Kelly Schacht (performance, cross-over artist)
Born in 1983 in Roeselare (Belgium)
Kelly Schacht studied at KASK in Ghent
She lives and works in Gent (Belgium)
Kelly Schacht examines how isolated fragments of reality can acquire the maximum meaning in a minimal staging. With surprising ease she responds to various spaces and situations whether they involve undeveloped land, a gallery, an arts centre…
In a time when notions of what is ‘new’ and ‘unique’ have become very relative, Kelly Schacht plays with the notions of authorship and originality in her work. Both moments and objects from the past are ret-hought and become able to generate a renewed aesthetic experience. Kelly Schacht creates a generous freedom in her work by working intensely with artists, actors, designers, as well as with her audience. In this way the artist becomes the catalyst of the many interpretations and personal experiences that are thus given their own future.
Thé van Bergen (painter)
Born in 1946, Achterveld (NL)
“Words string themselves together to form sentences and these sentences can join to form a narrative, that is, the words do not do that themselves; it is done through their proximity to each other, and from that proximity man weaves a connection, a story. Humans are questing and connecting creatures, and in recent art history the artwork has been realised mainly in this connection, Today Thé van Bergen brings the medium of painting into the actuality of this sensing by grouping series of works around well-defined themes, concepts or categories. He has made a cartography of pointed, fascinating and recurring motifs, categories that form the starting point for specific exhibitions. These categories function as contexts, and at the level of the exhibition they influence and manipulate the imaginary effect of each painting separately.”
(Fragment of essay by Piet Vanrobaeys “Being on the way in the distance, The integral art of Thé van Bergen”. Catalogue Thé van Bergen, Categorieën / Het schouwspel. Campo Santo Gent, Galerie Willy Schoots Eindhoven)
Daniel Depoutot (cross-over artist)
Daniel Depoutot, known for his inventiveness and creativity, was born in 1960 in Constantine (Algeria). As a student, he studied the fine arts in Strasbourg University and passed his teaching degree in 1983. Since 1988, he is a teacher in Strasbourg University Visual Arts Department (approach of representation, analysis and interpretation, volume and installation) and since 2008 in Strasbourg Graduate School of Decorative Arts (ESADS), specialized in drawing, volume, modelling from living models. He regularly organizes workshops with students.
Daniel Depoutots’ work includes not only painting, but also sculpture and performing. He realizes his works from waste material or second-hand objects given to him: cooking pots, bicycles, sauce pans, tea pots, etc.
Movement, noise and light are part of his work. He conducted many workshops, such as one in 2004 on metal sculptures in the French Cultural Center in Kinshasa (Democratic Republic of Congo). He must also be given the credit of many exhibitions (for example ‘Le Magasin des Fétiches’ in Strasbourg Museum of Modern Arts and ‘Come back’ in Kunstsammlung im Stadtmuseum, Iena, 2006.”
Raphaël Urwiller (illustrator)
Mayumi Otero and Raphael Urwiller, graduates from Strasbourg National Graduate School of Decorative Arts (ENSADS), founded the experimental publishing house ‘Icinori’, in which they develop their own universe, working together or individually, publishing artists’ books, serigraphs and engravings. Their works is based on serigraphs or engravings, visually powerful manual print techniques, which focus on both line and color. Their universe and the one of their guests develop themselves through engravings and object-books, fruit of their experiences inside this privileged area of freedom. Passionate lovers of engravings, fed with popular imagery and contemporary drawing, they work with as much pleasure for newspapers and magazines ( New York Times, the O, Oprah Magazine, Nobrow, Forbes, Wired, XXI, le Tigre, etc. ), as for publishing houses (RMN, Sarbacane, Helium, Toussaint Louverture, etc.) or any other type of media.”
Prof. Michael Klant (cross-over artist)
Michael Klant has been teaching at the Art Department of the University of Education Freiburg (Institut der Bildenden Künste, Pädagogische Hochschule Freiburg) since 1991.
Before, he had studied visual arts, art history, and English in Freiburg and Heidelberg, Germany, and worked as a high school resp. grammar school teacher. He also ran a publishing company and edited works by well-known other artists. Besides, he has written several books on fine arts, most of them for teaching purposes.
His own art work is mainly conceptual and has met with worldwide response. One important group of works consists of banner flights dealing with ephemeral phenomena like time, memory, or happiness, beginning back in 1999 with flights of huge painted banners showing sky pieces and clouds that were meant to build bridges between countries. The recent flights convey poetical text messages.
Together with his students, Michael Klant has accomplished many projects, including three books on art in public spaces or a 83-minutes satirical feature film (“The Men’s Representative – Der Männerbeauftragte”), and took successfully part in sculpture, photography, and film competitions.
Raymond Waydelich (cross-over)
Raymond E. Waydelich, an Alsatian painter, sculptor, and performer, was born in Strasbourg in 1938. At the age of 14 he obtained a sculpting apprenticeship. After turning 15 he attended the Decorative Art School of Strasbourg, from which he graduated four years later. He received another diploma after studying at the Arts Déco in Paris for two years.
In the early 1970s he visited numerous archaeological sites in Maghreb, Greece and in Turkey, where he frequented Ephesus, Aphrodisias, Miletus, and Hierapolis. He became obsessed with finding everyday objects from the past and present. He integrated this “lost property“ into his artwork and the concept of “archaeology of the future.“
In 1978, his work, “L’Homme de Frédehof, 2720 après J.C.,“ was shown in the French pavillion of the Biennale film festival in Venice. Waydelich devoted this work of art to his muse, Lydia Jacob. The seamstress from Strasbourg, whose notes Waydelich found in an attic, was the model for his “Lydia Jacob Story.“ From then on she shaped his artistic creations. In 1986 the Centre National des Arts Plastiques organized a simulated reconstruction of her life with the title “Rencontre avec Lydia Jacob.“ This reconstruction of a historical figure and their actual everyday life led finally to the work, “Caveau pour le Futur, 3790 après Jésu Christe,“ which Raymond E. Waydelich was represented by at the Documenta in Kassel. He was the first Alsatian since Hans Arp to be represented here.
Waydelichs comprehensive works include paintings, ceramic and bronze statues and sculptures, assemblages, drawings as well as public art performances. The artistic techniques he used include drawing, water color painting, lithography, etching, collage, and the overpainting of encountered paper objects. His quirky creations that are largely created in the style of a fantastical realism can be found in various public and private art collections, for example the Musée d’Art Moderne (Strasbourg), Fond National d’Art Contemporain (Paris), Augustiner-Museum (Freiburg in Breisgau), Regierungspräsidium Südbaden, (Freiburg in Breisgau), and the Galleria degli Uffizi (Florenz).
Born in Padua in 1978 Lives and works in Padua, Italy
“Having said that it is not easy to declare what kind of art I do, or think about where to place my research, I would say, however, that any work, was born trying to use the appropriate media, materials and studying the dynamics, starting from a track that resembles a screenplay rather than a real project, trying again and again, until reaching what I wanted. I can report what they say, and that I am: conceptual, ironic, citationist and autobiographical”
2000 – 2006 Academy of fine Arts, Venice EXHIBITIONS
TALENT PRIZE, Casa dell’Architettura, Rome, curators Margherita MAccaferri and Vasco Forconi
NEMO PROPHETA IN PATRIA OVEST, Santa Croce Padova, curator Elena Squizzato
VIDEOART YEARBOOK, Bologna, curators Renato Barilli and Guido Bartorelli
4 PROTAGONISTI DELLA NUOVA CREATIVITà ITALIANA, Ex Macello, Padova, curators Renato Barilli, Guido Bartorelli and Guido Molinari
COLOC, Anyspace Gallery, Brussel, curators Francesca Chiacchio and Michela Sacchetto
A LOVE MEAL, Whitechapel Gallery, London, from Sandretto Re Rebaudengo collection
EQUILIBRIUM, Sacristan House, Asolo (TV), curator Pietro Rigolo
ON VIEDEOS, for hours and hours III, A.B.C. Arte BOCCANERA Contemporanea, Trento, curators Renato Barilli and Guido Bartorelli
OUT OF FOCUS, Padova, curators SUPERFLUO and Caterian Benvegnù
DAE, Dobiarteventi 2012, Starranzano (GO), curator Michele Spanghero
PIXEL, the new generation Italian video art, San Benedetto del Tronto, curator Giovanni Viceconte
FUTURE LANDSCAPE in DC, Taibon Block, Taibon Agordino (BL), curator Riccardo Caldura
VIDEOART YEARBOOK, Bologna, curators Renato Barilli and Guido Bartorelli
Contemporary Art Expò, San Benedetto del Tronto, curator Giovanni Viceconte
HOMEPAGE FESTIVAL, Udine, curator Alice Ginaldi
FUTURE LANDSCAPE, Forte Marghera (Venice), curator Riccardo Caldura
OFFICINA ITALIA 2, Ex Macello (Padua), curator Renato Barilli
OFFICINA ITALIA 2, crab, Centro Ricerca dell’Accademia di Brera, Ex Church of San Carpoforo (Milan), (curator Renato Barilli)
OFFICINA ITALIA 2, alt arte Lavoro Territorio, Alzano Lombardo, (Bergamo), curator Renato Barilli
PARCO DEL CONTEMPORANEO, EDGE PARK, Forte Marghera, (Venice), (curator Riccardo Caldura)
DOLOMITI CONTEMPORANEE, DOLOMITENHOF RESORT, Sospirolo (Belluno), (curators Francesco Ragazzi and Francesco Urbano)
MADE IN CHINA, galleria Browning Asolo (Treviso), (curators Daniele Capra and Maura Celant)
COLLECTING IDENTITIES: I STAY THEREFORE WE ARE, Osloo, zattera del Padiglione Danese, Isle of San Servolo (Venice), (curators Fos and La Collezione di Carrozzeria Margot)
OFFICINA ITALIA 2, Fabbrica, Gambettola, (Cesena), Museum Room of the Baraccano (Bologna), (curator Renato Barilli)
AMATEURS, Perugi Arte Contemporanea (Padua), (curator Guido Bartorelli)
SUPERFLUO#1 CENTRAL PARK, Parcheggio Multipiano Central Park, (Padua), (curator Superfluo)
Uno sguardo senza peso, Palazzo Piazzoni Parravicini, Vittorio Veneto (Treviso), (curators Carlo Sala and Daniele Capra)
HOUSE GUEST, Galleria Browning, Asolo (Treviso), (curator Maura Buosi)
You-We+Ablo, Rotonda di Via Besana, (Milan), (curator Francesco Bonami)
The contemporary art cover show, Perugi artecontemporanea, Padua, (curator Guiddo Bartorelli)
Quotidiana 09, (Padua), (curators, Teresa Iannotta and Stefania Schiavon) di passaggio o per restare, Gemine:Muse, (Padua), site specific installation, in Padua Metrobus line (curators Teresa Iannotta and Stefania Schiavon)
DIVISIONI VISIONIDI, A+A Gallery, (Venice) (curator, Afra Canali, super visor Domitilla Musella)
Arte &Sud-obiettivo contemporaneo, Villa Fortuna, Acitrezza, Catania (curator, Antonio Arevalo).
Empowerment – cantiere Italia, Villa Bombrini (Genova), with group Riservartificiale (curator Marco Scotini)
Convergenze 04, Fondazione Pistoletto, Biella, with group Riservartificiale (curator Olga Gambari) Petrologiche, Galleria A+A (Venice), with group Riservartificiale (curator Andrea Morucchio)
Sogni e Conflitti, 50° Biennale Arti Visive di Venezia, with group Riservartificiale, (curator Francesco Bonami)
The cross-curricular work of Dario Lazzaretto starts from a well defined group of themes which involves a relational practice and approach. These themes, mainly concerned with the social, political and cultural aspects of contemporary life, are used as the conceptual bases and as critical tools for the making of the art work. Dario Lazzaretto develops its artistic operations starting from a problem solving-like method; his work could be defined a site-specific social analysis of the environment in which he finds himself working.His last production focuses in particular on sound art, which finds an apt counterpart and fulfillment with live performances, videos and installations. The core subject at the center of the latest and the oncoming works is that sound art could be considered as a narrative medium, not only a decorative pattern used to fill space and time.Sound is language, the primary transformative instance of man. Starting from this point, the sound used by Dario Lazzaretto in his works has an active and leading role; it is not only the audible part of an art piece, but it is the art work itself that lets the sound be visible. This kind of visibility is achieved through unveiling the inner causes of the sound itself, or by its glaring effects on the surrounding reality. Last but not least, another key point in Dario Lazzaretto’s works is the most hidden part of the art piece: the processing one. The process through which a performance or an installation is developed is almost always visible to the public. The inner relations that run from the conceptual project to its realization are integral part of the final outcome of the artwork. They could just be visible to the eye and to the ear, but also to the mind, as they could be simple logical concepts, or abstract thoughts. By unveiling the artistic procedure, the audience is charged with further responsibilities. The aim is to involve not only the aesthetic judgment – that is based primarily on eyesight and rapid glimpses– but to create a moral and ethic connection to the work*. ( *by Elena Squizzato )
My artistic interests and my research focus – with regard to the means of expression – are mainly around the sound element. I grew up and still work in full awareness of living in an era where images cover every form of communication, or rather, of input. In this historical moment in which verbal communication is sporadic and confused, and in which the recognition (and absorption) of ambient noise becomes a critical practice increasingly rare, my attention is directed to a process of cognitive recalibration, which returns the sound to its primordial value. In fact, I turned my attention to aural communication in an attempt to reactivate the cognitive mechanisms related to the interpretation of sounds – characteristic of the human being – that are as perceptively primitives as powerfully insightful. The kaleidoscopic beauty of music, the penetrating narrative power of noises, the re-discovery of the magic inherent in the word, are means which I try to use in my work design, are proof of the love I have for humanity and for its immense cognitive abilities. The subject of my work follows two directions: on the one hand unfolds from the critical and sometime cinical, but yet ironic, analysis of some social mechanisms that interest me (ethics, religion, politics); on the other side, the tiniest details, moments of poetry and absence, the naive balance of everyday life, become the stimulus for the observation and artistic elaboration. Aware that this process takes time and trust, and above all the search for its own public, often, next to this artistic activity strictly conceptual, I combine also the practice of drawing, in a simple and gestural form. Although I am aware that my drawings are artistically not relevant for my research, in the last few years I’ve used them as a sort of medium of exchange to facilitate relationships with the public (if the work needs relational procedures), or to incite curiosity in the less curious audience , or “just” to give a free smile. Anyway I always use to combine visual elements with my sound works, because “people need something to watch”. That’s why mostly all my sound installation and works include a “decoy” element, something to be given to the pubblic to watch while they are already absorbing/experimenting the audio.
Collective exhibition – video Archivie – BLM – Palazzetto Tito, Venice – February 2014
Openstudio Vytlacil – Student Art League, Sparkill – NY – February 2014
NoTitleGallery, 2014 collective – Palazzetto Malipiero, Venice – March 2014
Solo exhibition (2012/2010):
2012 – “Sound and the city” – A.I.R Studio, Paducah, Kentucky, USA.
2012 – Portable Cage Connection (perform.)- AwA Gallery, Amsterdam;
2012 – “WYSINWYG” – A+A, Venice (Italy), curator E.Squizzato;
2010 – “So many ears” – Anfiteatro Gallery, Milan, curator Mattia Munari, book available
2009 – “Male Magnum Male Nostrum”, Spazio Punto Zero, Ferrara, curators L.Pajato – F.Tabarri;
2008 – “La storia continua”, Pzzo Bonaguro, Bassano, Italy, cur.C.Costa;
2006 – “Nuove forme di vita”, Noloco gallery, Padova, cur.G.Bartorelli;
“Ruth Katzman Scholarship”, USA, 2013
“Dortyart AIR Grant” ( Netherlands), 2013
“NES artist residency – community project grant”, NES Residency, Skagastrond, Iceland, 2011
“Il viaggiatore lento” – Contest for urban architecture, G.A.I. – Ferrara (Italy), special mention, 2009;
“Movin’up” – Giovani Artisti Italiani (2008 – project Digitalmedia-Valencia,Spain);
(selected for)”La sQuola” ed.2009 – Fondazione Pistoletto, Biella (Italy);
Gianfranco Celestino (dancer-choreographer-musician)
After he accomplished his classical piano studies at Conservatorio « G. Verdi » in Torino (I), Gianfranco Celestino studied dance at the « Folkwang Hochschule » in Essen (D). In 1999 he studied in Venice at « Accademia Isola Danza », directed by Carolyn Carlson. In the same year he received the scholarship to take part into the « Dance WEB » programme at Wiener Tanz Wochen in Vienna. He has worked, between others, with Les Ballets C. de la B. (B), Unit.Control (L), ARAZZO Tanztheater (D).Since 2002 he works on his own choreographic ideas.
His major work:
Solo con Piano (2005) is a dance theatre solo programme in which he plays the piano and dances with it. The show has played, among other places, at the festival Les Répérages – Danse à Lille (F), at the International Theatre Festival of Sibiu, Romania, in Montréal (CND), Cardiff (UK), Ljubljana (SLO), at Ballet de Lorraine in Nancy (F), Milano (I), in Eupen (B), at the Southbank Centre, London (UK), Internationale Tanzmesse Nrw, Düsseldorf (D), in Vitebsk (BY). Coproduced by Kulturfabrik, Centre de Création Chorégraphique Luxembourgeois TROIS C-L, MASKéNADA.
Crossing Town (2007) is a dance-theatre piece for five dancers. Using sarcasm and irony, the show deals with the relations between urban people, sharing a common space but often ignoring one another. Different ways of meeting and communicating with each other brings the personages to a situation of constant competition. Coproduced by MASKéNADA, Théâtre National du Luxembourg and TROIS C-L.
Sweet Dreams (2009) is an interdisciplinary piece, aiming to portray the life and characteristics of Luxembourg’s capital. Sweet Dreams! is keen to investigate the fabric of a city full of contrast and secrets, rich in legends and history but not without its critics and challenges, and to uncover the true identity of one of the most intriguing European capitals. Coproduced by MASKéNADA, TROIS C-L, Grand Théâtre de Luxembourg.
Travel Diaries (2012) is the ambitious and seductive act of staging a travel journal recounting an artist-in-residence program. It stages Gianfranco Celestino himself accompanied by a video projected screen and a background telling voice.
Cathy Krier (pianist)
Born in Luxembourg in 1985, Cathy began taking piano lessons at the Luxembourg Conservatoire at the age of five.
In 1999 she was admitted to Professor Pavel Gililov´s masterclass at the Hochschule für Musik und Tanz in Cologne. In 2000 she recorded Ludwig van Beethoven’s Piano Concerto in G major with the Latvian Philharmonic Chamber Orchestra conducted by Carlo Jans. Her first solo recording was released in 2008 and features pieces by Scarlatti, Haydn, Chopin, Dutilleux and Müllenbach.
Cathy Krier is the laureate of a number of prizes and scholarships including the Prix Norbert Stelmes, awarded to her by the Jeunesses Musicales du Luxembourg in 2003 and, in the following year, the IKB International Foundation Prize.
In 2005 Cathy joined Cyprien Katsaris for a four-hand performance at the inauguration of the Luxembourg Philharmonie. In 2006 she played at the Ruhr Piano Festival following an invitation by Professor Robert Levin to join his masterclass. Further stepping stones in Cathy’s training as a professional pianist were an invitation to the Académie musicale de Villecroze and her participation in masterclasses with Dominique Merlet, Homero Francesch and Andrea Lucchesini under whom she undertook further study at the Scuola di Musica di Fiesole.
In 2007 Cathy performed at the Luxembourg European Capital of Culture opening ceremony. She also makes regular appearances at the Bourglinster, Echternach International and Musek am Syrdall Festivals in Luxembourg.
Cathy’s concert engagements included performances in the United States (Kennedy Center Millennium Stage, Washington, D.C.) and the Netherlands where she played at Rolduc Abbey in response to an invitation by the Euriade Foundation. She also performed at venues across Austria, Spain, Germany, Latvia, Andorra, Italy, France and Belgium and was subsequently invited to play at the Summerclassics Festival and at Pianoplus Bonn, and to perform recitals at the K20/K21 Museum in Düsseldorf, the Nordrhein Medical Association, the Bagno Concert Gallery, the CAPe Ettelbrück, the Luxembourg House in Berlin and the Grand Théâtre and the Philharmonie in Luxembourg-City. In 2012, Cathy performed at the Liepaja Piano Stars Festival, the Falkenhof in Rheine (D), the Midi-Minimes Fesival in Brussels and the Sint-Peter Festival in Louvain, the Spaziomusica Festival in Cagliari (I), the Philharmonie in Luxembourg and at Schoß Elmau (D) among others. Further, she has been invited to be Artist in Residence at the Biermans-Lapôtre Foundation in Paris. In 2013, more concerts including the Leipziger Klaviersommer and the Mendelssohn-Haus, the Théâtre des Bouffes du Nord and the Hotel d’Albret in Paris and a tour in China are planned.
In addition to her work as a recitalist, Cathy has performed as a soloist with the Luxembourg Philharmonic Orchestra, the Solistes Européens du Luxembourg, the Luxembourg-based chamber orchestras Les Musiciens and L’Estro Armonico, the Liepaja symphony amber sound orchestra and the Latvian Philharmonic Chamber Orchestra under various conductors including Jack Martin Händler, Bramwell Tovey, Garry Walker, Pierre Cao, Yoon K. Lee and Atvars Laktsigala.
Paulo Catrica (photographer)
Paulo Catrica (born1965, Lisbon; lives Lisbon) is a photographic artist who brought a radically different approach to his medium to the archipelago. Catrica’s photographs are of human architecture as landscape. His previous photographic projects have included series on UK new towns, Portuguese high schools and suburban areas across Europe – places of deep human purpose and practical aspiration. The works are always unpopulated, avoiding the anecdotal and illustrative depiction of daily life; they capture instead a tranquil essence of the character of places full of potential, waiting for something to happen. Having carried out extensive research prior to his visit, he spent two weeks in the towns of Puerto Ayora on Santa Cruz and Puerto Baquerizo Moreno on San Cristóbal. His aim was to record what he describes as the ‘social landscape’ of the archipelago, places where the built environment merges seamlessly into the natural environment. Catrica’s photographs document particular neighborhoods on the Islands: a group of old hotels near the coast or La Cascada, a residential area in Puerto Ayora where since 1996 some of the newest and poorest immigrants from mainland Ecuador have moved. Catrica has written of this area, revealing something of the social purpose underpinning his artistic endeavour: ‘La Cascada is a vibrant site, where people talk openly about the reasons that brought them there and praise the Islands as a non-violent place where the future seems possible.’
Mário Rocha (painter and ceramic artist)
Mario Rocha was born in Perre, Viana do Castelo, in 1954, devoting himself to painting since 1968. He attended the School of Decorative Arts Soares dos Reis in Oporto. For the last years he lives in Oporto and has his atelier at Rua Professor Abel Salazar, n º 14.
Mario Rocha`s artwork it`s characterized as being unpredictable and it takes him to explore and present several works where we can identify multiple and contradictable perspectives.
He is the mentor of the initiative “Arte na Leira”, a famous art event that takes place in a very small village called Arga de Baixo in the hills of Serra de Arga, on the Minho region, in the North of Portugal. This event takes place every year in the Summer and it takes Art to a public that it`s not familiarized with, the person`s that lives in the hills. Thousands of person`s and several national and international artists attend and participate in the exhibition.
His work is represented in many private and public collections and was exhibited in several countries such as Spain, Luxembourg, Germany and France.