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The scene takes place in painter Silvère Jarrosson’s workshop. At the end of a day spent giving life to a linen canvas coated with a succession of acrylic paint layers. Hours spent alternating between dismay and enthusiasm, the banal and the sublime. Then back. And back again.
I spent time wondering how one could speak about art. Does commenting on an artpiece merely involve analysis, establishing bearings, or perhaps penning a description? At stake before my eyes is no less than the creation and revelation of the universe: chain reactions, chaos, sliding, running puddles, cracks, posturing, power grabs, reversals. As many constellations are born under my eyes as there are butterfly wings. Foam here, marbling there…
In February 2020, Silvère Jarrosson was in residence at Collection Lambert in Avignon, as part of a teaching experiment with children. The projects aims at drawing the children’s attention to the connections between dance and painting, and between painting and dance. The ambition is to explore the abstract expression potential unleashed by this movement back and forth from painting to dance and back again, and to provide support for the children’s choregraphic and pictorial work.
In front of the work at collection Lambert, each participant is encouraged to move, dance and reflect on the different ways of physically expressing an artwork in a barrier-free artistic environment. At the second stage, each child creates a work or work series based on his own original movement, explores its potential and ways to express it as a painting. The intention is to support the children as they transition from movement considered as mere corporal expression to movement as a means of expression when painting.
The project’s artistic and educational challenge is to stay accessible and understandable for the children, while also providing a channel for spontaneous and enthusiastic expression. The results showed quite unambiguously that the children had fully mastered these concepts.
A hand-drawn line is a form of expression, while a ruler-drawn line is a dying entity. The nature of man, s that of a machine, is revealed in the strokes they produce. A lifeless machine will plot nothing more than a deadly, expressionless stroke, while man will draw an expressionful line, itself feeding its internal psyche (imagination, emotion). Historically, abstract painting was built around this man/machine dichotomy, which could also be designated by the softness/hardness opposition, also called geometric abstraction/ lyrical abstraction in the pictorial field.
London’s Saatchi Gallery has for many years been committed to giving visibility to young British and foreign artists, especially by allowing them to display selected work in its Artist Run Project, the museum’s dedicated space on the second floor.
As part of this project, Silvère Jarrosson’s Étude pour la Villa Médicis was selected from several candidates and displayed, as part of a video screening, in this space dedicated to young artists.
Exhibition from 19th September 2019 to 19th December 2019
One hour away from Copenhagen, Lys Over Lolland has become, over its nineteen years of existence, a staple feature of the Danish art scene. In 2019, France was the guest of honor, with an exceptional presentation of tapestries from Mobilier national’s Manufacture des Gobelins, never shown before in Denmark, directed by Gilles Bonnevialle, Marie Hélène Bersani and Susanne Grue Jorgensen. The only French artist displayed next to the State collection tapestries, Silvère Jarrosson, was allotted a dedicated space in the former factory hosting the exhibition.
Unlike the previous installations of the work (especially at Riga Fine Arts Academy), the set for this monumental piece was arranged in separate lots, in contrast with the initial frieze layout, offering a fresh interpretation avenue for this multifaceted work.
Over seven thousand visitors from all over Denmark came to discover this selection of pieces from Paris.
Following the Riga Fine Arts Academy and Liepaja Concert Hall, the L.U.C.A. monumental work by Silvère Jarrosson was exhibited at Madona’s City Arts Museum, as part of a monographic exhibition in a partnership with Institut français de Lettonie. A public performance took place at the opening.
The work will be included in the Museum’s collection, following a decision by its director.
This ‘Tribute to Antonin Artaud’, a Villa Medici commission to Silvère Jarrosson, was screened in mapping format on the Villa’s façade as part of the Ninth Edition of the Villa Aperta Festival. As proposed b y Artistic Director Cristiano Leone, it was made up of three videos of five minutes each, staging Silvère Jarrosson as both the painter and the dancer he once was.
The music score, composed for the occasion by Martux, included readings of poetry including references to wounds and to death—but also to love and to the possibility of rebirth through art—by Antonin Artaud and Alda Merini, in French and in Italian. With his personal background as a wounded ballet dancer, Silvère Jarrosson, provided suitable embodiment of this posture. The first video plays out an allegorical representation of a painful and merciless fight for existence. In the second screening, dancing poises gradually replaced the violence of the initial battle, symbolizing renewal. In the final part, actual dancing is in evidence, both improvised and carnal, accompanied by love messages by Alda Marini.
With this production, which was shot within the Villa, the audience witnesses an encounter between dancing and poetry, united by the madness which Antonin Artaud and Alda Merini had in common—while Silvère Jarrosson rekindles his former career as a ballet dancer, giving visibility to the reconstruction that had underpinned his work as a painter from the very beginning.
The event was extensively covered by the Italian press:
Trova Roma · Villa Aperta alza il volume · Stefano Petrella 13/6/2019
La Repubblica · Musica off genio e follia a Villa Medici · Felice Liperi 13/6/2019
Corriere della sera · Incontri di note, poesia e immagini tra arte e follia · Marco Andreetti 10/6/2019
Music : Martux
Director and editor : Luca Iavarone
Curator : Cristiano Leone
Singing by Paola Severini, Donatella Finocchiaro et Pino Saulo
Silvère Jarrosson was invited by the Frame Basel Contemporary Art Fair to occupy an individual stand in the event’s ‘Project Space’ section. As an aside to Art Basel, his main work form the spring of 2019 was on display in this satellite event, together with work by Eva Jospin, Lionel Sabatté and Vincent Corpet.
Exhibition of the monumental work L.U.C.A., previously exhibited at the Academy of fine arts in Riga, in the Hall of Liepaja Opera (Great Amber Konzerthalle), in partnership with theInstitut français de Lettonie. A performance came to accompany the opening of the exhibition to the public. A way to make dialogue music, dance and painting in an emblematic place of the Latvian cultural scene.