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 Film - as an artistic discipline and not a medium - has always played an essential role in my work and interests, in the art context as well as later in cinema. It is constantly there, in a woven fabric of histories and texts, adopting emancipated forms that convey its subjects towards new experiential or intellectual fields, tirelessly. For me, it relates to a certain understanding of narration and temporalities, and it may take literature as an inspiration, with (to take a recent example) texts by writers such as Clarice Lispector, who subtly explores the dynamics of human interactions - from the female point of view in particular -, artist Adrian Piper narrating an intellectually and sexually tense encounter with art historian Pontus Hulten, or Pasolini and his "Qui je suis”, a very personal text resembling an answer to a fake or real interview. My work revolves around personal approaches to material and stories, documentary practices leaning towards fiction, film archives and photographs, sound and, image.

Emilie Bujès

Schweizer Vermittlungspreis Prix suisse de médiation d'art Premio svizzero di mediazione für Kunst und Architektur

links: Les Marques Aveugles Vue de l'exposition (Hollis Frampton), Centre d'Art Contemporain Genève, 25.11.2011-22.01.2012
rechts: Charlotte Moth. Ce qui est fragile est toujours nouveau Vue de l'exposition, Centre d'Art Contemporain Genève, 1.06-17.08.2012

Describe your work in five words.
Film, document(ary), archive, intimacy, psychedelic anthropology.

Why did you apply and what will you do if you win the Schweizer Kunstpreis?
Because I would like to work independently for a while - and therefore left my position as a curator at the Centre d'Art Contemporain Genève -, the Schweizer Kunstpreis would allow me to research and write, work on several new projects I am currently thinking of or developing. - For example a book (co-edited by writer and architect Matei Bellu) including several theoretical and artistic contributions - all newly commissionned - that discusses the notion of trauma as conceived and questioned as a cultural paradigm. Or an exhibition in collaboration with artists Maria Iorio and Raphaël Cuomo that will be presented at the Médiathèque of the FMAC in Geneva and will be articulated around the video collection and archive of the former Centre pour l'Image Contemporaine (Geneva) to expand towards further contemporary works. Projects require time, to read and think.

What is your favourite work of art?
It seems quite difficult to name one theoretical piece of writing as its relevance always very much depends on the subject and practices involved. There are several «classical» books that could be listed here, but I think it is more interesting for me to perhaps mention psychoanalytical theory or even litterature as inspirational and fertile grounds. I recently worked with some novels by Brasilian writer Clarice Lispector, who often subtly explores the dynamics of human interactions (in particular from the female point of view), a text by artist Adrian Piper entitled "Slave to Art” in which she describes an intellectually and sexually tense encounter with curator and art historian Pontus Hulten, or Pasolini's "Qui je suis”, a very personal text which adopts the form of a fake response to some interview and develops on many crucial questions for the filmmaker and writer - his work, the press, some childhood memories, troubles with the law, etc.

Where do you come from, where are you now, where are you going?
I come from history of art, and spending eight years in Berlin; I think these years had a great influence on me, on many different levels. I am now in Geneva watching several hundreds of films each year in my quality of selection committtee member for the international film festival Visions du Réel, and in parallel developing independent projects (lately at Marcelle Alix, Paris), after working for four exciting and intense years at the Centre d'Art Contemporain Genève as a curator, presenting a.o. works by Herman Assel­berghs, Sven Augustijnen, Manon de Boer, Pavel Büchler, Cinenova, Dora Garcia, Louise Hervé & Chloé Maillet, Wendelien van Oldenborgh, Charlotte Moth, Ben Rivers, Ben Russell, Akram Zaatari... I am going to place that is not quite there yet but that I can clearly see.

1980 Née à Bourg-Saint-Maurice (France). Vit et travaille à Genève·1999-2005 Université ­Fribourg, MA History of Art·2002-2003 Humboldt Universität, Berlin, Erasmus

Expositions individuelles:
2009 The Big Picture, Aurélien Gamboni, Tanya Leighton Gallery, Berlin·2012 Charlotte Moth, What is fragile is always new, Centre d'Art Contemporain, Genève·2013 Ben Rivers/Ben Russell, New Worlds, Cinéma Dynamo, Centre d'Art Contemporain, Genève·2013 Auguste Orts, Through Free Association, Cinéma Dynamo, Centre d'Art Contemporain, Genève· 2013 Dora Garcia,
The Joycean Society, Cinéma Dynamo, Centre d'Art Contemporain, Genève

Expositions collectives:
2008 Politics of Vision, Forde, Genève·2010 Archive Fire. Between Memory and Open Territory, Centre d'Art Contemporain, Genève·2011 Can I see me?, Centre d'Art Contemporain, Genève·2011-2012 Les marques aveugles (co-curated by Katya-Garcia Anton), Centre d'Art Contemporain, Genève·2012 Carte blanche to Cinenova (London), Centre d'Art Contemporain, Genève·2012-2013 Differences in Intensity, Centre d'Art Contemporain, Genève·June-July 2013/November 2013-January 2014 Logical Revolt, Prologue/Part II: A Slave to Art, at - and with - Marcelle Alix, Paris


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Ausgabe 14  2014
Künstler/in Emilie Bujès
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