Search results for ""Author Georges Petitjean""

Why are these specific artworks the subject of this first monograph? Produced in 2018, the sumptuous paintings, aa is the Kulata Tjuta Kupi Kupi installation, are collaborative artworks. They are reminiscent of the collaborative production process of art in Aboriginal Australia. These major works, in which a variety of Dreaming stories that define the region converge, form cornerstones of the collection that lies at the heart of the Fondation Opale. The Fondation Opale, and its founder and driving force Berengere Primat, has a particularly strong and active relationship with the art centres and the artists of that region of Australia. Several journeys were made to the APY lands in Central Australia. Both paintings, to which respectively several senior women and men collaborated, were commissioned by Berengere Primat and the painting process abundantly documented. These magisterial paintings are testimony to the continuum of culture and intimate knowledge of the land through art. Kupi Kupi, an iteration of the ongoing Kulata Tjuta (many spears in the Pitjantjatjara language) initiated in 2010, is a contemporary and monumental art installation consisting of 1500 spears. It is a metaphor for contemporary Anangu society and the unpredictable direction in which it is moving. All these artworks are testimony to the renewal and relevancy of Aboriginal art in contemporary times. Text in English and French.

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Overview of the Aboriginal Art, focusing on the first large-scale exhibition staged by the Fondation Opale (Switzerland). The common thread running right through this work is man's link with the land, the legacy of the ancestors that still echoes in the present. It is no accident that Before Time Began is one of the expressions used by Aboriginal artists in central Australia to refer to the creation of the world, in an oneiric sense. Understanding and following this underlying bond enables the reader to explore the art's narrative content in its association with dreams and the passage of time, elements that inevitably distinguish the temporal dimension in the different societies. But it is also a way of exploring the first stirrings of contemporary art in an Aboriginal context through works made at the beginning of the 1970s in Arnhem Land and in the territory of the Papunya, as well as more recent paintings by artists living in the APY (Anangu Pitjantjatjara Yankunytjatjara). These last examples in particular highlight the fusion between contemporary art and traditional customs, in which ancestral knowledge is fused with elements drawn from the inevitable march of progress.

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Following on from the success of the exhibition Before Time Began, Fondation Opale is taking on a new challenge with a show that juxtaposes contemporary Aboriginal art with prominent examples of contemporary art created in a Western and Asian tradition. This beautifully illustrated catalogue includes more than eighty works by over 54 artists from two separate collections, both of which are outstanding in their own right: the collection of Aboriginal art belonging to Bérengère Primat and the contemporary art collection amassed by Garance Primat. The works play off each other with powerful effect. Insightful pairings suggest an underlying unity, a merging of mankind, heaven, earth, and the whole cosmos. The Aboriginal artists represented include: Rover Thomas, Gulumbu Yunupingu, Clifford Possum Tjapaltjarri, Judy Watson, Sally Gabori, Emily Kame Kngwarrey, Paddy Bedford, Nonggirrnga Marawili, Ronnie Tjampitjinpa, and John Mawurndjul. The artists working in the Western and Oriental traditions include: Jean Dubuffet, Kiki Smith, Anselm Kiefer, Sol Lewitt, Yayoi Kusama, Giuseppe Penone, and Anish Kapoor. Published to accompany an exhibition at Fondation Opale, Lens - Crans Montana, 14 June 2020 - 4 April 4 2021.

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This second book in the Aboriginal Arts and Knowledge series documents a body of work created cooperatively by 4 artists: Ted Egan Tjangala, Dinny Nolan Tjampitjinpa, Johnny Possum Tjapaltjarri and Albie Morris Tjampitjinpa. Wamulu, a yellow flower, has traditionally been used during ritual ceremonies in the western desert of Australia. The wamulu flower is gathered, dried, cut up, and mixed with ochre and binders before being applied to the ground. This catalogue for an exhibition at the Fondation Opale showcases an exceptional project that took place near Alice Springs between 2002 and 2005, where this collective of artists used paint made from the wamulu flower, which is most often associated with impermanence, to create contemporary and permanent works of art. At the same time, they honoured the traditional Aboriginal process of communal performance, participation, and song that emphasises the link between the present and the past. Includes an interview with the noted Aboriginal art expert Arnaud Serval, who facilitated the work of the collective. Text in English and French.

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