Villa Arson
Exhibitions in tune with their time
This season, the art centre brings us traditional scenes from Moroccan history, internationalism, and experimental sound and ceramics. Until 27 August.
El Meya, Cheval Blanc, acrylique sur toile, 2021, 175x198cm. Donation Claude et France Lemand, musée de l’IMA. © Leila Saadna
Rewinding internationalism, Allan Sekula, Waiting for Tear Gas, 1999-2000, MACBA Collection, MACBA Foundation.
Exposition Resonating ceramics, Les Papillons de Thanatos, Sophie Conus et Roxane Rajic. © Raphaëlle Mueller
What if we pressed a “rewind” button like the one on old-fashioned video and tape recorders? Nick Aikens is suggesting we do just that to take an alternative look at the 1990s, when internationalism offered new ways of visualising time and space. Following on from his research project at Villa Arson, he invites us to explore this theme through several art scenes in Europe and around the world, forging a link between that decade and the crises we are living through today. In its capacity as an elite art school as well as centre of contemporary art, Villa Arson is also exhibiting work produced by students from four art colleges as part of the ECART (European Ceramic Art & Research Team) project. Working alone or in pairs, they experimented with the possible relationships between ceramics and sound. Some totemic, others related to specific fields, their pieces blur the boundaries between everyday items, symbolic objects and those used in performance. Moving on to social and international affairs, Villa Arson is also devoting a solo show to the artist El Meya, who was born in Constantine in 1988. The exhibition is entitled Jazira, which is the Arabic word for island, from which Algiers is said to have derived its name, referencing the group of islands off the city’s coast.
Jusqu’au 27 aoû 20 avenue Stephen Liégeard, Nice
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