He is also the curator of the recent exhibition Hope! from Giacometti to Murakami at the Palais des Arts in Dinard, France. Until last May, Adicéam was the head of development at the Palazzo Grassi in Venice, Italy. Adicéam has served as a director of cultural organizations and international cultural projects in Paris (at the Maison des Cultures du Monde and CulturesFrance), Nigeria, India, the UK, Edinburgh (as director of the French Cultural Centre) and in Miami, Florida, where, as the French cultural attaché, he was strongly committed to Art Basel Miami Beach. an offering to the God of light as a prayer for redemption. All forms of love, of suffering, of madness he searches himself, he exhausts within himself all poisons, and preserves their quintessences. Conceptual, minimalist or charged with electrical emotions, these pieces of art deliver on the assignment given by Dan Flavin to his light sculptures: ‘transform finite picture fields into endless surroundings.’ Indeed, by helping to ‘see oneself see’ as pointed out by James Turrell, light works in contemporary art are like candles in the domain of artificial light we have been living in for the century since the scientific revolutions of Edison and Einstein…. Arthur Rimbaud, Illuminations tags: art, creativity, writing 270 likes Like A poet makes himself a visionary through a long, boundless, and systematized disorganization of all the senses. Their aim is to renew aesthetic visions and to expand the frontiers of receptivity to art. The artist explores his longstanding interest in identity, narrative and biography in a haunting installation with light bulbs and a photograph of a woman.Īshock Adicéam, curator of ILLUMINATIONS (After Arthur Rimbaud): Sculpting the Light from the East, writes in the catalogue essay, “The artists and works selected for this show express the hope for social transformation through the use of light. Shezad Dawood illuminates a tumbleweed with light blue neon script in Arabic, which is encased in acrylic.Ī highlight of the exhibition will be Christian Boltanski’s Lumieres (vertical green rectangle - Catherine), 2000. In a 2009 sculpture, Claude Levêque writes Rise of the Poisoned Youth in white neon. Leila Pazooki uses blue neon tubes to sculpt a Farsi word in Orientalism, 2010. The artists in the exhibition, who represent countries including France, Germany, China, Iran, the UK, the US, Turkey, Algeria and Pakistan, are: Osman Akan, Vahap Avsar, Christian Boltanski, Zoulika Bouabdellah, Chryssa, Shezad Dawood, Tracey Emin, Dan Flavin, Claude Levêque, Leila Pazooki, Jack Pierson, Martial Raysse, Anselm Reyle, Ko Siu Lan, Keith Sonnier and Leo Villareal.Ī number of the artists are inspired by neon lighting: Only God Knows I’m Good is spelled out and sculpted in white neon in a 2009 piece by Tracey Emin. As Rimbaud wrote, “…the soul for the soul, summing up everything, perfumes and sounds and colours.” A fully illustrated catalogue with an essay by Adicéam will accompany the exhibition.Ĭreating a revealing dialogue between artists living and working in the East and West, ILLUMINATIONS (After Arthur Rimbaud): Sculpting the Light from the East highlights the strength of light to bind different cultures together. Inspired by a collection of poetry entitled Illuminations by Arthur Rimbaud (1854-1891), the exhibition is curated by Ashok Adicéam, an independent curator and art advisor. I made the whirling world stand still.New York – ILLUMINATIONS (After Arthur Rimbaud): Sculpting the Light from the East, an exhibition of sculpture, video and installation by 16 well-known and emerging artists who work with light, will be on view at Leila Taghinia-Milani Heller (LTMH) Gallery from September 15 through October 15, 2010. I made rules for the form and movement of every consonant, and I boasted of inventing, with rhythms from within me, a kind of poetry that all the senses, sooner or later, would recognize. I invented colors for the vowels! A black, E white, I red, O blue, U green. I dreamed of Crusades, voyages of discovery that nobody had heard of, republics without histories, religious wars stamped out, revolutions in morals, movements of races and continents I used to believe in every kind of magic. What I liked were: absurd paintings, pictures over doorways, stage sets, carnival backdrops, billboards, bright-colored prints, old-fashioned literature, church Latin, erotic books full of misspellings, the kind of novels our grandmothers read, fairy tales, little children's books, old operas, silly old songs, the naive rhythms of country rimes. The story of one of my insanities.įor a long time I boasted that I was master of all possible landscapes- and I thought the great figures of modern painting and poetry were laughable.
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