&eacute;phane Dafflon et Francis Baudevin. Mon int&eacute;r&ecirc;t pour les formes g&eacute;n&eacute;riques de l&rsquo;architecture moderne trouve un reflet dans le travail de Didier Marcel, Nicolas Moulin, Karina Bisch &agrave; ses d&eacute;buts ou Callum Morton. Ma pratique consiste &agrave; creuser l&rsquo;identit&eacute; visuelle d&rsquo;un lieu&nbsp;donc j&rsquo;appr&eacute;cie aussi la d&eacute;marche de Kristina Solomoukha. Le visuel est, pour moi, la porte d&rsquo;entr&eacute;e d&eacute;mocratique &agrave; toute &oelig;uvre. Les couches de signification sont plus ou moins accessibles ensuite. Je ne suis pas sensible aux &oelig;uvres qui sont exclusivement conceptuelles. Je ne suis pas non plus attir&eacute;e par les d&eacute;bordements de mati&egrave;re ou les d&eacute;lires baroques. On s&rsquo;en doute en regardant mon travail. &nbsp; <strong>Le &laquo;&nbsp;Baroque&nbsp;&raquo; peut s&rsquo;entendre comme une esth&eacute;tique de la conjugaison formelle d&rsquo;&eacute;lans contraires. Ta peinture n&rsquo;est certes pas baroque, mais tu sembles articuler dans ton &oelig;uvre des sources et des aspirations &eacute;parses : histoire de la peinture et communication visuelle, abstraction g&eacute;om&eacute;trique et kitsch, mus&eacute;e et int&eacute;rieur domestique, grand art et culture populaire, syst&egrave;me de l&rsquo;art contemporain et tourisme&hellip; Quelle a &eacute;t&eacute; la gen&egrave;se de ce positionnement artistique&nbsp;?</strong><strong>&nbsp;</strong> Il y a eu des strates d&rsquo;influence dans mon travail qui sont, chronologiquement, le dessin acad&eacute;mique de ma formation initiale en Australie, la peinture g&eacute;om&eacute;trique abstraite, les images publicitaires, le fonctionnement &eacute;conomique de l&rsquo;entreprise appliqu&eacute; &agrave; la production artistique, puis, actuellement, les strat&eacute;gies de la promotion touristique. &nbsp; En sortant des beaux-arts de Paris, je concevais ma peinture comme un inventaire des formes g&eacute;n&eacute;riques du modernisme. Puis j&rsquo;ai commenc&eacute; &agrave; mettre en sc&egrave;ne ces tableaux dans des d&eacute;cors domestiques fabriqu&eacute;s de toutes pi&egrave;ces, singeant les strat&eacute;gies promotionnelles des fabricants de meubles. Je me donnais une double mission&nbsp;: creuser la question de la filiation avec les arts appliqu&eacute;s mais aussi activer v&eacute;ritablement les ressorts de la publicit&eacute; &ndash; valoriser mon &oelig;uvre en la juxtaposant aux classiques du design&nbsp;et aider un collectionneur potentiel &agrave; projeter mon &oelig;uvre chez lui. &nbsp; Ma s&eacute;rie <em>Serving Suggestions</em> a suscit&eacute; des invitations de la part d&rsquo;organismes d&eacute;sireux de me voir appliquer le m&ecirc;me proc&eacute;d&eacute; &agrave; leurs int&eacute;rieurs. Est ainsi venu le temps de la r&eacute;alisation de tableaux con&ccedil;us pour s&rsquo;inscrire dans un d&eacute;cor donn&eacute;. Il y a eu un flottement int&eacute;ressant sur l&rsquo;identification de l&rsquo;objet de la promotion&nbsp;: &eacute;tait-ce le tableau ou l&rsquo;institution/entreprise repr&eacute;sent&eacute;e&nbsp;? J&rsquo;ai produit une montagne de tableaux, &agrave; cette p&eacute;riode, qui me restaient sur les bras comme des accessoires encombrants. Le co&ucirc;t &eacute;lev&eacute; des prises de vue avec un photographe professionnel et son &eacute;clairage m&rsquo;obligeait &agrave; trouver des financements en amont pour chaque s&eacute;rie. Le num&eacute;rique et la lumi&egrave;re naturelle s&rsquo;imposaient. Je me suis initi&eacute;e &agrave; Photoshop et je suis partie en r&eacute;sidence &agrave; Los Angeles. &nbsp; Ces trois mois pass&eacute;s &agrave; Los Angeles en 2004 ont marqu&eacute; un tournant dans mon travail. Pour la premi&egrave;re fois, le contexte &eacute;conomique et culturel du lieu que j&rsquo;infiltrais d&eacute;terminait le medium des &oelig;uvres. J&rsquo;ai r&eacute;alis&eacute; les photos de paysages urbains dans lesquels j&rsquo;ai incrust&eacute; mes formes abstraites sur les panneaux publicitaires. Adoss&eacute;s &agrave; un slogan publicitaire trouv&eacute;, ces photomontages &eacute;taient envoy&eacute;s sous forme de spams &agrave; un mailing international. Comme l&rsquo;a &eacute;crit Stephen Wright &agrave; l&rsquo;&eacute;poque, je vendais des produits qui n&rsquo;existaient pas &agrave; des gens qui n&rsquo;avaient rien demand&eacute;. Cette forme d&rsquo;autopromotion agressive &eacute;tait sugg&eacute;r&eacute;e par le comportement des habitants de Los Angeles, ville de stars aspirantes. Dans cette fiction publicitaire, le produit marchand &eacute;tait une prestation. L&rsquo;&oelig;uvre d&eacute;mat&eacute;rialis&eacute;e, j&rsquo;ai pu m&rsquo;affranchir de l&rsquo;atelier et dissocier mes recherches de la fabrication d&rsquo;objets. &nbsp; Par la suite, j&rsquo;ai calqu&eacute; ma production artistique sur les m&eacute;thodes ultra-rationalis&eacute;es de l&rsquo;industrie. J&rsquo;ai cr&eacute;&eacute; des prototypes de tableaux qui devaient &ecirc;tre vendus sur plan. Mes photographies de cette p&eacute;riode avaient un double statut d&rsquo;&oelig;uvres et de supports marketing car elles mettaient en sc&egrave;ne des tableaux virtuels disponibles &agrave; la demande. J&rsquo;ai annonc&eacute; lors de mon exposition <em>Date limite de consommation</em> (galerie Anne Barrault, Paris) que tout tableau invendu serait d&eacute;truit au bout de cinq ans. Un catalogue num&eacute;rique de &laquo;&nbsp;cadavres&nbsp;&raquo; me permettrait de r&eacute;activer ces tableaux sous d&rsquo;autres formes &agrave; une date ult&eacute;rieure. Je permettais au march&eacute; de d&eacute;terminer le droit d&rsquo;exister de mes tableaux. C&rsquo;&eacute;tait fin 2008, le trimestre du plus fort recul &eacute;conomique depuis la grande crise des ann&eacute;es 30. &nbsp; N&rsquo;ayant pas d&rsquo;atelier, j&rsquo;ai fait plusieurs r&eacute;sidences d&rsquo;artiste&nbsp;: Budapest, Santa Fe, Meymac, Br&ecirc;me. A chaque fois la ville elle-m&ecirc;me &eacute;tait le sujet de mes recherches. Je commen&ccedil;ais toujours par cr&eacute;er un r&eacute;pertoire de pictogrammes cens&eacute; d&eacute;canter l&rsquo;essentiel du lieu. Puis je laissais le contexte d&eacute;terminer la mat&eacute;rialit&eacute; des &oelig;uvres&nbsp;: assiettes souvenirs avec paysages industriels en bleu Delft &agrave; Br&ecirc;me, collages en feutrine de poup&eacute;es <em>Kachina</em> &agrave; Santa Fe, etc. La charge promotionnelle, voire commerciale des pictogrammes que je cr&eacute;ais de par leur proximit&eacute; avec des logos, m&rsquo;incitait &agrave; voir chaque r&eacute;sidence comme une campagne promotionnelle pour la ville. Je con&ccedil;ois les expositions d&eacute;sormais comme des stands de foire ou des syndicats d&rsquo;initiative qui pr&eacute;senteraient une vision synth&eacute;tique et valorisante du lieu (parfois une grande capitale, parfois une banlieue ingrate). Le tableau est d&eacute;sormais un &eacute;l&eacute;ment parmi d&rsquo;autres composant les environnements que je produis. &nbsp; <strong>L&rsquo;ensemble de ton &oelig;uvre s&rsquo;enracine dans une histoire de la peinture. Que gardes-tu de la peinture ou, selon les points de vue, qu&rsquo;apportes-tu &agrave; la peinture, lorsque tu recours &agrave; des technicit&eacute;s autres (fichier num&eacute;rique, films adh&eacute;sifs, s&eacute;rigraphie industrielle&hellip;), lorsque tu choisis d&rsquo;autres supports que la toile tendue sur ch&acirc;ssis (internet, assiettes en fa&iuml;ence, panneaux routiers, banni&egrave;res, objets divers, murs&hellip;), lorsque, enfin, comme c&rsquo;est le cas pour les commandes publiques auxquelles tu as acc&egrave;s et pour <em>Apparitions collectives</em>, le dispositif que tu as imagin&eacute; pour nous dans le cadre des <em>Pl&eacute;iades &ndash; 30 ans des FRAC</em>, tu d&eacute;l&egrave;gues la r&eacute;alisation de l&rsquo;&oelig;uvre&nbsp;?</strong> &nbsp; Toute ma d&eacute;marche est enracin&eacute;e dans l&rsquo;instrumentalisation du langage visuel de la peinture abstraite de Malevitch et Mondrian qui a &eacute;t&eacute; vid&eacute; de ses aspirations m&eacute;taphysiques et r&eacute;volutionnaires pour fournir des motifs pour les rideaux et les robes. En tombant dans le domaine public, ce langage a &eacute;t&eacute; domestiqu&eacute;. Ses mutations sont riches. Elles g&eacute;n&egrave;rent les produits d&eacute;riv&eacute;s que je d&eacute;ploie dans mes expositions. &nbsp; D&eacute;l&eacute;guer ou r&eacute;aliser moi-m&ecirc;me est une d&eacute;cision qui na&icirc;t du contexte de chaque projet. Je d&eacute;l&egrave;gue lorsque je recherche une facture industrielle comme des panneaux routiers ou des plaques en &eacute;mail, par exemple. D&rsquo;habitude, je r&eacute;alise moi-m&ecirc;me mes peintures murales. Pour ce projet, la possibilit&eacute; d&rsquo;impliquer pleinement les partenaires faisait que c&rsquo;&eacute;tait plus int&eacute;ressant de leur demander de le faire. &nbsp; <strong>Ton &oelig;uvre en g&eacute;n&eacute;ral et <em>Apparitions collectives</em> en particulier, m&rsquo;incitent &agrave; te demander de pr&eacute;ciser ta position par rapport &agrave; la notion &laquo;&nbsp;d&rsquo;aura&nbsp;&raquo; de l&rsquo;&oelig;uvre d&rsquo;art originale telle que th&eacute;oris&eacute;e par Walter Benjamin dans les ann&eacute;es 1930, au d&eacute;but de ce qu&rsquo;il a per&ccedil;u comme l&rsquo;&eacute;poque de sa &laquo;&nbsp;reproductibilit&eacute; technique&nbsp;&raquo;.&nbsp;</strong><strong>La question de l&rsquo;originalit&eacute; au sens de &laquo;&nbsp;singularit&eacute;&nbsp;&raquo; est aussi intimement li&eacute;e aux avant-gardes de la premi&egrave;re moiti&eacute; du d&eacute;but du XXe si&egrave;cle envisag&eacute;es comme des op&eacute;ratrices de ruptures historiques et des g&eacute;n&eacute;ratrices d&rsquo;innovations spontan&eacute;es.&nbsp;</strong><strong>Les imp&eacute;ratifs d&rsquo;authenticit&eacute; et de singularit&eacute; sont, depuis les ann&eacute;es 1980, remis en cause par les artistes qualifi&eacute;s de post-modernes. Ta d&eacute;marche artistique n&rsquo;est pas &eacute;trang&egrave;re aux strat&eacute;gies de citation, de duplication, de r&eacute;f&eacute;rencement, d&rsquo;appropriation, de mixage, adopt&eacute;es par nombre d&rsquo;artistes aussi divers que Sherrie Levine, Philippe Parreno, Etienne Bossut, Pierre Huyghe, Jim Isermann, Franck Eon ou Francis Baudevin pour ne mentionner que quelques artistes pr&eacute;sents dans notre collection. Ces strat&eacute;gies dont la tienne sont-elles des alternatives &agrave; la vanit&eacute; et &agrave; l&rsquo;&eacute;go&nbsp;de l&rsquo;artiste inspir&eacute;&nbsp;? Des d&eacute;nonciations du consum&eacute;risme g&eacute;n&eacute;ralis&eacute;&nbsp;? Un repositionnement face au d&eacute;placement depuis le champ de l&rsquo;art vers celui du spectacle g&eacute;n&eacute;ralis&eacute; des forces de narration, de divertissement ou de sid&eacute;ration ?&nbsp;</strong><strong>&nbsp;</strong> Walter Benjamin &eacute;crivait &agrave; une &eacute;poque o&ugrave; il constatait une fracture de la perception li&eacute;e &agrave; la l&rsquo;&eacute;mergence de la photographie et du cin&eacute;ma. Il interrogeait les cons&eacute;quences des reproductions sur les &oelig;uvres, ainsi sorties de leurs contextes et lib&eacute;r&eacute;es du statut d&rsquo;objets de culte. La banalisation de l&rsquo;image s&rsquo;est poursuivie avec la t&eacute;l&eacute;vision, l&rsquo;internet et les r&eacute;seaux sociaux. &nbsp; Je prends acte de cette banalisation et cela g&eacute;n&egrave;re les strat&eacute;gies que tu d&eacute;cris. Je ne crois pas &agrave; l&rsquo;&oelig;uvre charismatique qui doit &ecirc;tre vue en vrai pour d&eacute;gager son aura. J&rsquo;ai &eacute;t&eacute; initi&eacute;e &agrave; l&rsquo;art moderne par les reproductions et j&rsquo;ai pu aller jusqu&rsquo;&agrave; d&eacute;cider d&rsquo;exposer les reproductions photographiques de mes tableaux install&eacute;s plut&ocirc;t que ma peinture elle-m&ecirc;me. La reproduction est aussi pour moi un moyen de garder la trace d&rsquo;une &oelig;uvre d&eacute;truite pour qu&rsquo;elle puisse rena&icirc;tre, peut-&ecirc;tre sous une forme modifi&eacute;e, dans d&rsquo;autres contextes. Son authenticit&eacute;, sa singularit&eacute; d&eacute;pendent de cette adaptation. &nbsp; De toute &eacute;vidence, nous ne sommes plus dans l&rsquo;exaltation des modernes, avec leurs tables rases &agrave; r&eacute;p&eacute;tition. Le r&ocirc;le de l&rsquo;artiste-shaman, tenu par Joseph Beuys, est aussi d&eacute;pass&eacute;. Une amie m&rsquo;a racont&eacute; sa rencontre avec un artiste invit&eacute; quand elle &eacute;tait &eacute;l&egrave;ve &agrave; Goldsmiths &agrave; Londres. Il lui disait que les couleurs de ses tableaux &eacute;taient &laquo;&nbsp;tr&egrave;s ann&eacute;es 80&nbsp;&raquo;. Pour qu&rsquo;elle s&rsquo;impr&egrave;gne des couleurs de son &eacute;poque, il lui conseillait de regarder les baskets que portaient les jeunes. C&rsquo;est une anecdote qui dit beaucoup sur le statut des &oelig;uvres aujourd&rsquo;hui (&eacute;gal, voire inf&eacute;rieur, &agrave; celui des biens de consommation) et sur ce qu&rsquo;on attend des artistes&nbsp;: refl&eacute;ter le monde, pas en proposer un meilleur. Comme beaucoup d&rsquo;artistes de ma g&eacute;n&eacute;ration, &ccedil;a ne me viendrait pas &agrave; l&rsquo;id&eacute;e de d&eacute;noncer le fonctionnement du monde. Je le regarde simplement, en s&eacute;lectionnant mes sources d&rsquo;information. Mes &oelig;uvres sont les produits d&eacute;riv&eacute;s de ma qu&ecirc;te de le comprendre. &nbsp; &nbsp; <strong>&nbsp;</strong><strong>Heidi WOOD, entretien avec Alexandre BOHN, mars - avril 2013.&nbsp;</strong></p>',	'<p><strong>Le principe fondamental et partag&eacute; de la programmation anniversaire des 30 ans&nbsp;des FRAC est de demander &agrave; un artiste de cr&eacute;er un dispositif in&eacute;dit de diffusion d&rsquo;&oelig;uvres de la collection. Comment as-tu r&eacute;pondu &agrave; cette invitation&nbsp;?</strong></p><p>&nbsp;</p><p>J&rsquo;ai depuis longtemps l&rsquo;envie de mettre en sc&egrave;ne des &oelig;uvres des autres, comme je l&rsquo;ai fait avec mes propres tableaux abstraits d&egrave;s ma premi&egrave;re s&eacute;rie photographique <em>Serving Suggestions</em>. Mais si je me permets de malmener mes propres &oelig;uvres en soulignant le devenir d&eacute;coratif de la peinture abstraite, il est plus compliqu&eacute; de le faire avec des &oelig;uvres qui ont des pr&eacute;occupations toutes autres. Ici, je me suis donn&eacute; le r&ocirc;le de commissaire d&rsquo;exposition dont les regroupements associent une &oelig;uvre physiquement pr&eacute;sente avec deux autres &eacute;voqu&eacute;es par des silhouettes peintes sur le mur. C&rsquo;est le fonctionnement du FRAC qui m&rsquo;a int&eacute;ress&eacute;e dont un des modes d&rsquo;action remarquables, tant en mati&egrave;re de diffusion que de m&eacute;diation consiste &agrave; associer ses diff&eacute;rentes &oelig;uvres afin de d&eacute;gager des pistes de lecture, des th&eacute;matiques communes, des oppositions, des rapprochements formels&hellip;</p><p>&nbsp;</p><p><strong>Dans ton travail en cours <em>Mus&eacute;es du monde,</em> tu te concentres, pour les dessiner, sur des objets constitutifs des collections de mus&eacute;es d&rsquo;histoire, de science ou de civilisation. Quel regard portes-tu sur ces objets ?</strong></p><p><strong>&nbsp;</strong></p><p>Le projet <em>Mus&eacute;es du monde</em> est consacr&eacute; &agrave; toutes sortes d&rsquo;objets&nbsp;trouv&eacute;s dans un mus&eacute;e &agrave; l&rsquo;exception des &oelig;uvres d&rsquo;art. Ceux que je retrouve dans beaucoup de villes sont des uniformes et des armes militaires, des troph&eacute;es de chasse, des f&oelig;tus humains en bocal et des outils agricoles primitifs. En faisant un inventaire subjectif en dessin de ce qu&rsquo;une ville choisit de conserver pour les g&eacute;n&eacute;rations futures, je cherche &agrave; voir si un portrait de cette ville se d&eacute;gage de l&rsquo;accumulation d&rsquo;objets. C&rsquo;est un prolongement de mon travail sur les pictogrammes qui d&eacute;cantent l&rsquo;identit&eacute; visuelle d&rsquo;un lieu choisi.</p><p>&nbsp;</p><p><strong>Quelle est ton approche des &oelig;uvres contemporaines autres que les tiennes&nbsp;? Quel type d&rsquo;int&eacute;r&ecirc;t peuvent-elles susciter en toi&nbsp;? Quels crit&egrave;res d&rsquo;appr&eacute;hension retiens-tu&nbsp;? Les &eacute;values-tu en relation ou ind&eacute;pendamment de ta propre d&eacute;marche artistique&nbsp;?</strong></p><p><strong>&nbsp;</strong></p><p>Je suis &eacute;mue devant des &oelig;uvres aussi diverses que les photographies des Becher, les aquarelles de Walton Ford ou les installations picturales de Kara Walker. Mais je pense que tout artiste qui consacre sa vie &agrave; la cr&eacute;ation d&rsquo;un univers ne peut pas s&rsquo;emp&ecirc;cher d&rsquo;en chercher les &eacute;chos dans les &oelig;uvres des autres. Par exemple, quand je travaillais sur les parall&egrave;les entre le mod&egrave;le &eacute;conomique de l&rsquo;entreprise et les pratiques artistiques, je m&rsquo;int&eacute;ressais &agrave; Jeff Koons et Damien Hirst, moins pour leur valeur esth&eacute;tique que pour leur valeur marchande et leurs m&eacute;thodes de production. J&rsquo;aime l&rsquo;abstraction g&eacute;om&eacute;trique moderne et ses manifestations contemporaines. Je pense, par exemple, &agrave; St&eacute;phane Dafflon et Francis Baudevin.</p><p>Mon int&eacute;r&ecirc;t pour les formes g&eacute;n&eacute;riques de l&rsquo;architecture moderne trouve un reflet dans le travail de Didier Marcel, Nicolas Moulin, Karina Bisch &agrave; ses d&eacute;buts ou Callum Morton. Ma pratique consiste &agrave; creuser l&rsquo;identit&eacute; visuelle d&rsquo;un lieu&nbsp;donc j&rsquo;appr&eacute;cie aussi la d&eacute;marche de Kristina Solomoukha. Le visuel est, pour moi, la porte d&rsquo;entr&eacute;e d&eacute;mocratique &agrave; toute &oelig;uvre. Les couches de signification sont plus ou moins accessibles ensuite. Je ne suis pas sensible aux &oelig;uvres qui sont exclusivement conceptuelles. Je ne suis pas non plus attir&eacute;e par les d&eacute;bordements de mati&egrave;re ou les d&eacute;lires baroques. On s&rsquo;en doute en regardant mon travail.</p><p>&nbsp;</p><p><strong>Le &laquo;&nbsp;Baroque&nbsp;&raquo; peut s&rsquo;entendre comme une esth&eacute;tique de la conjugaison formelle d&rsquo;&eacute;lans contraires. Ta peinture n&rsquo;est certes pas baroque, mais tu sembles articuler dans ton &oelig;uvre des sources et des aspirations &eacute;parses : histoire de la peinture et communication visuelle, abstraction g&eacute;om&eacute;trique et kitsch, mus&eacute;e et int&eacute;rieur domestique, grand art et culture populaire, syst&egrave;me de l&rsquo;art contemporain et tourisme&hellip; Quelle a &eacute;t&eacute; la gen&egrave;se de ce positionnement artistique&nbsp;?</strong></p><p><strong>&nbsp;</strong></p><p>Il y a eu des strates d&rsquo;influence dans mon travail qui sont, chronologiquement, le dessin acad&eacute;mique de ma formation initiale en Australie, la peinture g&eacute;om&eacute;trique abstraite, les images publicitaires, le fonctionnement &eacute;conomique de l&rsquo;entreprise appliqu&eacute; &agrave; la production artistique, puis, actuellement, les strat&eacute;gies de la promotion touristique.</p><p>&nbsp;</p><p>En sortant des beaux-arts de Paris, je concevais ma peinture comme un inventaire des formes g&eacute;n&eacute;riques du modernisme. Puis j&rsquo;ai commenc&eacute; &agrave; mettre en sc&egrave;ne ces tableaux dans des d&eacute;cors domestiques fabriqu&eacute;s de toutes pi&egrave;ces, singeant les strat&eacute;gies promotionnelles des fabricants de meubles. Je me donnais une double mission&nbsp;: creuser la question de la filiation avec les arts appliqu&eacute;s mais aussi activer v&eacute;ritablement les ressorts de la publicit&eacute; &ndash; valoriser mon &oelig;uvre en la juxtaposant aux classiques du design&nbsp;et aider un collectionneur potentiel &agrave; projeter mon &oelig;uvre chez lui.</p><p>&nbsp;</p><p>Ma s&eacute;rie <em>Serving Suggestions</em> a suscit&eacute; des invitations de la part d&rsquo;organismes d&eacute;sireux de me voir appliquer le m&ecirc;me proc&eacute;d&eacute; &agrave; leurs int&eacute;rieurs. Est ainsi venu le temps de la r&eacute;alisation de tableaux con&ccedil;us pour s&rsquo;inscrire dans un d&eacute;cor donn&eacute;. Il y a eu un flottement int&eacute;ressant sur l&rsquo;identification de l&rsquo;objet de la promotion&nbsp;: &eacute;tait-ce le tableau ou l&rsquo;institution/entreprise repr&eacute;sent&eacute;e&nbsp;? J&rsquo;ai produit une montagne de tableaux, &agrave; cette p&eacute;riode, qui me restaient sur les bras comme des accessoires encombrants. Le co&ucirc;t &eacute;lev&eacute; des prises de vue avec un photographe professionnel et son &eacute;clairage m&rsquo;obligeait &agrave; trouver des financements en amont pour chaque s&eacute;rie. Le num&eacute;rique et la lumi&egrave;re naturelle s&rsquo;imposaient. Je me suis initi&eacute;e &agrave; Photoshop et je suis partie en r&eacute;sidence &agrave; Los Angeles.</p><p>&nbsp;</p><p>Ces trois mois pass&eacute;s &agrave; Los Angeles en 2004 ont marqu&eacute; un tournant dans mon travail. Pour la premi&egrave;re fois, le contexte &eacute;conomique et culturel du lieu que j&rsquo;infiltrais d&eacute;terminait le medium des &oelig;uvres. J&rsquo;ai r&eacute;alis&eacute; les photos de paysages urbains dans lesquels j&rsquo;ai incrust&eacute; mes formes abstraites sur les panneaux publicitaires. Adoss&eacute;s &agrave; un slogan publicitaire trouv&eacute;, ces photomontages &eacute;taient envoy&eacute;s sous forme de spams &agrave; un mailing international. Comme l&rsquo;a &eacute;crit Stephen Wright &agrave; l&rsquo;&eacute;poque, je vendais des produits qui n&rsquo;existaient pas &agrave; des gens qui n&rsquo;avaient rien demand&eacute;. Cette forme d&rsquo;autopromotion agressive &eacute;tait sugg&eacute;r&eacute;e par le comportement des habitants de Los Angeles, ville de stars aspirantes. Dans cette fiction publicitaire, le produit marchand &eacute;tait une prestation. L&rsquo;&oelig;uvre d&eacute;mat&eacute;rialis&eacute;e, j&rsquo;ai pu m&rsquo;affranchir de l&rsquo;atelier et dissocier mes recherches de la fabrication d&rsquo;objets.</p><p>&nbsp;</p><p>Par la suite, j&rsquo;ai calqu&eacute; ma production artistique sur les m&eacute;thodes ultra-rationalis&eacute;es de l&rsquo;industrie. J&rsquo;ai cr&eacute;&eacute; des prototypes de tableaux qui devaient &ecirc;tre vendus sur plan. Mes photographies de cette p&eacute;riode avaient un double statut d&rsquo;&oelig;uvres et de supports marketing car elles mettaient en sc&egrave;ne des tableaux virtuels disponibles &agrave; la demande. J&rsquo;ai annonc&eacute; lors de mon exposition <em>Date limite de consommation</em> (galerie Anne Barrault, Paris) que tout tableau invendu serait d&eacute;truit au bout de cinq ans. Un catalogue num&eacute;rique de &laquo;&nbsp;cadavres&nbsp;&raquo; me permettrait de r&eacute;activer ces tableaux sous d&rsquo;autres formes &agrave; une date ult&eacute;rieure. Je permettais au march&eacute; de d&eacute;terminer le droit d&rsquo;exister de mes tableaux. C&rsquo;&eacute;tait fin 2008, le trimestre du plus fort recul &eacute;conomique depuis la grande crise des ann&eacute;es 30.</p><p>&nbsp;</p><p>N&rsquo;ayant pas d&rsquo;atelier, j&rsquo;ai fait plusieurs r&eacute;sidences d&rsquo;artiste&nbsp;: Budapest, Santa Fe, Meymac, Br&ecirc;me. A chaque fois la ville elle-m&ecirc;me &eacute;tait le sujet de mes recherches. Je commen&ccedil;ais toujours par cr&eacute;er un r&eacute;pertoire de pictogrammes cens&eacute; d&eacute;canter l&rsquo;essentiel du lieu. Puis je laissais le contexte d&eacute;terminer la mat&eacute;rialit&eacute; des &oelig;uvres&nbsp;: assiettes souvenirs avec paysages industriels en bleu Delft &agrave; Br&ecirc;me, collages en feutrine de poup&eacute;es <em>Kachina</em> &agrave; Santa Fe, etc. La charge promotionnelle, voire commerciale des pictogrammes que je cr&eacute;ais de par leur proximit&eacute; avec des logos, m&rsquo;incitait &agrave; voir chaque r&eacute;sidence comme une campagne promotionnelle pour la ville. Je con&ccedil;ois les expositions d&eacute;sormais comme des stands de foire ou des syndicats d&rsquo;initiative qui pr&eacute;senteraient une vision synth&eacute;tique et valorisante du lieu (parfois une grande capitale, parfois une banlieue ingrate). Le tableau est d&eacute;sormais un &eacute;l&eacute;ment parmi d&rsquo;autres composant les environnements que je produis.</p><p>&nbsp;</p><p><strong>L&rsquo;ensemble de ton &oelig;uvre s&rsquo;enracine dans une histoire de la peinture. Que gardes-tu de la peinture ou, selon les points de vue, qu&rsquo;apportes-tu &agrave; la peinture, lorsque tu recours &agrave; des technicit&eacute;s autres (fichier num&eacute;rique, films adh&eacute;sifs, s&eacute;rigraphie industrielle&hellip;), lorsque tu choisis d&rsquo;autres supports que la toile tendue sur ch&acirc;ssis (internet, assiettes en fa&iuml;ence, panneaux routiers, banni&egrave;res, objets divers, murs&hellip;), lorsque, enfin, comme c&rsquo;est le cas pour les commandes publiques auxquelles tu as acc&egrave;s et pour <em>Apparitions collectives</em>, le dispositif que tu as imagin&eacute; pour nous dans le cadre des <em>Pl&eacute;iades &ndash; 30 ans des FRAC</em>, tu d&eacute;l&egrave;gues la r&eacute;alisation de l&rsquo;&oelig;uvre&nbsp;?</strong></p><p>&nbsp;</p><p>Toute ma d&eacute;marche est enracin&eacute;e dans l&rsquo;instrumentalisation du langage visuel de la peinture abstraite de Malevitch et Mondrian qui a &eacute;t&eacute; vid&eacute; de ses aspirations m&eacute;taphysiques et r&eacute;volutionnaires pour fournir des motifs pour les rideaux et les robes. En tombant dans le domaine public, ce langage a &eacute;t&eacute; domestiqu&eacute;. Ses mutations sont riches. Elles g&eacute;n&egrave;rent les produits d&eacute;riv&eacute;s que je d&eacute;ploie dans mes expositions.</p><p>&nbsp;</p><p>D&eacute;l&eacute;guer ou r&eacute;aliser moi-m&ecirc;me est une d&eacute;cision qui na&icirc;t du contexte de chaque projet. Je d&eacute;l&egrave;gue lorsque je recherche une facture industrielle comme des panneaux routiers ou des plaques en &eacute;mail, par exemple. D&rsquo;habitude, je r&eacute;alise moi-m&ecirc;me mes peintures murales. Pour ce projet, la possibilit&eacute; d&rsquo;impliquer pleinement les partenaires faisait que c&rsquo;&eacute;tait plus int&eacute;ressant de leur demander de le faire.</p><p>&nbsp;</p><p><strong>Ton &oelig;uvre en g&eacute;n&eacute;ral et <em>Apparitions collectives</em> en particulier, m&rsquo;incitent &agrave; te demander de pr&eacute;ciser ta position par rapport &agrave; la notion &laquo;&nbsp;d&rsquo;aura&nbsp;&raquo; de l&rsquo;&oelig;uvre d&rsquo;art originale telle que th&eacute;oris&eacute;e par Walter Benjamin dans les ann&eacute;es 1930, au d&eacute;but de ce qu&rsquo;il a per&ccedil;u comme l&rsquo;&eacute;poque de sa &laquo;&nbsp;reproductibilit&eacute; technique&nbsp;&raquo;.&nbsp;</strong></p><p><strong>La question de l&rsquo;originalit&eacute; au sens de &laquo;&nbsp;singularit&eacute;&nbsp;&raquo; est aussi intimement li&eacute;e aux avant-gardes de la premi&egrave;re moiti&eacute; du d&eacute;but du XXe si&egrave;cle envisag&eacute;es comme des op&eacute;ratrices de ruptures historiques et des g&eacute;n&eacute;ratrices d&rsquo;innovations spontan&eacute;es.&nbsp;</strong></p><p><strong>Les imp&eacute;ratifs d&rsquo;authenticit&eacute; et de singularit&eacute; sont, depuis les ann&eacute;es 1980, remis en cause par les artistes qualifi&eacute;s de post-modernes. Ta d&eacute;marche artistique n&rsquo;est pas &eacute;trang&egrave;re aux strat&eacute;gies de citation, de duplication, de r&eacute;f&eacute;rencement, d&rsquo;appropriation, de mixage, adopt&eacute;es par nombre d&rsquo;artistes aussi divers que Sherrie Levine, Philippe Parreno, Etienne Bossut, Pierre Huyghe, Jim Isermann, Franck Eon ou Francis Baudevin pour ne mentionner que quelques artistes pr&eacute;sents dans notre collection. Ces strat&eacute;gies dont la tienne sont-elles des alternatives &agrave; la vanit&eacute; et &agrave; l&rsquo;&eacute;go&nbsp;de l&rsquo;artiste inspir&eacute;&nbsp;? Des d&eacute;nonciations du consum&eacute;risme g&eacute;n&eacute;ralis&eacute;&nbsp;? Un repositionnement face au d&eacute;placement depuis le champ de l&rsquo;art vers celui du spectacle g&eacute;n&eacute;ralis&eacute; des forces de narration, de divertissement ou de sid&eacute;ration ?&nbsp;</strong></p><p><strong>&nbsp;</strong></p><p>Walter Benjamin &eacute;crivait &agrave; une &eacute;poque o&ugrave; il constatait une fracture de la perception li&eacute;e &agrave; la l&rsquo;&eacute;mergence de la photographie et du cin&eacute;ma. Il interrogeait les cons&eacute;quences des reproductions sur les &oelig;uvres, ainsi sorties de leurs contextes et lib&eacute;r&eacute;es du statut d&rsquo;objets de culte. La banalisation de l&rsquo;image s&rsquo;est poursuivie avec la t&eacute;l&eacute;vision, l&rsquo;internet et les r&eacute;seaux sociaux.</p><p>&nbsp;</p><p>Je prends acte de cette banalisation et cela g&eacute;n&egrave;re les strat&eacute;gies que tu d&eacute;cris. Je ne crois pas &agrave; l&rsquo;&oelig;uvre charismatique qui doit &ecirc;tre vue en vrai pour d&eacute;gager son aura. J&rsquo;ai &eacute;t&eacute; initi&eacute;e &agrave; l&rsquo;art moderne par les reproductions et j&rsquo;ai pu aller jusqu&rsquo;&agrave; d&eacute;cider d&rsquo;exposer les reproductions photographiques de mes tableaux install&eacute;s plut&ocirc;t que ma peinture elle-m&ecirc;me. La reproduction est aussi pour moi un moyen de garder la trace d&rsquo;une &oelig;uvre d&eacute;truite pour qu&rsquo;elle puisse rena&icirc;tre, peut-&ecirc;tre sous une forme modifi&eacute;e, dans d&rsquo;autres contextes. Son authenticit&eacute;, sa singularit&eacute; d&eacute;pendent de cette adaptation.</p><p>&nbsp;</p><p>De toute &eacute;vidence, nous ne sommes plus dans l&rsquo;exaltation des modernes, avec leurs tables rases &agrave; r&eacute;p&eacute;tition. Le r&ocirc;le de l&rsquo;artiste-shaman, tenu par Joseph Beuys, est aussi d&eacute;pass&eacute;. Une amie m&rsquo;a racont&eacute; sa rencontre avec un artiste invit&eacute; quand elle &eacute;tait &eacute;l&egrave;ve &agrave; Goldsmiths &agrave; Londres. Il lui disait que les couleurs de ses tableaux &eacute;taient &laquo;&nbsp;tr&egrave;s ann&eacute;es 80&nbsp;&raquo;. Pour qu&rsquo;elle s&rsquo;impr&egrave;gne des couleurs de son &eacute;poque, il lui conseillait de regarder les baskets que portaient les jeunes. C&rsquo;est une anecdote qui dit beaucoup sur le statut des &oelig;uvres aujourd&rsquo;hui (&eacute;gal, voire inf&eacute;rieur, &agrave; celui des biens de consommation) et sur ce qu&rsquo;on attend des artistes&nbsp;: refl&eacute;ter le monde, pas en proposer un meilleur. Comme beaucoup d&rsquo;artistes de ma g&eacute;n&eacute;ration, &ccedil;a ne me viendrait pas &agrave; l&rsquo;id&eacute;e de d&eacute;noncer le fonctionnement du monde. Je le regarde simplement, en s&eacute;lectionnant mes sources d&rsquo;information. Mes &oelig;uvres sont les produits d&eacute;riv&eacute;s de ma qu&ecirc;te de le comprendre.</p><p>&nbsp;</p><p>&nbsp;</p><p><strong>&nbsp;</strong></p><p><strong>Heidi WOOD, entretien avec Alexandre BOHN, mars - avril 2013.&nbsp;</strong></p>',	'INTERVIEW ALEXANDRE BOHN, 2014',	'ALEXANDRE BOHN',	'INTERVIEW, 2014',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'interview-alexandre-bohn-2014',	'interview-alexandre-bohn-2014',	'',	'',	'2021-06-29 12:18:11',	NULL,	'2021-06-29 12:18:11',	'2023-10-30 19:39:03',	'',	0,	'https://www.heidiwood.net/?post_type=doc_article&#038;p=9830',	0,	'doc_article',	'doc_article',	'',	0),
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(14499,	NULL,	6,	NULL,	NULL,	NULL,	3,	'2022-04-29 07:46:55',	'2022-04-29 07:46:55',	'<p><strong>WAKE UP</strong> &nbsp; <em>Instead of a diverse world, made of ever new phenomena, of events that cause change and realities that resist, the consummation of &quot;nihilism&quot; imposes itself everywhere; a process by which, under the avalanche of &quot;news&quot; and &quot;notifications,&quot; events no longer occur and nothing seems to have to happen anymore.</em> &nbsp;</p><p style=\"text-align: right;\">Barbara Stiegler - <em>Du cap aux gr&egrave;ves</em> (Verdier, 2020)</p><p>&nbsp; Heidi Wood is attentive to the polyphony of signs that are part of our everyday landscapes. Whether they are commercial, informative, economic, cultural, security-driven, political, mediatic or otherwise, signs have invaded our visual and cognitive spaces. They organize the society in which we exist. They are so well integrated that we no longer really see or read them. We have an intuitive relationship with them. Yet they are omnipresent and influence our bodies. A major part of the artist&#39;s work invites us not only to question the violence of this ultra meta-presence, but also to understand its impact on our behavior, our choices, our relationships to others and to places. Because they affect us directly and/or insidiously, signs have become both a resource and a material for (re)thinking the world. &nbsp; The proliferation of signs telling you what to do is evident in cities and particularly in so-called disadvantaged areas: commercial zones, the more or less distant outskirts of city centers and satellite suburbs. These are the places that Heidi Wood has observed, frequented and analyzed for many years. The result is critical projects that adopt a formatted language: numbers, signs, graphs, logos and bright, high-impact colors. The artist appropriates the visual expression of those who produce strategic writing. She works with the codes of these means of communication that are simultaneously instructive, basic and authoritarian to create a critical space. To do so, she commandeers and repurposes pictograms, systems of logos, typographies and colors, as well as their layouts and configurations. She exploits the effectiveness of this conditioning and alienating language to formulate her concerns and considerations, in search of meaning. She also invites us to remobilize our critical faculties in the face of these thousands of recommendations, stimuli, identity straitjackets or prohibitions. She asks us to understand their uses and objectives, but also to reinject nuance, detachment and substance into our collective imagination. By corrupting and exposing these signs, Heidi Wood stimulates a collective, pro-active approach to brutally imposed methods of communication; methods that are visually and ideologically formatted to consolidate norms, enslave and condition society. &nbsp; <strong>Critical narratives</strong> &nbsp; So how does society accommodate, suffer or thwart these imposed modes? This multi-faceted question has provoked a complete and profound rethink of her artistic practice. Over the past few years, Heidi Wood has undertaken a critical analysis of her work in order to open up new directions and new ways of making art. She now focuses on a vast subject - contemporary existence - both hers and ours. By means of booklets accessible in PDF format (downloadable and dematerialized), she is developing a critical reflection on life in the West. In doing so, the artist seeks a way and a means to situate her perspective as a woman, as an immigrant, as an artist and as a citizen. This undertaking requires the creation of a situated language. &nbsp; Heidi Wood is working on a long-term project that began with her monthly <em>Journals&nbsp;</em>(January 2020 - December 2021). Each month, she puts online and distributes by email a digital booklet made up of eleven pages. Conceived as a field of narrative experimentation, each edition is fed by reactions to current events, real-life situations, words taken from the street, statistics, polls or quotes from the media. The artist keeps a close watch on the media and how news is portrayed, in words and images. From the Yellow Vest demonstrations to the pandemic that has dominated the news for over two years now, nothing escapes her. Heidi Wood confronts a range of issues: police and administrative violence, systemic racism, Islamophobia, feminicide, legalized prohibitions, respect for the rule of law, ecology, conspiracy theories, control of bodies, surveillance, image management, animal rights, social distancing, feminist demands, food choices, consumer society and its daily spectacle. They intersect and sometimes clash from page to page and edition to edition. &quot;By juxtaposing bits of evidence, I compose and try to make sense of things. I take blurred, incomplete signs and knit them into critical narratives.&quot;[1] The artist puts into dialogue elements photographed in the street, extracts of conversations and information taken from newspapers (French and Australian) or from the Internet. &nbsp; Their intertwining produces criticism and highlights the prevailing cynicism. For example, a poster informs us that a dog named <em>Hope</em> is lost, and promises a reward for its return. On walls, placards from demonstrations or posters, we read: <em>Contemplate the void / Stop setting the bar so low for mankind / School&rsquo;s out &ndash; surveillance never ends / Under the masks the memory of smiles / PARTRIARSHIT</em>. The text, whether illicit or official, is considered as a visual and political resource. Tags, torn posters, superimposed messages, comments, advertisements: &quot;I observe how digital technology formats our interactions. I seek out traces of current events in the urban environment as well as on our computer screens. I&rsquo;ve started giving more space to absurdity and randomness.&rdquo; Since the beginning of 2022, the <em>Journals</em> have been replaced by a new series of digital booklets entitled <em>&Agrave; la Une</em> (<em>Breaking News</em>), where she explores other stories, born of direct experience and personal musings. In the substrate of the booklets published over two years, Heidi Wood has constructed a self-portrait where her concerns, doubts, questions, exasperations, disbelief, struggles and anger collide. &nbsp; <strong>Emerging from silence</strong> &nbsp; The booklets supplement and make visible a long-term interest in contemporary existence - an existence that is both individual and collective. They introduce an underlying question: what makes culture? Baptiste Morizot, a philosopher, proposes a definition: &quot;Culture is what, as a person and as a member of the social body, transforms you, makes you a more intelligent and more sensitive body, more capable of being fair towards the world that makes you, and that you now take more fully into account.&quot;[2] Heidi Wood looks for this elusive and potentially transforming matter in details, snatches of dialogue and tenuous situations. Through her visual and narrative experiments, she questions a state of the world located on a level familiar to her. She highlights the connections, blockages, actions, inactions, battles, cop-outs and paradoxes that make up a culture shared and nourished by a group. Because she chooses to focus on a strategic, mediatic, commercial and political aesthetic, the artist reveals a facet of a Western conditioning culture that is as disturbed as it is disturbing. Out in the field, mostly in the street, she studies the flow of circumstances, debates and profiles. &quot;It&rsquo;s in the juxtaposition of traces left by others that the narrative is constructed and a point of view voiced. Dialogues also help situate me as a curious spectator. The reader&rsquo;s interpretation will always elude me.&quot; Heidi Wood prefers the status of scribe to that of prophet. She opens up leads or possible avenues for collective consideration. In this sense, juxtapositions bring both options and disruptions. They generate a necessity: the need to wake up and produce thought, analysis and criticism that will emancipate us from an organized and consented enslavement. &nbsp; This enslavement of bodies is serviced by the mainstream media, which favors efficient messages, limited and formatted thought declaimed via sound bites, punchlines, hashtags, explosive slogans, fake news and unfinished sentences: the ingredients of the &quot;slow poison&quot; against which Barbara Stiegler says she is determined to fight. [3] While the artist&#39;s intention is not militant, her booklets make a statement, whose words and images are symptomatic of a deep societal, political and cultural crisis that has been structured over a long period. The <em>Journals</em> lead us to think about the issues and consequences of this crisis. Since they are open to any number of interpretations, we can detect in them a criticism of inertia, of individualistic escape or of collective stupefaction. Caught in a movement where immediacy and flashiness prevail, thought is indeed paralyzed. It runs out of steam and fades away. &quot;Our era is dumbed down by the filter of screens where a new, almost demented way of thinking is rampant, with its simplification, its disproportion and its moralization of everything&quot;[4]. The time is ripe for schematization, extreme binarity and reductive dogmas; for communication that is summed up in a few characters, GIFs, stickers and emojis. For a long time now, we have seen a systematized simplification of thought that leads to totalitarian, sterile and stultifying thought. Well-reasoned articles have given way to snarky comments, tweets, thumbs up or down and ideas that must be expressed in just a few characters. We no longer have time. Hartmut Rosa speaks of a modern crisis that is &quot;entirely a crisis of the relationship to the world, a crisis of the institutional and cultural relationship that society has with the world, a crisis that, at the stage of late modernity, shakes the mode of reproduction of this social formation to its very foundations.&quot;[5] We face a structural crisis that, according to the German sociologist and philosopher, reduces the world to <em>silence</em>, to a form of widespread inaction. &nbsp; We must then emerge from the silence, refuse impotence, shake off an aseptic aesthetic, and counter, through contestation and contradiction, the organized anesthetizing of consciences. The philosopher Aur&eacute;lien Berlan writes, &quot;the megamachine is not a bulldozer that crushes us from the outside. It is rather a matrix that we are all, willingly or unwillingly, part of. We are not outside of it. We are in it and we are even its basic components. We must therefore stop playing our role as docile little cogs, whether as consumers, employees or citizens. [6] Through her booklets, Heidi Wood informs us that it is urgent to individually and collectively sabotage this system that advocates a loss of meaning. In a humble and direct manner, the artist confides in us at once her concerns about the issues at hand and her love for her era, with all its complexities and confusions. The <em>Journals&nbsp;</em>invite us to mobilize to create a space where a critique of the information-spectacle can take root. &nbsp;</p><p style=\"text-align: right;\"><strong>Julie Crenn</strong></p><p style=\"text-align: right;\">February 2022</p><p>&nbsp; Notes / [1] Quotes from the artist, from February 2022, are extracts from emails or telephone conversations. <sup>[2]</sup> MORIZOT, Baptiste. &ldquo;Nouer culture des luttes et culture du vivant&rdquo; in <em>Socialter</em>, January 2021. <sup>[3]</sup> STIEGLER, Barbara. <em>Du cap aux gr&egrave;ves - R&eacute;cit d&rsquo;une mobilisation 17 novembre 2018 - 17 mars 2020</em>. Paris: Verdier, 2020. <sup>[4]</sup> DUMONT, Bruno. Interview. <em>Le Monde</em>, 25 August 2021. <sup>[5]</sup> ROSA, Hartmut. <em>R&eacute;sonance - Une sociologie de la relation au monde</em>. Paris: La D&eacute;couverte, 2021, p.657. <sup>[6]</sup> BERLAN, Aur&eacute;lien. Interview. <em>Reporterre</em>, 4 January 2022.</p>',	'<p><strong>NE DORMEZ PLUS<em><br></em></strong></p><p>&nbsp;</p><p><em>En lieu et place d&rsquo;un monde divers, fait de ph&eacute;nom&egrave;nes toujours nouveaux, d&rsquo;&eacute;v&egrave;nements qui font rupture et de r&eacute;alit&eacute;s qui r&eacute;sistent, s&rsquo;impose partout l&rsquo;ach&egrave;vement du &ldquo;nihilisme&rdquo;, processus par lequel, sous l&rsquo;avalanche des &ldquo;nouvelles&rdquo; et des &ldquo;notifications&rdquo;, plus aucun &eacute;v&eacute;nement ne survient, plus rien ne semble jamais plus devoir arriver.</em></p><p>&nbsp;</p><p style=\"text-align: right;\">Barbara Stiegler - <em>Du cap aux gr&egrave;ves</em> (Verdier, 2020)</p><p>&nbsp;</p><p>Heidi Wood est attentive &agrave; la polyphonie des signes qui participent de nos paysages quotidiens. Qu&rsquo;ils soient commerciaux, &agrave; caract&egrave;res informatifs, &eacute;conomiques, culturels, s&eacute;curitaires, politiciens, m&eacute;diatiques ou autres, les signes ont envahi nos espaces visuels et cognitifs. Ils organisent la soci&eacute;t&eacute; au sein de laquelle nous existons. Ils sont si bien int&eacute;gr&eacute;s que nous ne les voyons et ne les lisons plus vraiment. Nous entretenons un rapport intuitif avec eux. Ils sont pourtant omnipr&eacute;sents et influent sur nos corps. Une grande partie des &oelig;uvres de l&rsquo;artiste nous invite non seulement &agrave; questionner la violence de cette ultra m&eacute;tapr&eacute;sence, mais aussi &agrave; comprendre ses incidences sur nos comportements, nos choix, nos relations aux autres et aux lieux. Parce qu&rsquo;ils nous affectent directement et/ou insidieusement, les signes sont devenus une ressource, une mati&egrave;re &agrave; (re)penser le monde.</p><p>La multiplication des signes injonctifs est pr&eacute;gnante dans les villes et plus particuli&egrave;rement dans les zones dites d&eacute;class&eacute;es : les zones commerciales, les pourtours plus ou moins proches des centres-ville, les territoires p&eacute;riurbains. Ce sont ces espaces qu&rsquo;Heidi Wood a observ&eacute;, pratiqu&eacute; et analys&eacute; pendant plusieurs ann&eacute;es. Il en r&eacute;sulte des projets critiques qui plastiquement adoptent un langage format&eacute; : des chiffres, des signes, des graphiques, des logos, des couleurs franches, visibles et lisibles. L&rsquo;artiste s&rsquo;approprie le langage visuel de celles et ceux qui fabriquent des &eacute;critures strat&eacute;giques. Elle compose avec les codes de ces moyens de communication &agrave; la fois p&eacute;dagogiques, basiques et autoritaires pour fabriquer un espace critique. Pour cela, elle s&rsquo;empare et d&eacute;tourne des pictogrammes, des syst&egrave;mes de logos, des typographies, des couleurs, des mises en page et des mises en forme des signes. Elle se saisit de l&#39;efficacit&eacute; des &eacute;critures conditionnantes et ali&eacute;nantes pour formuler ses inqui&eacute;tudes, ses r&eacute;flexions et pour y retrouver du sens. Pour aussi nous inviter &agrave; remobiliser nos pens&eacute;es critiques vis-&agrave;-vis de ces milliers d&rsquo;injonctions, incitations, assignations ou interdictions. Elle nous engage &agrave; en comprendre les usages et les objectifs, mais aussi &agrave; r&eacute;introduire de la nuance, de la distance et de l&rsquo;&eacute;paisseur dans l&rsquo;imaginaire commun. Par le d&eacute;tournement et le retournement critique, Heidi Wood propose la r&eacute;activation d&rsquo;un regard collectif agissant vis-&agrave;-vis des m&eacute;thodes de communication brutalement impos&eacute;es. Des m&eacute;thodes format&eacute;es plastiquement et id&eacute;ologiquement qui consolident les normes, asservissent et conditionnent le corps social.</p><p><strong>R&eacute;cits critiques</strong></p><p>Alors, comment le corps social s&#39;accommode, subit ou d&eacute;joue ces modes impos&eacute;s ? Une question &agrave; entr&eacute;es multiples qui est devenue le moteur d&rsquo;une remise en question totale et profonde de sa pratique artistique. Depuis quelques ann&eacute;es, Heidi Wood d&eacute;veloppe une analyse critique de ses &oelig;uvres pour ouvrir de nouvelles perspectives et de nouvelles mani&egrave;res de faire de l&rsquo;art. Elle se concentre depuis sur un vaste sujet, celui de l&rsquo;existence contemporaine, la sienne et la n&ocirc;tre. Au moyen de livrets accessibles au format PDF (t&eacute;l&eacute;chargeables et d&eacute;mat&eacute;rialis&eacute;s), elle d&eacute;veloppe une r&eacute;flexion critique des modes d&rsquo;existence occidentaux. En filigrane, l&rsquo;artiste recherche une mani&egrave;re et un moyen pour situer sa parole en tant que femme, en tant qu&rsquo;immigr&eacute;e, en tant qu&rsquo;artiste, en tant que citoyenne. Une recherche qui passe par la cr&eacute;ation d&rsquo;un langage situ&eacute;.</p><p>Heidi Wood construit un projet au long cours : <em>Journaux</em> (janvier 2020 - d&eacute;cembre 2021). Chaque mois, elle met en ligne et diffuse par email un livret num&eacute;rique form&eacute; de onze pages. Pens&eacute;e comme un terrain d&rsquo;exp&eacute;rimentation narrative, chaque &eacute;dition est nourrie de r&eacute;actions &agrave; l&rsquo;actualit&eacute;, de situations v&eacute;cues, d&rsquo;&eacute;l&eacute;ments de textes pr&eacute;lev&eacute;s dans la rue, de statistiques, de sondages ou encore de paroles &eacute;nonc&eacute;es dans les m&eacute;dias. L&rsquo;artiste est effectivement tr&egrave;s attentive aux m&eacute;dias, &agrave; la restitution de l&rsquo;actualit&eacute;, en mots et en images. Des manifestations des Gilets Jaunes &agrave; la pand&eacute;mie qui recouvre notre actualit&eacute; depuis plus de deux ans maintenant, rien ne lui &eacute;chappe. Heidi Wood se confronte &agrave; une pluralit&eacute; de probl&eacute;matiques : les violences polici&egrave;res et administratives, le racisme syst&eacute;mique, l&rsquo;islamophobie, les f&eacute;minicides, les interdictions l&eacute;galis&eacute;es, le respect de l&rsquo;&Eacute;tat de droit, l&rsquo;&eacute;cologie, le complotisme, le contr&ocirc;le des corps, la surveillance, la gestion des images, les maltraitances animales, la distanciation sociale, les revendications f&eacute;ministes, les choix alimentaires, la soci&eacute;t&eacute; de consommation et son spectacle quotidien. Elles s&rsquo;entrecroisent, voire s&rsquo;entrechoquent au fil des pages et des &eacute;ditions. &ldquo;Par la juxtaposition de traces, je compose et je cherche &agrave; faire sens. &Agrave; rattraper les signes flous, incomplets, pour en faire des r&eacute;cits critiques.&rdquo;[1] L&rsquo;artiste met en dialogue des motifs photographi&eacute;s dans la rue, des extraits de discussions rapport&eacute;es et des &eacute;l&eacute;ments d&rsquo;informations pr&eacute;lev&eacute;s dans les journaux (fran&ccedil;ais et australiens) ou sur Internet.</p><p>L&rsquo;entrelacement produit la critique et met en exergue le cynisme ambiant. Une affichette nous informe par exemple qu&rsquo;une chienne nomm&eacute;e <em>Esp&eacute;rance</em> est perdue, une r&eacute;compense est promise si elle est retrouv&eacute;e. Sur les murs, pancartes de manifestations ou affiches, nous lisons : <em>Contempler le vide</em> / <em>Arr&ecirc;tons de placer la barre si bas pour les hommes</em> / <em>L&rsquo;&eacute;cole est finie - le contr&ocirc;le continu(e)</em> / <em>sous les masques le souvenir des sourires</em> / <em>PARTRIARCACA</em>. Le texte, qu&rsquo;il soit sauvage ou autoris&eacute;, est envisag&eacute; comme un mat&eacute;riau plastique et politique. Des tags, des affiches arrach&eacute;es, des superpositions de messages, des commentaires, des publicit&eacute;s : &ldquo;Je traque le formatage de nos &eacute;changes op&eacute;r&eacute; par les outils num&eacute;riques. Je guette les traces de l&rsquo;actualit&eacute; aussi bien dans l&rsquo;espace urbain que sur nos &eacute;crans d&rsquo;ordinateur. Je donne une place nouvelle &agrave; l&rsquo;absurdit&eacute; et &agrave; l&rsquo;al&eacute;atoire.&rdquo; Un travail de cr&eacute;ation narrative que l&rsquo;artiste d&eacute;place depuis le d&eacute;but de l&rsquo;ann&eacute;e 2022, vers une nouvelle s&eacute;rie de livrets num&eacute;riques intitul&eacute;e <em>&Agrave; la Une</em>, o&ugrave; elle explore d&rsquo;autres r&eacute;cits, ceux d&rsquo;exp&eacute;riences et d&rsquo;interrogations personnelles. En creux des livrets diffus&eacute;s pendant plus de deux ann&eacute;es, Heidi Wood construit un autoportrait o&ugrave; se t&eacute;lescopent ses pr&eacute;occupations, ses doutes, ses questions, ses exasp&eacute;rations, ses incompr&eacute;hensions, ses luttes et ses col&egrave;res.</p><p><strong><em>Sortir du silence</em></strong></p><p>Les livrets accompagnent et visibilisent une r&eacute;flexion au long cours &agrave; propos de l&rsquo;existence contemporaine - une existence &agrave; la fois individuelle et collective. Ils installent en filigrane une question : qu&rsquo;est-ce qui fait culture ? Baptiste Morizot, philosophe, en propose une d&eacute;finition : &laquo; Une culture c&rsquo;est ce qui, comme personne et comme corps social, te transforme, fait de toi un corps plus intelligent et plus sensible, plus &agrave; m&ecirc;me d&rsquo;avoir de la justesse &agrave; l&rsquo;&eacute;gard du monde qui te fait, que tu prends d&eacute;sormais mieux en compte &raquo;<sup>[2]</sup> Heidi Wood recherche cette mati&egrave;re insaisissable et potentiellement transformatrice dans les d&eacute;tails, les fragments de discours, les situations fragiles. Par ses exp&eacute;rimentations visuelles et narratives, elle interroge un &eacute;tat du monde situ&eacute; &agrave; sa proche &eacute;chelle. Elle met en lumi&egrave;re les liens, les barri&egrave;res, les actions, les impuissances, les combats, les l&acirc;chet&eacute;s, les paradoxes qui sont constitutifs d&rsquo;une culture partag&eacute;e et nourrie par un groupe. Parce qu&rsquo;elle fait le choix de s&rsquo;attacher &agrave; une esth&eacute;tique strat&eacute;gique, m&eacute;diatique, commerciale et politique, l&rsquo;artiste d&eacute;voile une facette aussi trouble que troublante d&rsquo;une culture conditionnante occidentale. Sur le terrain, principalement dans la rue, elle m&egrave;ne une &eacute;tude o&ugrave; diff&eacute;rents cas, d&eacute;bats, profils se succ&egrave;dent. &ldquo;C&rsquo;est dans la juxtaposition de traces laiss&eacute;es par d&rsquo;autres que le r&eacute;cit est construit, qu&rsquo;un point de vue s&rsquo;affirme. Les dialogues servent aussi &agrave; me situer en spectatrice curieuse. L&rsquo;interpr&eacute;tation lors de la lecture m&rsquo;&eacute;chappera toujours.&rdquo; Heidi Wood pr&eacute;f&egrave;re le statut de scribe &agrave; celui de proph&egrave;te, elle ouvre des pistes, des voies possibles pour une r&eacute;flexion commune. En ce sens, la juxtaposition porte autant de propositions que de perturbations. Elles g&eacute;n&egrave;rent une n&eacute;cessit&eacute;, celle de nous &eacute;veiller, de nous r&eacute;veiller, de produire de la pens&eacute;e, de l&rsquo;analyse, de la critique pour nous &eacute;manciper d&rsquo;un asservissement organis&eacute; et consenti.</p><p>Un asservissement des corps entretenu par les m&eacute;dias <em>mainstream</em> qui favorisent des messages efficaces, une pens&eacute;e limit&eacute;e et format&eacute;e d&eacute;clam&eacute;e &agrave; coup de formules valises, <em>punchlines</em>, de <em>hashtags</em>, de slogans volatiles, de <em>fake news</em>, de phrases non termin&eacute;es. Les ingr&eacute;dients du &ldquo;lent poison&rdquo; contre lequel Barbara Stiegler se dit d&eacute;termin&eacute;e &agrave; lutter.<sup>[3]</sup> Si l&rsquo;intention de l&rsquo;artiste n&rsquo;est pas militante, ses livrets g&eacute;n&egrave;rent un constat, dont les mots et les images sont les sympt&ocirc;mes d&rsquo;une crise soci&eacute;tale, politique et culturelle profonde qui s&rsquo;est structur&eacute;e dans un temps long. Les <em>Journaux</em> nous am&egrave;nent &agrave; penser les enjeux et les cons&eacute;quences de cette crise. Puisqu&rsquo;&agrave; travers eux toutes les interpr&eacute;tations sont ouvertes, nous pouvons y d&eacute;celer la critique d&rsquo;un immobilisme, d&rsquo;une fuite individualiste ou d&rsquo;une sid&eacute;ration collective. Prise dans un mouvement o&ugrave; imm&eacute;diatet&eacute; et coup d&rsquo;&eacute;clat priment, la pens&eacute;e se trouve en effet paralys&eacute;e, elle s&#39;essouffle et s&rsquo;&eacute;rode. &laquo; Notre &eacute;poque est ab&ecirc;tie par le filtre d&rsquo;&eacute;crans o&ugrave; s&eacute;vit une nouvelle pens&eacute;e quasi d&eacute;mente, par sa simplification, sa disproportion et sa moralisation de tout &raquo;.<sup>[4]</sup> L&rsquo;heure est &agrave; la sch&eacute;matisation, &agrave; la binarit&eacute; extr&ecirc;me, aux dogmes r&eacute;ducteurs, &agrave; une communication qui se r&eacute;sume &agrave; quelques caract&egrave;res, GIF, <em>stickers</em> et <em>emojis</em>. Depuis longtemps d&eacute;j&agrave;, nous assistons &agrave; une simplification syst&eacute;matis&eacute;e de la pens&eacute;e qui m&egrave;ne &agrave; une pens&eacute;e totalitaire, st&eacute;rile et abrutissante. Les articles d&eacute;velopp&eacute;s ont laiss&eacute; place aux commentaires acerbes, aux <em>tweets</em>, aux pouces lev&eacute;s ou retourn&eacute;s, &agrave; des id&eacute;es qui doivent &ecirc;tre limit&eacute;es &agrave; quelques signes. Nous n&rsquo;avons plus le temps. Hartmut Rosa parle d&rsquo;une crise moderne qui est &laquo; toute enti&egrave;re une crise de la relation au monde, une crise du rapport institutionnel et culturel que la soci&eacute;t&eacute; entretient avec le monde, crise qui, au stade de la modernit&eacute; tardive, &eacute;branle jusque dans ses fondements le mode de reproduction de cette formation sociale &raquo;.<sup>[5]</sup> Une crise structurelle qui, selon le sociologue et le philosophe allemand, r&eacute;duit le monde au <em>silence</em>, &agrave; une forme d&rsquo;inaction g&eacute;n&eacute;ralis&eacute;e.</p><p>Il s&#39;agit alors de sortir du silence, de refuser l&rsquo;impuissance, de nous d&eacute;faire d&rsquo;une esth&eacute;tique aseptis&eacute;e, de contrer, par la contestation et la contradiction, l&rsquo;endormissement organis&eacute; des consciences. Le philosophe, Aur&eacute;lien Berlan &eacute;crit que &laquo; la m&eacute;gamachine n&rsquo;est pas un bulldozer qui nous &eacute;crase de l&rsquo;ext&eacute;rieur, c&rsquo;est plut&ocirc;t une matrice dont nous sommes toutes et tous, bon gr&eacute; mal gr&eacute;, partie prenante. Nous ne sommes pas hors d&rsquo;elle. Nous sommes en elle et nous en sommes m&ecirc;me les composantes de base. Il faut donc cesser de jouer notre r&ocirc;le de petit rouage docile, que ce soit comme consommateurs, salari&eacute;s ou citoyens &raquo;<sup>&nbsp;.[6]</sup> Par ses livrets, Heidi Wood nous informe de l&rsquo;urgence &agrave; saboter, individuellement et collectivement, ce syst&egrave;me o&ugrave; la perte de sens est pr&ocirc;n&eacute;e. D&rsquo;une mani&egrave;re humble et directe, l&rsquo;artiste nous confie autant ses inqui&eacute;tudes quant aux enjeux pr&eacute;sents, que son amour envers son &eacute;poque, ses complexit&eacute;s et ses confusions. Les <em>Journaux</em> nous engagent &agrave; nous mobiliser pour fabriquer un espace o&ugrave; une critique de l&rsquo;information-spectacle peut s&rsquo;installer durablement.</p><p>&nbsp;</p><p style=\"text-align: right;\"><strong>Julie Crenn</strong></p><p style=\"text-align: right;\">f&eacute;vrier 2022</p><p>Notes /</p><p>[1] Les citations de l&rsquo;artiste, dat&eacute;e du mois de f&eacute;vrier 2022, sont extraites d&rsquo;&eacute;changes t&eacute;l&eacute;phoniques et d&rsquo;emails.</p><p><sup>[2]</sup> MORIZOT, Baptiste. &ldquo;Nouer culture des luttes et culture du vivant&rdquo; in <em>Socialter</em>, janvier 2021.</p><p><sup>[3]</sup> STIEGLER, Barbara. <em>Du cap aux gr&egrave;ves - R&eacute;cit d&rsquo;une mobilisation 17 novembre 2018 - 17 mars 2020</em>. Paris : Verdier, 2020.</p><p><sup>[4]</sup> DUMONT, Bruno. Entretien. <em>Le Monde</em>, 25 ao&ucirc;t 2021.</p><p><sup>[5]</sup> ROSA, Hartmut. <em>R&eacute;sonance - Une sociologie de la relation au monde</em>. Paris : La D&eacute;couverte, 2021, p.657.</p><p><sup>[6]</sup> BERLAN, Aur&eacute;lien. Entretien. <em>Reporterre</em>, 4 janvier 2022.</p><p><strong>&nbsp;</strong></p><p><strong>&nbsp;</strong></p>',	'JULIE CRENN, 2022',	'JULIE CRENN',	'WAKE UP, 2022',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'julie-crenn-2022',	'julie-crenn-2022',	'',	'',	'2022-04-29 14:45:06',	NULL,	'2022-04-29 14:45:06',	'2023-10-30 19:39:22',	'',	0,	'https://www.heidiwood.net/?post_type=doc_article&#038;p=14499',	0,	'doc_article',	'doc_article',	'',	0),
(14506,	NULL,	6,	NULL,	NULL,	NULL,	3,	'2022-04-29 06:31:09',	'2022-04-29 06:31:09',	'<p><strong>TOURING AN APPROACH IN TRANSITION</strong> &nbsp; In recent years, my work has taken many directions then found a certain coherence again following an existential crisis in my practice. <em>Touring a World in Transition</em> is a presentation of my research from the past ten years, yet the material is presented in a way that embodies a more nuanced perspective, the formulation of which is still in flux. The diversity of forms that I use now serves the mapping of contemporary existence. This publication is more a progress report than the celebration of a job well done. &nbsp; For over a decade the heart of my practice has been creating positive representations of under-valued places: disadvantaged suburbs; obscure corners of the former Soviet empire served by low-cost flights; deindustrialized zones or places undergoing economic change... In parallel, I tested the hypothesis that a portrait of a city would emerge from an inventory of the objects contained in its museums (<em>Museums of the World</em>, 2009 - 2015). &nbsp; My <em>modus operandi</em> was to distill the atmosphere of a target place by studying its urban fabric and creating a repertoire of pictograms. These schematic representations were the basis of a fictitious tourist promotion campaign. They were intended to allow immediate recognition of the place&rsquo;s most recognizable characteristics. True to their advertising logic, they transformed settings for people&rsquo;s lives into places to be consumed. The process is much like the reduction of a city to a list of &quot;must-see&quot; visits when mass tourism moves in. &nbsp; Little by little I added observational drawings, collages and photographs to better describe each place. They refined the pictographic representation by adding layers of information, but the continuing aim was to enhance the place&rsquo;s brand. How the repertoire was used depended on the exhibiting context. The works could take various forms (paintings, advertising billboards, souvenir plates, wall paintings, pdf files, road signs, enameled panels...). The environments that staged these elements were conceived as visitors&rsquo; centers or trade fair stands. &nbsp; Reading translation theory caused me to question this process of reduction, which was the starting point of each project. I was challenged by the distinction made between <em>target-oriented</em> and <em>source-oriented</em> translations. The former, which favors readability in the target language, flatters the cultural assumptions of the translation&#39;s readers. Lawrence Venuti (1995) goes so far as to draw parallels between the target-oriented approach and imperialism, since the culture of the target language seeks to impose its own values on the original text, thus colonizing and subjugating it. He sees this approach as based on a model of dominant and dominated rather than a relationship between equals. According to Antoine Berman (1984, 16): &quot;All cultures would like to be self-sufficient so they can, based on this imagined self-sufficiency, influence others and appropriate their heritage&quot;. &nbsp; The source-oriented approach, on the other hand, confronts the reader with the impossibility of a fluid translation because of the intractable foreignness of the original text. The translator&#39;s choices in this case favor the specificities of the source text, even if it means confusing the reader. My representations of peripheral places were clearly target-oriented. &nbsp; I realized that my pseudo-tourist campaigns formatted places that I had chosen precisely because they had not succumbed to globalization. If the intention was to question residential or geopolitical hierarchies by singing the praises of unlikely destinations, I was still acting as though the periphery should resemble the center. At the same time, I was sometimes annoyed when reading source-oriented translations, which could be abstruse and therefore unfaithful in their own way to the source&#39;s logic. Was there a middle ground? &nbsp; I decided to fine-tune my representations and acquire some theoretical baggage by spending a year at university (a Master 2 at Universit&eacute; Paris 8). During this period, I was sedentary and cut off from my usual subject. I felt intuitively that the addition of text could help me singularize my generic representations, as drawing, collage and photography had done in the past. The use of found texts effectively serves this function. It is the introduction of anecdotes written in the first person that shifts the distilling of atmosphere towards the construction of stories. The downloadable booklet <em>Mapping a Year Without Travel</em> (2018) was my first attempt at finding a new language that combined image and text without using pictograms; at embodying a subjective life experience rather than a physical place presented as fact. &nbsp; This booklet brought together elements related to my naturalization as a French citizen and anecdotes about the occupation of the university by migrants; quotes from information boards and spam; text messages received and T-shirt slogans seen on Parisian chests; graffiti and ads in the metro. These different layers of information evoked consumer society and its social tensions, my relationship to the French language and to France, as well as the irruption of technology in our personal lives. The juxtaposition of text and image was used in the same way as field - counter-field shots in movies: different angles are used to flesh out a story. &nbsp; In addition, the creation of two websites during this period allowed me to experiment with different ways of documenting my practice: an ordered approach to archives derailed by Detours that pop up unexpectedly (<strong>heidiwood.net</strong>), and a blog-style accumulation of research material (<strong>nouvelles-du-monde.fr</strong>). Since 2020, my attempts at representing current affairs have taken the form of monthly<em>&nbsp;Journals</em>, replaced in 2022 by the series <em>Breaking News</em> (<em>&Agrave; la une</em>). &nbsp; A public art project at the Aretha Franklin high school in Drancy in 2020 was an opportunity to renew my approach to the glorification of disadvantaged suburbs by integrating my research on heritage as a vector of shared identity. The project, as before, began with a study of the urban fabric but there were also workshops with the school&rsquo;s pupils. We worked together to imagine a new city, called <em>Alentour</em>. After mapping its tangible and intangible heritage, we put together a fictitious application to have it classified as a UNESCO World Heritage Site. This time, the scenario was based on the perspective of the inhabitants, marking a step towards a source-oriented translation. However, their participation implied the construction of a consensual narrative, recognizable to all. This aspect mirrored the reduction of a place to a repertoire of pictograms. The project was also partly target-oriented. <em>&nbsp;</em><em>Alentour</em>, as well as my downloadable booklets, indicate that my period of transformation has not resulted in a clean slate of forms but rather in an ongoing balancing act between the generic and the singular. Consulting others disrupts the &quot;imagined self-sufficiency&quot; of my gaze. The pictogram has been rehabilitated for its legibility. It is now part of an arsenal of tools at the service of stratified representations that seek to reveal the world&rsquo;s complexity. My reorientation has been less about adding new visual means than replacing advertising-style positivism with a more ironic approach to the absurdity of the world we live in. &nbsp; For the past five years I have produced pdf files and monumental public art projects with almost nothing in between. These works situate my thinking in a negotiation between target and source-oriented approaches. A return to exhibiting is now necessary so I can translate contemporary experience into contemporary cultural practice. For this publication, which bears the lessons of my ongoing research, the work of the last ten years, as well as non project-specific visuals and texts, are classified by theme: <strong>contemporary existence; museums and heritage; urban environment.</strong> &nbsp; Chapters documenting projects alternate with micro-narratives made up of diverse elements. This is where my narrative turn reveals itself, as well as the wide range of forms that constitute my practice. Added to this are texts that are just as diverse in form: I compose, I quote, I delegate the writing to others (see the 3 pages of administrative science fiction written by an anonymous senior civil servant in the <strong>Urban Environment</strong> section). &nbsp; These swings between generic and singular, between text and image, between asserting my perspective and integrating that of others, reflect my conception of contemporary existence as a succession of seductive clich&eacute;s and random disruptions. I no longer promote the exotic pleasures of peripheries, or at least not in the same way. I now try to translate my wanderings between the familiar and the disconcerting in this unending period of restricted mobility.</p><p style=\"text-align: right;\">Heidi Wood</p><p style=\"text-align: right;\">February 2022</p><p>&nbsp; &nbsp; &nbsp;</p>',	'<p><strong>TOUR D&rsquo;UNE D&Eacute;MARCHE EN TRANSITION</strong></p><p>&nbsp;</p><p>Depuis quelques ann&eacute;es, mon travail, se cherchant, a poursuivi plusieurs pistes, puis a retrouv&eacute; une coh&eacute;rence suite &agrave; une profonde remise en cause de mon approche. Tour du monde en transition rend compte de mes recherches depuis dix ans&nbsp;mais l&rsquo;ensemble est revisit&eacute; de mani&egrave;re &agrave; incarner un regard plus nuanc&eacute;, lui aussi en transition. La diversit&eacute; de formes que je d&eacute;ploie sert d&eacute;sormais la construction de r&eacute;cits pour cartographier l&rsquo;existence contemporaine. Cette publication n&rsquo;est pas la c&eacute;l&eacute;bration d&rsquo;un aboutissement mais plut&ocirc;t un &eacute;tat des lieux.</p><p>&nbsp;</p><p>Le c&oelig;ur de ma pratique a &eacute;t&eacute;, depuis une bonne d&eacute;cennie, la repr&eacute;sentation valorisante de lieux d&eacute;class&eacute;s&nbsp;: certaines banlieues&nbsp;; les recoins de l&rsquo;ex-empire Sovi&eacute;tique reli&eacute;s &agrave; l&rsquo;a&eacute;roport de Beauvais par des vols <em>low-cost</em> ; les zones de d&eacute;sindustrialisation ou en voie de requalification &eacute;conomique&hellip; En parall&egrave;le, je v&eacute;rifiais l&rsquo;hypoth&egrave;se qu&rsquo;un portrait de ville se d&eacute;gagerait d&rsquo;un inventaire des objets contenus dans ses mus&eacute;es (Mus&eacute;es du monde, 2009 &ndash; 2015).</p><p>&nbsp;</p><p>Dans ce travail de captation d&rsquo;ambiance d&rsquo;un lieu cible, le mode op&eacute;ratoire consistait alors &agrave; faire une &eacute;tude du territoire qui g&eacute;n&eacute;rait un r&eacute;pertoire de pictogrammes. Ces repr&eacute;sentations sch&eacute;matiques &eacute;taient le c&oelig;ur d&rsquo;une campagne de promotion touristique fictive. Elles devaient permettre une reconnaissance imm&eacute;diate des caract&eacute;ristiques les plus marquantes de l&rsquo;endroit. Fid&egrave;les &agrave; leur logique publicitaire, elles transformaient des lieux de vie en lieux &agrave; consommer. Le processus correspondait &agrave; la r&eacute;duction d&rsquo;une ville &agrave; une liste de visites &laquo;&nbsp;immanquables&nbsp;&raquo; lorsque le tourisme de masse s&rsquo;en emparerait.</p><p>&nbsp;</p><p>Progressivement, des dessins d&rsquo;observation, des collages et des photographies se sont ajout&eacute;s pour mieux cerner chaque endroit. Ils affinaient la repr&eacute;sentation pictographique par l&rsquo;addition de strates d&rsquo;information, mais je proc&eacute;dais toujours dans une perspective de valorisation. L&rsquo;ensemble des &eacute;l&eacute;ments &eacute;tait d&eacute;ploy&eacute; selon le contexte de monstration et pouvait prendre des formes diverses (tableau, affichage dans l&rsquo;espace public, assiette souvenir, peinture murale, fichier pdf, panneau routier, fresque en acier &eacute;maill&eacute;&hellip;). Les expositions qui conjuguaient ces &eacute;l&eacute;ments &eacute;taient con&ccedil;ues comme des syndicats d&rsquo;initiative ou des stands de foire.</p><p>&nbsp;</p><p>La lecture de la th&eacute;orie de la traduction a provoqu&eacute; une mise en cause de ce proc&eacute;d&eacute; de r&eacute;duction qui &eacute;tait le point du d&eacute;part de chaque projet. J&rsquo;ai &eacute;t&eacute; interpell&eacute;e par la distinction faite entre les traductions d&rsquo;inspiration cibliste, ou bien sourci&egrave;re. La premi&egrave;re, qui favorise la lisibilit&eacute; dans la langue d&rsquo;arriv&eacute;e, flatte les pr&eacute;suppos&eacute;s culturels des lecteurs de la traduction. Lawrence Venuti (1995) n&rsquo;h&eacute;site pas &agrave; faire des parall&egrave;les entre l&rsquo;approche cibliste et l&rsquo;imp&eacute;rialisme, puisque la culture de la langue d&rsquo;arriv&eacute;e imposerait ses propres valeurs sur le texte d&rsquo;origine. La source se trouverait colonis&eacute;e, soumise. Cette approche serait fond&eacute;e sur un mod&egrave;le de dominant et domin&eacute; plut&ocirc;t qu&rsquo;un rapport entre &eacute;gaux. Selon Antoine Berman (1984, 16)&nbsp;: &laquo;&nbsp;Toute culture voudrait &ecirc;tre suffisante en elle-m&ecirc;me pour, &agrave; partir de cette suffisance imaginaire, &agrave; la fois rayonner sur les autres et s&rsquo;approprier leur patrimoine&nbsp;&raquo;.</p><p>&nbsp;</p><p>L&rsquo;approche sourci&egrave;re, &agrave; l&rsquo;inverse, confronte le lecteur &agrave; l&rsquo;impossibilit&eacute; d&rsquo;une traduction fluide en raison de l&rsquo;irr&eacute;ductible &eacute;tranget&eacute; du texte d&rsquo;origine. Les choix du traducteur dans ce cas favorisent les sp&eacute;cificit&eacute;s du texte-source, quitte &agrave; rendre le lecteur perplexe. Ma d&eacute;marche plastique jusqu&rsquo;ici dans la repr&eacute;sentation que je faisais de lieux p&eacute;riph&eacute;riques a &eacute;t&eacute; clairement cibliste.</p><p>&nbsp;</p><p>J&rsquo;ai r&eacute;alis&eacute; que mes pseudo-campagnes touristiques faisaient subir un formatage &agrave; ces endroits choisis justement parce qu&rsquo;ils &eacute;chappaient &agrave; la globalisation. Si l&rsquo;intention &eacute;tait de questionner les hi&eacute;rarchies r&eacute;sidentielles ou g&eacute;opolitiques en faisant l&rsquo;&eacute;loge de destinations improbables, j&rsquo;agissais tout de m&ecirc;me comme s&rsquo;il &eacute;tait souhaitable que la p&eacute;riph&eacute;rie ressemble au centre. En m&ecirc;me temps, il m&rsquo;arrivait d&rsquo;&ecirc;tre agac&eacute;e en lisant des traductions sourci&egrave;res, que je trouvais parfois absconses et donc infid&egrave;les &agrave; leur mani&egrave;re &agrave; la logique propre de la source. Quel juste milieu conviendrait&nbsp;?</p><p>&nbsp;</p><p>J&rsquo;ai entrepris de nuancer mes repr&eacute;sentations et d&rsquo;acqu&eacute;rir quelques outils th&eacute;oriques en passant une ann&eacute;e &agrave; la fac (un Master 2 &agrave; l&rsquo;Universit&eacute; Paris 8). Pendant cette p&eacute;riode, j&rsquo;&eacute;tais s&eacute;dentaris&eacute;e et coup&eacute;e de mon sujet habituel. J&rsquo;ai eu l&rsquo;intuition que l&rsquo;addition du texte pourrait m&rsquo;aider &agrave; singulariser mes repr&eacute;sentations g&eacute;n&eacute;riques, comme l&rsquo;avait fait autrefois le dessin, le collage et la photographie. L&rsquo;utilisation de textes trouv&eacute;s servait effectivement cette fonction. Puis l&rsquo;introduction d&rsquo;anecdotes que je r&eacute;digeais &agrave; la premi&egrave;re personne r&eacute;oriente un travail de captation d&rsquo;ambiance vers la construction de r&eacute;cits. Le livret t&eacute;l&eacute;chargeable Cartographie d&rsquo;une ann&eacute;e sans voyages (2018) a &eacute;t&eacute; une premi&egrave;re tentative de trouver un nouveau langage combinant image et texte sans passer par des pictogrammes&nbsp;; d&rsquo;incarner une exp&eacute;rience de vie subjective et non plus un lieu physique pr&eacute;sent&eacute; comme un fait.</p><p>&nbsp;</p><p>Ce livret a mis ensemble des d&eacute;marches administratives li&eacute;es &agrave; ma naturalisation et des anecdotes sur l&rsquo;occupation de la fac par des exil&eacute;s&nbsp;; des citations de panneaux d&rsquo;information et des spams&nbsp;; des textos re&ccedil;us et des slogans de tee-shirt pr&eacute;lev&eacute;s des poitrines parisiennes&nbsp;; des graffiti et des pubs dans le m&eacute;tro... J&rsquo;&eacute;voquais par petites touches cumul&eacute;es la soci&eacute;t&eacute; de consommation et ses tensions sociales, mon rapport &agrave; la langue fran&ccedil;aise et &agrave; la France, ainsi que l&rsquo;irruption de la technologie dans notre intimit&eacute;. Le face &agrave; face texte-image &eacute;tait envisag&eacute;e comme un champ &ndash; contre-champ au cin&eacute;ma. On multiplie les angles de vue au service d&rsquo;un r&eacute;cit.</p><p>&nbsp;</p><p>Par ailleurs, la cr&eacute;ation de deux sites Internet &agrave; cette p&eacute;riode m&rsquo;a permis d&rsquo;exp&eacute;rimenter diff&eacute;rentes mani&egrave;res de documenter ma d&eacute;marche artistique : une approche ordonn&eacute;e aux archives d&eacute;r&eacute;gl&eacute;e par des D&eacute;tours qui surgissent &agrave; l&rsquo;improviste (heidiwood.net), et la pr&eacute;sentation en vrac d&rsquo;&eacute;l&eacute;ments de recherche (nouvelles-du-monde.fr). &Agrave; partir de 2020, mes tentatives de repr&eacute;senter l&rsquo;actualit&eacute; sociale et pand&eacute;mique s&rsquo;incarnent dans des Journaux mensuels, remplac&eacute;s en 2022 par des livrets &Agrave; la une<strong><em>.</em></strong></p><p>&nbsp;</p><p>Un projet du 1% artistique au Coll&egrave;ge Aretha Franklin &agrave; Drancy (93) en 2020 a &eacute;t&eacute; l&rsquo;occasion de renouveler mon approche de la valorisation de banlieues d&eacute;class&eacute;es en int&eacute;grant mes recherches sur le patrimoine comme vecteur d&rsquo;identit&eacute; partag&eacute;e. Le projet, ancr&eacute; &agrave; nouveau dans une &eacute;tude de territoire mais aussi dans des ateliers avec des coll&eacute;giens, consistait &agrave; imaginer une nouvelle ville, appel&eacute;e <em>Alentour</em>. Apr&egrave;s avoir cartographi&eacute; ensemble son patrimoine mat&eacute;riel et immat&eacute;riel, nous avons mont&eacute; un dossier fictif pour la faire classer patrimoine mondial de l&rsquo;Unesco. Le sc&eacute;nario part ici de la perspective des habitants, ce qui constitue un pas vers une traduction sourci&egrave;re. Cependant, leur participation implique la construction d&rsquo;un r&eacute;cit consensuel, reconnaissable par le plus grand nombre. En cela, il renvoie &agrave; la r&eacute;duction d&rsquo;un lieu &agrave; un r&eacute;pertoire de pictogrammes. Le projet a donc &eacute;galement sa part cibliste.</p><p>&nbsp;</p><p>Alentour, tout comme mes livrets t&eacute;l&eacute;chargeables, indique que ma p&eacute;riode de transformation n&rsquo;a pas d&eacute;bouch&eacute; sur une table rase des formes employ&eacute;es mais plut&ocirc;t sur la poursuite d&rsquo;un balancement ancien entre le g&eacute;n&eacute;rique et le singulier. La consultation d&rsquo;autres remue la &laquo;&nbsp;suffisance imaginaire&nbsp;&raquo; de mon regard. Le pictogramme a finalement &eacute;t&eacute; r&eacute;habilit&eacute; pour sa lisibilit&eacute;. Il fait d&eacute;sormais partie d&rsquo;un arsenal d&rsquo;outils au service de repr&eacute;sentations stratifi&eacute;es qui cherchent &agrave; r&eacute;v&eacute;ler la complexit&eacute; du monde. Ce qui caract&eacute;rise ma r&eacute;orientation est moins l&rsquo;addition de moyens suppl&eacute;mentaires que le remplacement du positivisme publicitaire par un regard plus ironique sur les incoh&eacute;rences du monde.</p><p>&nbsp;</p><p>Depuis cinq ans j&rsquo;ai produit presque exclusivement des fichiers pdf et des r&eacute;alisations monumentales dans l&rsquo;espace public, sans &oelig;uvres de format interm&eacute;diaire. Ces productions situent ma pens&eacute;e dans une n&eacute;gociation entre les d&eacute;marches cibliste et sourci&egrave;re. Un retour aux lieux d&rsquo;exposition m&rsquo;est d&eacute;sormais n&eacute;cessaire pour d&eacute;cliner l&rsquo;exp&eacute;rience contemporaine en exp&eacute;rience sensible.</p><p>&nbsp;</p><p>Pour cette publication, qui porte les le&ccedil;ons de ces recherches en cours, les projets que je m&egrave;ne depuis dix ans, comme les ensembles de visuels et de textes h&eacute;t&eacute;roclites, sont class&eacute;s par th&eacute;matique&nbsp;: existence contemporaine&nbsp;; mus&eacute;es et patrimoine&nbsp;; espace urbain.</p><p>&nbsp;</p><p>La documentation de projets alterne avec des micro-r&eacute;cits construits &agrave; partir d&rsquo;&eacute;l&eacute;ments divers. C&rsquo;est dans ces flux que mon tournant narratif se d&eacute;voile, ainsi que l&rsquo;&eacute;tendue de formes qui constitue ma pratique. S&rsquo;ajoutent des textes tout aussi divers&nbsp;: je r&eacute;dige, je transcris, je d&eacute;l&egrave;gue l&rsquo;&eacute;criture aux autres (cf. les 3 pages de science fiction administrative r&eacute;dig&eacute;e par une haute fonctionnaire tenue au devoir de r&eacute;serve dans la section <em>Espace urbain</em>).</p><p>&nbsp;</p><p>Ces balancements entre g&eacute;n&eacute;rique et singulier, entre texte et image, entre affirmation de ma perspective et interrogation d&rsquo;autres, refl&egrave;tent ma conception de l&rsquo;existence contemporaine comme une s&eacute;rie d&rsquo;allers-retours entre des lieux communs s&eacute;duisants et des &eacute;l&eacute;ments perturbateurs. Je ne fais plus la promotion des plaisirs exotiques des p&eacute;riph&eacute;ries, ou alors pas de la m&ecirc;me mani&egrave;re. Je tente d&eacute;sormais de traduire mes d&eacute;ambulations entre le familier et le d&eacute;routant dans cette p&eacute;riode de mobilit&eacute; r&eacute;duite qui s&rsquo;&eacute;ternise.</p><p>&nbsp;</p><p>Heidi Wood</p><p>f&eacute;vrier 2022</p>',	'Heidi Wood, 2022',	'HEIDI WOOD',	'TOURING AN APPROACH IN TRANSITION, 2022',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'heidi-wood-2022',	'heidi-wood-2022',	'',	'',	'2022-04-29 11:40:01',	NULL,	'2022-04-29 11:40:01',	'2023-10-30 19:39:37',	'',	0,	'https://www.heidiwood.net/?post_type=doc_article&#038;p=14506',	0,	'doc_article',	'doc_article',	'',	0),
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(14728,	NULL,	NULL,	NULL,	NULL,	NULL,	3,	'2022-05-09 05:58:14',	'2022-05-09 05:58:14',	'',	NULL,	'À LA UNE 05/2022',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'__trashed',	'__trashed',	'',	'',	'2022-05-09 06:00:31',	NULL,	'2022-05-09 06:00:31',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=doc_artist_book&#038;p=14728',	0,	'doc_artist_book',	'doc_artist_book',	'',	0),
(15383,	NULL,	NULL,	NULL,	NULL,	NULL,	3,	'2022-06-07 05:41:45',	'2022-06-07 05:41:45',	'',	NULL,	'À LA UNE 06/2022',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'a-la-une-062022',	'a-la-une-062022',	'',	'',	'2022-06-07 05:41:45',	NULL,	'2022-06-07 05:41:45',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=doc_artist_book&#038;p=15383',	0,	'doc_artist_book',	'doc_artist_book',	'',	0),
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(1681,	NULL,	NULL,	NULL,	NULL,	2,	'2018-10-04 11:04:20',	'2018-10-04 11:04:20',	'In <em>Serving Suggestions</em>, the picture is reduced to simply one element of a whole. This \"reducing\" operation does not refer to the word’s negative aspect but rather corresponds to its culinary slant. To thicken by evaporation.\r\n\r\n&nbsp;\r\n\r\nPainted in its own right, the picture is then integrated into a decor. An environment is built to receive it. It is then that the real staging begins. A situation constructed.\r\n\r\n&nbsp;\r\n\r\nDissimilar elements put together: pictures, furniture, wallpaper, linoleum, carpet, plants, accessories... following a modular logic (combinations, repetitions, rearrangements...), produce \"images\".\r\n\r\n&nbsp;\r\n\r\nAt the exhibition <em>Quotidien aidé (LES LOCATAIRES),</em> (where these <em>Serving Suggestions</em> were first publicly shown), Heidi Wood \"occupied\" the reception area, thus associating different problematics: conceived for this particular site, her work offered a usable and used space as well as an image since the whole was constructed according to one viewpoint, playing with mass, form and colour. The multiple ramifications of this then budding project were already visible: attention to decor, function, image, advertising.\r\n\r\n&nbsp;\r\n\r\nThese <em>Serving Suggestions</em> are half way between reconstructions/propositions for interiors and displays in furniture shops or sales catalogues. It is here that the question of art consumption arises. The displays in fact propose spaces to be desired, spaces one can identify with, that call out, intended to incite the consumer to buy.\r\n\r\n&nbsp;\r\n\r\nAlthough realistic or credible, the spaces conceived are genuinely fabricated. Artificial. The ones that interest me most are those that are slightly off-track. Those that warn us they are fakes through little differences. Those that evoke usability but where the furniture, a little too well arranged, poses. Those prey to optical distortions, where the perspective is pronounced. Those that suggest nonsensical pictures from some interior decoration magazine. Here the picture is too close to the wall, there it is too close to the table. In another, the wallpaper stops abruptly, covering only part of the wall. In one, the combination of modules defies all common sense. They are detrimental to the effectiveness one expects from a communication and advertising perspective. Like slight glitches in a show.\r\n\r\n&nbsp;\r\n\r\nThese internal failings cannot be seen. They eat away at the transparency of the images.\r\n\r\n&nbsp;\r\n\r\nProduced as they are today, naturally there are exchanges between these and other contemporary images. I am thinking in particular ­ and Heidi Wood totally defends this stance ­ of fashion and interior decoration photographs. In short, of the come-back made these past years in our visual field by forms from the sixties and seventies. We are witnessing a brief alignment of a pictorial universe (the aesthetics developed by Heidi Wood for several years now) and a mass movement, social, ephemeral, a fad (all glitter, money, consumption). The pictorial research behind this encounter is part of a wider context than the simple History of painting. Or rather the experience is seen as enclosed by, connected with the world.\r\n\r\n&nbsp;\r\n\r\nRecourse to these aesthetics goes beyond present circumstances. They belong to a bygone era, a reminder of triumphant modernism, of optimistic consumption. Which, even at the time, reused and bastardised the avant-garde’s formal research.\r\n\r\n&nbsp;\r\n\r\nHeidi Wood, in her own way, is questioning the historical dialogue between geometrical abstraction and decorative arts (a dialogue that, from Mondrian to Vasarely, has known many incarnations), but this time it is devoid of all utopian implications, of all projects for social revolution. Modernism’s forms, today exhausted, are questioned from a domestic point of view. What can be done with this history?\r\n\r\n&nbsp;\r\n\r\n<strong>Frank Lamy</strong>\r\nAugust 2001\r\n\r\nTranslated from French by Gabrielle Lawrence',	NULL,	'A POSSIBLE SIDE DISH',	'FRANK LAMY',	'A POSSIBLE SIDE DISH, 2001',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'lie-a-la-page-catalogue-article',	'lie-a-la-page-catalogue-article',	'',	'',	'2018-10-19 17:42:14',	NULL,	'2018-10-19 17:42:14',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1681',	0,	NULL,	NULL,	'',	0),
(1682,	NULL,	NULL,	NULL,	NULL,	2,	'2018-10-03 14:04:35',	'2018-10-03 14:04:35',	'The English irregular verbs which serve as titles for Heidi Wood’s triptychs are precious keys to a better understanding, in analogical terms, of the great complexity of what appear to be gently abstract and decorative paintings.\r\n\r\n&nbsp;\r\n\r\nEach addition to the “Irregular Verbs” series is made up of three paintings of the same size, often small or medium in scale, on which are placed forms applied as planes of color that vaguely call to mind historical abstractions. The strained, never easy relations between colors as well as the upholstery fabrics often used as a support contribute to the alteration of models and the undermining of references. Beware of appearances!\r\n\r\n&nbsp;\r\n\r\nThese tame little paintings are also formidable deregulators of time and gesture. And the titles encourage this terrible mechanism.\r\n\r\n&nbsp;\r\n\r\nMuch like the verb that accompanies it, the triptych neutralizes any narration and articulates in three parts the development of an action that is probable yet cut off, for the moment, from any necessity of result or relation to the real. “Off by heart”, as a technique applied to painting leads to a mechanization of memory. Like the two commas that separate the irregular tenses of these verbs of exception in writing, the oil painted surface and the all too visible texture of some fabrics impose a return to the present.\r\n\r\n&nbsp;\r\n\r\nFar from the naively syntactical solutions that allow many artists to paint today, Heidi Wood, by working so closely with language, allows herself the most simple of freedoms in painting.\r\n\r\n&nbsp;\r\n\r\n<strong>Nicolas Chardon</strong>\r\n\r\nDecember 1999',	NULL,	'IRREGULAR VERBS',	'NICOLAS CHARDON',	'IRREGULAR VERBS, 1999',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'lie-a-la-page-catalogue-article-2',	'lie-a-la-page-catalogue-article-2',	'',	'',	'2018-10-19 17:42:47',	NULL,	'2018-10-19 17:42:47',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/doc_article/lie-a-la-page-catalogue-article-2/',	0,	NULL,	NULL,	'',	0),
(1683,	NULL,	NULL,	NULL,	NULL,	2,	'2018-09-10 14:05:32',	'2018-09-10 14:05:32',	'<h2>HEIDI WOOD\r\nBorn 1967 in London. Lives in Paris.</h2>\r\n&nbsp;\r\n<h2>SOLO EXHIBITIONS</h2>\r\n&nbsp;\r\n\r\n<strong>2021</strong>\r\n\r\nLa Hùs, ESADHaR, Rouen, <em><strong>Display Home</strong></em>\r\n<strong>2015</strong>\r\n\r\nLe 116, Montreuil, <em><strong>Production Site</strong></em>\r\n<strong>2013</strong>\r\n\r\nMusée national Fernand Léger, Biot, <em><strong>Setting for an Ordinary Life</strong></em>\r\nGalerie Anne Barrault, Paris, <em><strong>Petite Couronne</strong></em>\r\nFRAC Poitou Charentes, Angoulême, <em><strong>Apparitions collectives</strong></em>\r\n<strong>2012</strong>\r\n\r\nLes Réservoirs, Limay, <em><strong>Banlieues</strong></em>\r\n<strong>2011</strong>\r\n\r\nMaison des arts plastiques Rosa Bonheur, Chevilly-Larue, <em><strong>Vacances d’hiver</strong></em>\r\nArtothèque de Caen, <em><strong>Musées du monde</strong></em>\r\nGraineterie, Houilles,<em><strong> Cosmic</strong></em>\r\n<strong>2010</strong>\r\n\r\nGalerie Herold, Bremen, <em><strong>Open Season</strong></em>\r\nGalerie Municipale, Vitry-sur-Seine, <em><strong>Partie de chasse (Open Season)</strong></em>\r\n<strong>2009</strong>\r\n\r\nCAC Meymac, Abbaye Saint-André, <em><strong>Vous êtes ici</strong></em>\r\nImage Imatge, Orthez, <em><strong>Mount Isa</strong></em>\r\nESAC, Pau, <em><strong>Dans l’univers de Beckmann-N’Thépé</strong></em>\r\n<strong>2008</strong>\r\n\r\nGalerie Anne Barrault, Paris, <em><strong>Date limite de consommation</strong></em>\r\n<strong>2007</strong>\r\n\r\nESAD, Amiens, <em><strong>Visitors’ Center</strong></em>\r\nGalerie Frederic Desimpel, Brussels, <em><strong>Made to Order</strong></em>\r\n<strong>2006</strong>\r\n\r\nLe Hall, Ecole Nationale des Beaux-Arts, Lyon, <em><strong>Le Musée</strong></em>\r\n2005\r\n\r\nGalerie Anne Barrault, Paris, <em><strong>Los Angeles</strong></em>\r\n<strong>2003</strong>\r\n\r\nGalerie Anne Barrault, Paris, <em><strong>Planète Magique</strong></em>\r\nGalleria Plastica, Bologna\r\n<strong>2002</strong>\r\n\r\nEspace d’art contemporain Camille Lambert, Juvisy-sur-Orge,<em><strong> La Maison de banlieue</strong></em>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<h2>GROUP EXHIBITIONS (selection)</h2>\r\n&nbsp;\r\n\r\n<strong>2021</strong>\r\n\r\nFRAC Pays de la Loire, commissariat Claude Closky, <em><strong>X</strong></em>\r\n<strong>2020</strong>\r\n\r\nCAC Meymac, <em><strong>Où est la difference ?</strong></em>\r\n<strong>2018</strong>\r\n\r\nFondation Clément, Martinique, Renault, <em><strong>L’art de la collection</strong></em>\r\nBOAA (Biennale of Australian Art), Ballarat, <em><strong>Off the Map</strong></em>\r\nFrac Normandie-Rouen, <em><strong>Inventaire, vol. 8</strong></em>\r\n<strong>2015</strong>\r\n\r\nFondation Le Corbusier, Paris, <em><strong>Re-Corbusier</strong></em>\r\nFondation Alvar Aalto, Maison Louis Carré, <em><strong>Mise au vert</strong></em>\r\nCité de la céramique, Sèvres, <em><strong>Sèvres Outdoors</strong></em>\r\n<strong>2013</strong>\r\n\r\nLes Abattoirs, Toulouse, <em><strong>Les Pléiades</strong></em>\r\n<strong>2012</strong>\r\n\r\nMAM Galerie, Rouen, <em><strong>La fureur de l’éternuement</strong></em>\r\n<strong>2011</strong>\r\n\r\nFRAC Ile-de-France, Domaine de Rentilly, <em><strong>Round and Round and Round (part 2)</strong></em>\r\nArt dans les chapelles, Pays de Pontivy, (Notre Dame du Moustoir chapel)\r\n<strong>2010</strong>\r\n\r\nVilla des Tourelles, Nanterre, <em><strong>Les autres œuvres</strong></em>\r\n<strong>2009</strong>\r\n\r\nFKSE Studio, Budapest, <em><strong>Free Your Mind</strong></em>\r\n<strong>2008</strong>\r\n\r\nFRAC Poitou Charentes, <em><strong>Pièces à vivre</strong></em>\r\n<strong>2006</strong>\r\n\r\nFRAC Haute-Normandie, <em><strong>Welcome Home</strong></em>\r\n<strong>2005</strong>\r\n\r\nAbbaye Saint-André centre d’art contemporain, Meymac, <em><strong>Le canard était toujours vivant</strong></em>\r\nCentre photographique d’ile-de-France, Pontault Combault, <em><strong>Trois et trois font…</strong></em>\r\nParker’s Box, New York, <em><strong>iamfive</strong></em>\r\n<strong>2004</strong>\r\n\r\nLe Plateau - FRAC Ile-de-France, <em><strong>Voisinages</strong></em>\r\nMains d’œuvres, Saint-Ouen, <em><strong>Hôtel Reliance</strong></em>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<h2>PUBLIC COLLECTIONS</h2>\r\n&nbsp;\r\n\r\nFonds national d’art contemporain (FNAC), Fonds régional d’art contemporain (FRAC): Pays de la Loire, Ile-de-France, Haute-Normandie, Poitou-Charentes,\r\nArtothèques in Limoges, Caen and Pessac, Artbank Australia\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<h2>AWARDS AND COMMISSIONS</h2>\r\n<strong>2021</strong>\r\n\r\nSculpture commission, Courcelles-sur-Seine, <em><strong>Flood Abacus</strong></em>\r\n<strong>2020</strong>\r\n\r\nPublic art project, Collège Aretha Franklin, Drancy, <em><strong>Alentour</strong></em>\r\n<strong>2019</strong>\r\n\r\nPublic art project, Collège Jean Manet, Vertou, <em><strong>Recoins d’Europe</strong></em>\r\n<strong>2018</strong>\r\n\r\nPublic art project, INSEP, Paris, <em><strong>Détramé</strong></em>\r\n<strong>2017</strong>\r\n\r\nCommission for a series of road signs, Renault Art Collection, <em><strong>Étapes urbaines</strong></em>\r\n<strong>2016</strong>\r\n\r\nPublic art commission, Bellegarde College, <em><strong>Nouvelles du monde</strong></em>\r\n<strong>2015</strong>\r\n\r\nPublic art commission, Medical Biology Building, Limoges University, <em><strong>Proliférations</strong></em>\r\n<strong>2014</strong>\r\n\r\nMain street commission, Lorne Sculpture Prize, <em><strong>Archives and Red Herrings</strong></em>\r\nPublic art commission, Bourges Velodrome, <em><strong>Résistance à l’air</strong></em>\r\n<strong>2013</strong>\r\n\r\nPublic art commission, Internat d’excellence, Montpellier\r\n<strong>2010</strong>\r\n\r\nPublic art commission, Public housing, Vitry-sur-Seine\r\n<strong>2009</strong>\r\n\r\nResidency, Künstlerhaus am Deich, Bremen\r\n<strong>2008</strong>\r\n\r\nPublic art commission, INSEP, Paris, phase 3 completed in 2017\r\n<strong>2007</strong>\r\n\r\nResidency, Santa Fe Art Institute\r\nCommission for series of photographs &amp; exhibition curatorship, FRAC Ile-de-France\r\n<strong>2006</strong>\r\n\r\nResidency, Budapest Galéria, Budapest, Cultures France and the City of Paris\r\nCommission for 10 photographs, City of Paris\r\nResidency, Ecole Nationale des Beaux-arts de Lyon\r\n<strong>2005</strong>\r\n\r\nResidency, Centre Photographique d’Ile-de-France, Pontault-Combault\r\n<strong>2004</strong>\r\n\r\nResidency, 18th Street Arts Center, Los Angeles, Australia Council for the Arts\r\nProject grant, DRAC Ile-de-France\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<h2>CATALOGUES</h2>\r\n&nbsp;\r\n\r\n<em><strong>Décor d’une vie ordinaire</strong></em> (Setting for an Ordinary Life), 2014, Éditions de l’art – Musée national Fernand Léger,\r\narticle by Diana Gay, 48 pages\r\n<em><strong>Banlieues</strong></em>, 2012, Les Réservoirs, article by Karim Ghaddab, 24 pages\r\n<em><strong>Musées du monde</strong></em>, 2011, Artothèque de Caen, 144 pages\r\n<em><strong>Vacances d’hiver</strong></em> (Winter Vacation), 2011, Espace d’art Rosa Bonheur, article by Jacinto Lageira, 52 pages\r\n<em><strong>Partie de chasse</strong></em> (Open Season), 2010, Ville de Vitry-sur-Seine, articles by Anthony Gardiner and Heidi Wood, 56 pages\r\n<em><strong>Enquire Within</strong></em>, 2010, image/imatge, box set of de 4 booklets\r\n<em><strong>Carnet sagace #20</strong></em>, 2009, École supérieure d’art des Pyrénées, article by Jacques Norigeon, 24 pages\r\n<em><strong>Heidi Wood, œuvres 2001-2007</strong></em>, 2008, Éditions Filigranes, articles by Philippe Coubetergues, Frank Lamy\r\nand Stephen Wright, 112 pages\r\n<em><strong>Los Angles Diaries (Nutrition disguised as fun)</strong></em>, 2005, articles by Stephen Wright and Heidi Wood, 20 pages\r\n<em><strong>Heidi Wood à la Planète Magique</strong></em>, 2003, article by Judicaël Lavrador, 10 pages\r\n<em><strong>La Maison de banlieue</strong></em> (The House in the Suburbs), 2002, Espace d’art contemporain Camille Lambert, articles by Fabienne Fulchéri and Suzie Attiwill, 20 pages\r\n<em><strong>Heidi Wood à IUFM</strong></em>, 2002, article by Philippe Coubetergues, 8 pages\r\n<em><strong>Serving Suggestions</strong></em>, 1999, article by Frank Lamy, 20 pages\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<h2>GROUP CATALOGUES</h2>\r\n&nbsp;\r\n\r\n<em><strong>X</strong></em>, 2021, Claude Closky, Frac Pays de la Loire\r\n\r\n<em><strong>Lasciate socchiuse le porte</strong></em>, 2021, Armando Editore, editorial committee: Beniamino Della Gala, Adrien Frenay, Filippo Milani, Lucia Quaquarelli\r\n<em><strong>20 ans d’art en France, Une histoire sinon rien, 1999 – 2018</strong></em>, 2018, Éditions Flammarion, Michel Gauthier and Marjolaine Lévy\r\n<em><strong>écritures 10</strong></em>, Traduire hors-lignes, 2018, Presses universitaires de Paris Nanterre, editorial committee: Adrien Frenay, Lucia Quaquarelli and Licia Reggiani\r\n<em><strong>Re-Corbusier</strong></em>, 2015, Fondation Le Corbusier, articles by Marjolaine Lévy and Catherine de Smet\r\n<em><strong>Les Pléiades : 30 ans de création dans les FRAC</strong></em>, 2013, articles by Marie-Cécile Burnichon, Catherine Elkar and Sylvie Froux\r\n<em><strong>L’art dans la ville</strong></em>, 2012, Fage éditions, article by Ann Hindry\r\n<em><strong>La fureur de l’éternuement</strong></em>, 2012, Éditions Friville, articles by Miguel Angel Molina and Baptiste Roux\r\n<em><strong>Les autres œuvres – La peinture et ses images</strong></em>, 2010, articles by Sandrine Moreau, Miguel Angel Molina and Pierre Baumann\r\n<em><strong>Sept/7</strong></em>, 2007, Frac Ile-de-France, article by Xavier Franceschi\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<h2>PRESS (selection)</h2>\r\n&nbsp;\r\n\r\n2015 Eric Loret, <strong>Inferno.com</strong>\r\n2009 Didier Arnaudet, <strong>Art Press n° 355</strong>\r\n2008 Lillian Davies, <strong>artforum.com</strong>\r\nNathalie Heggert, <strong>artslant.com</strong>\r\n2003 Raya Baudinet, <strong>Art Press n° 292</strong>\r\n2002 Alexandre Bohn, <strong>Art Press n°285</strong>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<h2>EDUCATION</h2>\r\n&nbsp;\r\n\r\n2017-2018 Université Paris 8, Saint-Denis, M2, art department\r\n1992-1995  Ecole Nationale Supérieure des Beaux-arts, Paris, DNSAP, atelier Claude Viallat\r\n1985-1987  Victoria College, Prahran, Melbourne, Bachelor of Arts, Visual Art\r\n\r\n&nbsp;\r\n\r\n&nbsp;',	NULL,	'HEIDI WOOD CV',	'CURRICULUM VITAE',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'cv-lie-a-la-page-cv',	'cv-lie-a-la-page-cv',	'',	'',	'2022-01-07 09:31:17',	NULL,	'2022-01-07 09:31:17',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1683',	0,	NULL,	NULL,	'',	0),
(1692,	NULL,	NULL,	NULL,	NULL,	3,	'2018-10-16 16:10:00',	'2018-10-16 16:10:00',	'In the beginning was an oil painting, 130 x 81 cm. (51 x 32 in.), titled <em>You Win Some, You Lose Some,</em> one of a series of abstract pictures by Heidi Wood. Variable in size, all the paintings in the series had bright, contrasting colors, abstract motifs, and were done on furnishing fabrics. That material governed their fate, in a way, because these same paintings were then incorporated, like a piece of furniture, into decorative interiors that Wood arranged and photographed. Hung on a blue wall, <em>You Win some, You Lose Some</em> thus becomes part of a composition that includes a Jielde lamp designed by Jean-Louis Domecq around 1950 and a chaise lounge designed by Le Corbusier, Pierre Jeanneret, and Charlotte Perriand in 1928. The floor is yellow, while the wall on the right is red. In another instance, <em>You Win Some, You Lose Some</em> was shown only with the Domecq lamp set on a black-and-white checkerboard floor. This approach describes Wood’s entire <em>Serving Suggestions</em> series: one or two paintings are combined with a few chairs, armchair, or lamp designed in the twentieth century (sometimes accompanied by a plant, a low table, or standing ashtray), all set against brightly colored grounds.\r\n\r\n&nbsp;\r\n\r\nIn addition to the allusion to Le Corbusier’s color scheme in the photographed environment (blue, red, and yellow), it is impossible to overlook the similarity between the <em>Serving Suggestions</em> in general and the images used by the Salubra firm to promote the range of wallpapers designed by Le Corbusier, as seen in pictures reproduced in his 1959 book and in advertising that appeared upon its publication and afterward. A 1981 photograph shows the <em>Mur</em> (Wall) paper covering a wall in a room furnished with the 1928 chair flanked by a recent lamp. Hanging on another —red— wall is a painting by Le Corbusier. In the foreground, the green leaves of a potted plant complete the staging.\r\n\r\n&nbsp;\r\n\r\nYet in <em>Serving Suggestions,</em> reminiscent of all those pictures swamping interior design and sales catalogs, the hierarchy remains uncertain: to what does the “serving suggestion” primarily apply? The painting enlivens the setting for the chaise lounge every bit as much as the chair graces the display of the painting, and the anachronism of their juxtaposition vanishes in the clichéd nature of the set-up—it is a perfectly modern picture. Wood thus explores the visual impact of contemporary advertising strategies, as also witnessed in her transposition of architectural profiles found in outlying urban areas into pictograms that she subsequently employs in various media (<em>Architecture de Zone péri-urbaine,</em> 2013), which also indicate, if somewhat differently, her interest in modernism and its repercussions.\r\n\r\n&nbsp;\r\n\r\n<strong>Catherine de Smet</strong>, 2015\r\n\r\n<em>Re-Corbusier</em> catalogue',	NULL,	'RE-CORBUSIER',	'CATHERINE DE SMET',	'RE-CORBUSIER CATALOGUE, 2015',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	're-corbusier-catalogue-catherine-de-smet-2015',	're-corbusier-catalogue-catherine-de-smet-2015',	'',	'',	'2018-10-19 12:57:48',	NULL,	'2018-10-19 12:57:48',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1692',	0,	NULL,	NULL,	'',	0),
(1695,	NULL,	NULL,	NULL,	NULL,	3,	'2018-10-15 16:14:34',	'2018-10-15 16:14:34',	'We discovered Heidi Wood’s work in the early 2000’s via a strategy that highlighted the decorative nature of abstract painting. The artist designed domestic settings (such as a living room with wallpaper and a lamp) in which she hung her own abstract compositions. The installation was photographed or its characteristics laid out in a formula, to constitute, in marketing terms, a “serving suggestion”.\r\n\r\n&nbsp;\r\n\r\nThis also indicates her interest in the intrusion of corporate economics in the means of producing and exhibiting art. She demonstrates this in a range of means (sometimes as over the top as the economic intrusion is outrageous): distributing her artworks in the form of spams, delegating production, defining a use-by date for her paintings, hanging works in settings similar to trade fair stands, creating works in forms inspired by merchandising…\r\n\r\n&nbsp;\r\n\r\nAs an artist in residence or in public art projects, Heidi Wood explores cities that are often unknown and from which she attempts to extract the essence. In an aesthetic similar to geometric painting, her syntheses of the urban environment are translated into pictograms. Like promotional logos, these are printed on cheap materials (plates, postcards, calendar, street sign, etc.) thus maintaining the confusion between various domains.\r\n\r\n&nbsp;\r\n\r\nAccepting the invitation to celebrate the Fracs’ 30-year anniversary allowed Heidi Wood to apply her working methods to a public collection.\r\n\r\n&nbsp;\r\n\r\nIn « Apparitions collectives », two directions are developed: presenting the works based on common themes and distilling into pictograms possible syntheses of this collection. For each “apparition” one work is exhibited and others are represented schematically as a wall painting. Four of the 14 pieces created are reactivated in Toulouse after two initial cycles (partners in the Poitou Charentes region, then at the Frac in Angoulême):\r\n\r\n&nbsp;\r\n\r\n- with works by Didier Marcel (Philippe Pareno and Maurizio Cattelan, Pierre Malphettes), structures describe micro-utopias and/or the creation of places that favor interactions. Without being especially revolutionary, the utopia seeks to be relational and starts downstairs ;\r\n\r\n- beside the work by Ingrid Luche (Mark Handforth, Mariano Fortuny), ambiguous, poetic, functional or graphic, lights become the raw material for creation;\r\n\r\n- J. Duplo’s bricks are typical of the repetitive application of a system. The use of poor and unexpected materials highlights the ingenious and obsessional nature of a gesture ( Nathalie Talec, Vincent Ganivet);\r\n\r\n- using digital means to create a formal synthesis, the piece with Delphine Coindet (Xavier Veilhan) can be introduced by: “For me, art is focusing on things we know exist but that we don’t see. I want to create logotypes that place the viewer before a question.” (X.V.)\r\n\r\n&nbsp;\r\n\r\n<strong>Hélène Dantic</strong>\r\n\r\nText for the catalogue <em>Les Pléiades, 30 ans des Fonds Régionaux d’art contemporain</em>\r\n\r\n28/09/2013 - 05/01/2014',	NULL,	'APPARITIONS COLLECTIVES',	'HÉLÈNE DANTIC',	'APPARITIONS COLLECTIVES, 2014',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'apparitions-collectives-helene-dantic-2014',	'apparitions-collectives-helene-dantic-2014',	'',	'',	'2018-10-19 17:31:16',	NULL,	'2018-10-19 17:31:16',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1695',	0,	NULL,	NULL,	'',	0),
(1700,	NULL,	NULL,	NULL,	NULL,	3,	'2018-10-14 16:27:49',	'2018-10-14 16:27:49',	'<em>A work of art today must withstand comparison</em>\r\n\r\n<em>to any manufactured object. The artist-painting is false and outdated.</em>\r\n\r\n<em>Only the object-painting is capable of resisting the comparison and holding up over time.</em>\r\n\r\n&nbsp;\r\n\r\n<strong>Fernand Léger</strong>\r\n\r\n&nbsp;\r\n\r\nAccording to English ethnologists at the end of the nineteenth century such as Alfred Cort Haddon, the development of decoration since prehistoric times marks the beginning of the cultural history of forms, thus linking from the outset art and the decorative.<a href=\"#_ftn1\" name=\"_ftnref1\">[1]</a> In autumn 2013, the Musée national Fernand Léger and the Musée d’histoire et de céramique biotoises invite Australian artist Heidi Wood to continue this dialogue between fine art and applied arts, in connection with the pertinent distinction Léger made between easel painting and ornamental painting. The result is the two-part exhibition, Setting for an Ordinary Life.\r\n\r\n&nbsp;\r\n\r\nExperimenting with images on all surfaces, Heidi Wood draws together two notions of time (universal and contextual) as a traveller and artist in residence. “I explore the use of pictograms in the simulation and evocation of an idealized world. I continue to design repertoires of forms in response to a given context. But the forms are no longer presented via series of photographs to (potentially) become paintings. The physical artwork has disappeared. I now prefer to make ephemeral environments.” Pursuing her visual infiltration of reality in a dizzying, self-promoting marketing campaign, Heidi Wood undermines the functionality of objects by exploiting their visual potential (street sign, billboard, flag shield, pencil case, souvenir plate, etc.) With the series Serving Suggestions begun in 2001 (abstract paintings in modernist interior settings), the artist acknowledges that the artwork, reduced to an image, has been stripped of its aura, as foreseen by Walter Benjamin in 1935.<a href=\"#_ftn2\" name=\"_ftnref2\">[2]</a>. Her advertising-inspired photographs thus turn the viewer into a consumer.\r\n\r\n&nbsp;\r\n\r\nIn Biot, Heidi Wood sets up a dialogue between her pictographic landscapes and Fernand Léger’s progressive aesthetic in close relation to the town where the painter practiced ceramics from 1949 to 1955. An urban theme runs through these three elements, as this was essential to Léger’s work. Indeed, from the 1920’s he was enthusiastic about the architectural and social innovations developed and practiced by friends such as Le Corbusier or Robert Mallet-Stevens. Lucid, he nonetheless advocated painting’s integration into architecture and wanted artists to reclaim the visual impact of advertising. During the aviation salon in Paris in 1912, along with Marcel Duchamp and Constantin Brancusi, he acknowledged the competition of the industrial object (a propeller, in this case). While Duchamp stopped painting in favor of a conceptualization of the artistic act, Fernand Léger opted for a strategy of integrating painting into total art projects in architecture, cinema or theater. Convinced that art is a means not an end, he discovered the working class during the First World War that he spent at the front alongside miners, tradesmen and road workers. This shift in perspective made him aware that the near-abstraction he had reached in his cubist-inspired series Contrastes de formes distanced him from the man in the street. During the famous debates at the Maison du peuple in 1936 during which he opposed defenders of socialist realism such as Aragon, he advocated the necessity of art education for all and refused the instrumentalization of art for popularity-seeking or individualistic purposes: \"If our artworks have not permeated the masses, I repeat, it is the fault of the current social order and not because these artworks lack humanity. <a href=\"#_ftn3\" name=\"_ftnref3\">[3]</a>\" From then on, he illustrated his concept of nouveau réalisme by focusing on the everyday object rather than the romantic subject, which had been rife since the Italian Renaissance. In 1923 - 24, he maintained ”Beauty is everywhere, in the order of your saucepans, on the white wall of your kitchen, perhaps more so than in your\r\n\r\n&nbsp;\r\n\r\n18th century living room or in official museums”<a href=\"#_ftn4\" name=\"_ftnref4\">[4]</a>. With his theory of contrasts, he laid claim to the beauty of the pure means available to the painter (line, form, color).\r\n\r\n&nbsp;\r\n\r\nWith her project Sister Suburbs begun in 2011, Heidi Wood takes stock of this progressive history of 20th century art in light of today’s suburban environment, often scorned as less patrimonial than the city center. Her homage to suburbia invites us to change the way we look at the constructed environment, its visual codes and also its contradictions. Halfway between irony and political stance, she explores the social function at the heart of the avant-garde utopia. Influenced by the constructivist aesthetic of Malevich and the Bauhaus, she questions the capacity of non-figurative art to merge with everyday life. What relationship can the painter really establish with her fellow citizens? Does she see the systematic appropriation of geometric abstraction’s topos by design and visual communication as the victory or bankruptcy of modernism? What is the artist’s place in today’s global economy of goods and services? As Nicolas Bourriaud says, (...) \"the abstract glossary allows us to apprehend a visible (architectural, social or economic) reality that capitalism has turned into abstract painting\".<a href=\"#_ftn5\" name=\"_ftnref5\">[5]</a>\r\n\r\n&nbsp;\r\n\r\nA service provider to her own creative undertaking, Heidi Wood provides an answer by examining the signs generated by the regions she visits. The renewed way of seeing she offers us questions the values underlying our era and consequently the way we look at it. As such, Heidi Wood clearly incarnates the still relevant utopia of 20th century avant-gardes: our awareness will change the world.\r\n\r\n&nbsp;\r\n\r\nIn the two-part exhibition <em>Setting for an Ordinary Life</em>, Heidi Wood presents us with an uplifting mise en abyme. Viewers become actors, despite themselves, in a reality show. From inside a museum, they are asked to admire the domestic environment in which they live. All-over painting renders the space concrete by putting homo erectus (back) in its center. At the Musée national Fernand Léger the exhibition <em>The Projects</em> thus immerses the visitor in a total artwork by recreating a standardized apartment in a housing project. Between high art, applied arts and popular taste, the artist is amused by the ambiguous status of her own works that she makes herself or gets others to make for her. Road signs printed with floral motifs are hung on blocks of color painted on walls that evoke the clichés of anonymous suburban architecture. White sculptures based on floor plans from social housing are used as display cabinets for souvenir plates representing electrical towers.\r\n\r\n&nbsp;\r\n\r\nAt the Musée d’histoire et de céramique biotoises, the exhibition <em>House</em> is a lively dialogue between the collections that describe daily life in this beautiful hilltop village in Provence and Heidi Wood’s industrial aesthetic. Reinforced by a roadside trail of posters through Biot of five posters with floral or architectural motifs on blocks of color, these exhibitions interact dynamically with two urban realities on the Côte d’Azur: <em>The Projects</em> at the Musée Léger looks at the dialogue between painting and low-budget architecture while <em>House</em> at the Musée d’histoire et de céramique explores the connection between applied arts and everyday objects.\r\n\r\n&nbsp;\r\n\r\nFor Fernand Léger and Heidi Wood, painting’s strength is as a means of visual education capable of countering mankind’s alienation by mankind. Their strategy of distancing themselves from reality allows them to look at it more intensely - benevolently but without romanticism. Beyond the canvas, can painting be inhabited? Does our standardized habitat indicate that a learned art form has finally reached the masses? In attempting an answer, Heidi Wood takes her turn at enriching the cultural history of forms.\r\n\r\n&nbsp;\r\n\r\n<strong>Diana Gay</strong>, 2013\r\n\r\n<em>Décor d’une vie ordinaire (Setting for an Ordinary Life)</em> catalogue\r\n\r\n&nbsp;\r\n<h5><a href=\"#_ftnref1\" name=\"_ftn1\">[1]</a>      Guitemie Maldonado, “Chapitre 1 / Archéologie du terme” in Le cercle et l\'amibe. Le biomorphisme dans l\'art des années 1930, Paris, INHA/CTHS (“Les Essais de l\'INHA”), 2006 [on-line], put on-line December 7 2010, consulted August 10 2013, http://inha.revues.org/2876.</h5>\r\n<h5><a href=\"#_ftnref2\" name=\"_ftn2\">[2]</a>     Walter Benjamin, L\'oeuvre d\'art à l\'époque de sa reproductibilité technique, Paris, Allia, 2003.</h5>\r\n<h5><a href=\"#_ftnref3\" name=\"_ftn3\">[3]</a>     Fernand Léger, “Le nouveau réalisme continue”, Fonctions de la peinture, Paris, Gallimard coll. Folio Essais, 2009, p. 197.</h5>\r\n<h5><a href=\"#_ftnref4\" name=\"_ftn4\">[4]</a>     Fernand Léger, “L\'esthétique de la machine, l\'objet fabriqué, l\'artisan et l\'artiste”, ibid, p. 88.</h5>\r\n<h5><a href=\"#_ftnref5\" name=\"_ftn5\">[5]</a>     Nicolas Bourriaud, Sarah Morris. Mechanical Ballet, digital catalogue of the exhibition held at the Musée national Fernand Léger (November 17 2012 - March 4 2013), [on-line], p. 5, consulted August 13 2013, <a href=\"http://www.musees-nationaux-alpesmaritimes.fr/library/Sarah%20Morris/SarahMorris2MN2012BD.pdf\">http://www.musees-nationaux-alpesmaritimes.fr/library/Sarah%20Morris/SarahMorris2MN2012BD.pdf</a></h5>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;',	NULL,	'PAINTING FOR THE MASSES?',	'DIANA GAY',	'PAINTING FOR THE MASSES? 2013',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'painting-for-the-masses-diana-gay-2013',	'painting-for-the-masses-diana-gay-2013',	'',	'',	'2018-10-19 17:31:58',	NULL,	'2018-10-19 17:31:58',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1700',	0,	NULL,	NULL,	'',	0),
(1703,	NULL,	NULL,	NULL,	NULL,	3,	'2018-10-13 16:32:44',	'2018-10-13 16:32:44',	'The twinning of cities in different countries first occured in the 1950’s with the aim of encouraging cultural dialogue, thereby reducing the misunderstandings and antagonisms that had made possible two World Wars and all the others. Twinning is thus a project of fraternal utopia activated on a municipal level rather than at the level of the State, which is always suspected of nationalism and so-called “higher interests”.\r\n\r\n&nbsp;\r\n\r\nAt the same time, late modernism found its purest formulations in American art criticism and abstract painting. There is a surprising correlation, at least historically speaking, between these two utopias, namely the dialogue among cultures and the affirmation of a nationally anchored modernist eschatology.\r\n\r\n&nbsp;\r\n\r\nSince then, the practice of twinning has lost in ambition what it has gained in administrative order and the formal vocabulary of pictorial modernism has been widely taken over by advertising, communications, graphics and design professionals. In Limay, Heidi Wood creates a parallel between these two heritages by twinning this small town in the Yvelines and that of Wheelers Hill, in the suburbs of Melbourne, Australia. The artist imagines tourist information centers for the two suburbs, complete with photographs, paintings and wall paintings. As in her work as a whole, the formal register used by Heidi Wood comes as much from geometric abstraction as from logos and visual communication, thus blurring the nature of what we are looking at. There is indeed a principle of transplant in most of the formal means used: oil paint on synthetic upholstery fabric, digital photography and graphics in diptychs, confrontation of two planes of color, coexistence of observational drawing and complex fictional economies…\r\n\r\n&nbsp;\r\n\r\nSuburbia, which is both the host and subject of this project, can be defined itself as a graft: fantasy union of urban and rural, dream of a new type of city, it also answers to fundamentally different representations in France, where it incarnates exclusion, and the Anglo-Saxon world, where it is a residential area. In both cases, it raises the question of image(s). Finally, let it be said that when a graft doesn’t take, it is known as “rejection”.\r\n\r\n&nbsp;\r\n\r\n<strong>Karim Ghaddab</strong>, 2012\r\n\r\n<em>Suburbias</em> catalogue\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>ARTIST STATEMENT\r\n</strong>\r\n\r\nSUBURBIAS, Les Réservoirs, Limay\r\n\r\nMarch 9 – April 15 2012\r\n\r\n&nbsp;\r\n\r\nWhen I was offered an exhibition at Les Réservoirs in the outer Parisian suburb of Limay, I planned to twin it with an equivalent suburb in another country. I hoped to explore the reality behind the wildly different public images of suburbia in France and in English speaking countries.\r\n\r\n&nbsp;\r\n\r\nIn France the popular definition of “la banlieue” (suburbia) is reduced to its most volatile neighborhoods. Urban planners define 751 “Sensitive Urban Zones” in France. According to Wikipedia, these are characterized by a population suffering from high unemployment, low qualifications and low earning potential. The percentage of non-French people is twice as high as in the country as a whole. 60% of people live in (often poorly maintained, high density) public housing as against 20% elsewhere in France. Its residents numbered 4.4 million in 2006 (7% of the population). From 77.5 to 85% of the French population is urban, depending on sources. Suburbs that are not “sensitive urban zones” are thought of as cities or towns. Limay is listed as a sensitive urban zone. The French would call it a suburb.\r\n\r\n&nbsp;\r\n\r\nI grew up in Australian suburbia where the term evokes a calm, middle class existence in vast zones of single-family houses dotted with huge shopping centers. The public image of suburbia corresponded exactly to my experience of it. The equivalent of la banlieue would once have been “inner west”, also associated with a concentration of social problems, but most inner city areas have been gentrified these days.\r\n\r\n&nbsp;\r\n\r\nI began my search for a sister suburb for Limay by contacting friends who live in other countries. This is how I defined Limay:\r\n\r\nIt is outer, outer suburbia (almost Normandy), a worker town built in the sixties with some high rise and a lot of individual houses. There are grazing cows alongside heavy industry. The municipality is run by communists.\r\n\r\n&nbsp;\r\n\r\nTheir replies:\r\n\r\n<em>Comrade Heidi: The thought of communist mayors in the US made me giggle. I do not think it is possible for there to be any elected official in America who openly professed belief in communist theory or practice… We Americans love our bootstrap free-market capitalism with an ardency that borders on the fetishistic. It might be possible, with a little digging, to find communities where there is a thriving open or openly unofficial barter economy that just skirts the nuanced edges of a collective consciousness. But I would guess that the rhetoric would be libertarian (Live Free or Die being one of our founding mottoes) rather than communist or socialist. Now, maybe you need to think about compare/contrast in your sister suburbs project. I am sure you could find many US cities as robustly capitalist as your EU communists.</em>\r\n\r\n(<strong>KC Bitterman</strong>)\r\n\r\n&nbsp;\r\n\r\n<em>We don\'t have any communists here in Hong Kong. We have a benevolent dictatorship of real estate moguls organised by huge bureaucracy. (British + Chinese = serious love of bureaucracy). We hardly believe in helping neighbours, let alone community self-management.</em>\r\n\r\n(<strong>Tanya Hart</strong>)\r\n\r\n&nbsp;\r\n\r\n<em>In England the suburbs and communism are like chalk and cheese, you\'ll never find them together! In England suburbia and conservatism are what go hand in hand. If you want to know what people in English suburbs are thinking then you should read the Daily Mail ( <a href=\"http://www.dailymail.co.uk/\">www.dailymail.co.uk</a> ).</em>\r\n\r\n(<strong>Craig Dickson</strong>)\r\n\r\n&nbsp;\r\n\r\nFaced with the difficulty of finding an exact equivalent, I decided to choose a suburb that, like Limay, corresponded to a national definition of suburbia. I chose the one I know best: Wheelers Hill, 22 km south east of the center of Melbourne, where I lived from the age of 7 to 17. A recent visit showed it had become more prosperous and less peripheral than in the mid 1980’s when I left.\r\n\r\n&nbsp;\r\n\r\nInterestingly, the municipal website for Monash that encompasses Wheelers Hill, gives the mobile phone numbers of councilors but not their political affiliation. When I called Monash council, the receptionist was not authorized to tell me which party the mayor belonged to. She put me through to a series of people who couldn’t tell me or didn’t know. The mayor herself answered my email to say membership of a political party at a municipal level is like membership of any other club – a personal affair. She belongs to the Labour Party. I rang Limay council and asked the same question. The immediate, one-word answer was: communist.\r\n\r\n&nbsp;\r\n\r\nI plan to use the two rooms of the exhibition space at Les Réservoirs like visitors’ centers for these two suburbs. I will explore the urban fabric and atmosphere of both in wall paintings, paintings and photographs.\r\n\r\n&nbsp;\r\n\r\n<strong>Heidi Wood</strong>\r\n\r\nJanuary 2012',	NULL,	'SUBURBIAS',	'KARIM GHADDAB',	'SUBURBIAS, 2012',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'suburbias-karim-ghaddab-2012',	'suburbias-karim-ghaddab-2012',	'',	'',	'2018-10-19 17:32:50',	NULL,	'2018-10-19 17:32:50',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1703',	0,	NULL,	NULL,	'',	0),
(1706,	NULL,	NULL,	NULL,	NULL,	3,	'2018-10-12 16:41:55',	'2018-10-12 16:41:55',	'The speed at which everyday objects are produced, manufactured, transformed and distributed is such that their equally ephemeral usage annihilates the very idea of the everyday and the familiar. Everything seems organized so that we do not have time to get near these objects and make them our own. Yet they express and represent us in that via our choices and uses they are no more than extensions of our bodies and emotions. If we pay the slightest attention to the things and objects that surround us, all, without exception, can be seen as the reverse side or negative of the forms of our bodies. Shoes, houses, can openers, clothes, bags, cars, chairs – all these things are our own shapes in reverse. Without idolizing consumer society – after all, these are things, not other subjects – we better understand our emotional investment in them when we realize that even the tiniest manipulation is ultimately an interaction with the society of human bodies that these objects represent, contain and reconstruct. They reconstitute us and they signify. The shapes, colors, textures, materials, sizes and weights of all these objects are not insignificant. They are, rather, a form of coded communication with users as well as a means of communication among them. This observation is banal and has been around for a long time. Nonetheless, few people question the rules and norms of this consumer society to the point that a considerable number of objects are often consumed economically without there being time to use them physically – mobile phones are the most common example of this. At best, there is still symbolic usage. At worst, it makes us into social actors who serve the economy, when the market should serve us. Hence, since the birth of industrialization we have progressively becomes objects for other individuals who see us as such.\r\n\r\n&nbsp;\r\n\r\nThe magical, spellbinding, bewitching nature of commodities – what Marx called “commodity fetishism”, from the Portuguese word <em>feitiço,</em> meaning magic – can only work if we believe in it, like religion. And there is no shortage of commodity worshippers; there are millions of them. This is explained by the double nature of the value attributed to the object, having both a usage value and a symbolic value with the latter often outstripping the object’s mercantile value. We are prepared to spend large sums for a family heirloom or a rare or unusual object. We have a propensity for a sort of “psychic fetishism” toward the object. We are connected to it by emotional over-investment. It also connects us to a whole network of human affective states, codes and signs that have been blurred, are almost imperceptible, but are still there, living on. One of the characteristics of Heidi Wood’s work is to literally make visible the underlying structures, both esthetic and functional, of many of the codifications attached to objects, their contexts and their purposes. Her work not only reveals visual and significant situations that are often unnoticed due to disinterest or conditioning. It is above all transforming. The posters made for the exhibition <em>Winter Vacation</em> show objects and their uses in a different light, as if by opening them up and cutting them open to show elements, facets and aspects that would have remained hidden without the various operations undertaken. They signify in another way, but also something else, acquiring other visual, esthetic and artistic values.\r\n\r\n&nbsp;\r\n\r\nThe transformation Heidi Wood inflicts upon them comes out of the objects themselves, as if by mutations, evolutions and developments – what visual communication jargon calls multiple spin-offs. Playing on ambivalences in the way the public receives advertisements, design objects, graphics and a whole range of signs, as well as ambivalences in the modes of production, design and manufacture of this vast system of codes, Heidi Wood does more than shift their signification and purpose. Ultimately, she resocializes an entire process of significations that originally would have consisted of desocializing, all to facilitate their circulation in the commodities system. In the end, the thousands of signs we read and interpret daily in the form of all types of objects – except those that are strictly informative – only serve to attract and focus attention on something else, which is usually the sale… of other objects. The billboards we find here and there in the street always possess, literally and figuratively, a double discourse: informative and mercantile. As if we could not signify, communicate and inform without immediately soliciting the viewer with an eye to the future sale of a given product. We deliberately omit the fact that not all communication has an alternative motive. It is not always manipulation. Suddenly, the street, avenue, square, church, house, roundabout, pharmacy, fire station or hospital can all become, or already are, commercial signs. Society as a whole becomes a hyper-logo, a sign of itself like a system of commodification that self-generates other signs and logos.\r\n\r\n&nbsp;\r\n\r\nIf, based on the system of existing symbols, Heidi Wood repossesses, redraws, reconfigures and duplicates, we have to take her posters literally as symbols and symbolic, i.e. as two things that are joined or brought together (from the Greek <em>symbolon</em>, “put together”). In other words, a social connection is established between the person who imagines and produces the sign and those who perceive and interpret it. Given that a symbol only has meaning if it is understood and shared by a group, community or society, Heidi Wood’s posters are highly symbolic visually, esthetically and artistically, but also symbolically in that they create recognizable signs among members of society, creating connections between people who recognize themselves as subjects rather than interchangeable objects. Always working with the specificity of place, Heidi Wood clearly uses a generic system of signs, fitting it into local peculiarities so that the works are significant to the users addressed. In this case, the users are inhabitants of Chevilly-Larue who should see themselves in and feel partly reflected by them. The negative or positive surprises, or even loathing that Heidi Wood’s posters may spark are another way of creating connections with users of the urban landscape, not only in that they see their usual environment from another, surprising angle, but because they therefore understand that a different form of social participation is possible, that another way of seeing is viable, that another form of imagination can materialize in society. Public space is never a given that can be handled like any other tool. It is not something within arm’s reach whose only value is utilitarian; that can be tossed out when it is deemed obsolete. In a manner that is as surreptitious as it is explicit and visible, Heidi Wood’s works prove that public space is constantly constructed by those who make, use, think and shape society. The idea of shaping it should be taken as the form given to the space and the audience of this space – a space where signs and images weave connections rather than undermining the social fabric.\r\n\r\n&nbsp;\r\n\r\n<strong>Jacinto Lageira</strong>, 2011\r\n\r\n<em>Vacances d’hiver (Winter Vacation)</em> catalogue',	NULL,	'CONNECTED BY IMAGES',	'JACINTO LAGEIRA',	'CONNECTED BY IMAGES, 2011',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'connected-by-images-jacinto-lageira-2011',	'connected-by-images-jacinto-lageira-2011',	'',	'',	'2018-10-19 17:33:27',	NULL,	'2018-10-19 17:33:27',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1706',	0,	NULL,	NULL,	'',	0),
(1709,	NULL,	NULL,	NULL,	NULL,	3,	'2018-10-11 16:45:28',	'2018-10-11 16:45:28',	'The urban environment is like a Petri dish, a crucible in which to chart the enormous transformations that have taken place since the heyday of Western modernism in the early twentieth century. Travel to any major city, from Brussels to Bucharest and beyond, and one finds apartment blocks, government buildings, universities, all kinds of social infrastructure now encased in enormous banners or made over as large-scale billboards advertising watches, perfumes or glamour. Industrial zones that were threatened with obsolescence during the neoliberal 1990s, from port cities such as Gdansk or Hamburg to other manufacturing centres like Kaunas, have been reborn, raised from the dead amid globalised service economies and so-called creative industries to become tourist sites and fun parks of history. These sites then become triggers for consumption, designed to be photographed and replayed later through anecdote rather than experienced there-and-then.\r\n\r\n&nbsp;\r\n\r\nArt, or at least visual culture, plays a central role in this, as Heidi Wood’s work suggests. The abstract imagery that has comprised her practice in recent years, including her current series, draws from the ways that state and private businesses distil a sense of their local environments through logos, visual sound bites and other snapshot souvenirs. Wood’s symbols or “pictograms” mimic the monuments of modernist industry (cranes, factories, watchtowers), reducing these sites to schematic outlines in much the same way that postcards (or, for that matter, art biennales) tend to reduce a place to key locations or viewpoints for the appreciation of non-local audiences. Artists’ residencies – such as that held by Wood in Bremen from September to October 2009, and which has provided the foundations for the work in this exhibition – can be given a similar use-value, infiltrating “local” meaning into a “foreign” artistic practice which can then be disseminated elsewhere around the globe through an artist’s subsequent shows. The “local” thereby becomes a mobilised souvenir of sorts as well, much like the blue plates popular in Germany and replicated by Wood here, commemorating a traveller’s ventures into new terrain.\r\n\r\n&nbsp;\r\n\r\nThe abstractions of Europe’s avant-garde and neo-avant-garde movements – from Wassily Kandinsky or Albert Renger-Patzsch to Bernd and Hilla Becher’s images of industry on the brink of decay from the 1960s – are now the lingua franca of contemporary consumer society. They provide the signposts for “the local” and “the social”, targeting us from hoardings on buildings, or posted to friends with a “wish you were here” glee, as they construct the parameters for contemporary subjectivity. Wood’s own pictograms, blue plates and signposts are clearly shot through with a similar debt to “corporatised” creative industries. Yet, rather than a mere repetition of or capitulation to these constructions, Wood’s practice can be better understood as an <em>over-identification</em> with them, an aesthetic of mimicry that underpins a significant strain of contemporary art as it seeks new ways of negotiating with neoliberalism. Much like the work of The Yes Men and RTMark today, or IRWIN before them, Wood’s practice deliberately exaggerates the processes and appearances of neoliberal aesthetic regimes, opening up the fine line between criticism of that regime and complicity with it, or between an imposed and a sovereign subjectivity. It is in this opened “between” state that Heidi Wood’s explorations of contemporary conditions and mnemonics of the present take place, ascribing to no particular political or cultural position other than one belonging to that all-too-rare commodity these days: a deliberate curiosity about the very position of culture, about the messages that it can provide and the people it can target, within neoliberal urban spheres.\r\n\r\n&nbsp;\r\n\r\n<strong>Anthony Gardner</strong>, 2009\r\n\r\n<em>Partie de chasse (Open Season) c</em>atalogue <em>\r\n</em>',	NULL,	'OPEN SEASON',	'ANTHONY GARDNER',	'OPEN SEASON, 2009',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'open-season-anthony-gardner-2009',	'open-season-anthony-gardner-2009',	'',	'',	'2018-10-19 17:34:15',	NULL,	'2018-10-19 17:34:15',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1709',	0,	NULL,	NULL,	'',	0),
(1715,	NULL,	NULL,	NULL,	NULL,	3,	'2018-10-10 16:55:04',	'2018-10-10 16:55:04',	'Heidi Wood designates but does not communicate, even though she delivers signals that are almost signage. She offers the forms to us as she found them in this indistinct zone that brings together reality as representation and representation as reality. Taken from landscapes modified by the images that adopted them. She eliminates, she detaches, she extracts signs from the environment where they sluggishly drew attention to themselves, signaling above all an alliance or appearance. De-signating, she de-tects, de-limits, de-viates, de-signs. Draws.\r\n\r\n&nbsp;\r\n\r\nDrawing in the original sense of the word, to designate, “tracing the outlines of something.” Something visible or invisible, attainable or unreal, limpid or inexplicable. Opposites often united until drawing set them apart. Heidi Wood disconnects the sign from its referent, giving us signs striped of their meaning, extracted from the world and placed naked before their reproduction. Detached from the world we understand and its continuous good sense.\r\n\r\n&nbsp;\r\n\r\nYet Heidi Wood does not seek to deconstruct, even though we would gladly see in her rigorous sketches and random maps the tools for designing infrastructure and cobbling together a superstructure. Instead, we sense an attempt to recompose and launch. For the form to go beyond the form and the sign to reveal the sign; in short that the esthetic revelation regenerates the semiotic anesthesia. After emptying out the evidence, to be able to trace the contours of something else.\r\n\r\n&nbsp;\r\n\r\n<em>“Like dreams, drawing works toward separation, but as with dreams, its links with reality are not entirely broken.”</em>\r\n\r\nPhilippe-Alain MICHAUD\r\n\r\n&nbsp;\r\n\r\n<strong>Jacques Norigeon</strong>\r\n\r\nCatalogue <em>Carnet Sagace 20</em>',	NULL,	'THE CONTOURS OF SOMETHING',	'JACQUES NORIGEON',	'THE CONTOURS OF SOMETHING, 2009',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'the-contours-of-something-jacques-norigeon-2009',	'the-contours-of-something-jacques-norigeon-2009',	'',	'',	'2018-10-19 17:35:55',	NULL,	'2018-10-19 17:35:55',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1715',	0,	NULL,	NULL,	'',	0),
(1719,	NULL,	NULL,	NULL,	NULL,	3,	'2018-10-09 17:00:15',	'2018-10-09 17:00:15',	'In 1997, when I met Heidi Wood, she was undermining the forms of the male, conquering modernism that invades the visual sphere. Her polyptychs foreshadowed the recent developments in her work. I liked this manhandling of dominant ideologies tied to the foundations of painting and language. The equivalence she established between irregular verbs in English (system, rule, exception) and the invention of abstract forms evoking the bastardized versions of modernism filtered through the omnipresence of design and graphics already participated in the third level that Stephen Wright refers to; a sort of third path.\r\n\r\n&nbsp;\r\n\r\nA major turning point occurred in 2001 for the exhibition <em>Quotidien aidé (LES LOCATAIRES), </em>with the appearance of “Serving Suggestions.” Since then, she has worked on and questioned the complex, fragile, contradictory, futile, necessary, intimate, forced (etc.) relationships between the painting and its surroundings. This undertaking, which is very well analyzed by Philippe Coubetergues, goes through different stages. The painting is no longer alone. It is accompanied, presented, enhanced. A décor for a painting, a painting for a place, an ephemeral <em>mise en scène</em> for a photograph or an exhibition… Bringing together marketing strategies and presentation, she mixes economic and decorative registers, levels of readings, building up layer upon layer upon layer.\r\n\r\n&nbsp;\r\n\r\nAn essential question was already raised: where exactly is the artwork? From this moment on, Heidi’s work is constructed on disorder. It is confused. By that I mean it occupies a disordered territory and it plays on confusion. Of genres and attitudes. Deliberately clouding the issue, she gives equal importance to the painting, its <em>mise en scène</em>, its décor, the elements that accompany it, the photographic trace, etc. Her exhibitions play on these accumulations of different types of strata, undertaking a very disturbing (for the purist) de-hierarchizing of values. From here on, she devotes herself to an art of projects, an art of attitude.\r\n\r\n&nbsp;\r\n\r\nGradually emerging from the comfortable domestic environment where she began her experimentation, she has confronted public spaces (the 10<sup>th</sup> arrondissement in Paris, Los Angeles, Budapest, etc.). A few excursions in storefront windows had already kicked off the process. Yet perhaps renewing with avant-garde concerns (for whom, as we know, social structures and forms were fundamentally linked by ideology) she decided to infiltrate reality using spam.\r\n\r\n&nbsp;\r\n\r\nToday, her interest focuses more specifically on the forms of the common vernacular of globalized visual culture. Playing on the powers of the image, she works between fiction and reality, precisely at the imperceptible border between the two. She operates at the heart of the symbolic. And the fundamental issue at stake is authenticity.\r\n\r\n&nbsp;\r\n\r\n<strong>Frank Lamy</strong>\r\n\r\n<em>Heidi Wood, </em><em>œ</em><em>uvres de 2001 à 2007 </em>catalogue',	NULL,	'Works from 2001 to 2007, 2008',	'FRANK LAMY',	'WORKS FROM 2001 TO 2007, 2008',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'works-from-2001-to-2007-frank-lamy-2007',	'works-from-2001-to-2007-frank-lamy-2007',	'',	'',	'2018-10-19 17:36:35',	NULL,	'2018-10-19 17:36:35',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1719',	0,	NULL,	NULL,	'',	0),
(1722,	NULL,	NULL,	NULL,	NULL,	3,	'2018-10-08 20:17:12',	'2018-10-08 20:17:12',	'The service provided by <em>Heidi Wood</em> is a concept that has been refined over the years to consolidate into a completely original reference in the field of representation<a href=\"#_edn1\" name=\"_ednref1\">[1]</a>. It is a simple, efficient and reliable concept that in short consists of making images using motifs elaborated for and destined to be inscribed in a given environment<a href=\"#_edn2\" name=\"_ednref2\">[2]</a>. The service provided by <em>Heidi Wood</em> targets a wide audience because it concerns every person or situation, sponsor or spectator, liable to be confronted with the problematic controls and corruptions of the image in his/her real environment. More than a painting to be hung, the service provided by <em>Heidi Wood</em> is an image to defend; more than a result, it is a suggestion, a projection. In this sense, the service provided by <em>Heidi Wood</em> should be seen as an imminent ideal that is <em>Coming Soon</em>.\r\n\r\n&nbsp;\r\n\r\n<strong>Description of the service provided</strong><a href=\"#_edn3\" name=\"_ednref3\"><strong>[3]</strong></a>\r\n\r\nThe <em>Coming Soon</em> service provided by <em>Heidi Wood</em> is a suggestion formulated in various modalities that change and come together to suit the case at hand: photography, installation, montage, arrangement, etc. However complete this formulation is, it can only be appreciated as a simulation, in anticipation<a href=\"#_edn4\" name=\"_ednref4\">[4]</a>.\r\n\r\n&nbsp;\r\n\r\n<strong>Description of the suggested service</strong><a href=\"#_edn5\" name=\"_ednref5\"><strong>[5]</strong></a>\r\n\r\nThe service suggested by <em>Heidi Wood</em>’s <em>Coming Soon</em> is an improvement of the visible, an enhancement of the setting using a graphic system for which the Heidi Wood brand is sole agent<a href=\"#_edn6\" name=\"_ednref6\">[6]</a>. The service offered includes the design and fabrication of motifs based on contextual data and their real or simulated, permanent or temporary inscription in this same context.\r\n\r\n&nbsp;\r\n\r\n<strong>Description of the product provided</strong>\r\n\r\nThe product attached to the <em>Coming Soon</em> service provided by <em>Heidi Wood</em> is a composed image or series of images that anticipates the suggested service<a href=\"#_edn7\" name=\"_ednref7\">[7]</a>. These images include motifs from <em>Heidi Wood</em>’s graphic range. This anticipation is only one possible occurrence of the service. Other spin-offs from the project may accompany the images and their presentation<a href=\"#_edn8\" name=\"_ednref8\">[8]</a>.\r\n\r\n&nbsp;\r\n\r\n<strong>Product exclusivity and protection</strong>\r\n\r\nThe <em>Coming Soon</em> service provided by <em>Heidi Wood</em> guarantees the exclusivity of the product in that each suggested attribution of the motif is original. Furthermore, once assigned to a given context, the motif is considered definitively allotted to this initial and unique usage<a href=\"#_edn9\" name=\"_ednref9\">[9]</a>.\r\n\r\n&nbsp;\r\n\r\n<strong>Patent and author’s rights</strong>\r\n\r\nIn essence and nature, the <em>Heidi Wood</em> brand as graphic line and original service is patented. It is also impossible to forge because it is embedded in the qualified context<a href=\"#_edn10\" name=\"_ednref10\">[10]</a>. Counterfeiting is out of the question due to the coded system of the motif, the secret of which is known only to <em>Heidi Wood</em>’s design department. The author’s rights inherent in the prescribed use of a motif are in no way transferable to other usages in other contexts<a href=\"#_edn11\" name=\"_ednref11\">[11]</a>.\r\n\r\n&nbsp;\r\n\r\n<strong>The target</strong>\r\n\r\nWhile in essence it concerns all audiences, the <em>Coming Soon</em> service provided by <em>Heidi Wood</em> nonetheless targets people or situations, owners or managers of a given space who are concerned with the image projected by the architectural and decorative configuration of this space. More specifically, the <em>Coming Soon</em> service provided by <em>Heidi Wood</em> targets functional, modernist spaces, often impregnated with a formalist esthetic derived from 20<sup>th</sup> century abstract and geometric painting. The<em> Coming Soon</em> service provided by <em>Heidi Wood</em> tends to reveal this underlying inspiration, which is nonetheless decisive in terms of brand image. It aims to reaffirm this origin of the image while enhancing the prestige of its use<a href=\"#_edn12\" name=\"_ednref12\">[12]</a>.\r\n\r\n&nbsp;\r\n\r\n<strong>Advantages of the corporate concept</strong>\r\n\r\nThe<em> Coming Soon</em> service provided by <em>Heidi Wood</em> enterprises presents original advantages over the competition already working in the decorative representation market. The attribution of a motif, far from being arbitrary, is directly linked here to the visual specificity of the context, making the motif efficient and perfectly practicable in terms of place enhancement and image affirmation. The motif is also determined in an implicit reference to the history of forms, thus ensuring its stylistic coherence<a href=\"#_edn13\" name=\"_ednref13\">[13]</a>.\r\n\r\n&nbsp;\r\n\r\n<strong>Market share</strong>\r\n\r\nThe increasingly prosperous and expanding market for representation and its probable developments over the long term allow us to foresee steady growth for <em>Heidi Wood </em>enterprises. This will translate into an increased market share via a rise in the number of customers and the development of customer loyalty due to the many perceived needs in terms of image management<a href=\"#_edn14\" name=\"_ednref14\">[14]</a>.\r\n\r\n&nbsp;\r\n\r\n<strong>Range of motifs</strong>\r\n\r\n<em>Heidi Wood</em>’s catalogue already offers a wide range of generic motifs still available and adaptable to any situation<a href=\"#_edn15\" name=\"_ednref15\">[15]</a>. Furthermore, her design/construction service is regularly supplemented by new products that incorporate past and updated trends<a href=\"#_edn16\" name=\"_ednref16\">[16]</a>.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>Philippe Coubetergues</strong>\r\n\r\n<em>Heidi Wood, oeuvres de 2001 à 2007 </em>catalogue\r\n\r\n&nbsp;\r\n<h5><a href=\"#_ednref1\" name=\"_edn1\">[1]</a> As an artist, Heidi Wood presents herself as a service provider. She consciously positions her proposals within the reality of the market economy. Her business and communication models follow those of business. It is thus possible to describe and appreciate her work by deliberately positioning ourselves within this perspective.</h5>\r\n<h5><a href=\"#_ednref2\" name=\"_edn2\">[2]</a> Heidi Wood’s stance can be described as a fiction: that of a small business that designs and provides a service in line with identified needs for a targeted customer. This text plays the game of the simulation inferred by her work. In other words, the logic proclaimed by the work is pushed to its extreme by attempting to approach it via the real model she simulates. This article fits into the diegetic dimension of the artist’s work. Like the artist’s work, it should be taken as a proposal that supplements the fiction.</h5>\r\n<h5><a href=\"#_ednref3\" name=\"_edn3\">[3]</a> The exercise is a test. The description of a business project requires rationalizing all aspects to justify its validity. Critical commentary, while it tends to applaud the coherence of the work as a whole, must likewise consider all aspects of the undertaking. Bringing together two types of text is thus plausible. The constraint lies mainly in vocabulary (service, department, product, clientele, etc.) and its connotations. There is a risk of becoming caricatured. Yet the metaphor lies precisely in this exaggeration. And in the footnotes where there is a reading on two levels, just as there is in Heidi Wood’s work.</h5>\r\n<h5><a href=\"#_ednref4\" name=\"_edn4\">[4]</a> These footnotes serve as a context (at least for the inner circle). By presenting themselves as a commentary on the article, they target the work indirectly.</h5>\r\n<h5><a href=\"#_ednref5\" name=\"_edn5\">[5]</a> It becomes clear that Heidi Wood’s work does not lend itself to analysis like traditional photography. It is not a statement of fact, a recording of things as they are but rather a suggestion for transformation, improvement and enhancement of this state of things. This suggestion is expressed by means of photography, most often associated with an incorporated or juxtaposed graphic motif.</h5>\r\n<h5><a href=\"#_ednref6\" name=\"_edn6\">[6]</a> In a way, this suggestion can be seen as a traditional decorative proposal. The question remains of what is decorated and what is décor. The motif apparently takes the form of a painting made to fit a given setting. It plays the role of the decorative touch. Yet at the same time it highlights and condenses the underlying decorative nature of this setting. The hierarchy between setting and painting thus levels out. The milieu justifies the motif and vice versa. The setting decorates the painting as much as the painting decorates the setting. Neither the setting nor the painting is decorative. Only the relationship between the two.</h5>\r\n<h5><a href=\"#_ednref7\" name=\"_edn7\">[7]</a> But all this is only a promise. A promise of a décor. The photograph, with or without motif, the wallpaper, the montage, the arrangement, all this is no more than simulacra. Nothing is really made. It is an image, a possible reflection of things. The artist faces a reality made up of a proposal grounded in what she sees but also in what she foresees. She gives her vision of things in the form of an anticipation that we have chosen to call <em>Coming Soon</em>.</h5>\r\n<h5><a href=\"#_ednref8\" name=\"_edn8\">[8]</a> <em>Coming soon</em> is an expression used to announce an impending event. Heidi Wood takes it and integrates it into her work as a ready-made textual element. <em>Coming Soon</em> 2006 can be rightly interpreted as an announcement of an exhibition but also, in a shift of meaning, as a generic designation of Heidi Wood exhibitions.</h5>\r\n<h5><a href=\"#_ednref9\" name=\"_edn9\">[9]</a> All artworks by Heidi Wood function in reference to communication models employed in the commercial domain. Her installations can be put together like displays in a department store, her images distributed as spam, her polyptych compositions presented as advertising billboards when the slogans themselves are not directly appropriated and reassigned. Starting with her first works, the artist has deliberately oriented her register of expression toward the communication vernacular. She is not interested in the announcement itself or even the specific codes that govern it but rather the announcement’s impact. Heidi Wood works on the suggestive power of these types of visuals and the forms of idealization they lead us toward.</h5>\r\n<h5><a href=\"#_ednref10\" name=\"_edn10\">[10]</a> One of the most efficient motors of this suggestion consists in orchestrating on the same level several heterogeneous elements, such as a photographic image, an abstract form or a slogan. In the traditional sense, it is a collage. Its evocative force lies in the hiatus, in the impression maintained of these elements being out of synch despite their proximity. But in so far as the collage takes on and quotes the conventional modalities of visual communication, the hiatus is interpreted and partially resolved in line with the most common modes of association: enhancement, designation, substitution, forecast, anticipation.</h5>\r\n<h5><a href=\"#_ednref11\" name=\"_edn11\">[11]</a> By combining in this way iconic, textual, abstract, figurative, graphic or photographic data, in referring to geometric abstraction, its fall-out in our architectural and decorative environment, its diverse repercussions and reassignments in terms of design, logos and signage, by appropriating (through an amplification of the recycling phenomenon) these same communication codes while simulating the same eye-catching methods, Heidi Wood, faced with a given reality, makes an image in the same way she would paint a painting.</h5>\r\n<h5><a href=\"#_ednref12\" name=\"_edn12\">[12]</a> All the ingredients of painting are brought together: composition, motif, reference, quotation, title… Except for the medium, which is clearly not that of traditional painting. Mediation here replaces the medium. How it is made manifest is insignificant. Heidi Wood’s artworks can be regenerated and sometimes even updated in a range of media, like the visuals of our era. But in painting, what counts is not so much the material as how it is made. In the digital era, Heidi Wood’s artworks stand for an almost insolent emancipation from materiality to highlight the factual methods of their design.</h5>\r\n<h5><a href=\"#_ednref13\" name=\"_edn13\">[13]</a> Heidi Wood’s work is carefully and proficiently made. Her undertaking generates projects, not end results. Yet as objects Heidi Wood’s artwork-prototypes are perfectly finalized. In the pure respect of reworked visual phenomena, they take on the slick and definitive look that suits the expression of an ideal.</h5>\r\n<h5><a href=\"#_ednref14\" name=\"_edn14\">[14]</a> This text and its commentary aim to define the main characteristics of an undertaking at a given time. They seek to reveal the characteristics shared by the artworks and to do so, describe them according to the logic of a system. It is no doubt the nature of the genre. The artwork, however, does not truly respect any system. It evolves over time. From the series <em>Serving Suggestion</em> in 2001 to the series <em>Authentic New Mexico</em> in 2007, several upheavals have occurred. The spam experiment for the Los Angeles series, for example, was no doubt particularly decisive in terms of the self-promotion aspect of the work.</h5>\r\n<h5><a href=\"#_ednref15\" name=\"_edn15\">[15]</a> <em>Authentic New Mexico, </em>the most recent series to date, does not resemble the preceding series. The “motif” element is explicitly figurative for the first time. The figurine references and reformats a traditional art form. The Kachina doll embraces the Playmobil. This appropriation becomes a commentary on another that is less explicit yet present in the fake adobe style of contemporary architecture in Santa Fe. The association of photograph and motif is no longer a decorative proposal. It is rather an expression of amusement at the turn things take in the particular context of an urban environment that seems entirely devoted to tourism. The question is no longer whether the motif should be integrated into the environment. In a sense, it already is. The confrontation of the two is enough to reveal it implicitly.</h5>\r\n<h5><a href=\"#_ednref16\" name=\"_edn16\">[16]</a> Quotation, loan and suggestion. Heidi Wood’s work is grounded in these three directions. Quotation evokes the past, art history, the history of abstraction, the history of styles. Loan concerns modes of visual communication that currently prevail in our contemporary world, which is itself strongly marked by this history of forms. Suggestion looks at the formal potential of this environment as a setting. Each series, in its own way, expresses a certain updating of the utopias to which these forms once belonged. In Heidi Wood’s work, there is a nostalgic, facetious and joyous taste for the image’s capacity to promise us the illusion of a world that is always lighter, simpler and more authentic.</h5>\r\n&nbsp;',	NULL,	'Heidi Wood: a Coming Soon service provider',	'PHILIPPE COUBETERGUES',	'WORKS FROM 2001 TO 2007, 2008',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'works-from-2001-to-2007-philippe-coubetergues-2007',	'works-from-2001-to-2007-philippe-coubetergues-2007',	'',	'',	'2018-10-19 17:39:34',	NULL,	'2018-10-19 17:39:34',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1722',	0,	NULL,	NULL,	'',	0),
(1725,	NULL,	NULL,	NULL,	NULL,	3,	'2018-10-08 17:26:57',	'2018-10-08 17:26:57',	'HEIDI WOOD in the 10<sup>th</sup> arrondissement, Paris\r\n\r\nApril 19 to May 10 2006\r\n\r\n&nbsp;\r\n\r\nThere are at least two ways of apprehending an artist’s work. The first consists of looking at what she did and asking what it is, as profoundly and comprehensively as possible, in going well beyond appearances (which as everyone knows are often misleading when art is concerned). The second consists of doing the opposite and asking how it is made, which approach, intuition or intention is behind it, in going well beyond platitudes (which are easy to recognize – they are often the first things that come to mind). In this back and forth movement, we may well encounter a work of art. It is an exercise that requires a little concentration and a lot of curiosity.\r\n\r\n&nbsp;\r\n\r\nLet’s take the example of what Heidi Wood proposes here. What is it? It is an image in a light box placed in the public sphere. What does the image represent? It is a photograph of her neighborhood. Within this image is second image. We recognize it without recognizing it. We have seen it somewhere before without being able to say where. In short, it is a light box hung in a real place. In the light box is a photographic image and in this image is an abstract shape. We can legitimately make a certain number of observations on the effects of this image within the image within the image. But let’s look at things from the perspective of how they are made, their causality. Heidi Wood designs an abstract shape (a sort of painting) in reference to her daily iconic environment, saturated with this familiar signage. It is a generic image made to look like many others without specifically being any of them. A sort of logo without a brand – less a brand image than the essence of a brand. In line with current communication strategies, the artist looks for a place to hang her painting. She imagines placing it in her immediate surroundings – let’s say downstairs from where she lives. And instead of getting permission to really do it, she creates an image that simulates it. Finally, to communicate on her project, she puts it in a small light box and hangs it in a public place.\r\n\r\n&nbsp;\r\n\r\nIn total, there are ten light boxes placed in ten different places in the 10th arrondissement: ten occurrences for a same working method conceived in response to an invitation from the town hall. The specificity of Heidi Wood’s work is precisely that she simulates promotion strategies used by the commercial sector by infiltrating traditional networks of urban communication and in establishing a professional relationship of service provider with her patrons. In other words, Heidi Wood is less a painter than a designer of forms inspired by and destined for a given site. She is aware that, today more than ever, images only exist in relation to their environment. Their quality – and as a result, their status – is only understood through the connections they establish with the context in which they are inscribed. In taking virtual possession of spaces normally given over to billboard advertising, by submitting her forms to the context liable to engender them, she does not denounce or corrupt a system. She exploits it. She makes it serve her own artistic ends. She adapts to the most immediate modes of exteriorization, to the conditions of expression of her times.\r\n\r\n&nbsp;\r\n\r\nPainting from life once meant setting up an easel in the landscape to make a picture of it. The artwork was conceived in this direct confrontation between the motif and the referent. In the completely reinvented landscaped context of the modern world that the image has conquered, often by replacing the real, it could be that Heidi Wood incarnates the surprisingly updated figure of the “painter from life”. Her paintings are inscribed within our most trivial everyday environment, acting to reveal our conditioned relation to the world and to images.\r\n\r\n&nbsp;\r\n\r\n<strong>Philippe Coubetergues</strong>\r\n\r\nMarch 2006\r\n\r\n<em>Heidi Wood dans le Xème, </em>catalogue\r\n\r\nTranslated from French',	NULL,	'HEIDI WOOD in the 10th arrondissement, Paris',	'PHILIPPE COUBETERGUES',	'PARIS 10ÈME, 2006',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'paris-10eme-philippe-coubetergues-2006',	'paris-10eme-philippe-coubetergues-2006',	'',	'',	'2018-10-19 17:37:59',	NULL,	'2018-10-19 17:37:59',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1725',	0,	NULL,	NULL,	'',	0),
(1728,	NULL,	NULL,	NULL,	NULL,	3,	'2018-10-07 09:35:57',	'2018-10-07 09:35:57',	'<strong>(HEIDI WOOD, LOS ANGELES # 1 - 12)\r\n</strong>\r\n\r\n&nbsp;\r\n\r\n<strong>“I’m Mr. Opportunity and I’m knocking”</strong>\r\n\r\nAn ever greater margin of profit within contemporary capitalism is obtained through the co-optation of human creativity and autonomy, for in a world of increasingly artificial needs, the economy is founded less on producing objects, than on producing subjects to consume those objects. Over the past two decades, it has become abundantly clear that what were formerly art-specific competencies – exemplified by such watchwords as autonomy, flexibility, inventiveness, mobility, creativity, refusal of hierarchy, intrinsic motivation, and so on – have been self-consciously harnessed by managerial rationality, and now describe the ideal-type of the qualified worker of the future as much as they do the artist. French sociologist Pierre-Michel Menger goes so far as to describe contemporary art as “a principle of fermentation for neo-capitalism.” Art, he argues, has ceased to have heuristic value for anything but developing cutting-edge business models, test-driving new modes of production, or analysing the ins and outs of individualised labour relations. Those who persist in critiquing the system head-on inadvertently end up doing it an inestimable service, by pointing out its potential for expansion: criticise fast food and the market rebounds with organics; criticise the over-glorification of youthfulness and you’re only a phone call away from laser vaginal rejuvenation… In short, contemporary capitalism thrives on critique, the more incisive the better.\r\n\r\n&nbsp;\r\n\r\n<strong>“Our mission is to empower your awareness”</strong>\r\n\r\nThis, I think, is the fundamental insight behind Heidi Wood’s artistic practice. And this is what makes it so disconcerting when considered from the perspective of the values underpinning the symbolic economy of twentieth-century art. Heidi Wood settles her scores with those values in a stingingly lucid one-liner, juxtaposed with an image of an abstract painting placed above a warehouse loading bay, in the fourth of her Los Angeles photomontages: <em>“Our mission is to empower your awareness.”</em> Awareness empowerment is precisely the self-assigned and perfectly mythical mission to which art continues to cling. Yet if ever art’s self-awareness were empowered, it would have to acknowledge – as Heidi Wood apparently has – that it too has been backed, more or less complacently, into a loading bay, for the delivery of signs to the consumer world’s “constantly moving happiness machines”.\r\n\r\n&nbsp;\r\n\r\n<strong>“But wait, it gets even better”</strong>\r\n\r\n“You have turned people into constantly moving happiness machines”, wrote an admiring President Herbert Hoover in 1928 to Edward Bernays, the man credited with having invented PR and advertising, two forms of what he termed the “engineering of consent”. Bernays also happened to be Sigmund Freud’s nephew – which is quite a coincidence when you think about it<strong>. </strong>Variously dubbed the “Baron of Ballyhoo” and the “Father of Spin”, Bernays was the consummate Angeleno and unselfconsciously candid about his manipulative intent. “If we understand the mechanisms and motives of the group mind, it is now possible to control and regiment the masses according to our will without their knowing it,\" he conjectured merrily in <em>Propaganda, </em>one of his first books. “The conscious and intelligent manipulation of the organised habits and opinions of the masses is an important element in democratic society,” Bernays wrote, in one of the most shamelessly self-refuting definitions of “democratic society” ever formulated. “Those who manipulate this unseen mechanism of society constitute an invisible government which is the true ruling power of our country…. In almost every act of our daily lives, whether in the sphere of politics or business, in our social conduct or our ethical thinking, we are dominated by the relatively small number of persons . . . who understand the mental processes and social patterns of the masses. It is they who pull the wires which control the public mind.” And most of them, he might as well have added, live in Los Angeles.\r\n\r\n&nbsp;\r\n\r\n<strong>“Common decency…”</strong>\r\n\r\nIt’s worth delving a little deeper into Bernays’ consumer revolution, if only because it is probably the single most important source of the regime of deceit encompassing the signage and verbiage Wood is hacking into. Instead of targeting purchasers’ practical common sense, as mere product information had previously done, advertising was to embody a message, transforming commodities – however frivolous or trivial – into vectors of symbolic meaning. The point, after all, was nothing so small time as selling objects; rather, it had everything to do with <em>producing subjects to consume objects</em> – producing consumers who would experience the very act of consumption as giving expression to what Bernays called their “innermost self” – a notion that obviously had considerable significance in his family circle and beyond. Advertising was the instrument through which the commodity acquired the power to produce its consumers, who could in turn be counted upon to validate and promote its symbolic value. It is thus consumers themselves who would henceforth engage in the invisible labour of self-production, providing “subjects for objects”, consumers for commodities. Advertising’s function, in short, was merely to induce within the mind of the consumer a channel for self-production, highlighting brandnamed goods and commodified experiences as the very emblems of their own promotion. And that’s what’s known as California Dreaming… Stretching a point only slightly, one might argue that art stands with respect to advertising as Freud does to his American nephew Bernays. Heidi Wood’s point, at any rate, is that high art is neither other, nor somehow better, than its allegedly crassly commercial cousin; indeed art’s illusion of difference and freedom merely reveals that it too has found its niche group of consumers, who, as Bernays so aptly put it, “don’t actually need what they desire and don’t desire what they actually need.”\r\n\r\n&nbsp;\r\n\r\n<strong>“Arnold says: ‘California wants your business’”</strong>\r\n\r\nShould Heidi Wood’s work be taken at face value, as a sincere acceptance of the design imperatives of cultural capitalism? This seems an unlikely hypothesis, sitting uneasily with her hard-edged work; but it is no more implausible than supposing the work is intended as some sort of tongue-in-cheek send-up of the idiocies of consumer manipulation, if only because trying to outsmart the cynics at their own game is obviously hopeless. Understanding Heidi Wood’s position thus requires that we accept the notion of a third level; neither sincere, nor send up, but on a different map altogether. Like her earlier “Serving Suggestions” series, Wood’s new work is characterized by an exceedingly low coefficient of artistic visibility. By this, I don’t of course mean the work is somehow invisible – it is highly visible, but not necessarily as art, in the sense of autonomously visible objects fitting that description. Thus, Wood’s artistic practice lies as much in infiltrating the ambient semiotic economy of commercial and domestic settings or generic urban landscapes, as it does in actually producing the painterly forms with which she discreetly contaminates those spaces. The drive-by design of her “paintings” themselves is uncannily nondescript: a disk shape surrounded by a semi-circular line against a mauve background, photoshopped onto a billboard along a seedy-looking strip mall, is neither unequivocally vaginal nor certifiably non-vaginal; an icon that isn’t.\r\n\r\n&nbsp;\r\n\r\n<strong>Spam aesthetics</strong>\r\n\r\nAs might be expected, Los Angeles – ground zero, so to speak, of the subjectivity-production industry – has left a mark on Wood’s practice. She could scarcely remain indifferent to the quantity of text that fills the city’s visual field, and that formally speaking accounts for the emergence of text in the work she produced there. By adding text, Wood has found a way to integrate the mercantile pragmatics of the urban context as a whole, permeating the otherwise painting-free signscape with painted surfaces. It is worth pointing out that the series itself emerged as spam: that is, before undergoing a shift into the form of rarefied artwork, the series existed in the form of gratuitous excess, cluttering the Inboxes of people like me. The aesthetics of spamming are becoming well known but because the practice has not yet been validated by mainstream artworld values (as the serialised version of hitherto uncommodified mail art), its coefficient of artistic visibility is literally negligible. Day after day, I looked at the perplexing series that seemed to be trying to sell something it didn’t possess to someone who didn’t want it. Beneath each text – less the “subtext” of the images they accompanied than red-herrings – was a commercial signature: <em>© Heidi Wood</em>. What, one wondered, was Heidi Wood? An artist? A visual experience consultant? Post-pop at level three.\r\n\r\n&nbsp;\r\n\r\n<strong>Stephen Wright</strong>, 2005<strong>\r\n</strong>\r\n\r\n<em>Los Angeles Diaries (nutrition disguised as fun) </em>catalogue',	NULL,	'LEVEL THREE',	'STEPHEN WRIGHT',	'LEVEL THREE (LOS ANGELES #1 - 12), 2005',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'level-three-stephen-wright-2005',	'level-three-stephen-wright-2005',	'',	'',	'2018-10-19 17:44:01',	NULL,	'2018-10-19 17:44:01',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1728',	0,	NULL,	NULL,	'',	0),
(1731,	NULL,	NULL,	NULL,	NULL,	3,	'2018-10-07 08:40:00',	'2018-10-07 08:40:00',	'<em>“Planète Magique”</em> is a deserted fairground, an abandoned amusement park, located in the heart of Paris. Before this Ali Baba’s cave becomes the new haunt of electronic arts, Heidi Wood has made a series of photographs… of her paintings. The ultra kitsch decorations and the still-intact magic roundabouts of <em>“Planète Magique”</em> are an ideal backdrop for adventurous paintings. For Heidi Wood does not like to leave her paintings at rest. She moves them into incongruous places where they nonetheless have every chance of fitting in: their round, sharp and colored geometry owes as much to the vocabulary of artistic formalism as to design or fashion. In short, these forms are too saturated with different sources to not appear original. They are both ho-hum and special, mysteriously timeless and fabulously fashionable. In being thrust into this very eighties atmosphere, the question is whether the paintings will be absorbed by the decor, or whether they will hold their own and manage to defend their autonomy at any cost. Heidi Wood does not tip the balance either way. On the contrary, she does everything to maintain ambiguity. In framing the shots and fine-tuning her paintings to the esthetic of the site, the artist remodels both her paintings and the environment. Thanks to this <em>mise en scène</em>, she creates the conditions for a strange combination of both. Ironically, as in a shop front window, what Heidi Wood is selling us is not the object or the artwork: it’s the ambiance.\r\n\r\n&nbsp;\r\n\r\n<strong>Judicaël Lavrador</strong>\r\n\r\nMarch 2003\r\n\r\n<em>Heidi Wood à la Planète magique </em>catalogue<em>\r\n</em>\r\n\r\nTranslated from French',	NULL,	'MAGIC PLANET',	'JUDICAËL LAVRADOR',	'MAGIC PLANET, 2003',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'magic-planet-judicael-lavrador-2003',	'magic-planet-judicael-lavrador-2003',	'',	'',	'2018-10-19 17:45:27',	NULL,	'2018-10-19 17:45:27',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1731',	0,	NULL,	NULL,	'',	0),
(1734,	NULL,	NULL,	NULL,	NULL,	3,	'2018-10-05 17:46:00',	'2018-10-05 17:46:00',	'<em>‘We are in need of a new interior.’</em>\r\n\r\n&nbsp;\r\n\r\nThese words were written by Theo van Doesburg, artist and founder of the journal De Stijl, in a letter to the architect J.J.P. Oud in 1916.<sup>1</sup> He was seeking Oud’s collaboration in the design and building of spaces that would fuse colour and architecture into spatial environments that exemplified the potential of abstraction and modernist ideals.\r\n\r\n&nbsp;\r\n\r\n‘Architectural space must be considered a blind, absolute void until colour turns it into something concrete. The spatio-temporal painting of the 20th century, with its plastic, structural possibilities, allows the artist to fulfil his dream: to place man, not before painting, but inside painting itself.’ <sup>2</sup>\r\n\r\n&nbsp;\r\n\r\nNow almost one hundred years later, van Doesburg’s call for a new interior continues to have currency. I am reminded of his words when I look at the interiors of Heidi Wood which produce space through colour and abstraction. They are presented as displays that one might find in a furniture showroom where the latest lifestyle trends are arranged. New possibilities, new interiors, new buyers/viewers. But what is being offered up and suggested here? What is it about colour and space? Abstraction and space? What sorts of spaces is the viewer asked to step into?\r\n\r\n&nbsp;\r\n\r\nThese interiors are animated by form and colour. Wood’s quirky shapes – abstracted from familiar contexts that you can’t quite put your finger on – are placed in a series of relations that reorientate and displace form and perception. Space is animated through shape and colour and processes of doubling and obscuring, repetition and displacement; plays between positive and negative, between horizontal and vertical surfaces of floor and wall. Similarly, van Doesburg’s concentration on form and shape – in his case, the orthogonal and diagonal also aspired to an abstraction of displacement and reorientation of the viewer; straight lines counter-composing the architectural structure. Colour animates the spaces: van Doesburg confined his palette to primary colours in an attempt to capture the universal; Wood uses colours like brown found in many domestic interiors to draw in the familiar.\r\n\r\n&nbsp;\r\n\r\nThe Baroque was another period concerned with the animation of space. Such conjunctions in this context may seem untenable but this overlooks the presence of the Baroque in current spatial thinking and philosophy and the potential for such interests to affect and find expression in a range of diverse practices. In drawing the Baroque into this text alongside van Doesburg and Wood is not through a focus on visual aesthetics – the three are dissimilar in image and form – but rather through a perceived commonality in a concern with activating and animating space. An interesting aside is that Wood has spoken about the ‘ecstatic experience’ as an aspiration of her work; ecstasy is also a condition that van Doesburg and Baroque artists and architects aspired to – where the spatial encounter is one of fullness and excess.\r\n\r\n&nbsp;\r\n\r\nThere is no appeal, however, by Wood to the architect as a collaborator in the construction of these new interiors. Rather she works within existing spaces and contexts such as the exterior neighbourhood visible through the end windows. She abstracts – draws out – relations to the domestic, familiar and decorative. This animates an interior space that is here rather than there, present rather than transcendental. I am reminded of a photograph titled ‘Wright, Meier, Klein’, by Louise Lawler in her photographic essay ‘Arrangement of Pictures’.<sup>3</sup> As with Wood’s interiors, there is no hierarchy between the surfaces that compose the space – architectural wall, painting, openings to other spaces – all read as an abstract composition of black and white. Is it art or door? The architecture does not dominate in these interiors. Edges are blurred between painting and wall, between object and space. Becoming space, becoming material, becoming architecture, becoming art.\r\n\r\n&nbsp;\r\n\r\nThis spatial aspect creates a different frame for the incorporation of paintings within an interior. Wood’s art shares similarities with interior design practice such as Australian corporate office design during the 1990s where designers would look for paintings that would suit the colour of the interior. Or with domestic spaces, paintings to match the curtains. A painting as a portable and autonomous object that could be moved from space to space reaches its zenith in such interior decoration projects. And this lineage is one Wood draws on and abstracts into her displays; the painting object becomes integrated and integral to the spatial composition.\r\n\r\n&nbsp;\r\n\r\nConcurrently with a concentration on the actual space, there is also an emphasis on image. Wood frames her spaces: physically in the space, the art is framed like a series of display suites; as maquettes that draw the eye to visual relations; and as photographs which abstract and draw out the relations. In a sense, the camera is the corollary collaborator to van Doesburg’s architect. It is also through image that Wood’s art appears and is received. In my case, it is the only way I experience her art – through the photographic image. This is not an unfamiliar situation for an Australian. Throughout my art history and design education, I learnt about art, architecture and space through images. This is not to say that it equates with encountering the work in its materiality but neither does it support a privileging of one over the other. They are different encounters and engagements. I wonder if Wood, as someone who has lived in Australia, instinctively understands this and hence the dual dimensions of her work – producing both image and physical display.\r\n\r\n&nbsp;\r\n\r\nIn a sense maybe this is where the new interior is located. Not in form or colour so much as a space of reception rather than representation. Interiors as reception spaces; viewers as receivers where ‘the illusion is not in the painting. It is outside’.<sup>4</sup>\r\n\r\n&nbsp;\r\n\r\nI wonder what Theo would say.\r\n\r\n&nbsp;\r\n\r\n<strong>Suzie Attiwill</strong>\r\nMelbourne August 2002\r\n\r\n<em>La maison de banlieue</em> catalogue\r\n\r\nEspace d’art contemporain Camille Lambert, Juvisy\r\n\r\n&nbsp;\r\n\r\n1: quoted in Nancy J. Troy, ‘The Abstract Environment of De Stijl’, De Stijl: 1917–1931. Visions of Utopia, Walker Art Center, Minneapolis, New York: Abbeville Press, 1982, p. 165.\r\n\r\n2: Theo van Doesburg from ‘Farben im Raum und Zeit’, De Stijl, VIII, 87/89, 1928, p. 36. Quoted in Sergio Polano ‘De Stijl/Architecture = Nieuwe Beelding’, De Stijl: 1917–1931. Visions of Utopia, p. 92.\r\n\r\n3: Louise Lawler ‘Arrangements of Pictures’ in Michelson, A. et al (eds.) October. The First Decade, 1976–1986, Cambridge Massachusetts: The MIT Press, 1987, p. 220.\r\n\r\n4: Philippe Coubetergues ‘Get the picture?’ in Heidi Wood. Serving Suggestions 2002, Exposition à l’I.U.F.M. de Paris, 25 March to 13 April, 2002, footnote 14.\r\n\r\n&nbsp;',	NULL,	'WE ARE IN NEED OF A NEW INTERIOR',	'SUZIE ATTIWILL',	'WE ARE IN NEED OF A NEW INTERIOR, 2002',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'we-are-in-need-of-a-new-interior-suzie-attiwill-2002',	'we-are-in-need-of-a-new-interior-suzie-attiwill-2002',	'',	'',	'2018-10-19 17:41:23',	NULL,	'2018-10-19 17:41:23',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1734',	0,	NULL,	NULL,	'',	0),
(1737,	NULL,	NULL,	NULL,	NULL,	3,	'2018-10-05 17:50:46',	'2018-10-05 17:50:46',	'These last few years, due to the increase in the number of art centers and museums, we had almost forgotten that painting is not meant as a cultural icon alone, but that its function is also, more prosaically, to decorate the inside of our homes. Somewhere between the “impeccably” white walls of cultural institutions and the cramped space above the sofa in the living room, many artistic ideals have no doubt been shelved. This reality, which we often prefer to ignore, comes back like a boomerang in Heidi Wood’s work. The artist bluntly and humorously questions the paradoxes of painting, both <em>objet d’art</em> and consumer product. In her most recent works, entitled “Serving Suggestions”, she presents her paintings in indoor set-ups that comprise furniture and flooring. Displaying them as if in the showrooms of interior decoration stores, Heidi Wood gallantly plays the seduction card, showing us a possible environment for her work. Superimposing artistic and marketing strategy approaches, Heidi Wood brings about the convergence of two apparently very different views and succeeds in dismantling the machinery of a consumer system that everyone agrees is perverse (although unable to propose a better one) whilst implacably demonstrating its efficiency.\r\n\r\n&nbsp;\r\n\r\nAlthough of the same nature, the installations designed for the Camille Lambert Art Center do not follow the same consumer logic: with the furniture gone, the “display area” illusion gives way to that of the display home. The exhibition entitled “La Maison de banlieue” (The House in the Suburbs) brings us back to the art center’s geographical context. Even more assertively than before, the artist transposes us to a world she possesses completely. Her works invade the walls and floor, just as the painted motifs on the canvas appear to spill out of their frames, projecting themselves outwards. This reciprocal contamination of forms and colors, answering each other in negatives, keeps alive the confusion the artist has been subtly elaborating for several years now. The marriage between architecture, art and decoration is well and truly consummated here. Stage designer of her own work, the artist uses the painted walls that accommodate her paintings to make them look their best. They are luxury caskets, which may or may not be part of the jewels.\r\n\r\n&nbsp;\r\n\r\nDemolishing the hierarchy of genres, Heidi Wood, disturbingly, makes us wonder about the “decorative” in painting, introducing “basely material” concerns into a public institution.\r\n\r\n&nbsp;\r\n\r\n<strong>Fabienne Fulchéri </strong>\r\n\r\nAugust 2002\r\n\r\n<em>La Maison de banlieue </em>catalogue\r\n\r\nTranslated from French',	NULL,	'THE HOUSE IN THE SUBURBS',	'FABIENNE FULCHÉRI',	'THE HOUSE IN THE SUBURBS, 2002',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'the-house-in-the-suburbs-fabienne-fulcheri-2002',	'the-house-in-the-suburbs-fabienne-fulcheri-2002',	'',	'',	'2018-10-19 17:47:17',	NULL,	'2018-10-19 17:47:17',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1737',	0,	NULL,	NULL,	'',	0),
(1740,	NULL,	NULL,	NULL,	NULL,	3,	'2000-10-06 09:05:34',	'2000-10-06 09:05:34',	'Espace d’art contemporain Camille Lambert,\r\n\r\nJuvisy-sur-Orge\r\n\r\nSeptember 28 – October 26 2002\r\n\r\n&nbsp;\r\n\r\nIsn’t it uncomfortable to realize that the concept you have built up of a percept is markedly different from what is unanimously agreed on the subject elsewhere? We have read that beyond the paintings, Heidi Wood’s works <em>“propose desirable spaces”</em> (Frank Lamy in the catalogue <em>Quotidien Aidé (les locataires),</em> Ecole supérieure des beaux-arts de Tours, 2001); that they <em>“maliciously play with the status of art, magnifying the conditions of their presentation to make them more attractive” </em>(Fabienne Fulchéri, <em>le journal des arts</em> n° 135, 2001); that they <em>“remind us of forms that are strangely familiar”</em> (Fabienne Fulchéri again in <em>Technikart</em>, November 1999); that they are <em>“halfway between abstract painting and decorative painting”</em> (Emmanuelle Bine in <em>Oraos artmag</em>)…\r\n\r\n&nbsp;\r\n\r\nIn the catalogue of the current exhibition entitled <em>la Maison de banlieue </em>(The House in the Suburbs), Suzie Attiwell pertinently touches on the question of the relation of Heidi Wood’s work to the image. It is indeed true that the finality of some of her latest <em>Serving Suggestions </em>has been photographic. It is true that the application of colored materials beyond the polyptych paintings (paint directly on the wall, carpet or linoleum on the floor) functions like a frame of uncertain edges in the exhibition space, or a wide angle. It is true that, without any particular shiny, transparent or painterly quality Heidi Wood’s dry, mat compositions of planes, which make us forget their physicality to function indifferently as dense chromatic projections on the walls and paintings (on smooth or textured canvas), can be taken for images emitted and received ephemerally, for as long as the exhibition visit lasts, or potentially perpetuated by photography.\r\n\r\n&nbsp;\r\n\r\nClearly reactive to the spatial context of the exhibition space, these images are from elsewhere and are headed elsewhere. The speed of execution <em>in situ</em> (wall paintings, hanging of polyptychs, installation of lino, etc.) indicates that the images are just passing through. “Desirable”, “seductive”, “familiar”, these images are also so invasive and swift that they sidestep apprehension and place the spectator before a profound frustration. Even better, they become terrifying. We would not go so far as to envisage them as generators of the Freudian “disturbing strangeness”. While the forms and colors that make up Wood’s works do resonate as if they were “long known, long familiar”, the terror they can produce is not necessarily due to the process of repression. Yet spending time with them indeed generates a strong sense of “déjà-vu” which bounces around horribly in the inability to determine when, where and how. Works by Heidi Wood are dizzying because, in the protective context of the exhibition space and beyond their reassuring domestic references, they throw back at us the painful experience of the modern inability to apprehend a world that has become image.\r\n\r\n&nbsp;\r\n\r\n<strong>Alexandre Bohn</strong>\r\n\r\nArt Press n° 285\r\n\r\nDecember 2002\r\n\r\nTranslated from French',	NULL,	'HEIDI WOOD, La Maison de banlieue',	'ALEXANDRE BOHN',	'ART PRESS, 2002',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'alexandre-bohn-art-press-2002',	'alexandre-bohn-art-press-2002',	'',	'',	'2021-06-29 12:08:45',	NULL,	'2021-06-29 12:08:45',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1740',	0,	NULL,	NULL,	'',	0),
(1743,	NULL,	NULL,	NULL,	NULL,	3,	'2018-09-11 09:10:56',	'2018-09-11 09:10:56',	'<strong>Espace d’art contemporain Camille Lambert, Juvisy</strong>\r\n\r\nHeidi Wood is an artist who was born in London in 1967 and lives in Paris. She is currently exhibiting her work at the <em>Espace d’art contemporain Camille Lambert </em>in Juvisy. Her <em>Serving Suggestions</em> are literally paintings combined with suggested accompaniments. In other words, Heidi Wood does not stop at the paintings. She suggests decorative arrangements that integrate them. Her work must thus be seen on two levels: both as painted canvases that function most often in diptychs or triptychs, and as suggested environments, sometimes on the wall, spreading over the corner of a room, or even onto the floor.\r\n\r\n&nbsp;\r\n\r\nEach part of a polyptych can be described as a generally non-figurative motif on a colored background. These motifs, thus isolated, function as signs that, when brought together evoke a means of signaling, or a new type of language that is not altogether unfamiliar. These perfectly elementary motifs remind us of the many pictograms that inform our urban and mercantile environment. Furthermore, the smooth aspect of the planes of color, the contrasted contours, the precisely stabilized play on forms and counter forms, the finely-tuned proportions between positives and negatives sets up an immediate kinship with these systems of codes, reputed for their readability, such as road signs, or signs in department stores.\r\n\r\n&nbsp;\r\n\r\nThese short series of juxtaposed motifs thus form strange puzzles with uncertain and laconic meanings. This is no doubt the reason Heidi Wood gives each of her works a subtitle in the systematic form of an expression in English: a proverb supposed to be univocal, that expresses common sense in a few words but is often more complex than is widely believed.\r\n\r\n&nbsp;\r\n\r\nThe suggested decorative environment has significantly evolved since the exhibition at <em>galerie éof</em> in Paris in 2001. In displays like those in furniture stores (mostly carpeted and furnished in a <em>seventies revival</em> manner) where her paintings were perfectly at home in an ironic relation of mutual promotion, Heidi Wood’s environments have become more streamlined, more essential. The second change in her work is what she described as a “spillover” of the motif onto the wall. The vertical support to the paintings is treated in a similar manner to the paintings themselves, i.e. covered in a motif formally reminiscent of, without reproducing exactly one of the motifs in the polyptych. This contamination of the motif into its surrounds sometimes reaches the floor, which is covered in a form cut out of either carpet or linoleum.\r\n\r\n&nbsp;\r\n\r\nThus the five “installations of paintings” Heidi Wood has created for the <em>Espace d’art contemporain Camille Lambert </em>transform the space so completely that they seem to be a coherent whole. In each room the cleverly calculated plastic and esthetic relations are like those inside the polyptychs. The unity of the whole was even conceived as a housing unit, as evidenced by the choice of <em>La Maison de banlieue</em> (The House in the Suburbs) as title.\r\n\r\n&nbsp;\r\n\r\nSpectators visiting this “display home” primarily witness the artist’s exploration over many years of the relation of painting with its domestic and decorative environment. They will realize the minute they walk in the door that they are in fact penetrating the painting, are wandering in the heart of a confusing game, even though it is “disillusionist” (Heidi Wood’s paintings are the contrary to <em>trompe-l’œil</em>); a system of coordinated relations of colors, textures, lines, forms and motifs. They may enjoy imagining how the painting / architecture dialectic is still worthy today of being considered more carefully by those who design the settings of our daily lives.\r\n\r\n&nbsp;\r\n\r\nThe parallelepipedic space of the art center is thus transfigured in an approach that it would be instructive to place in the historical perspective of painted decor; that it would be useful to confront with those of the Vatican stanze, interior design of the 16<sup>th</sup> century in France, Sol Lewit’s drawing rooms or Theo van Doesburg’s audacious projects that attempted to inverse the conventional subordination of painting to architecture.\r\n\r\n&nbsp;\r\n\r\nIn other words, Heidi Wood’s five suggestions come together in a pertinent and malicious resumé of the many advantages to be found in thinking of space in the same way as in a painting.\r\n\r\n&nbsp;\r\n\r\n<strong>Philippe Coubetergues</strong>\r\n\r\nparis–art.com\r\n\r\nJune 2002\r\n\r\nTranslated from French\r\n\r\n&nbsp;',	NULL,	'La maison de banlieue (The House in the Suburbs)',	'PHILIPPE COUBETERGUES',	'PARIS-ART.COM, 2002',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'philippe-coubetergues-paris-art-com-2002',	'philippe-coubetergues-paris-art-com-2002',	'',	'',	'2018-10-19 12:49:50',	NULL,	'2018-10-19 12:49:50',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1743',	0,	NULL,	NULL,	'',	0),
(1747,	NULL,	NULL,	NULL,	NULL,	3,	'2018-09-11 09:15:24',	'2018-09-11 09:15:24',	'4 June — 12 July 2003\r\n\r\n&nbsp;\r\n\r\nGalerie Anne Barrault is currently showing a solo exhibition by Heidi Wood. A total of eight digital photographs are presented as the fruit of a specific study of a place. Let us remember that Heidi Wood is a painter. Her paintings contain simple forms in contrasting colors. These forms come from a vocabulary of signs that is both secret and familiar. They seem diverted from a readable register whilst retaining an unaltered signaling power. Sometimes brought together in polyptychs, the paintings, like sentences, introduce striking yet indecipherable significations. This coded information should be seen in relation to the environments that receive them. This is why Heidi Wood is exhibiting photographs this time. They are records or statements of the fleeting installations that preceded this exhibition. It will become clear that these photographs are also conceived like the paintings. The place where the paintings were hung and photographed is itself fairly improbable. It is an old amusement park called the <em>Planète Magique</em> situated in the heart of Paris in an old theater. This theme park was created in the 1980s but for safety reasons, never really operated. The decor has remained intact. Before it is transformed once again, the artist chose the site to make a series of photos of her paintings in situation.\r\n\r\n&nbsp;\r\n\r\nIt may be more accurate to speak of <em>mises en scène</em>. The artist entitles them <em>Serving Suggestions</em>. They are propositions for presenting or hanging. It is evident that these suggestions are based on formal and chromatic parallels. A given architectural curve is reflected in the outline of a shape; a particular color finds its equivalent or complementary in the painting, etc. The paintings can be made for the occasion, or partly adapted. They can also belong to the artist’s “personal collection” that exists before the project and gradually comes together as a Codex, a system of constantly reusable signs. But in truth, the calculated layout of these encounters between painting and place, the careful interactions with the decor and the impeccable hangings signals something else. Set in the square composition of the touched up photographs, these shopfront window-style ideal interiors soon reveal their artificial and derisory angle, their banal and fleeting aspect. In the end, these images stand out as decorative vanities where the reciprocal game of enhancing painting and place is the setting for a portrait of the absent user. In the slick reflection of these “seductive” photographs sandwiched under Plexiglas, it is highly likely that the visitor will recognize him/herself.\r\n\r\n&nbsp;\r\n\r\nThese photographs are paintings in two ways: because of their origin (the paintings that are presented) as well as their genesis and elaboration (each element in the image functions above all esthetically, lines, colors, textures, etc.) The visual quality of the photographs is pushed to the point where the images become almost abstract, despite a clearly figurative dimension. They are abstract in the conceptual, fabricated, artificial sense as well as in their stylistic proximity to geometric abstraction. In Heidi Wood’s painting, there is a sense of nostalgia for the utopias of space on which abstraction of the 1920s and 30s was founded.\r\n\r\n&nbsp;\r\n\r\nYet this idea of an abstraction of the decor, this “abstract ambiance” of perfectly “designed” architecture, this rigorous geometry of flat spaces and perspectives is seen from the subversive angle of Pop stylishness. Before our very eyes, the marvelous world of “Heidiland” appears, where on a magic planet the borders between painting and reality are abolished. Welcome to the pretty world of Heidi Wood in Wonderland.\r\n\r\n&nbsp;\r\n\r\n<strong>Philippe Coubetergues, June </strong>2003\r\n\r\nFor paris-art.com\r\n\r\nTranslated from French',	NULL,	'HEIDI WOOD on the Magic Planet',	'PHILIPPE COUBETERGUES',	'PARIS-ART.COM, 2003',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'philippe-coubetergues-paris-art-com-2003',	'philippe-coubetergues-paris-art-com-2003',	'',	'',	'2020-06-15 10:26:54',	NULL,	'2020-06-15 10:26:54',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1747',	0,	NULL,	NULL,	'',	0),
(1750,	NULL,	NULL,	NULL,	NULL,	3,	'2018-09-11 09:20:32',	'2018-09-11 09:20:32',	'<em>Galerie Anne Barrault</em>\r\n\r\n<em>3 June – 12 July 2003</em>\r\n\r\n&nbsp;\r\n\r\nFor her first solo show at the Anne Barrault Gallery, Heidi Wood went to the <em>Planète Magique</em>, a long abandoned amusement park set up in the former Gaîté Lyrique Theater. After starting out as a painter, for several years now this artist has been exploring the conjunctions between art and decoration through the subtle interplay of her paintings and the environment in which they are represented in her photos. She photographs her canvases in various kinds of settings. As she likes to put it, the photos are “spin-offs” of her core project, painting.\r\n\r\n&nbsp;\r\n\r\nWood puts her canvases in places that are often stereotyped, like the displays in home decoration shows, whose clean and cold catalogue aesthetics she explicitly strives to emulate. This frozen atmosphere emphasizes the composition, whose assortment of elements with each other seem just right and go with each other perfectly, whether the canvases hung on large-motif wallpaper above the Formica furniture of a suburban middle class household of the 1970s in <em>La maison de banlieue </em>(The House in the Suburbs), or the canvases arranged into a pattern transforming the Cristal Union production facility.\r\n\r\n&nbsp;\r\n\r\nEach of these works is presented as a <em>Serving Suggestion</em>, a visual strategy that seeks to socialize her art by inserting it into a domestic habitat. Always presented in a particular environment, the <em>raison d’être</em> of these paintings (often in series of two or three) is to blend into the background and become a suitable part of a well-mannered ensemble. Wood herself plays with the apparent conformism of her painting by systematically using forms so simplified they are practically pictograms or urban signage.\r\n\r\n&nbsp;\r\n\r\nIn this new work served up in the ruins of an attraction park, the flat-colored canvases conceived to fit into this place integrate themselves into it rather than melting into it. From the color of the stairs to the wall molding, and from the no-smoking sign to the carpet, each of Wood’s geometric canvases is in formal accord with a prematurely aged 1980s decorum. This ghostly magic put together with the logical application of conventional taste results in a transformation and these disparate rooms in the end attain a certain magnificence. Wood photographs the symphony – in other words, what she shows us could be one note, one color, understood as intention and orchestration.\r\n\r\n&nbsp;\r\n\r\n<strong>Raya Baudinet</strong>\r\n\r\nTranslation, L-S Torgoff\r\n\r\n<em>art press</em> n° 292, July-August 2003, p. 78\r\n\r\n&nbsp;',	NULL,	'HEIDI WOOD at the Magic Planet',	'RAYA BAUDINET',	'ART PRESS, 2003',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'raya-baudinet-art-press-2003',	'raya-baudinet-art-press-2003',	'',	'',	'2018-10-19 12:49:08',	NULL,	'2018-10-19 12:49:08',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1750',	0,	NULL,	NULL,	'',	0),
(1753,	NULL,	NULL,	NULL,	NULL,	3,	'2018-09-11 09:40:05',	'2018-09-11 09:40:05',	'Galerie Anne Barrault, Paris\r\n\r\nSeptember 10 - October 22 2005\r\n\r\n&nbsp;\r\n\r\nDuring a residency in Los Angeles, Heidi Wood found herself confronted with a stream of advertising images within the urban environment and industrialized entertainment characteristic of the megalopolis. Based on this experience, she continued to develop a practice grounded in an analysis of market forces applied to artworks. The exhibition at the Galerie Anne Barrault offers us a sample.\r\n\r\n&nbsp;\r\n\r\nAs far back as 2001, Heidi Wood created domestic environments into which she integrated her paintings. The image thus produced was reminiscent of contemporary furniture catalogues with the paintings presented as objects for sale. The photographic series “Los Angeles” presented at the Galerie Anne Barrault also uses this principle, but this time the environment is not artificial. The operational mode is that of insertion.\r\n\r\n&nbsp;\r\n\r\nIn the photographs of urban landscapes of the American megalopolis, Heidi Wood montages fictional paintings over billboards. The paintings pick up on the esthetic of logos that the city is saturated with, whilst introducing visual blanks due to their purely abstract nature. Inside the image of the urban landscape, the abundance of advertising messages is thus undermined on a visual level. Within the space of the artwork, the arbitrary addition to the photographs of advertising slogans taken from TV ads highlights deconstruction at another level; that of their meanings. Texts and images cohabit without dialoguing in a pure and apparently gratuitous visual space.\r\n\r\n&nbsp;\r\n\r\nThis utopia of a public space given over to art is soon swept away by the reality of the support chosen: the billboard. In line with the parasitical character of advertising, the photographs in the current exhibition are the size of a flyer. In 2004, in Los Angeles, they were even sent out as spams.\r\n\r\n&nbsp;\r\n\r\nIn this way, the artwork enters the commercial system via promotion. Yet what the images from the “Los Angeles” series are promoting is completely virtual. The paintings do not, in fact, exist, unlike those of her preceding series. From this dematerialization, however, a declension of forms develops, and this time they take on a physical existence. The virtual artwork, demoted to the status of nuisance by the promotional system, becomes object once again thanks to an interpretation borrowed from the applied arts. The exhibition becomes a showroom.\r\n\r\n&nbsp;\r\n\r\nThe fictional paintings inserted in the photographs are conjugated as wallpapers on the three walls at the back of the gallery. The visual signs thus become decorative motifs, either unique or repeated. The production of these wallpapers using A4 photocopies placed side by side, while stressing the serial nature of cheap wallpapers, takes the appropriation of industrial production methods to its logical conclusion. Using procedures borrowed from industry, Heidi Wood’s art applies itself methodically to objects produced by the commercial system.\r\n\r\n&nbsp;\r\n\r\nAnd when she hangs a series of six paintings entitled “California Dreaming”, there is no question of nostalgia or revival, in returning to what tradition holds as the noble art of painting. The stretched canvas is none other than upholstery fabric whose texture is readable under the paint. Almost redundant, the painting reproduces the logos invented by the artist, with purely decorative intent. The texts that accompany them function in the same way as those in the “Los Angeles” series, i.e. they do not dialogue with the image. Anecdotes collected by Heidi Wood during her stay in the Californian megalopolis, these brief tales serve as embellishments, as befitting decoration. Ephemeral and pleasant.\r\n\r\n&nbsp;\r\n\r\nTo complete this system of production and distribution, Heidi Wood cheerfully reveals her plan to publish a mail-order catalogue based on a sample of what is offered in this exhibition-showroom. It will soon be possible to choose a motif among those created, as well as the color and the medium (wallpaper, painting, etc.). Although she models the art world on the free market economy, she nonetheless retains a critical distance, as indicated by a megalomaniacal gesture in a small photograph at the back of the gallery. In this image, “Heidi” ironically replaces the “Holly” of the Hollywood sign. “Heidiwood” is an industrial art microsystem. The undertaking as a whole mercilessly questions the value and survival of art in the neo-Liberal era.\r\n\r\n&nbsp;\r\n\r\n<strong>Perin-Emel Yavuz, </strong>September 2005\r\n\r\nparis-art.com\r\n\r\nTranslated from French',	NULL,	'HEIDI WOOD, Los Angeles',	'PERIN-EMEL YAVUZ',	'PARIS-ART.COM, 2005',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'perin-emel-yavuz-paris-art-com-2005',	'perin-emel-yavuz-paris-art-com-2005',	'',	'',	'2018-10-19 12:47:55',	NULL,	'2018-10-19 12:47:55',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1753',	0,	NULL,	NULL,	'',	0),
(1756,	NULL,	NULL,	NULL,	NULL,	3,	'2018-09-11 09:49:22',	'2018-09-11 09:49:22',	'Galerie Anne Barrault\r\n\r\n22 rue Saint Claude, F – 75003 Paris, France\r\n\r\n18 October 2008 – 20 December 2008\r\n\r\n&nbsp;\r\n\r\nLANGUAGE OF BRANDING, SYSTEM OF SIGNS\r\n\r\n&nbsp;\r\n\r\nHeidi Wood\'s work is deceptively simple. Consisting of duochrome paintings of bright colors and very clean lines, her style may look elementary: an abstracted motif set against a sharply contrasting background. The motifs appear familiar; we trick ourselves into thinking we\'ve seen them somewhere before, in an instruction manual, on a road sign or the logo of a space academy, but they rest in a space somewhere in between, vaguely reminiscent and ambiguously recognizable. It\'s oddly comforting to be surrounded by these icons, these logos for non-existent products and services, for this is the stuff we are surrounded with in a day to day setting, the steady stream of signs and symbols from the machines of marketing and consumption.\r\n\r\n&nbsp;\r\n\r\nHeidi Wood\'s work tackles the strategies and methods of marketing and branding one by one. It\'s an exhaustive investigation. Some of the most thought-provoking pieces are the diptychs in the <em>Authentic New Mexico</em> series, where Wood creates angular, reductive mascots, modeled after the Hopi Kachina dolls, set next to photographs of the Santa Fe-style architecture, imposed by law on all buildings in that area of the country, making an uneasy statement about the concept of authenticity and the overlap into branding.\r\n\r\n&nbsp;\r\n\r\nThis exhibition, <em>Use By Date</em>, her third at Galerie Anne Barrault, offers the rare chance to see a broad survey of her projects as she exhibits some of her past work. The gallery will take on the air of a showroom as works in the exhibition will rotate weekly. The artist states that every piece has a use-by date, set at five years from now. Unless they are \"spared through acquisition\" all of these works will expire in five years and be systematically destroyed. So stop in today and come often! And yes, there\'s a catalogue. We recommend you pick it up, at least to browse through it in the gallery. It gives a great overview on Heidi Wood\'s very comprehensive exploration into the motives of marketing and the creation of brand icons--not simple stuff in the least.\r\n\r\n&nbsp;\r\n\r\n<strong>Natalie Hegert, </strong>19/10/08\r\n\r\nArtslant.com\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>USE-BY DATE, INTERVIEW</strong>\r\n\r\n&nbsp;\r\n\r\n<strong>Nathalie Hegert</strong>: So you were born in London, spent quite a lot of time in Australia, what brings you to Paris and how long have you lived here?\r\n\r\n&nbsp;\r\n\r\n<strong>Heidi Wood</strong>: I’m Australian but I also have a British passport. I wanted to live somewhere in Europe and learn a language. After I graduated from a Melbourne art school, I visited a few capitals and chose Paris. I’ve been here for 19 years. You have to love a country where they make apprentice plumbers do philosophy classes.\r\n\r\n&nbsp;\r\n\r\n<strong>NH</strong>: Your current exhibition at Galerie Anne Barrault changes every week, like an interior decorator\'s showroom. Today you have some lovely antique wallpaper on one side of the room, a setting for your art work.  What is the relationship between your art and the context, the environment in which it is set?\r\n\r\n&nbsp;\r\n\r\n<strong>HW</strong>: The starting point is my vocabulary of signs or pictograms. I see the forms I create as bi-products of a generic, omnipresent modernist language. We have seen the forms before but can’t quite place where. They compete with logos and signage in a world saturated with signs. They can no longer hope to spark a transcendental experience or provoke a Bolshevik revolution, as artists intended at the outset of abstraction. We expect them to carry a commercial message or an instruction. I want to place this language in a contemporary context, both culturally and economically. I want to take back the visual impact that advertising and communication have fine-tuned. In 2001, I started making my own marketing materials for my abstract paintings. These were slick, mail-order catalogue style photographs of my paintings in domestic settings. The photographs then became artworks in their own right. The relationship, or exchange of brand image, between appealing settings and the pictograms I create for those settings has been at the heart of my work ever since. I’m all about giving consumers what they want. The weekly turnover of serving suggestions for my paintings and photographs at the show at Galerie Anne Barrault reflects the art market’s hunger for novelty.\r\n\r\n&nbsp;\r\n\r\n<strong>NH</strong>: How do you conceptualize and create the shapes of your abstracted motifs?  How does color come into play, and how do you achieve the texture on the canvas?\r\n\r\n&nbsp;\r\n\r\n<strong>HW</strong>: I create signs for a specific context. This context can be an interior or an urban environment. I see each new vocabulary of signs as the elaboration of visual identity for a given place. I start off collecting data by drawing. Then I break it down into pictograms. I make collages and scan them. In this form, I can manipulate them on the computer, inserting them into settings through photomontage or simulating diptychs or triptychs that can be made to order. When I make a digital proposal into a painting for a specific project or a commission, I use upholstery fabric, which creates a texture on the painting’s surface.\r\n\r\n&nbsp;\r\n\r\n<strong>NH</strong>: What connections do you find between domesticity and abstract painting?\r\n\r\n&nbsp;\r\n\r\n<strong>HW</strong>: I’m interested in the dialogue that has always existed between applied arts and abstract painting. My use of upholstery fabric is a reference to the “domestication” of abstraction, which was almost instantly recycled into patterns for furnishings. I like the double status of paintings as both elements of a cultural dialogue within a museum or gallery context and as decorative additions to an interior that are often chosen because they match the curtains.\r\n\r\n&nbsp;\r\n\r\n<strong>NH</strong>: Your work is an investigation into the methods and tactics of advertising and commercialism; is it in the spirit of play or critique that you appropriate these methods?\r\n\r\n&nbsp;\r\n\r\n<strong>HW</strong>: Initially, I appropriated advertising strategies. Now I have promoted myself from Marketing Manager to CEO. I run my artistic practice like a business. I manage my product from the design phase to distribution. Streamlining production to maximize return has led me to abandon the everyday practice of painting. Now I create digital proposals that are materialized as paintings, photographs, wall paintings or wallpapers when funding is secured. From now on, any paintings I make that are not sold within 5 years will be destroyed. The digital file will go back into a catalogue of dead works to be revived, possibly in a different form, for other projects or needs. Is this a critique of contemporary life? I’m grappling with the world I live in. Mercifully, nobody’s asking contemporary artists to herald a new utopia or give helpful hints on transforming society. At best, I’m holding up a mirror to the art market.\r\n\r\n&nbsp;\r\n\r\n<strong>NH</strong>: Have you ever been commissioned to create an actual logo for a company? Is that something you\'d be interested in?\r\n\r\n&nbsp;\r\n\r\n<strong>HW</strong>: No, I need layers of meaning in my work. When I create a sign or logo, that logo is the product. Making a logo for someone else’s product is not my job.\r\n\r\n&nbsp;\r\n\r\n<strong>NH</strong>: In the Authentic New Mexico series, you created Kachina dolls, set next to photographs of the local vernacular architecture, both symbols of Santa Fe and driving sources of that area\'s tourist economy. Do you plan any other investigations into place and identity like in Santa Fe?\r\n\r\n&nbsp;\r\n\r\n<strong>HW</strong>: I’m currently working on a series called Mount Isa, based on photos I took and anecdotes I wrote during a stay at a mining town in the north of Queensland, Australia. I have two residencies planned for 2009: in Meymac, a village in the center of France, and Bremen in Germany. I am definitely interested in the promotion strategies used in tourism at the moment. It will be interesting to apply that to destinations that are not tourist draw cards.\r\n\r\n&nbsp;\r\n\r\n<strong>NH</strong>: What\'s next for Heidi Wood Enterprises?\r\n\r\n&nbsp;\r\n\r\n<strong>HW</strong>: Over the next two years, I’ll be gathering material for a new publication devoted to my wall paintings. I’ll present both the digital simulations and documentation of the work in various exhibitions. I plan to emerge from the global recession with a whole catalogue of proposals ready to go.\r\n\r\n&nbsp;\r\n\r\n<strong>Artslant.com</strong>\r\n\r\nOctober 2008',	NULL,	'HEIDI WOOD, Use-by Date',	'NATHALIE HEGERT',	' ARTSLANT.COM, 2008',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'nathalie-hegert-artslant-com-2008',	'nathalie-hegert-artslant-com-2008',	'',	'',	'2018-10-19 12:41:18',	NULL,	'2018-10-19 12:41:18',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1756',	0,	NULL,	NULL,	'',	0),
(1763,	NULL,	NULL,	NULL,	NULL,	3,	'2018-09-11 10:00:21',	'2018-09-11 10:00:21',	'GALERIE ANNE BARRAULT\r\n\r\n22, rue Saint Claude, Paris\r\n\r\nOctober 18 – December 20 2008\r\n\r\n&nbsp;\r\n\r\nHeidi Wood embraces the visual efficiency of abstract geometric painting through a strategic application of shapes and colors. By rotating a selection of her new and recent paintings and photographs during each week of this exhibition’s nine-week run, Wood insists nothing is final in her practice. The general palette of these works is derived from the women’s autumn/winter 2008 collections featured at Galleries Lafayette, one of Paris’s premier department stores. Wood also gathers the eerily familiar yet enigmatic shapes in her paintings from popular iconography – street signs, souvenirs, billboards and institutional architecture. In her 2007 series of photographs and illustrations “Authentic New Mexico,” she unravels the myth-making potentials of image and design. Documenting several “faux-dobe” neighborhoods and businesses, including a McDonald’s, she highlights the construction of cultural identity and its systematic distribution. In <em>Authentic New Mexico 1</em>, for example, Wood juxtaposes a photograph of a teepee-shaped drive-through with her rendition of a kachina doll, the popularized Hopi totem.\r\n\r\n&nbsp;\r\n\r\nIn turning the gallery into an evolving showroom and allowing her works to “freeze” only when acquired by a collector or museum, Wood demonstrates her estimation of the art market. While her paintings are unique, they are available for customization according to patron’s specifications. Likewise, Wood treats her painted canvases – often made on upholstery fabric – like disposable products. As stated in the title of the show, “use-by date,” these works have a shelf life: five years. After this period, if Wood has not sold a painting, she will destroy it – enacting perhaps the sharpest assessment of trade in visual currency.\r\n\r\n&nbsp;\r\n\r\n<strong>Lillian Davies,</strong> December 2008<strong>\r\n</strong>\r\n\r\nCritics’ Picks\r\n\r\nArtforum.com',	NULL,	'HEIDI WOOD, Use-by Date',	'LILLIAN DAVIES',	'ARTFORUM.COM, 2008',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'lillian-davies-artforum-com-2008',	'lillian-davies-artforum-com-2008',	'',	'',	'2018-10-19 12:40:40',	NULL,	'2018-10-19 12:40:40',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1763',	0,	NULL,	NULL,	'',	0),
(1766,	NULL,	NULL,	NULL,	NULL,	3,	'2018-09-11 10:05:04',	'2018-09-11 10:05:04',	'Galerie Anne Barrault, Paris\r\n\r\nOctober 18 – December 20 2008\r\n\r\n&nbsp;\r\n\r\n<strong>In the Heidi Wood case, the suspect is the painting.</strong>\r\n\r\nThe fact is that there is something suspicious today about abstract painting. Form, background, color, line, format and its frontal nature. We have come to the end of the road. These days, any new variation is no more than a quote. It already belongs in the public domain. Geometric abstraction has indeed become a universal language. Everyone reads it as a sign. Everyone recognizes its potential power as a logo, its ability to encapsulate a message and give the impression of a cryptic announcement. In an unexpected twist, abstract painting refers back to the very domains that appropriated it for the purpose of signage and, more generally, communication.\r\n\r\n&nbsp;\r\n\r\nOn the scale of the painting unit, Heidi Wood’s work already strives to describe this phenomenon by playing with the shifting meanings of the motif painted on a monochrome background. The obviously spare composition, its extreme simplicity, its uncluttered readability give it an air of <em>déja-vu</em> that immediately introduces a sense of doubt or suspicion about the real status of the object that we are unable to situate precisely between abstract painting and road sign. During this initial phase of work, she sets the tone. Make no mistake, appearances work against the artwork here, utterly against it. The means of presentation adopted confirm the painting in its role as suspect. They deliberately resemble promotion strategies, reinforcing a sense of corruption. We must thus recognize them on a second level as simulations of an ideal, efficient serving suggestions and appealing presentation styles.\r\n\r\n&nbsp;\r\n\r\nFor her third exhibition with Anne Barrault, the artist, faithful to her mimetic approach, is putting on a sort of evolving showroom, like that of a small business wishing to familiarize its clientele with a wide range of services. From this perspective and in a subtle game of recycling and self-quotation, she associates completely new formulae with works appreciated in the past and updated here for the occasion. The demands of the public, always on the lookout for something new, will be more than satisfied by a weekly turnover throughout the exhibition. Between tradition and innovation (alias Heidi Wood’s fiction), the art polishes its brand image.\r\n\r\n&nbsp;\r\n\r\nAnd the image as a promise of an ideal is indeed Heidi Wood’s stock and trade. The motif set in a given environment becomes image. The context generates and justifies the motif and vice versa. The artwork reveals itself in this occasional and specific interdependence. This is precisely what fascinates the artist, who has no illusions about the autonomy of the painting and even less about its timelessness. From now on, she will grant it a life expectancy of five years (when it reaches its use-by date, each painting will be destroyed unless it is spared through acquisition). Henceforth, all the material aspects of the artwork will be only simulations. And it is only in these terms that Heidi Wood plays with marketing strategies for them.\r\n\r\n&nbsp;\r\n\r\n<strong>Philippe Coubetergues</strong>\r\n\r\nSeptember 2008\r\n\r\nTranslated from French',	NULL,	'HEIDI WOOD, Date limite de consommation (Use-by Date)',	'PHILIPPE COUBETERGUES',	'PRESS RELEASE, 2008',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'philippe-coubetergues-press-release-2008',	'philippe-coubetergues-press-release-2008',	'',	'',	'2018-10-19 12:40:20',	NULL,	'2018-10-19 12:40:20',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1766',	0,	NULL,	NULL,	'',	0),
(1769,	NULL,	NULL,	NULL,	NULL,	3,	'2018-09-11 10:08:45',	'2018-09-11 10:08:45',	'Image/Imatge (Orthez)\r\n\r\nEcole supérieure des arts et de la communication (Pau)\r\n\r\nJanuary 16 – March 7 2009\r\n\r\n&nbsp;\r\n\r\nHeidi Wood questions the dividing up of the world imposed by communication codes. The ensuing fragmentation seeks to examine and explain the message, without ever running the risk of scheming, faltering or even provoking vertigo. For this artist, questioning means revealing greater complexity, varying the angles of approach, activating a slippery, disturbing, yet fertile acuteness and thus expanding the scope of a range of practices and a vocabulary of forms from the urban environment, including signage and a certain coding of modernism, somewhere between common usage and unexpected shifts.\r\n\r\n&nbsp;\r\n\r\nIn Orthez, the exhibition focuses on Mount Isa, a rich mining town in the northwest of the state of Queensland in Australia. The town is characterized by a vast, featureless urban sprawl that has developed around a prosperous industry. Heidi Wood associates each of her photographs of a banal, abrupt house, “between ultramarine sky and red ochre ground” with a collage made of home decorator adhesive that describes the rudimentary, sharp silhouette of mining buildings; she presents these duos in a wall painting inspired by this particular functional geometry. The pairing of images is done efficiently. It skillfully underlines their difference all the better to accentuate the peculiarity of their coexistence. To apprehend them in their full antinomy and the violence of their proximity, the juxtaposition shows both the combinations offered by the ambiguity and the possibilities of an alternative in a successive and discontinuous manifestation of lightness and heaviness, rigor and drifting, brutal obviousness and conciliatory atmospheric phenomena.\r\n\r\n&nbsp;\r\n\r\nIn Pau, Heidi Wood explores the visual identity of architects Beckmann and N’Thépé to extract three abstract forms presented in three colors in a large-scale wall painting. The extreme desire for hard edges and clarity leads to a sort of turnaround, with a vigorous indetermination that opens onto a positive game of loss and reconstruction, anchoring and instability.\r\n\r\n&nbsp;\r\n\r\nHeidi Wood seems constantly motivated by a need for confrontations and articulations between figuration and abstraction, fragments of reality and principles of representation, signage requirements and decorative recurrence, and by a need to actively adjust to produce a coherent plurality of images that refer to and mutually stimulate one another. They combine, without converging, in a single energy.\r\n\r\n&nbsp;\r\n\r\n<strong>Didier Arnaudet</strong>\r\n\r\n<strong>Art Press</strong> n° 355, April 2009\r\n\r\nIn Galerie Anne Barrault, in Paris, from October 18 to December 20, Heidi Wood presented an exhibition with a weekly turnover of installations.\r\n\r\n&nbsp;',	NULL,	'HEIDI WOOD',	'DIDIER ARNAUDET',	'ART PRESS, 2009 ',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'didier-arnaudet-art-press-2009',	'didier-arnaudet-art-press-2009',	'',	'',	'2018-10-19 12:39:26',	NULL,	'2018-10-19 12:39:26',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1769',	0,	NULL,	NULL,	'',	0),
(1772,	NULL,	NULL,	NULL,	NULL,	3,	'2018-09-11 10:14:20',	'2018-09-11 10:14:20',	'Residency program (March – April 2009) and exhibition (April 18 – June 15 2009)\r\n\r\nContemporary Art Center, Abbaye Saint André, Meymac\r\n\r\n&nbsp;\r\n\r\nIn the service provided by Heidi Wood, the painting, set in a given environment, functions as an <em>image</em>. By insisting precisely on this <em>image</em> effect, the symbolic crystallization of an ideal occurs; the extreme enhancement of volatile appearances confers on the Heidi Wood suggestion the precariousness and evocative power of her intention in that it obliterates all trace of painting.\r\n\r\n&nbsp;\r\n\r\nThe context generates and justifies the motif (alias the painting) and vice versa. The artwork reveals itself in this intermittent and specific inter-dependency. This is precisely what interests the artist, who has no illusions about the autonomy of the painted object, and even less concerning the timelessness of the context. As a result, in the case of a painting shown, she is interested only in the impact of its presentation. In painting, she focuses on the signal, rather than the sign.\r\n\r\n&nbsp;\r\n\r\nHeidi Wood works as a service provider in a wide range of contexts: industrial, urban, domestic, commercial, etc. She takes on the job of making images under contract and for her brand name. In her undertaking, the painting’s value is only that of a motif. As an object, it submits to the rules of usage required to meet the quality standards of the service she provides. Its life expectancy is limited. Unless it is spared by acquisition, it remains valid for five years. The artwork’s material aspects are only intermittent simulations. The motif, however, is stored in memory and can be reactivated at any time.\r\n\r\n&nbsp;\r\n\r\nIn light of the above, during her residency at the Meymac abbey she has programmed a pyre for twenty-one of her paintings from 2002 and 2003. They have all featured in specific projects (<em>Cristal Union</em> in 2002, <em>Planète magique</em> in 2003, etc.). Far from any desire to provoke or generate controversy, this act is a fulfillment. Like a business run on the principle of just-in-time delivery, the artist manages her stocks by disposing of those that have not been sold. But the act acquires symbolic value, so the performance modalities are thought through in great detail, much like her installations. In the current context of overproduction that seems necessary to the fragile balance of economies, this iconoclastic gesture should be seen in its true light as a signal.\r\n\r\n&nbsp;\r\n\r\n<strong>Philippe Coubetergues</strong>, March 2009\r\n\r\nTranslated from French\r\n\r\n&nbsp;\r\n\r\n<strong>Postscript</strong>\r\n\r\nFaced with the difficulties of organizing this “pyre” and the realization that the paintings contain polyester and lead, so they risk giving off a toxic cloud if burnt, the paintings will be destroyed at the end of the exhibition in a less spectacular manner.',	NULL,	'HEIDI WOOD, The Meymac Pyre or Just-in-time Delivery',	'PHILIPPE COUBETERGUES',	'PRESS RELEASE, 2009',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'heidi-wood-the-meymac-pyre-or-just-in-time-delivery',	'heidi-wood-the-meymac-pyre-or-just-in-time-delivery',	'',	'',	'2018-10-19 12:38:42',	NULL,	'2018-10-19 12:38:42',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1772',	0,	NULL,	NULL,	'',	0),
(1784,	NULL,	NULL,	NULL,	NULL,	3,	'2018-09-11 12:43:01',	'2018-09-11 12:43:01',	'<strong>Heidi Wood / Notre Dame de Moustoire Chapel</strong>\r\n\r\n&nbsp;\r\n\r\nNotre-Dame de Moustoire is a chapel. Its presence in the depths of the countryside is indicated to visitors by a sign. On it, a chapel is simplified, reduced to a symbol, an image, a logo: chapel this way!\r\n\r\n&nbsp;\r\n\r\nWe wonder how the “chapel” logo influences our first impressions of Notre-Dame de Moustoire. Although it is similar to all the others, this chapel is unique within its category. Its selling point as a tourist attraction is precisely its difference: its architectural particularities, the specific way it sits in the landscape. Yet the logo reduces it to a chapel like the rest, one among many, one that when added to all the others constitutes “heritage”. This is what the sign says. More than indicating the chapel itself, it states its contribution to the region’s appeal to tourists.\r\n\r\n&nbsp;\r\n\r\nIn this way, codes standardize the world. They brand it. Here, it is a brand you can trust, have faith in. Clearly there is something here that shouldn’t be missed. The schematized logo claims to be universal. It signals a chapel worthy of interest for all passers-by, regardless of religious convictions. The cultural nature of the site would seem to have been sidestepped.\r\n\r\n&nbsp;\r\n\r\nUnder the cover of directing us or facilitating comprehension, codes govern reality. We cannot imagine the extent to which they orient the way we see. By appearing prior to the thing we will see, the logo reduces it. By foreshadowing, it deforms. How does Notre-Dame de Moustoire chapel correspond to our expectations of chapels? Why does its appeal to tourists deserve to be proclaimed? By schematizing the world, our very apprehension of that world is simplified.\r\n\r\n&nbsp;\r\n\r\nHeidi Wood focuses on the arbitrary dimension of the code that governs reality to the point of replacing it. Invited to exhibit in this chapel, she chose to play with the relationship of meaning between indicator and indicated. Using fiction as an alibi, she reshuffles the representations that connect signs to objects. Has she made the “chapel” logo into a new icon to worship?\r\n\r\n&nbsp;\r\n\r\nThe piece she presents indicates that something has been shifted. Three hanging chasubles block the nave at regular intervals. Carefully crafted, playing on the contrast between the different fabrics used, these sumptuous gowns directly echo ceremonial dress. The cross-stitched embroidery recreates the logo from the road sign outside. The symbolism of the colors plays on other conventions, such as male and female.\r\n\r\n&nbsp;\r\n\r\nA schematic evocation of three absent bodies, the three chasubles fill the space with a strong physical presence. The floating nature of the gowns as well as the contrast between the warm, luminous materiality of the fabrics and the cold, mineral, lackluster context, all participate in a generally disturbing sense of artificial remanence.\r\n\r\n&nbsp;\r\n\r\nThe <em>born again</em> aspect of this fake ceremony provokes a vague feeling that these muddled categories are not inappropriate here.\r\n\r\n&nbsp;\r\n\r\n<strong>Philippe Coubetergues</strong>\r\n\r\nMay 2011\r\n\r\n(translated from French)',	NULL,	'BRANDING YOU CAN TRUST',	'PHILIPPE COUBETERGUES',	'PRESS RELEASE, 2011',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'branding-you-can-trust',	'branding-you-can-trust',	'',	'',	'2018-10-19 12:38:04',	NULL,	'2018-10-19 12:38:04',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1784',	0,	NULL,	NULL,	'',	0),
(1791,	NULL,	NULL,	NULL,	NULL,	3,	'2018-09-11 13:19:06',	'2018-09-11 13:19:06',	'<strong>A suburban environment by Heidi Wood</strong>\r\n\r\nGalerie Anne Barrault, 22 rue Saint Claude, 75003, Paris\r\n\r\nFebruary 28 - April 13 2013\r\n\r\n&nbsp;\r\n\r\n<em>Suburbia today is a space denied in which proliferates what the anthropologist Marc Augé calls the \"non place\". It contains everything the city rejects in the most disorderly way despite the practice of zoning, but of which it has a vital need: factories, freeways, shopping malls, airports, dormitory towns...</em>\r\n\r\nDavid Leyval\r\n<em>La banlieue, l\'épreuve de l\'utopie</em>\r\n\r\n&nbsp;\r\n\r\nBased on this observation, Heidi Wood has taken it upon herself to rehabilitate, not without a touch of irony, this suburbia looked upon with condescendence by inner city dwellers, with horror by the privileged or with a certain romanticism by some \"haves\", who look fondly on these zones because they don\'t suffer any of its inconveniences (which amounts to being patronizing). She presents real road signs stamped with flower-pictograms (warning, prohibition?) and a monochrome architectural wall painting on which are hung paintings representing housing typical of the dormitory towns worldwide that edge up to the countryside. We could be reminded of a tourist information office but also of the showroom of a real estate developer.\r\n\r\n&nbsp;\r\n\r\nThis homage to suburbs that take in everything cities reject reminds us that artists themselves are kept at a distance from the city center, although they are needed to supply the art fairs and plethora of exhibitions that are organized there all year round. This is nothing new: Erik Satie was struggling to survive in Arcueil while the bourgeois of Paris were entertained by his ballet Parade in 1917. Today, there are countless creators of all disciplines who live and work in suburbia, a sort of artist\'s back entrance to the center. Life takes care of reminding them that they are only suppliers. <em>La bohême</em> was short-lived. We are a thousand miles from that insouciance. This explains the grating aspect of Heidi Wood\'s pictogram images whose clinical craftsmanship cuts like a blade.\r\n\r\n&nbsp;\r\n\r\nWe can describe Heidi Wood as an urban pictographer landscape painter. She draws using black masking tape so as to distance herself from gesture, to dehumanize as far as possible. This is the ultimate in anti-impressionism, stripped of all emotion. She distinguished herself previously with a series of souvenir plates printed with industrial landscapes, in a style more suited to a picturesque seaside resort.\r\n\r\n&nbsp;\r\n\r\nNote that everything is programmed in Heidi Wood\'s artistic production. There is no room for indecision. Everything is in its place in a sort of constructivism revisited.\r\n\r\n&nbsp;\r\n\r\n<strong>PhD</strong> [DEC MMXII]',	NULL,	'PETITE COURONNE',	'PHILIPPE DUCAT',	'PRESS RELEASE, 2013',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'heidi-wood-petite-couronne',	'heidi-wood-petite-couronne',	'',	'',	'2018-10-19 12:37:35',	NULL,	'2018-10-19 12:37:35',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1791',	0,	NULL,	NULL,	'',	0),
(1795,	NULL,	NULL,	NULL,	NULL,	3,	'2018-09-11 13:28:57',	'2018-09-11 13:28:57',	'Exhibition March 7 to May 30 2015\r\n\r\nOpening March 6 at 7 p.m.\r\n\r\n&nbsp;\r\n\r\nFrom March 7 to May 30 2015, Montreuil’s contemporary art center, Le 116, presents <strong>Production Site</strong>, an ever-changing exhibition by Heidi Wood. The artist will work <em>in situ</em> throughout the exhibition space. She will also set up her studio there, thus transforming Le 116 into a creative workspace.\r\n\r\n&nbsp;\r\n\r\n<strong>Leïla </strong><strong>de Lagausie</strong>: This new project continues your work on the theme of suburbia. How is this subject central to your work? Does it take on a particular meaning in the context of Le 116?\r\n\r\n&nbsp;\r\n\r\n<strong>Heidi Wood:</strong> As an Australian, suburbia has always had a residential, calm, even boring image for me. So I’m astonished to see the stigma attached to a part of town that I always thought was where everybody lived. In France, suburbia – <em>la banlieue</em> - is seen as a breeding ground for social problems. High-rise buildings have become a symbol of crime. Yet they were designed as a new way of living together that was meant to be affordable, rational and sociable. Utopia has turned into dystopia, at least in the minds of the French.\r\n\r\n&nbsp;\r\n\r\nI am interested in the fall-out from modernism, but also the promotion strategies used in tourism. I see my exhibitions as visitors’ centers for various destinations. I try to extract the essential of a given place so as to cast it in a positive light. At Le 116, I will study the urban landscape of Montreuil to highlight its qualities. For the first time, I will be working on the visual identity of a particular suburb in dialogue with the people who live there. In this way, I raise the question of how permeable an art center is to its social context.\r\n\r\n&nbsp;\r\n\r\n<strong>LL:</strong> For this exhibition, you have chosen to use part of the exhibition space as your studio. What are you looking for in this direct confrontation with the public?\r\n\r\n&nbsp;\r\n\r\n<strong>HW: </strong>It is an ironic look at the demands politicians make on artists to act as interpreters of their practices. I see this experience as an extension of my exhibition <strong>Use-by Date</strong> at Galerie Anne Barrault in late 2008. At the time, I announced that my paintings would be destroyed after five years if they had not been bought. The exhibition changed weekly. I highlighted the art market’s voracious taste for the new just as the bottom fell out of the market and a profound change in context was underway. As it turned out, it was the quarter that saw the greatest economic shrinkage since the Depression.\r\n\r\n&nbsp;\r\n\r\nSince then, public money in support of art has become less plentiful. From the Ministry of Culture to municipalities, more and more demands are made of artists to explain their work to the public. Somehow, they are supposed to rub soothing ointments on situations of distress due to the global financial crisis. I have no problem with that. Yet I think it is legitimate to ask how it changes the artworks. I am submitting to this exercise as an attempt at a response. What do I make when I am acting as a social worker for the municipality of Montreuil?\r\n\r\n&nbsp;\r\n\r\n<strong>LL:</strong> <strong>Production Site</strong> is taking place in a particular context, given that it is Marlène Rigler’s last show as the director of Le 116. What do you think of this situation? What are the implications for your exhibition?\r\n\r\n&nbsp;\r\n\r\n<strong>HW: </strong>The municipality of Montreuil has chosen not to renew the contract of the curator who has been in charge, for only 18 months, of an ambitious international undertaking strongly focused on interaction with the people of Montreuil. The municipal Head of Culture has announced a reorientation in favor of local artists and local concerns. I think it’s appalling. I find myself in the strange position of being the exhibition that marks a transition to a much-reduced venture. I hope that <strong>Production Site </strong>will draw attention to just what is being thrown away, and provoke a debate on the relationship between artistic expression and the political issues raised by financing it.',	NULL,	'PRODUCTION SITE',	'LEÏLA DE LAGAUSIE',	'PRESS RELEASE, 2015',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'production-site',	'production-site',	'',	'',	'2018-10-19 12:35:34',	NULL,	'2018-10-19 12:35:34',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1795',	0,	NULL,	NULL,	'',	0),
(1798,	NULL,	NULL,	NULL,	NULL,	3,	'2021-09-11 13:36:23',	'2021-09-11 13:36:23',	'March 7 – May 30 2015\r\n\r\n&nbsp;\r\n\r\nLet’s take a walk in the Woods. We pass through forests of symbols with no mixed messages. Quite the contrary, everything is there, spread over the walls and even the floor. We won’t get lost. The exhibition “Production Site” takes us to Le 116, Montreuil’s art center, to see the buildings that inhabit Montreuil but in a different way: as wall paintings that look like giant stickers in primary colors. Outside has come inside. The city is reduced to its signage, to a group of signs and pictograms that erase experience, or to be exact, cover it up. The forms are minimal, essential. They are the means by which Heidi Wood mimes an art that supposedly sprinkles wellbeing, by “redeeming” or “transcending” reality, allowing visitors to see their everyday life differently. More biodynamic, more vibrant, in lemon yellow and tomato red. But at the same time, the artist’s work is also kept at a distance because the urban landscape appears as a group of signs that refer back only to themselves.\r\n\r\n&nbsp;\r\n\r\nIn fact, Heidi Wood’s work, even if it uses artifacts to which we can legitimately apply categories of judgment and taste and find sensorial pleasure in, is also conceptual. With “Production Site”, the artist consciously fulfills a well-known contract: public money (modestly) finances a commission as long as it meets criteria of “casting a positive light”, encouraging “social cohesion” and focusing on the “local”, particularly in disadvantaged neighborhoods. <em>“I embody these clichés to play the role of the official artist,” </em>says Wood.<em> “I’m trying to draw attention to the fact that if they are prerequisites for financing and exhibiting art, they will hamper diversity and reduce ambitions.”</em>\r\n\r\n&nbsp;\r\n\r\nThe most striking example of this reduction would seem to be the series of souvenir plates, like collectors’ items of yesteryear, that are presented under glass in the second room. The expected picturesque kitsch has been replaced by images of high voltage electrical towers in a minimal impressionist style. Except that in truth, there is no irony here. More an echo of the bemoaning (and hope) of the writer Céline in <em>Death on the Installment Plan: “The day they remove the hook-shaped lamp post from the corner by Number 12, I’ll be very sad. Man is temporary, I know that, but we’ve already temporized enough for my money. (…) Things seem pretty crummy, but if they could carry us away with them, we’d die of poetry.”<a href=\"#_ftn1\" name=\"_ftnref1\"><strong>[1]</strong></a></em>\r\n\r\n&nbsp;\r\n\r\nThis effort to put intimacy back into manufactured objects is inscribed in a project begun in 2010 in Chevilly-Larue called “Winter Vacation”. At the time, Heidi Wood asked residents to bring personal objects for her to draw and used the images made of them on pencil cases, posters and various gadgets sold at the Christmas market. Without finding many customers. We are so “deprived of the world”, to use the expression of philosopher Franck Fischbach, that the objects with which we live no longer look to us like the world. They become squalid, unworthy of being loved.\r\n\r\n&nbsp;\r\n\r\nSo the urban landscape Heidi Wood paints at Le 116 is not a joke. It is parody but in the literal sense, to be sung next to the ode in a well-known tune. It highlights given that re-enchanting is out of the question. The artist works from photographs, analyses, sorts through, “filters out”, she says, until she obtains “generic” forms that do not necessarily correspond to real buildings but rather to a residential setting as a whole. In Montreuil, those she notices from recent times are the modern high-rise, the contemporary and the industrial. Among other things, Wood offers studies of facades in which she indicates an opposition between an organization based on “grid” and “anti-grid”. An example of the latter, in the last decade, is the random distribution of windows onto interweavings of color. Because these studies are painted on upholstery fabric, the facade is decoration on two levels: as surface but also as transformation. Heidi Wood says that her paintings are destroyed if they are not bought within five years. This is coherent with the contrary strategy visitors can see at Le 116 of an ever-changing exhibition. The artist develops her wall paintings day after day, adds her “generic” buildings and changes them into engines, as if form necessarily produced form.\r\n\r\n&nbsp;\r\n\r\nThis is one of the meanings of “Production Site”: a factory of forms. Montreuil goes in one end, through the eye, through the photo, and continuously, throughout the exhibition, comes out the other as a painting. Even better, the artist is on-site. She has set up her studio in the middle, in the passageway between the two main exhibition spaces in Le 116. She works there during opening hours, or at other times, it depends. As <em>“a social worker for the municipality of Montreuil”,</em> Wood legitimately wonders what this situation changes in her work, what she produces on top of a series of artifacts or a performance. A presence? Interaction?\r\n\r\n&nbsp;\r\n\r\nIf it is clear that art does not fix anything, does not improve anyone’s social condition, perhaps it can at least be driven by a vital principle as a gesture, an impulse, to make itself shareable. What is shared here, more than the artwork is the work that goes into it. With Heidi Wood, we are a long way from the “participative” art of the 1990’s. Visitors do not play with elements to be “activated” or “reactivated”. They arrive at a production site where what is produced (or displayed) is the production itself and they see that the artist is a factory worker like any other.\r\n\r\n&nbsp;\r\n\r\n<strong>Eric Loret</strong>\r\n\r\nApril 2015\r\n\r\n&nbsp;\r\n\r\n<a href=\"#_ftnref1\" name=\"_ftn1\">[1]</a> <em>Mort à credit,</em> Louis-Ferdinand Céline, 1936. <em>Death on the Installment Plan</em>. Translation Ralph Manheim, 1971',	NULL,	'PRODUCTION SITE, Le 116, Montreuil',	'ERIC LORET',	'PRODUCTION SITE, 2015',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'production-site-le-116-montreuil',	'production-site-le-116-montreuil',	'',	'',	'2022-01-04 11:21:25',	NULL,	'2022-01-04 11:21:25',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1798',	0,	NULL,	NULL,	'',	0),
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(8071,	NULL,	NULL,	NULL,	NULL,	3,	'2020-11-26 16:31:28',	'2020-11-26 16:31:28',	'Interview with Pierre Rabardel, sculptor, photographer and ergonomist, for the website <a href=\"http://revue-bancal.fr/\">revue-bancal.fr</a>\r\n\r\nPosted November 20 2020\r\n\r\n&nbsp;\r\n\r\n<strong>Pierre Rabardel:</strong>\r\n\r\n<em>... you said earlier that you still feel like you’re in transition.</em>\r\n\r\n&nbsp;\r\n\r\n<strong>Heidi Wood:</strong>\r\n\r\nI felt more and more like my practice was going nowhere. I’d set up a system that needed to be broken down.\r\n\r\nMy work had been grounded in a sort of alternative tourism. I’d visit unlikely destinations and then create offbeat promotion campaigns for them: down-at-heel suburbs of Paris, hidden corners of the ex-Soviet empire, deindustrialized areas, towns made accessible by low-cost flights… I’d create a set of pictograms to express the essential physical characteristics of the place, like subtitles. Then works would be made based on the pictograms. They could be poster campaigns in a city’s advertising space, souvenir plates, tourist trinkets or an imaginary visitors’ center, for example.\r\n\r\nI practiced that studious tourism for ten years. In the end, I thought it was too simplistic given the complexity of the places I was representing. Systematically formatting them into pictograms weakened their specificity. It didn’t do them justice. Reading translation theory, with its distinction between target and source-oriented translations confronted me with the limits of my approach.\r\n\r\nSo I decided to take a year off and do the second year of a Masters program at Paris 8. I needed some theoretical baggage to move forward.\r\n\r\n&nbsp;\r\n\r\n<em>Translation theory?</em>\r\n\r\n<em> </em>\r\n\r\nWhen you do a translation you can either play to the reader - the target-oriented approach, which is sometimes seen as colonizing the original text – or to the source, even if it confuses the reader (i.e. source-oriented translations). This framework allowed me to question my utterly target-oriented way of working up until then. Making the source readable for the audience puts it at a distance. By working that way, instead of paying homage to these strange places I love, I was helping smooth over their specificities.\r\nI realized there was an ideology at work despite my intentions, and that it didn’t match the values I felt I held.\r\n\r\n&nbsp;\r\n\r\nThat’s what I came looking for at university, as well as a fine-tuning of my written French. It’s a language that still isn’t mine after all these years and I wanted to use it in my work. The choice of French is dictated by the fact that I live in France. I thought my visual work could be better and more complex with the addition of words.\r\n\r\n&nbsp;\r\n\r\nAt Paris 8 I studied \"Fish Story\" by Allan Sekula, which was emblematic of the direction I wanted to take. Sekula makes a brilliant back-and-forth use of texts and images to study maritime transport and allow a subtle understanding of political context. He began the work in 1989 and it marks a break with his previous proselytizing work as a militant Marxist. He renews his language, seeking a more indirect way of pursuing class struggle in a post-communist era while integrating the rise of identity politics.\r\n\r\n&nbsp;\r\n\r\nAt the same time as this apprenticeship in academic writing, I began building a new hybrid language using elements gleaned from the world for a project specific to that year, called <em>Cartographie d’une année sans voyages</em> (Mapping a Year Without Travel). It includes, for example, extracts from the administrative correspondence to do with my naturalization and anecdotes about the occupation of Paris 8 by refugees.\r\n\r\n&nbsp;\r\n\r\nThe monthly diary I send out to my electronic mailing list is an extension of this written and visual language. It began with the yellow vest protests. I looked for traces of conflict in the streets, but I also explored the outrageous new means of surveillance involved in “evaluating your delivery man”. We’re constantly asked to police those who provide us with services. In the first diary, I juxtaposed these profound changes in relations between consumers and workers and the tensions revealed by the yellow vest demonstrations. Then Covid hit and it became my lockdown diary.\r\n\r\n&nbsp;\r\n\r\n<em>With the diary, words become part of your work.</em>\r\n\r\n&nbsp;\r\n\r\nInitially, there were no words in my work, then they appeared gradually to accompany my paintings. They were already essential to the work I did to earn a living: teaching English, translating and subtitling. There’s a convergence happening in my work at the moment. The work with words has infiltrated my art practice.\r\n\r\nThis “narrative turn” is a throwback to my Australian origins because Australia is a country in which people are suspicious of elitist culture. Few visual artists gain mass public recognition. The only cultural form that is acceptable in popular culture is telling stories.\r\n\r\nCombining text and image is the way my work is heading now. I started with abstract painting, moved on to playing with the codes of communication (logos, signage, advertising slogans, etc.) and now I’m working on a language that portrays the world we live in.\r\n\r\n&nbsp;\r\n\r\n<em>How about your website?</em>\r\n\r\n&nbsp;\r\n\r\nAfter my year at university, I created a new website that was less predictable. It’s turned into a bit of an obstacle course with some kooky functions. For example, when you’re scrolling through reproductions of paintings, you might come across a Detour card. If you click on it, you find yourself on a new page. There’s a picture, a sentence or two, nothing very coherent. You flick through three or four of them and suddenly, you’re catapulted into a different place in the website. The Detours are absurd moments that unhinge the orderly visit of my archives.\r\n\r\nThere is also Oracle, a sort of electronic card game that randomly draws cards, generating combinations of Covid-era imagery with prophecies and snatches of conspiracy theories. It’s like a game of tarot but it’s not clear exactly what it is. I was trying to recreate the atmosphere that Covid brought about: the hunger for answers and the impossibility of getting any. It sums up the spirit of a particular place at a given time.\r\n\r\n&nbsp;\r\n\r\n<em>You left your gallery a few years ago.</em>\r\n\r\n<em> </em>\r\n\r\nThe relationship was at a dead end but I couldn’t blame my dealer because I was less and less convinced myself by what I was doing. I was already at a point where most of my fundamental research took place on the computer. Only a few objects were made for the gallery based on that research. At one point, I offered a catalogue of virtual paintings that would only be made to order. Later I announced that all my paintings would be destroyed if nobody had bought them within a five-year period. It was a way of completely stripping the work of its aura. Maybe that’s why collectors weren’t interested. Now I hardly make any intermediary objects like paintings of framed photographs. There’s not much between the PDF files you can download from my website and the monumental works I make for public commissions.\r\n\r\nWith these big commissions, I put forward a proposal, which is only ever comes to fruition if I win the competition. The work starts out as fiction. The images made during the periods of research adapt to a context and an audience. If the project goes ahead, the visuals emerge from the computer and come to life in the urban environment. These projects allow me to earn a living and they subsidize new periods of research.\r\n\r\n&nbsp;\r\n\r\n<em>How do you see what lies ahead? </em>\r\n\r\n<em> </em>\r\n\r\nIt’s hard to know. My life is on hold until the pandemic decides what it’s doing. For the last five years I’ve been moving towards something but I don’t know what it is exactly. I’ve come up with a method that needs to find an outlet in a more lasting form, in publications or elsewhere. Maybe my practice is more source-oriented now, moving back-and-forth between image and text to tell stories. Over the last year, I’ve missed the dialogue that art centers allow. I’m dying to exhibit again.\r\n\r\n&nbsp;\r\n\r\n&nbsp;',	NULL,	'INTERVIEW, REVUE-BANCAL.FR',	'PIERRE RABARDEL',	'INTERVIEW, REVUE-BANCAL.FR, 2020',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'interview-pierre-rabardel-2020',	'interview-pierre-rabardel-2020',	'',	'',	'2021-06-29 11:37:30',	NULL,	'2021-06-29 11:37:30',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=doc_article&#038;p=8071',	0,	NULL,	NULL,	'',	0),
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(9830,	NULL,	NULL,	NULL,	NULL,	3,	'2018-10-15 12:12:39',	'2018-10-15 12:12:39',	'<strong>Le principe fondamental et partagé de la programmation anniversaire des 30 ans des FRAC est de demander à un artiste de créer un dispositif inédit de diffusion d’œuvres de la collection. Comment as-tu répondu à cette invitation ?</strong>\r\n\r\n&nbsp;\r\n\r\nJ’ai depuis longtemps l’envie de mettre en scène des œuvres des autres, comme je l’ai fait avec mes propres tableaux abstraits dès ma première série photographique <em>Serving Suggestions</em>. Mais si je me permets de malmener mes propres œuvres en soulignant le devenir décoratif de la peinture abstraite, il est plus compliqué de le faire avec des œuvres qui ont des préoccupations toutes autres. Ici, je me suis donné le rôle de commissaire d’exposition dont les regroupements associent une œuvre physiquement présente avec deux autres évoquées par des silhouettes peintes sur le mur. C’est le fonctionnement du FRAC qui m’a intéressée dont un des modes d’action remarquables, tant en matière de diffusion que de médiation consiste à associer ses différentes œuvres afin de dégager des pistes de lecture, des thématiques communes, des oppositions, des rapprochements formels…\r\n\r\n&nbsp;\r\n\r\n<strong>Dans ton travail en cours <em>Musées du monde,</em> tu te concentres, pour les dessiner, sur des objets constitutifs des collections de musées d’histoire, de science ou de civilisation. Quel regard portes-tu sur ces objets ?</strong>\r\n\r\n<strong> </strong>\r\n\r\nLe projet <em>Musées du monde</em> est consacré à toutes sortes d’objets trouvés dans un musée à l’exception des œuvres d’art. Ceux que je retrouve dans beaucoup de villes sont des uniformes et des armes militaires, des trophées de chasse, des fœtus humains en bocal et des outils agricoles primitifs. En faisant un inventaire subjectif en dessin de ce qu’une ville choisit de conserver pour les générations futures, je cherche à voir si un portrait de cette ville se dégage de l’accumulation d’objets. C’est un prolongement de mon travail sur les pictogrammes qui décantent l’identité visuelle d’un lieu choisi.\r\n\r\n&nbsp;\r\n\r\n<strong>Quelle est ton approche des œuvres contemporaines autres que les tiennes ? Quel type d’intérêt peuvent-elles susciter en toi ? Quels critères d’appréhension retiens-tu ? Les évalues-tu en relation ou indépendamment de ta propre démarche artistique ?</strong>\r\n\r\n<strong> </strong>\r\n\r\nJe suis émue devant des œuvres aussi diverses que les photographies des Becher, les aquarelles de Walton Ford ou les installations picturales de Kara Walker. Mais je pense que tout artiste qui consacre sa vie à la création d’un univers ne peut pas s’empêcher d’en chercher les échos dans les œuvres des autres. Par exemple, quand je travaillais sur les parallèles entre le modèle économique de l’entreprise et les pratiques artistiques, je m’intéressais à Jeff Koons et Damien Hirst, moins pour leur valeur esthétique que pour leur valeur marchande et leurs méthodes de production. J’aime l’abstraction géométrique moderne et ses manifestations contemporaines. Je pense, par exemple, à Stéphane Dafflon et Francis Baudevin.\r\n\r\nMon intérêt pour les formes génériques de l’architecture moderne trouve un reflet dans le travail de Didier Marcel, Nicolas Moulin, Karina Bisch à ses débuts ou Callum Morton. Ma pratique consiste à creuser l’identité visuelle d’un lieu donc j’apprécie aussi la démarche de Kristina Solomoukha. Le visuel est, pour moi, la porte d’entrée démocratique à toute œuvre. Les couches de signification sont plus ou moins accessibles ensuite. Je ne suis pas sensible aux œuvres qui sont exclusivement conceptuelles. Je ne suis pas non plus attirée par les débordements de matière ou les délires baroques. On s’en doute en regardant mon travail.\r\n\r\n&nbsp;\r\n\r\n<strong>Le « Baroque » peut s’entendre comme une esthétique de la conjugaison formelle d’élans contraires. Ta peinture n’est certes pas baroque, mais tu sembles articuler dans ton œuvre des sources et des aspirations éparses : histoire de la peinture et communication visuelle, abstraction géométrique et kitsch, musée et intérieur domestique, grand art et culture populaire, système de l’art contemporain et tourisme… Quelle a été la genèse de ce positionnement artistique ?</strong>\r\n\r\n<strong> </strong>\r\n\r\nIl y a eu des strates d’influence dans mon travail qui sont, chronologiquement, le dessin académique de ma formation initiale en Australie, la peinture géométrique abstraite, les images publicitaires, le fonctionnement économique de l’entreprise appliqué à la production artistique, puis, actuellement, les stratégies de la promotion touristique.\r\n\r\n&nbsp;\r\n\r\nEn sortant des beaux-arts de Paris, je concevais ma peinture comme un inventaire des formes génériques du modernisme. Puis j’ai commencé à mettre en scène ces tableaux dans des décors domestiques fabriqués de toutes pièces, singeant les stratégies promotionnelles des fabricants de meubles. Je me donnais une double mission : creuser la question de la filiation avec les arts appliqués mais aussi activer véritablement les ressorts de la publicité – valoriser mon œuvre en la juxtaposant aux classiques du design et aider un collectionneur potentiel à projeter mon œuvre chez lui.\r\n\r\n&nbsp;\r\n\r\nMa série <em>Serving Suggestions</em> a suscité des invitations de la part d’organismes désireux de me voir appliquer le même procédé à leurs intérieurs. Est ainsi venu le temps de la réalisation de tableaux conçus pour s’inscrire dans un décor donné. Il y a eu un flottement intéressant sur l’identification de l’objet de la promotion : était-ce le tableau ou l’institution/entreprise représentée ? J’ai produit une montagne de tableaux, à cette période, qui me restaient sur les bras comme des accessoires encombrants. Le coût élevé des prises de vue avec un photographe professionnel et son éclairage m’obligeait à trouver des financements en amont pour chaque série. Le numérique et la lumière naturelle s’imposaient. Je me suis initiée à Photoshop et je suis partie en résidence à Los Angeles.\r\n\r\n&nbsp;\r\n\r\nCes trois mois passés à Los Angeles en 2004 ont marqué un tournant dans mon travail. Pour la première fois, le contexte économique et culturel du lieu que j’infiltrais déterminait le medium des œuvres. J’ai réalisé les photos de paysages urbains dans lesquels j’ai incrusté mes formes abstraites sur les panneaux publicitaires. Adossés à un slogan publicitaire trouvé, ces photomontages étaient envoyés sous forme de spams à un mailing international. Comme l’a écrit Stephen Wright à l’époque, je vendais des produits qui n’existaient pas à des gens qui n’avaient rien demandé. Cette forme d’autopromotion agressive était suggérée par le comportement des habitants de Los Angeles, ville de stars aspirantes. Dans cette fiction publicitaire, le produit marchand était une prestation. L’œuvre dématérialisée, j’ai pu m’affranchir de l’atelier et dissocier mes recherches de la fabrication d’objets.\r\n\r\n&nbsp;\r\n\r\nPar la suite, j’ai calqué ma production artistique sur les méthodes ultra-rationalisées de l’industrie. J’ai créé des prototypes de tableaux qui devaient être vendus sur plan. Mes photographies de cette période avaient un double statut d’œuvres et de supports marketing car elles mettaient en scène des tableaux virtuels disponibles à la demande. J’ai annoncé lors de mon exposition <em>Date limite de consommation</em> (galerie Anne Barrault, Paris) que tout tableau invendu serait détruit au bout de cinq ans. Un catalogue numérique de « cadavres » me permettrait de réactiver ces tableaux sous d’autres formes à une date ultérieure. Je permettais au marché de déterminer le droit d’exister de mes tableaux. C’était fin 2008, le trimestre du plus fort recul économique depuis la grande crise des années 30.\r\n\r\n&nbsp;\r\n\r\nN’ayant pas d’atelier, j’ai fait plusieurs résidences d’artiste : Budapest, Santa Fe, Meymac, Brême. A chaque fois la ville elle-même était le sujet de mes recherches. Je commençais toujours par créer un répertoire de pictogrammes censé décanter l’essentiel du lieu. Puis je laissais le contexte déterminer la matérialité des œuvres : assiettes souvenirs avec paysages industriels en bleu Delft à Brême, collages en feutrine de poupées <em>Kachina</em> à Santa Fe, etc. La charge promotionnelle, voire commerciale des pictogrammes que je créais de par leur proximité avec des logos, m’incitait à voir chaque résidence comme une campagne promotionnelle pour la ville. Je conçois les expositions désormais comme des stands de foire ou des syndicats d’initiative qui présenteraient une vision synthétique et valorisante du lieu (parfois une grande capitale, parfois une banlieue ingrate). Le tableau est désormais un élément parmi d’autres composant les environnements que je produis.\r\n\r\n&nbsp;\r\n\r\n<strong>L’ensemble de ton œuvre s’enracine dans une histoire de la peinture. Que gardes-tu de la peinture ou, selon les points de vue, qu’apportes-tu à la peinture, lorsque tu recours à des technicités autres (fichier numérique, films adhésifs, sérigraphie industrielle…), lorsque tu choisis d’autres supports que la toile tendue sur châssis (internet, assiettes en faïence, panneaux routiers, bannières, objets divers, murs…), lorsque, enfin, comme c’est le cas pour les commandes publiques auxquelles tu as accès et pour <em>Apparitions collectives</em>, le dispositif que tu as imaginé pour nous dans le cadre des <em>Pléiades – 30 ans des FRAC</em>, tu délègues la réalisation de l’œuvre ?</strong>\r\n\r\n&nbsp;\r\n\r\nToute ma démarche est enracinée dans l’instrumentalisation du langage visuel de la peinture abstraite de Malevitch et Mondrian qui a été vidé de ses aspirations métaphysiques et révolutionnaires pour fournir des motifs pour les rideaux et les robes. En tombant dans le domaine public, ce langage a été domestiqué. Ses mutations sont riches. Elles génèrent les produits dérivés que je déploie dans mes expositions.\r\n\r\n&nbsp;\r\n\r\nDéléguer ou réaliser moi-même est une décision qui naît du contexte de chaque projet. Je délègue lorsque je recherche une facture industrielle comme des panneaux routiers ou des plaques en émail, par exemple. D’habitude, je réalise moi-même mes peintures murales. Pour ce projet, la possibilité d’impliquer pleinement les partenaires faisait que c’était plus intéressant de leur demander de le faire.\r\n\r\n&nbsp;\r\n\r\n<strong>Ton œuvre en général et <em>Apparitions collectives</em> en particulier, m’incitent à te demander de préciser ta position par rapport à la notion « d’aura » de l’œuvre d’art originale telle que théorisée par Walter Benjamin dans les années 1930, au début de ce qu’il a perçu comme l’époque de sa « reproductibilité technique ». </strong>\r\n\r\n<strong>La question de l’originalité au sens de « singularité » est aussi intimement liée aux avant-gardes de la première moitié du début du XXe siècle envisagées comme des opératrices de ruptures historiques et des génératrices d’innovations spontanées. </strong>\r\n\r\n<strong>Les impératifs d’authenticité et de singularité sont, depuis les années 1980, remis en cause par les artistes qualifiés de post-modernes. Ta démarche artistique n’est pas étrangère aux stratégies de citation, de duplication, de référencement, d’appropriation, de mixage, adoptées par nombre d’artistes aussi divers que Sherrie Levine, Philippe Parreno, Etienne Bossut, Pierre Huyghe, Jim Isermann, Franck Eon ou Francis Baudevin pour ne mentionner que quelques artistes présents dans notre collection. Ces stratégies dont la tienne sont-elles des alternatives à la vanité et à l’égo de l’artiste inspiré ? Des dénonciations du consumérisme généralisé ? Un repositionnement face au déplacement depuis le champ de l’art vers celui du spectacle généralisé des forces de narration, de divertissement ou de sidération ? </strong>\r\n\r\n<strong> </strong>\r\n\r\nWalter Benjamin écrivait à une époque où il constatait une fracture de la perception liée à la l’émergence de la photographie et du cinéma. Il interrogeait les conséquences des reproductions sur les œuvres, ainsi sorties de leurs contextes et libérées du statut d’objets de culte. La banalisation de l’image s’est poursuivie avec la télévision, l’internet et les réseaux sociaux.\r\n\r\n&nbsp;\r\n\r\nJe prends acte de cette banalisation et cela génère les stratégies que tu décris. Je ne crois pas à l’œuvre charismatique qui doit être vue en vrai pour dégager son aura. J’ai été initiée à l’art moderne par les reproductions et j’ai pu aller jusqu’à décider d’exposer les reproductions photographiques de mes tableaux installés plutôt que ma peinture elle-même. La reproduction est aussi pour moi un moyen de garder la trace d’une œuvre détruite pour qu’elle puisse renaître, peut-être sous une forme modifiée, dans d’autres contextes. Son authenticité, sa singularité dépendent de cette adaptation.\r\n\r\n&nbsp;\r\n\r\nDe toute évidence, nous ne sommes plus dans l’exaltation des modernes, avec leurs tables rases à répétition. Le rôle de l’artiste-shaman, tenu par Joseph Beuys, est aussi dépassé. Une amie m’a raconté sa rencontre avec un artiste invité quand elle était élève à Goldsmiths à Londres. Il lui disait que les couleurs de ses tableaux étaient « très années 80 ». Pour qu’elle s’imprègne des couleurs de son époque, il lui conseillait de regarder les baskets que portaient les jeunes. C’est une anecdote qui dit beaucoup sur le statut des œuvres aujourd’hui (égal, voire inférieur, à celui des biens de consommation) et sur ce qu’on attend des artistes : refléter le monde, pas en proposer un meilleur. Comme beaucoup d’artistes de ma génération, ça ne me viendrait pas à l’idée de dénoncer le fonctionnement du monde. Je le regarde simplement, en sélectionnant mes sources d’information. Mes œuvres sont les produits dérivés de ma quête de le comprendre.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong> </strong>\r\n\r\n<strong>Heidi WOOD, entretien avec Alexandre BOHN, mars - avril 2013. </strong>',	NULL,	'INTERVIEW ALEXANDRE BOHN, 2014',	'ALEXANDRE BOHN',	'INTERVIEW, 2014',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'interview-alexandre-bohn-2014',	'interview-alexandre-bohn-2014',	'',	'',	'2021-06-29 12:18:11',	NULL,	'2021-06-29 12:18:11',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=doc_article&#038;p=9830',	0,	NULL,	NULL,	'',	0),
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(14499,	NULL,	NULL,	NULL,	NULL,	3,	'2022-04-29 07:46:55',	'2022-04-29 07:46:55',	'<strong>WAKE UP</strong>\r\n\r\n&nbsp;\r\n\r\n<em>Instead of a diverse world, made of ever new phenomena, of events that cause change and realities that resist, the consummation of \"nihilism\" imposes itself everywhere; a process by which, under the avalanche of \"news\" and \"notifications,\" events no longer occur and nothing seems to have to happen anymore.</em>\r\n\r\n&nbsp;\r\n<p style=\"text-align: right;\">Barbara Stiegler - <em>Du cap aux grèves</em> (Verdier, 2020)</p>\r\n&nbsp;\r\n\r\nHeidi Wood is attentive to the polyphony of signs that are part of our everyday landscapes. Whether they are commercial, informative, economic, cultural, security-driven, political, mediatic or otherwise, signs have invaded our visual and cognitive spaces. They organize the society in which we exist. They are so well integrated that we no longer really see or read them. We have an intuitive relationship with them. Yet they are omnipresent and influence our bodies. A major part of the artist\'s work invites us not only to question the violence of this ultra meta-presence, but also to understand its impact on our behavior, our choices, our relationships to others and to places. Because they affect us directly and/or insidiously, signs have become both a resource and a material for (re)thinking the world.\r\n\r\n&nbsp;\r\n\r\nThe proliferation of signs telling you what to do is evident in cities and particularly in so-called disadvantaged areas: commercial zones, the more or less distant outskirts of city centers and satellite suburbs. These are the places that Heidi Wood has observed, frequented and analyzed for many years. The result is critical projects that adopt a formatted language: numbers, signs, graphs, logos and bright, high-impact colors. The artist appropriates the visual expression of those who produce strategic writing. She works with the codes of these means of communication that are simultaneously instructive, basic and authoritarian to create a critical space. To do so, she commandeers and repurposes pictograms, systems of logos, typographies and colors, as well as their layouts and configurations. She exploits the effectiveness of this conditioning and alienating language to formulate her concerns and considerations, in search of meaning. She also invites us to remobilize our critical faculties in the face of these thousands of recommendations, stimuli, identity straitjackets or prohibitions. She asks us to understand their uses and objectives, but also to reinject nuance, detachment and substance into our collective imagination. By corrupting and exposing these signs, Heidi Wood stimulates a collective, pro-active approach to brutally imposed methods of communication; methods that are visually and ideologically formatted to consolidate norms, enslave and condition society.\r\n\r\n&nbsp;\r\n\r\n<strong>Critical narratives</strong>\r\n\r\n&nbsp;\r\n\r\nSo how does society accommodate, suffer or thwart these imposed modes? This multi-faceted question has provoked a complete and profound rethink of her artistic practice. Over the past few years, Heidi Wood has undertaken a critical analysis of her work in order to open up new directions and new ways of making art. She now focuses on a vast subject - contemporary existence - both hers and ours. By means of booklets accessible in PDF format (downloadable and dematerialized), she is developing a critical reflection on life in the West. In doing so, the artist seeks a way and a means to situate her perspective as a woman, as an immigrant, as an artist and as a citizen. This undertaking requires the creation of a situated language.\r\n\r\n&nbsp;\r\n\r\nHeidi Wood is working on a long-term project that began with her monthly <em>Journals </em>(January 2020 - December 2021). Each month, she puts online and distributes by email a digital booklet made up of eleven pages. Conceived as a field of narrative experimentation, each edition is fed by reactions to current events, real-life situations, words taken from the street, statistics, polls or quotes from the media. The artist keeps a close watch on the media and how news is portrayed, in words and images. From the Yellow Vest demonstrations to the pandemic that has dominated the news for over two years now, nothing escapes her. Heidi Wood confronts a range of issues: police and administrative violence, systemic racism, Islamophobia, feminicide, legalized prohibitions, respect for the rule of law, ecology, conspiracy theories, control of bodies, surveillance, image management, animal rights, social distancing, feminist demands, food choices, consumer society and its daily spectacle. They intersect and sometimes clash from page to page and edition to edition. \"By juxtaposing bits of evidence, I compose and try to make sense of things. I take blurred, incomplete signs and knit them into critical narratives.\"[1] The artist puts into dialogue elements photographed in the street, extracts of conversations and information taken from newspapers (French and Australian) or from the Internet.\r\n\r\n&nbsp;\r\n\r\nTheir intertwining produces criticism and highlights the prevailing cynicism. For example, a poster informs us that a dog named <em>Hope</em> is lost, and promises a reward for its return. On walls, placards from demonstrations or posters, we read: <em>Contemplate the void / Stop setting the bar so low for mankind / School’s out – surveillance never ends / Under the masks the memory of smiles / PARTRIARSHIT</em>. The text, whether illicit or official, is considered as a visual and political resource. Tags, torn posters, superimposed messages, comments, advertisements: \"I observe how digital technology formats our interactions. I seek out traces of current events in the urban environment as well as on our computer screens. I’ve started giving more space to absurdity and randomness.” Since the beginning of 2022, the <em>Journals</em> have been replaced by a new series of digital booklets entitled <em>À la Une</em> (<em>Breaking News</em>), where she explores other stories, born of direct experience and personal musings. In the substrate of the booklets published over two years, Heidi Wood has constructed a self-portrait where her concerns, doubts, questions, exasperations, disbelief, struggles and anger collide.\r\n\r\n&nbsp;\r\n\r\n<strong>Emerging from silence</strong>\r\n\r\n&nbsp;\r\n\r\nThe booklets supplement and make visible a long-term interest in contemporary existence - an existence that is both individual and collective. They introduce an underlying question: what makes culture? Baptiste Morizot, a philosopher, proposes a definition: \"Culture is what, as a person and as a member of the social body, transforms you, makes you a more intelligent and more sensitive body, more capable of being fair towards the world that makes you, and that you now take more fully into account.\"[2] Heidi Wood looks for this elusive and potentially transforming matter in details, snatches of dialogue and tenuous situations. Through her visual and narrative experiments, she questions a state of the world located on a level familiar to her. She highlights the connections, blockages, actions, inactions, battles, cop-outs and paradoxes that make up a culture shared and nourished by a group. Because she chooses to focus on a strategic, mediatic, commercial and political aesthetic, the artist reveals a facet of a Western conditioning culture that is as disturbed as it is disturbing. Out in the field, mostly in the street, she studies the flow of circumstances, debates and profiles. \"It’s in the juxtaposition of traces left by others that the narrative is constructed and a point of view voiced. Dialogues also help situate me as a curious spectator. The reader’s interpretation will always elude me.\" Heidi Wood prefers the status of scribe to that of prophet. She opens up leads or possible avenues for collective consideration. In this sense, juxtapositions bring both options and disruptions. They generate a necessity: the need to wake up and produce thought, analysis and criticism that will emancipate us from an organized and consented enslavement.\r\n\r\n&nbsp;\r\n\r\nThis enslavement of bodies is serviced by the mainstream media, which favors efficient messages, limited and formatted thought declaimed via sound bites, punchlines, hashtags, explosive slogans, fake news and unfinished sentences: the ingredients of the \"slow poison\" against which Barbara Stiegler says she is determined to fight. [3] While the artist\'s intention is not militant, her booklets make a statement, whose words and images are symptomatic of a deep societal, political and cultural crisis that has been structured over a long period. The <em>Journals</em> lead us to think about the issues and consequences of this crisis. Since they are open to any number of interpretations, we can detect in them a criticism of inertia, of individualistic escape or of collective stupefaction. Caught in a movement where immediacy and flashiness prevail, thought is indeed paralyzed. It runs out of steam and fades away. \"Our era is dumbed down by the filter of screens where a new, almost demented way of thinking is rampant, with its simplification, its disproportion and its moralization of everything\"[4]. The time is ripe for schematization, extreme binarity and reductive dogmas; for communication that is summed up in a few characters, GIFs, stickers and emojis. For a long time now, we have seen a systematized simplification of thought that leads to totalitarian, sterile and stultifying thought. Well-reasoned articles have given way to snarky comments, tweets, thumbs up or down and ideas that must be expressed in just a few characters. We no longer have time. Hartmut Rosa speaks of a modern crisis that is \"entirely a crisis of the relationship to the world, a crisis of the institutional and cultural relationship that society has with the world, a crisis that, at the stage of late modernity, shakes the mode of reproduction of this social formation to its very foundations.\"[5] We face a structural crisis that, according to the German sociologist and philosopher, reduces the world to <em>silence</em>, to a form of widespread inaction.\r\n\r\n&nbsp;\r\n\r\nWe must then emerge from the silence, refuse impotence, shake off an aseptic aesthetic, and counter, through contestation and contradiction, the organized anesthetizing of consciences. The philosopher Aurélien Berlan writes, \"the megamachine is not a bulldozer that crushes us from the outside. It is rather a matrix that we are all, willingly or unwillingly, part of. We are not outside of it. We are in it and we are even its basic components. We must therefore stop playing our role as docile little cogs, whether as consumers, employees or citizens. [6] Through her booklets, Heidi Wood informs us that it is urgent to individually and collectively sabotage this system that advocates a loss of meaning. In a humble and direct manner, the artist confides in us at once her concerns about the issues at hand and her love for her era, with all its complexities and confusions. The <em>Journals </em>invite us to mobilize to create a space where a critique of the information-spectacle can take root.\r\n\r\n&nbsp;\r\n<p style=\"text-align: right;\"><strong>Julie Crenn</strong></p>\r\n<p style=\"text-align: right;\">February 2022</p>\r\n&nbsp;\r\n\r\nNotes /\r\n\r\n[1] Quotes from the artist, from February 2022, are extracts from emails or telephone conversations.\r\n\r\n<sup>[2]</sup> MORIZOT, Baptiste. “Nouer culture des luttes et culture du vivant” in <em>Socialter</em>, January 2021.\r\n\r\n<sup>[3]</sup> STIEGLER, Barbara. <em>Du cap aux grèves - Récit d’une mobilisation 17 novembre 2018 - 17 mars 2020</em>. Paris: Verdier, 2020.\r\n\r\n<sup>[4]</sup> DUMONT, Bruno. Interview. <em>Le Monde</em>, 25 August 2021.\r\n\r\n<sup>[5]</sup> ROSA, Hartmut. <em>Résonance - Une sociologie de la relation au monde</em>. Paris: La Découverte, 2021, p.657.\r\n\r\n<sup>[6]</sup> BERLAN, Aurélien. Interview. <em>Reporterre</em>, 4 January 2022.',	NULL,	'JULIE CRENN, 2022',	'JULIE CRENN',	'WAKE UP, 2022',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'julie-crenn-2022',	'julie-crenn-2022',	'',	'',	'2022-04-29 14:45:06',	NULL,	'2022-04-29 14:45:06',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=doc_article&#038;p=14499',	0,	NULL,	NULL,	'',	0),
(14506,	NULL,	NULL,	NULL,	NULL,	3,	'2022-04-29 06:31:09',	'2022-04-29 06:31:09',	'<strong>TOURING AN APPROACH IN TRANSITION</strong>\r\n\r\n&nbsp;\r\n\r\nIn recent years, my work has taken many directions then found a certain coherence again following an existential crisis in my practice. <em>Touring a World in Transition</em> is a presentation of my research from the past ten years, yet the material is presented in a way that embodies a more nuanced perspective, the formulation of which is still in flux. The diversity of forms that I use now serves the mapping of contemporary existence. This publication is more a progress report than the celebration of a job well done.\r\n\r\n&nbsp;\r\n\r\nFor over a decade the heart of my practice has been creating positive representations of under-valued places: disadvantaged suburbs; obscure corners of the former Soviet empire served by low-cost flights; deindustrialized zones or places undergoing economic change... In parallel, I tested the hypothesis that a portrait of a city would emerge from an inventory of the objects contained in its museums (<em>Museums of the World</em>, 2009 - 2015).\r\n\r\n&nbsp;\r\n\r\nMy <em>modus operandi</em> was to distill the atmosphere of a target place by studying its urban fabric and creating a repertoire of pictograms. These schematic representations were the basis of a fictitious tourist promotion campaign. They were intended to allow immediate recognition of the place’s most recognizable characteristics. True to their advertising logic, they transformed settings for people’s lives into places to be consumed. The process is much like the reduction of a city to a list of \"must-see\" visits when mass tourism moves in.\r\n\r\n&nbsp;\r\n\r\nLittle by little I added observational drawings, collages and photographs to better describe each place. They refined the pictographic representation by adding layers of information, but the continuing aim was to enhance the place’s brand. How the repertoire was used depended on the exhibiting context. The works could take various forms (paintings, advertising billboards, souvenir plates, wall paintings, pdf files, road signs, enameled panels...). The environments that staged these elements were conceived as visitors’ centers or trade fair stands.\r\n\r\n&nbsp;\r\n\r\nReading translation theory caused me to question this process of reduction, which was the starting point of each project. I was challenged by the distinction made between <em>target-oriented</em> and <em>source-oriented</em> translations. The former, which favors readability in the target language, flatters the cultural assumptions of the translation\'s readers. Lawrence Venuti (1995) goes so far as to draw parallels between the target-oriented approach and imperialism, since the culture of the target language seeks to impose its own values on the original text, thus colonizing and subjugating it. He sees this approach as based on a model of dominant and dominated rather than a relationship between equals. According to Antoine Berman (1984, 16): \"All cultures would like to be self-sufficient so they can, based on this imagined self-sufficiency, influence others and appropriate their heritage\".\r\n\r\n&nbsp;\r\n\r\nThe source-oriented approach, on the other hand, confronts the reader with the impossibility of a fluid translation because of the intractable foreignness of the original text. The translator\'s choices in this case favor the specificities of the source text, even if it means confusing the reader. My representations of peripheral places were clearly target-oriented.\r\n\r\n&nbsp;\r\n\r\nI realized that my pseudo-tourist campaigns formatted places that I had chosen precisely because they had not succumbed to globalization. If the intention was to question residential or geopolitical hierarchies by singing the praises of unlikely destinations, I was still acting as though the periphery should resemble the center. At the same time, I was sometimes annoyed when reading source-oriented translations, which could be abstruse and therefore unfaithful in their own way to the source\'s logic. Was there a middle ground?\r\n\r\n&nbsp;\r\n\r\nI decided to fine-tune my representations and acquire some theoretical baggage by spending a year at university (a Master 2 at Université Paris 8). During this period, I was sedentary and cut off from my usual subject. I felt intuitively that the addition of text could help me singularize my generic representations, as drawing, collage and photography had done in the past. The use of found texts effectively serves this function. It is the introduction of anecdotes written in the first person that shifts the distilling of atmosphere towards the construction of stories. The downloadable booklet <em>Mapping a Year Without Travel</em> (2018) was my first attempt at finding a new language that combined image and text without using pictograms; at embodying a subjective life experience rather than a physical place presented as fact.\r\n\r\n&nbsp;\r\n\r\nThis booklet brought together elements related to my naturalization as a French citizen and anecdotes about the occupation of the university by migrants; quotes from information boards and spam; text messages received and T-shirt slogans seen on Parisian chests; graffiti and ads in the metro. These different layers of information evoked consumer society and its social tensions, my relationship to the French language and to France, as well as the irruption of technology in our personal lives. The juxtaposition of text and image was used in the same way as field - counter-field shots in movies: different angles are used to flesh out a story.\r\n\r\n&nbsp;\r\n\r\nIn addition, the creation of two websites during this period allowed me to experiment with different ways of documenting my practice: an ordered approach to archives derailed by Detours that pop up unexpectedly (<strong>heidiwood.net</strong>), and a blog-style accumulation of research material (<strong>nouvelles-du-monde.fr</strong>). Since 2020, my attempts at representing current affairs have taken the form of monthly<em> Journals</em>, replaced in 2022 by the series <em>Breaking News</em> (<em>À la une</em>).\r\n\r\n&nbsp;\r\n\r\nA public art project at the Aretha Franklin high school in Drancy in 2020 was an opportunity to renew my approach to the glorification of disadvantaged suburbs by integrating my research on heritage as a vector of shared identity. The project, as before, began with a study of the urban fabric but there were also workshops with the school’s pupils. We worked together to imagine a new city, called <em>Alentour</em>. After mapping its tangible and intangible heritage, we put together a fictitious application to have it classified as a UNESCO World Heritage Site. This time, the scenario was based on the perspective of the inhabitants, marking a step towards a source-oriented translation. However, their participation implied the construction of a consensual narrative, recognizable to all. This aspect mirrored the reduction of a place to a repertoire of pictograms. The project was also partly target-oriented.\r\n\r\n<em> </em>\r\n\r\n<em>Alentour</em>, as well as my downloadable booklets, indicate that my period of transformation has not resulted in a clean slate of forms but rather in an ongoing balancing act between the generic and the singular. Consulting others disrupts the \"imagined self-sufficiency\" of my gaze. The pictogram has been rehabilitated for its legibility. It is now part of an arsenal of tools at the service of stratified representations that seek to reveal the world’s complexity. My reorientation has been less about adding new visual means than replacing advertising-style positivism with a more ironic approach to the absurdity of the world we live in.\r\n\r\n&nbsp;\r\n\r\nFor the past five years I have produced pdf files and monumental public art projects with almost nothing in between. These works situate my thinking in a negotiation between target and source-oriented approaches. A return to exhibiting is now necessary so I can translate contemporary experience into contemporary cultural practice. For this publication, which bears the lessons of my ongoing research, the work of the last ten years, as well as non project-specific visuals and texts, are classified by theme: <strong>contemporary existence; museums and heritage; urban environment.</strong>\r\n\r\n&nbsp;\r\n\r\nChapters documenting projects alternate with micro-narratives made up of diverse elements. This is where my narrative turn reveals itself, as well as the wide range of forms that constitute my practice. Added to this are texts that are just as diverse in form: I compose, I quote, I delegate the writing to others (see the 3 pages of administrative science fiction written by an anonymous senior civil servant in the <strong>Urban Environment</strong> section).\r\n\r\n&nbsp;\r\n\r\nThese swings between generic and singular, between text and image, between asserting my perspective and integrating that of others, reflect my conception of contemporary existence as a succession of seductive clichés and random disruptions. I no longer promote the exotic pleasures of peripheries, or at least not in the same way. I now try to translate my wanderings between the familiar and the disconcerting in this unending period of restricted mobility.\r\n<p style=\"text-align: right;\">Heidi Wood</p>\r\n<p style=\"text-align: right;\">February 2022</p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;',	NULL,	'Heidi Wood, 2022',	'HEIDI WOOD',	'TOURING AN APPROACH IN TRANSITION, 2022',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	NULL,	'closed',	'closed',	'',	'heidi-wood-2022',	'heidi-wood-2022',	'',	'',	'2022-04-29 11:40:01',	NULL,	'2022-04-29 11:40:01',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=doc_article&#038;p=14506',	0,	NULL,	NULL,	'',	0),
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