Sans titre (2016) and Extramentale presents
July 2 – August 18, 2018
8, rue de la Calade, 13200 Arles
On the occasion of the Rencontres de la Photographie, the commissioner Julia Marchand and her curatorial initiative Extramentale has partnered with the nomadic project space Sans titre (2016) to propose a collective exhibition at the invitation of Galerie Huit Arles.
“Shrine Bright” strikes an ode to adolescence and its rituals: aesthetic, amorous, of belonging or of claiming to belong. Extramentale presents the work of Gaia Vincensini and Sabrina Röthlisberger, previously shown in the Marseille region amid the exhibition “Sueurs Chaudes” (2017), devoted to the feminine gothic. Their works seem to possess the allure of furniture, or of clothing, and will be juxtaposed with the sensual and romantic photographs of Indigo Lewin, presented by Sans titre (2016).
The practice of Sabrina Röthlisberger is marked by her feminist engagement and her spirit of collectivity, which is close to the model of guilds. In 2014, alongside Loren Kagny, Giulia Essyad and Gaia Vincensini, she founded the female collective LGG$B, an acronym for “Loren, Giulia, Gaia, Sabrina, Billionnaire.” Two years later, she formed the group House with Gaia Vincensini, who was one of the G’s of LGG$B. In a refusal of obedience to the rules of the art market, the artist multiplies the formats of creation, such as the hair salon and the furniture-works, which assume a character of domestic vengeance. Animated by the desire to infuse herself with feminist literature, she assembled a roving library entitled “Notre Matrimoine.”
Gaia Vincensini is carried by this same spirit of a “practice of proximity” which comes to mean, for her, the rehabilitation of antiquated techniques of fabrication of images and the creation of urban costumes. Thus, engraving becomes the crucible of her personal expression and the site of resurgences of the gothic spirit deriving from her most familiar environment: the city of Geneva.
Throughout the course of her young career, the English photographer Indigo Lewin (born 1993) has tasked herself to highlight sentimental and relational addictions: the addiction to an other, to his or her breath, to flesh, to the pain of absence and once this has passed, the eternal obsession that sometimes prevents one from imagining potential others. Her fantasy vision of adolescent love, romantic and tormented, clarifies itself with each “fanzine.” These self-produced publications – which accompany each series – serve to show the willingness of the young photographer to document everything, to engrave everything in time and in paper. “He Loves Me Not,” her previous series, told of the unhealthy, obsessive relationship and the dependence of fragile adolescents on sex and love, in the context of the total accessibility to sex and love offered by social media. Lewin placed herself as much in the role of voyeur as that of a member of this nostalgic generation, which confronts reality with difficulty. Willingly citing Taylor Swift – “You’ll be the prince and I’ll be the princess. It’s a love story, baby, just say yes” – she cracks open the clichés, directing a lucid and amused gaze on her own afflictions. For this new series, “Tender,” fetishism cedes place to a more empathic perspective, generous and comprehensive. The ardor of youth cedes place to sweetness, affection, the caresse, accepting all the meanings of the term “tender” in the English language. These convergent visions of youth and its passions nonetheless cross at numerous points and reveal an “emo” adolescence, rebellious without cause unless it’s the acceptance of oneself and of the other.
Indigo Lewin (b. 1993, London) lives and works in London. She studied at the International Center for Photography in New York City, where she graduated in 2014 and founded the collective Girls Only with the curator Antonia Marsh. After participating in numerous exhibitions with the group in the USA, she moved to London where she has exhibited at Galerie Grates, the Palm Tree Gallery, and the Cob Gallery. Her next show will be at Hauser & Wirth. Her publications include iD, Numero, and Purple.
Sabrina Röthlisberger (b. 1988) lives and works in Geneva. In 2016, she graduated from HEAD in Geneva with a Masters in Beaux Arts and received, a year later, the BNP Paribas New Head Award and the unrelated scholarships from the Fond Cantonal d’Art Contemporain. Her new performance has been retained for the Swiss Art Awards this year. At the Urbaines de Lausanne (2017), the LGG$B worked on a new project centered on the region’s youthful hip-hop scene, proposing an immersive installation, a cross between a coat check and a zoo, mixing sculptures and sound as well as two videos directed in collaboration with Ella Soto and SAWMAL. The videos were shown at the SprintFair of Milan and at the Despacio in Costa Rica.
Gaia Vincensini (b. 1992, Geneva) obtained a Bachelor’s degree from HEAD in Geneva and received, with Sabrina Röthlisberger, the BNP Paribas New Head Award. She lives and works in Geneva. Her exhibitions as an individual and as part of collaborations include: Billion Balances (LGG$B), Sprint, Milan; Treasure Island the wind among the reeves, with Galaxia Wang, Reactor Gallery, Genève (2016); WARCRAFT (LGG$B), UP STATE, Zurich (2015); What are u feeled with, Genève; Expositions collectives: SUCS (LGG$B), Wallriss, Fribourg; Herstory, Tunnel Tunnel, Lausanne; Force, Pazioli, Renens; Aktuell Report, MJ Gallery, Genève (2016); Immortality, Forde, Genève; Swan Song, MJ Gallery, Genève; Enter the ghost, Genève (2015); Traveling Généalogique, Marbriers 4, Genève; HOUSE, Espace rien, Genève (2013).