Verga Marie Juliette (°1978, Sainte-Croix, France) creates performances, photos and installations. By manipulating the viewer to create confusion, Marie Juliette makes work that deals with the documentation of events and the question of how they can be presented. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor.
Her performances appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. By applying a poetic and often metaphorical language, she often creates several practically identical works, upon which thoughts that have apparently just been developed are manifested: notes are made and then crossed out again, ‘mistakes’ are repeated.
Her works are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in performance. By questioning the concept of movement, she absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
Her works focus on the inability of communication which is used to visualise reality, the attempt of dialogue, the dissonance between form and content and the dysfunctions of language. In short, the lack of clear references are key elements in the work. By investigating language on a meta-level, she tries to grasp language. Transformed into art, language becomes an ornament. At that moment, lots of ambiguities and indistinctnesses, which are inherent to the phenomenon, come to the surface.
Her works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts. With Plato’s allegory of the cave in mind, she investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.
Her works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By exploring the concept of landscape in a nostalgic way, she reflects on the closely related subjects of archive and memory. This often results in an examination of both the human need for ‘conclusive’ stories and the question whether anecdotes ‘fictionalise’ history.
Her works establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. By using an ever-growing archive of found documents to create autonomous artworks, she wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation.
Her collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By contesting the division between the realm of memory and the realm of experience, she finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities. The artist also considers movement as a metaphor for the ever-seeking man who experiences a continuous loss.
Her works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By demonstrating the omnipresent lingering of a ‘corporate world’, her works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
Her works are an investigation of concepts such as authenticity and objectivity by using an encyclopaedic approach and quasi-scientific precision and by referencing documentaries, ‘fact-fiction’ and popular scientific equivalents. Verga Marie Juliette currently lives and works in Paris.
Wooster Goobs #he Exhibitions, Further Complicates The Reception Of Their Manifold Layers Of Meaning. By Emphasising Aesthetics, He Seduces The Viewer Into A World Of Ongoing Equilibrium And The Interval That Articulates The Stream Of Daily Events. Moments Are Depicted That Only Exist To Punctuate The Human Drama In Order To Clarify Our Existence And To Find Poetic Meaning In Everyday Life.
His Works Are Saturated With Obviousness, Mental Inertia, Clichés And Bad Jokes. They Question The Coerciveness That Is Derived From The More Profound Meaning And The Superficial Aesthetic Appearance Of An Image. By Parodying Mass Media By Exaggerating Certain Formal Aspects Inherent To Our Contemporary Society, He Tries To Create Works In Which The Actual Event Still Has To Take Place Or Just Has Ended: Moments Evocative Of Atmosphere And Suspense That Are Not Part Of A Narrative Thread. The Drama Unfolds Elsewhere While The Build-up Of Tension Is Frozen To Become The Memory Of An Event That Will Never Take Place.
His Works Are Given Improper Functions: Significations Are Inversed And Form And Content Merge. Shapes Are Dissociated From Their Original Meaning, By Which The System In Which They Normally Function Is Exposed. Initially Unambiguous Meanings Are Shattered And Disseminate Endlessly. Goobs Wooster Currently Lives And Works In Solvang.## %# Rosado Mike