‘Pour faire joli’by Elvire BonduelleSabrina Amrani art gallery inaugurates the show next Wednesday21st September 2011

Do we fit into the molds? Do the statistics reflect our reality? These

and many other questions arise in the upcoming exhibition at Sabrina

Amrani Art Gallery, from September 21st. Artist Elvire Bonduelle

presents 'Pour faire joli' (To make nice) in which she plays with

everyday objects such as plates, frames, jewelry, newspapers and

casual photographs to wonder if the art starts to fit the mold: Is art

becoming decorative objects? A decorative object can be art?

Bonduelle proposals are heterogeneous in format, she jumps from

video art to drawing or sculpture. However, she maintains a constant

in her message, with a vision halfway between the innocence and

irony, reflects on the position of the happiness (and its search) in the

current social model. Therefore, the main piece of the show is ‘El mejor País’.

In hands of Bonduelle the newspaper is revolutionarized, she has built

a special edition of the paper reporting only positive news. For

months, the artist in collaboration with young people from the culture

and art world, has explored the issues of El País looking for good

information. With this selection a special edition of the newspaper has

been reproduced, that will be distributed in Madrid during a perfor-

mance by Bonduelle. The approach to journalism of ‘Pour faire joli’ does not stop in this first work. With the installation ‘Cravaches’ (Whips), the artist reflects on how newspapers, another mold that

facilitates our integration into society, hits us daily with informations.

Bounduelle replaced the shafts that protect the newspapers in bars

and cafés by whips. With them, she will 'protect' national and interna-

tional newspapers.

The proposal about social patterns of ‘Pour faire joli’ continues on

other objects, but does not leave the daily news. With ‘Life is a piece of cake’, Bonduelle focuses on an object as standard as a plate. All

crockery to reflect diff�erent local and international data such as the

global unemployment rate, 7%; the fact that 30% of the countries are

ruled by authoritarian governments or only 18% of the world's parlia-

mentarians are women. The eternal question about whether the statis-

tics really reflect us is told in these pie slices or statistical wedges

painted plates that are arranged in a pyramid and in small picnic

boxes.

The rest of the exhibition explores other archetypes. This is the case of

‘Bijou’ (Jewel), a jewel with the word jewel: "an object and a term that

serve to the same purpose: to make nice” explains Bounduelle. That

same spirit is evident in ‘Mur de ciels’ (Wall of skies), a small set of

photographs show different skies captured by the artist during the

past months.

The last pieces of ‘Pour faire joli’ move the mold idea to furniture.

‘Have a bite’ and ‘Rest in Peace’ goes into the "adaptation of the

El próximo miércoles, 8 de junio, la galería Sabrina Amrani comienza su

camino en la calle de Madera, 23. En este nuevo espacio de arte contem-

poráneo en Madrid confluirán propuestas, de artistas consagrados y

emergentes, que inviten a la reflexión social, política o individual. La voca-

ción por el diálogo será el signo distintivo de esta galería, sin atender a

fronteras pero con especial interés por el arte que se está gestando en el

norte de África y Oriente Medio.

Esta declaración de intenciones se refleja en la exposición que inaugura

el espacio, firmada por Zoulikha Bouabdellah. Próxima a miradas como

las de Shirin Nestah o Mona Hatoum, la trayectoria de esta artista franco-

argelina, que vivió el exilio en Francia junto a sus padres, reflexiona sobre

la identidad del mundo árabe en la actualidad, pasado el postcolonialis-

mo. Su extenso trabajo se ha expuesto en el Centro Pompidou y el Museo

Mori, entre otros, y forma parte de la colección Nadour de arte árabe.

human body itself to the world, the mold" thanks to some blocks of

foam that include a slight tear, like a bite, to allow the spectators to sit

in a small uncomfortable space with a surface between rigid and soft.

Just like the society in which we all live.

Elvire Bonduelle (Paris, 1981) completed her artistic training in Paris

and London, where she began her career in Richard Deacon's studio.

Her work has been exhibited at galleries in France, Switzerland,

Belgium, United States and Canada, among others, and has been

part of group shows such as '10 artistes-10 jours' at the Palais de

Tokyo (Paris). Bonduelle achieved widespread notoriety in France after

her work 'Le meilleur Monde', which now is brought to Spain by Sabri-

na Amrani.

Do we fit into the molds? Do the statistics reflect our reality? These

and many other questions arise in the upcoming exhibition at Sabrina

Amrani Art Gallery, from September 21st. Artist Elvire Bonduelle

presents 'Pour faire joli' (To make nice) in which she plays with

everyday objects such as plates, frames, jewelry, newspapers and

casual photographs to wonder if the art starts to fit the mold: Is art

becoming decorative objects? A decorative object can be art?

Bonduelle proposals are heterogeneous in format, she jumps from

video art to drawing or sculpture. However, she maintains a constant

in her message, with a vision halfway between the innocence and

irony, reflects on the position of the happiness (and its search) in the

current social model. Therefore, the main piece of the show is ‘El mejor País’.

In hands of Bonduelle the newspaper is revolutionarized, she has built

a special edition of the paper reporting only positive news. For

months, the artist in collaboration with young people from the culture

and art world, has explored the issues of El País looking for good

information. With this selection a special edition of the newspaper has

been reproduced, that will be distributed in Madrid during a perfor-

mance by Bonduelle. The approach to journalism of ‘Pour faire joli’ does not stop in this first work. With the installation ‘Cravaches’ (Whips), the artist reflects on how newspapers, another mold that

facilitates our integration into society, hits us daily with informations.

Bounduelle replaced the shafts that protect the newspapers in bars

and cafés by whips. With them, she will 'protect' national and interna-

tional newspapers.

The proposal about social patterns of ‘Pour faire joli’ continues on

other objects, but does not leave the daily news. With ‘Life is a piece of cake’, Bonduelle focuses on an object as standard as a plate. All

crockery to reflect diff�erent local and international data such as the

global unemployment rate, 7%; the fact that 30% of the countries are

ruled by authoritarian governments or only 18% of the world's parlia-

mentarians are women. The eternal question about whether the statis-

tics really reflect us is told in these pie slices or statistical wedges

painted plates that are arranged in a pyramid and in small picnic

boxes.

The rest of the exhibition explores other archetypes. This is the case of

‘Bijou’ (Jewel), a jewel with the word jewel: "an object and a term that

serve to the same purpose: to make nice” explains Bounduelle. That

same spirit is evident in ‘Mur de ciels’ (Wall of skies), a small set of

photographs show different skies captured by the artist during the

past months.

The last pieces of ‘Pour faire joli’ move the mold idea to furniture.

‘Have a bite’ and ‘Rest in Peace’ goes into the "adaptation of the

human body itself to the world, the mold" thanks to some blocks of

foam that include a slight tear, like a bite, to allow the spectators to sit

in a small uncomfortable space with a surface between rigid and soft.

Just like the society in which we all live.

Elvire Bonduelle (Paris, 1981) completed her artistic training in Paris

and London, where she began her career in Richard Deacon's studio.

Her work has been exhibited at galleries in France, Switzerland,

Belgium, United States and Canada, among others, and has been

part of group shows such as '10 artistes-10 jours' at the Palais de

Tokyo (Paris). Bonduelle achieved widespread notoriety in France after

her work 'Le meilleur Monde', which now is brought to Spain by Sabri-

na Amrani.

El próximo miércoles, 8 de junio, la galería Sabrina Amrani comienza su

camino en la calle de Madera, 23. En este nuevo espacio de arte contem-

poráneo en Madrid confluirán propuestas, de artistas consagrados y

emergentes, que inviten a la reflexión social, política o individual. La voca-

ción por el diálogo será el signo distintivo de esta galería, sin atender a

fronteras pero con especial interés por el arte que se está gestando en el

norte de África y Oriente Medio.

Esta declaración de intenciones se refleja en la exposición que inaugura

el espacio, firmada por Zoulikha Bouabdellah. Próxima a miradas como

las de Shirin Nestah o Mona Hatoum, la trayectoria de esta artista franco-

argelina, que vivió el exilio en Francia junto a sus padres, reflexiona sobre

la identidad del mundo árabe en la actualidad, pasado el postcolonialis-

mo. Su extenso trabajo se ha expuesto en el Centro Pompidou y el Museo

Mori, entre otros, y forma parte de la colección Nadour de arte árabe.

Do we fit into the molds? Do the statistics reflect our reality? These

and many other questions arise in the upcoming exhibition at Sabrina

Amrani Art Gallery, from September 21st. Artist Elvire Bonduelle

presents 'Pour faire joli' (To make nice) in which she plays with

everyday objects such as plates, frames, jewelry, newspapers and

casual photographs to wonder if the art starts to fit the mold: Is art

becoming decorative objects? A decorative object can be art?

Bonduelle proposals are heterogeneous in format, she jumps from

video art to drawing or sculpture. However, she maintains a constant

in her message, with a vision halfway between the innocence and

irony, reflects on the position of the happiness (and its search) in the

current social model. Therefore, the main piece of the show is ‘El mejor País’.

In hands of Bonduelle the newspaper is revolutionarized, she has built

a special edition of the paper reporting only positive news. For

months, the artist in collaboration with young people from the culture

and art world, has explored the issues of El País looking for good

information. With this selection a special edition of the newspaper has

been reproduced, that will be distributed in Madrid during a perfor-

mance by Bonduelle. The approach to journalism of ‘Pour faire joli’ does not stop in this first work. With the installation ‘Cravaches’ (Whips), the artist reflects on how newspapers, another mold that

facilitates our integration into society, hits us daily with informations.

Bounduelle replaced the shafts that protect the newspapers in bars

and cafés by whips. With them, she will 'protect' national and interna-

tional newspapers.

The proposal about social patterns of ‘Pour faire joli’ continues on

other objects, but does not leave the daily news. With ‘Life is a piece of cake’, Bonduelle focuses on an object as standard as a plate. All

crockery to reflect diff�erent local and international data such as the

global unemployment rate, 7%; the fact that 30% of the countries are

ruled by authoritarian governments or only 18% of the world's parlia-

mentarians are women. The eternal question about whether the statis-

tics really reflect us is told in these pie slices or statistical wedges

painted plates that are arranged in a pyramid and in small picnic

boxes.

The rest of the exhibition explores other archetypes. This is the case of

‘Bijou’ (Jewel), a jewel with the word jewel: "an object and a term that

serve to the same purpose: to make nice” explains Bounduelle. That

same spirit is evident in ‘Mur de ciels’ (Wall of skies), a small set of

photographs show different skies captured by the artist during the

past months.

The last pieces of ‘Pour faire joli’ move the mold idea to furniture.

‘Have a bite’ and ‘Rest in Peace’ goes into the "adaptation of the

human body itself to the world, the mold" thanks to some blocks of

foam that include a slight tear, like a bite, to allow the spectators to sit

in a small uncomfortable space with a surface between rigid and soft.

Just like the society in which we all live.

Elvire Bonduelle (Paris, 1981) completed her artistic training in Paris

and London, where she began her career in Richard Deacon's studio.

Her work has been exhibited at galleries in France, Switzerland,

Belgium, United States and Canada, among others, and has been

part of group shows such as '10 artistes-10 jours' at the Palais de

Tokyo (Paris). Bonduelle achieved widespread notoriety in France after

her work 'Le meilleur Monde', which now is brought to Spain by Sabri-

na Amrani.

PRESS BREAKFASTTuesday, 20 septemberCalle Madera, 2310:30 h.

Cuca Guixeras Press Office

91 781 10 30miguel@cucaguixeras.comjuantxo@cucaguixeras.com

For more information

627 539 884mariajose@sabrinaamrani.comjal@sabrinaamrani.com

Madera 23. 28004 Madrid, Spainhttp://sabrinaamrani.com | http://twitter.com/sabrinaamrani | http://facebook.com/sabrinaamraniartgallery

Sabrina Amrani Art Gallery

VERNISSAGEWednesday, 21 septemberCalle Madera, 2320:30 h.

#PourFaireJoli#ElmejorPais

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