aline veillat - aix-marseille university · aline veillat - résidence imera 2016-17 11 guerrilla...

ALINE VEILLAT efringerstrasse 28, CH-4057 basel / +41 79 531 06 69 / [email protected] / www.alineveillat.Com

résidence iméra

curriculum vitae (pp 2-4)

portfolio (pp 5-13)

2 aline veillat - résidenCe imera 2016-17

curriculum vitaeI was born in the Réunion Island and I grew up in Rabat, Morocco. Since some years, I live and work as an artist in Basel, Switzerland. I am as well taking part in the CCC interdisciplinary seminar, HEAD Geneva University of Art and Design, Switzerland. I hold MA and PhD degrees (2002) in Aesthetics, Sciences and Technologies of Arts from Paris 8 University and Postdiplom in Art and Digital Media from Lausanne Cantonal Art School.

exhibition (selection)

2015/ ZKM | Center for Art and Media Karlsruhe, DE, GLOBALE|Exo-Evolution and Re-tooling collective exhibition/ National Museum of Puerto Rican Arts and Culture, Chicago, USA, collective exhibition

2014/ Filature, Mulhouse, FR, REGIONALE Flumen collective exhibition/ Locus Sonus, Aix en Provence, FR, Sound Mobility symposium and presentation of mock-up/ Museum of Contemporary Art, San Juan, Puerto-Rico, USA, Poetic science collective exhibition

2013/ BYOB, Oslo Night, Basel Dreispitz, CH, collective happening with video projections/ WRO art center, Wroclaw, PL, Media-Art Biennale 2013 collective exhibition

2012/ Haus für elektronische Künste, Basel CH, REGIONALE Hiden/Obvious collective exhibition/ Zebrastraat center, Ghent BE, Biennale Update_4 international collective exhibition

2011/ Haus für elektronische Künste, Basel CH, REGIONALE Von Tieren, Elektronen und anderen Lügen collective exhibition/ Wäscherei Kunsverein, Zürich CH, Guerrilla Gardening 2.0 solo happening/ Galerie More Funner Projects, Miami USA, Milking the void collective exhibition/ Projektraum Dreispitz, Basel CH, Going Places collective exhibition

2010/ Stadtgalerie Bern, CH, Shanshui both ways (version2) collective exhibition / Galerie Around-Space, Shanghai CN, Shanshui both ways (version1) collective exhibition/ Shanghai South Metro station, Shanghai CN, Invisible city collective exhibition

aline veillat - résidenCe imera 2016-17 3

residency and nomination

2013/ Short research period in different type of forests with scientists at El Yunque National Forest Wilderness, International Institute of Tropical Forestry, 1 month Puerto-Rico, USA

2012/ Nomination installation Pas de deux en vert et contre, New Technological Art Award 2012, Foundation Liedts-Meesen, Gent, BE

2010/ International exchange and studios program, iaab/Fonderie Darling, 6 months Montréal, CA

2009/ Program of Art&Science exchange residency, China/Swiss Exchange Artists-in-Labs, Institute of Mountain Hazards and Environment, Chengdu, 5 months Chengdu, CN

grants

2014/ Grants for exhibition Basel Town canton, CH and Basel Land canton, CH

2012/ Grants for artistic production Basel Town canton, CH and Basel Land canton, CH

2010/ Grant Sitemapping for new-media project Site-mapping OFC/BAK, CH/ Grant iaab, Christoph Merian Foundation Basel, exchange studio program, CH

2009/ Grant Pro-Helvétia China/Swiss Exchange AIL, Art&Science exchange residency program, CH

collection

/ Haus für elektronische Künste, Basel, CH/ Rubell Family Collection, USA

curriculum vitae 2/3


talks

Séminaire CCC HEAD Genéve (CH); Symposium LocusSonus Aix en Provence University (FR); International Institute of Tropical Forestry (Puerto-Rico); Museum of Contemporary Art (Puerto-Rico); Alliance Française (Puerto-Rico); Institute of Mountain Hazard and Environ-ment Chengdu (CN); Basel School of Art HGK (CH); School of Architecture (FHAA) Brugg (CH); Institute of Neuroinformatics, ETH Zürich (CH); Multimedia Workshop, Monaco Dance Forum; University of Sussex, Art&Robotic (UK); Space&Art workshop,Noordwijk (NL);

publicationsWI Journal of Mobile Media, 2015: Vol. 9 No. 2.olat’s 2004 online publication www.olats.org

curriculum vitae 3/3


portfolio (selection)

2015 bordersCape - tHe primary Colors p 6

2014 paisaje en kit - el grito de la lombriz (landsCape in kit form - tHe sCream of tHe eartHworm) p 7

2013 game over (jardin planétaire 1) p 8

2008-2012 pas de deux en vert et Contre (pas de deux in green) p 9

2011 désir de nature - amour à mort (nature desire - love to deatH) p 10

2011 guerrilla gardening 2.0 p 11

2010 strates d’enCrage (inking/anCHorage stratum) p 12

2010 no Heart Carved on tree trunks p 13


borderscape - the primary colors 2015

as an isolated but living sustainable eCosystem, Continuously evolves for years, baCteries from tHe border soil Create Colors tHrougH different bioCHemiCal reaCtions. in tHat Case, tHe border point is in tHe rHine river Common to franCe, germany and switzerland.

Instead of regarding borders as symbolic fences and as the mark-ers of an essential difference, Bor-derscape - the primary colors blurs this notion and puts it in its proper place. It represents a commonality among people. Borders and flags are human inven-tions, making them relative accord-ing to history. Borders appear as imaginary lines separating the world into different territories. Flags are created as their distinctive signs and symbols. Yet there is only a single geography, as a single natural territory. It is drawn by mud and water from that common point on the border. This “common territory” is alive and forms an ecosystem created by soil’s bacteria and water. It is the primary matter and colors, origin of life.

material: plexiglass Container, mud and water from tHe rHine river taken on tHe border line to Hang on a wall as a painting

size: 100Cm x 60Cm (flag proportions)


paisaje en kit - el grito de la lombriz 2014

museum of Contemporary art puerto-riCo, 2014

museum of Contemporary art puerto-riCo, granted by Canton of basel-stadt, Canton of basel-landsCHaft, pro-Helvétia, CH

Landscape as ecosystem - Mixmedia installation with as main actors, living earthworms (Epige family) and living plants: something in between an observation and data collection lab, and a studio with a small forest/garden teeming with noises, plants and other organisms. A “picture” of how today we would relate to the Landscape notion, mainly living in cities and particularly, artist working in his/her studio.

What is “Nature” in the anthropocene era? What is a Landscape today? How shall we work these issues from our artist studio? Where is the natu-ral, the artificial?

material: Computer, softwares, passive speakers, amplifiers, day ligHt led, ultrasoniC sensor, Hd webCam, plants (forest and garden), soil, ver-miComposting box, living Compost eartHworms (epige family), legumes and fruits peelings, egg sHell molded, paper, sHelves, glass bottles, gold aCryliC painted and Customized molding

- adaptable dimension, witH tHe proper mainte-nanCe, tHe installation Can run for montHs -


game over (jardin planétaire 1) 2013

The Globe is a spherical representa-tion of the world that one can ma-nipulate, play with and thus, keep the Planet at distance. The Globe as object even if older than the indus-trial revolution seems the perfect object symbolizing the mankind emancipation freeing itself from the “Nature’s” constraints.A beach ball Globe, deflated, cut, laid and pin flat as an insect, brings to re-examine from a different angle the finiteness and fragility of the world. How to erase distance? How to reconnect to non-human world?

Cut globe or beaCH plastiC ball, wooden box witH museum-glass, needles

size: 60Cm x 60Cm


pas de deux en vert et contre 2008-12Graminae plants and their clods of earth creates a slow-moving land-scape, imaginary choreography and hesitant ballet, to question our present world and reconsider our imagination of the future - plants move by themselves at a visible speed, according to their needs and desires, thanks to robotic prosthesis.

Let’s apply a reductio ad absurdum to think up our present world.What would be the world if plants would have been able to walk? Would it have changed how we relate to them, how we use them? What would have been the Landscape concept?- tribute to S.J.Gould –

nominated for tHe new teCHnologiCal art award 2012, fondation liedts-meesen, gent, be

grant sitemapping 2010, swiss federal Culture of-fiCe, CH

grant Canton of basel-stadt 2012, CH

grant Canton of basel-landsCHaft 2012, CH

Collaboration witH:1 prototype plant-robot: autonomous systems lab (asl) etHz

(pr. roland siegwart and His team)environment/plant pHysiology: department of environmental sCienCes etHz

(dr. sebastian leuzinger)prototypes + produCtion: 4 plants-robots + set up annex: tegoro solutions ag, bs

design plant struCtur + fountain: design agenCy fulguro lausanne


désir de nature - amour à mort 2011

one of tHe nintH waterColors sHowing deCoys

projektraum dreispitz basel, 2011

We Humans use object to mediate our relation to Nature.These innocent and colorful wa-tercolors of various objects copied from a hunting and fishing catalog acquire a new caracter when read-ing the specifications for use written below.

Human ambiguous love and desire for “nature”.

waterColors on paper + penCilled texts + alu/wood frames - 42Cm x 29.7Cm eaCH - x9


guerrilla gardening 2.0 2011

wäsCHerei kunsverein züriCH, in tHe Context of “kabine en route” event granted by migroskulturprozent and züriCH City CH - 2011

Happening to initiate the invasion of Web 2.0 by plants via the most famous social media! Journey full of traps, quite vain and ironical action!

In the foreground of the picture, plants waiting for visitors’ help to access to the web 2.0 via the Inter-net terminal in the “cabin” on the back. On the right out of the picture, table and chair where visitors can sit to add their “green fingerprint” as the signature of a commitment contract for helping a plant to have an active life on the Web 2.0.

This project starts as a response to Facebook sign-in rules, ex-tremely draconian rather sectarian. Furthermore numerous “animal” profiles exist on the social-media while plants, primordial in the liv-ing chain, have no “plant” dedicated profile.

budget (witHout artist fee): 800 usd

material: several take away little pot-plants, pot-plants as sCenery, Computers, web page, green stamp ink, printed ContraCt

forms, table, CHairs - adaptable dimension


strates d’encrage 2010

CHengdu, CHina, 2010

Contemporary context: Landscape notion and Cultural prisms. Sculp-ture/core boring of Chinese cultural sediments or of European stereo-types on Chinese culture?

Note on the title: “encrage” means “inking” but in French the word “encrage” also sounds like “ancrage” which means “anchorage”.

CHinese Clay, blue&wHite CHina, wool sHeet, red ink pasta for seals, riCe paper, steatite for seals, silk, solid blaCk CHinese ink


Shanghai, urban landscape, a world in disappearance versus a wild speed constantly evolving world; men and women with slow tempo, deeply human, are torn between the two.

Photographic quatrain poem com-posed with digitally manipulated photographs. The idea to create a photo-poem comes from Chinese Lanscape concept, the oldest one in human culture, which took shape as early as the 4th century through poetry.

material: pHotograpHies pigment Colour print on film for ligHtbox – 300Cm x 250Cm eaCH

no heart carved on tree trunks 2010

aline veillat - aix-marseille university · aline veillat - résidence imera 2016-17 11 guerrilla...

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