Simon LAMUNIÈRE, Musées virtuels : Une réalité augmentée, mercredi 4 décembre 2002

Biographie + "le moi est une assemblée générale: A conversation with Simon Lamunière
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

—————————————————————————————————>>né en 1961 à Genève,
vit et travaille à Genève.
dès 2000>>Co-commissaire de Art Unlimited, Foire Internationale d'Art Bâle,
1998-2001>>Professeur (Internet) HES Hoschule für Gestaltung und Kunst de Bâle, Suisse
dès 1996>>Professeur (Histoire de l'image, vidéo et digitale) HES Ecole Cantonale d’Art de Lausanne, Suisse
dès 1994>>Commissaire de "Version", Genève
dès 1992>>Commissaire d'expositions et responsable de projets artistiques Centre pour l'image Contemporaine, (Saint-Gervais Genève), Suisse
1991-92>>Artiste en résidence, Akademie Schloss Solitude, Stuttgart, Allemagne
1988-89>>Artiste invité, Post Diplôme chez le Prof. René Pulfer Schule für Gestaltung, Basel, Suisse
1983-88>>Etudes et Diplome chez les Prof. Cherif et Sylvie Defraoui Ecole Supérieure d'Art Visuel, Genève, Suisse

—————————————————————————————————>>Expositions collectives (2002-1997):
>>Solitude, Staatsgalerie Stuttgart et Musée de Saint-Etienne, Sept 2000 - Mars 2001 (catalogue)
>>Generalversammlung, Museum im Bellpark, Kriens/Luzern, Oct.- Nov. 1999
>>Ramshow, www.ramshow.com, www.ramshow.com/lamuniere, depuis Oct 1999
>>Dog Days are Over, Centre Culturel Suisse, Paris, Nov-Dec 1998
>>Not Strictly Private, Shed im Eisenwerk, Frauenfeld, Juin-Juil. 1998
>>Andere Sichten, dans le cadre de Freie Sicht auf Mittelmeer, Kunsthaus Zurich, Juillet 1998
>>Suite-Substitute lll, Hotel du Rhône, Genève, Mai-Juin 1998
>>Techno-Culture, Fri-Art, Fribourg, Avril-Juin 1998
>>P.O.BOX, Mamco, Genève, 1997 travelling exhibition: Portikus Francfort, Nouveau Musée Villeurbanne, Museum für Gegenwartskunst Bâle, Serpentine Gallery Londres, Kunstmuseum Bonn, Moderna Museet Stokholm, Museum fur Hedendedagse Kunst Gand) 1998-2000
>>Videoforum, Art 28’97, Basel, Juin 1997
>>Video Visions Cairo 2, Hanagar Arts Center, Cairo, Mars 1997

—————————————————————————————————>>Toutes les "version" (2002-1994)
>>L'Image Habitable, Versions ABCDEF, Genève, sept-déc. 2002
(Diller&Scofidio, MVRDV, Sven Pahlsson, Daniel Roth, Hans Schabus, Zilla Leutenegger, Andrea Zittel...)
>>Another Swiss Version, AR/GE Kunst Galerie Museum, Bolzano, Jan. - Fév. 2002 (S.altenburger, Szuper Gallery, B.Stehlik, E.Antille, Schwinger & Moser, B.Streuli, Steiner & Lenzlinger...)
>>version_2000, Genève, Nov-Dec. 2000 (Stefan Altenburger, Angela Bulloch, Peter Friedl, Masaki Fujihata, Eva Grubinger, Fabrice Gygi, Miltos Manetas, Julian Opie, Marco Poloni, Yves Netzhammer, Studer / van der Berg, Uri Tzaig, Xavier Veilhan, Markus Wetzel, Johannes Wohnseifer...)
>>cdX-rom, Backup version, CD-ROM de la documentaX, à Kassel, 1998 (Mullican, Muntadas, Friese, Bunting, Huber, Graumann, Jodi, Höller...)
>>Anticipation, version 4.0, Genève, Nov-Dec 1998 (Thomas Bayrle, Mariko Mori, Rachel Baker, Matt Mullican, Serge Comte, Renee Green, Elena Montesinos, Pierre Joseph, Holger Friese, Jeffrey Shaw, Hubbard&Birchler, Peter Kogler...)
>>version simon lamunière, attitudes, Genève, Juin-Juillet 1998
>>version 2.2, Saint-Gervais Genève, Mai-Juin 1996 (Ceal Floyer, Rainer Ganahl, Laurence Huber, Felix Stephan Huber / Philip Pocock, Marko Lehanka, Christine Meierhofer...)
>>version Box, Coffret comprenant 25 éditions d’artistes et écrivains, 1996
>>version 1.0, Saint-Gervais Genève, Mai-Juin 1994 (Claude Closky, Claude Gaçon, Hervé Graumann, Jochem Hendricks, Nathalie Novarina, Manfred Stumpf...)

—————————————————————————————————>>Direction de sites internet:
www.documenta.de, documenta X (21.3.97 - 29.9.97)
www.version.ch, projets Version
Co-direction de sites Internet:
www.centreimage.ch, Centre pour l'Image Contemporaine
www.mudam.lu, Musée d'Art Moderne du Luxembourg

—————————————————————————————————>>Projets sur internet:
>>Screw, Ramshow, www.ramshow.com/lamuniere, depuis Oct 1999
>>Version, www.version.ch, depuis Oct 1998
>>Love, www.centreimage.ch/simon/love.html, depuis Sept 1996

—————————————————————————————————>>Publications:
>>Version_2000, Genève, Nov 2000
>>Hotlist, Artforum, Summer Issue, 1998
>>Dix projets d'artistes, Kurzführer, documenta X, été 97
>>Un Monde chez soi, Catalogue 6. S.I.V., Nov 95
>>Version 1.0 versus 1.1, Catalogue Version 1.0, Saint-Gervais Genève, Juin 94
>>Vidéos en situations, Catalogue 5. S.I.V., Nov 93
>>La Signature, Drôle de Vie, Nr 11, Mars 91
>>O temps suspends ton vol, Faces, Nr 11, Printemps 89

—————————————————————————————————>>Éditions:
>>Fiches, Edition Véronique Bacchetta, 1998
>>Version Box, Saint-Gervais Genève, 1996
>>La Grande Famille, Akademie Schloss Solitude, Stuttgart, 1994
>>Mettre un nom sur un visage, Centre genevois de gravure contemporaine, Genève 1993
>>5 1 111 0 11, Vexer Verlag, St-Gallen 1991
>>Télévision, Vexer Verlag, St-Gallen 1991
>>Halle Sud, Nr 23, Printemps 90
>>Prophétie une, Vexer Verlag, St-Gallen 1990
>>Simon & Lamunière, Drôle de Vie, Nr 2, Sept 89

—————————————————————————————————>>Bibliographie:
>>Nicolas Julliard, L'art Mondialisé, Le Temps, 23 Nov. 2001
>>Lorette Cohen, Interview avec Simon Lamunière, Passages, 2001
>>Daniel Baumann, Ein Gespräch mit Simon Lamunière, Kunstbulletin, Nr 11 1999
>>Emanuel Grandjean, La plus grande galerie sur internet, Tribune de Genève, 4 Oct. 1999
>>Tilman Baumgärtel, Komost-Moderne, Tageszeitung Berlin, 3 Août 1999
>>Elizabeth Janus, Another Swiss Panorama, Artforum, Eté 1999
>>Laurent Wolf, Archives, Le Temps, 5 Mars 1999
>>Christoph Blase, Blitzreview 492, Brennt mehr cd-roms!, www.blitzreview.thing.at, Mars 1999
>>Anaid Demir, Utopies d'hier, réalités d'aujourd'hui, Technikart, Dec 1998
Sylvia Alberton, Anticipation version 4, Kunstbulletin, Dec 1998
>>Elisabeth Chardon, Le Temps, 15 Juin 1998
>>Emanuel Grandjean, 7e S.I.V., Kunstbulletin, Nov 1997
>>Christopher Pillips, Digital documenta, Art in America, Oct 1997
>>Florence Roy, Au-delà de la documenta, Internet reporter, Oct 1997
>>Frank Brisard, documenta X kunst en netwerken, www.planetinternet.be, Août 1997
>>Villö Huszai, Ein Laboratorium der Informationsgesellschaft, NZZ, Zürich, Août 8, 1997
>>Tilman Baumgärtel, Aufgehängte Netzkunst, Spiegel On-line, Juin 1997
>>Reena Jana, Electronic Art Grabs Public Eye, Wired News, www.wired.com, Juin 1997
>>Kathy Rae Huffman and Margarete Jahrmann, Net Art without Links, Telepolis, www.heise.de, Juin 1997
>>Gerrit Gohlke, Inzwischen weit verbreitet, Texte zur Kunst, nr. 26, Juin 1997
>>Christoph Blase, Von Server zu Server, Kunstbulletin nr 5, Mai 1997
>>Mireille Descombes, Simon Lamunière, l'Hebdo, 7 Mai 1997
>>Caro Maurer and Marion Leske, Irritationen im Internet, die Welt, Avril 4, 1997
>>Antje Paetzold, Ein virtueller Anfang, TAZ, Berlin, Avril 1997
Christoph Blase, Blitzreview 296 Sirenen im Nebel, www.blitzreview.thing.at, Mars 1997
>>Laurent Wolf, Simon Lamunière, Le Temps, 19 Dec.1996
>>Martha Schwendener, Video, I see, Art Papers, Mars-Avril 1996
>>Erika Keil: Hello, I love you, ICH & DU, Museum für Gestaltung Zürich, 1996
Johannes Gfeller: Die fehlende Schweiser Geschichte, Berner Zeitung, 25 avril 1995
Johannes Gfeller: Irritation, Prädestination, Liebe, video vidim ich sehe, 1994
Philippe Cuenat: Gespräche Interviews Texte, Chamer Räume, Forum Junge Kunst, 1991
Claude Ritschard: Sans titre sans date sans auteur, simons lamunières, Cahier des Beaux Arts, 1991
François-Yves Morin: Kunst in der Schweiz, Kiepenhauer & Witsch Verlag, 1991
Lysianne Léchot: Video Suiço Contemporâneo, Fondaçao Gulbenkian, Lisboa, 1990
Ursula Perucchi, Tendenzen in der Heutigen schweizer Videokunst, Stiller Nachmittag, Kunsthaus Zürich, 1987

"le moi est une assemblée générale: A conversation with Simon Lamunière
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

Daniel Baumann: You are active in various fields. You are an artist who exhibits regularly, you are responsible for exhibitions, program coordination and production as curator at the Centre pour limage contemporaine in the Kulturzentrum Saint-Gervais in Geneva (www.centreimage.ch), and youve realized projects like creating the homepage for the documenta X in 1997 as a freelance exhibition creator. And, something thats less well-known, you are also a collector of, among other things, the toys found inside Kinder-Ueberraschung chocolate eggs. Are these activities independent from each other?

Simon Lamunière: I believe that many people have diverse interests and conduct various activities. What interests me is finding connections between these various areas... and maybe with the exhaustive search for the complete, perfect me. I have, for example, difficulties in clearly separating my various areas of interest and in saying, Now Im on vacation, now Im working, now I'm collecting, now Im taking photographs.” My path is marked by disparate elements, which reminds me of a quote that states that one should never dance on two stages simultaneously. It seems to me that I always dance on several stages. There are also obsessions that crop up at certain times. Like, for example, my interest in penguins, which probably resulted from a transient feeling. But when I find a connection between my interest in the penguin as a very social animal that lives in a group and is hardly different from others of its kind, when I strike parallels with my actually quite naive desire for a perfect world without conflicts, I notice that the same process of questioning comes up in another form in my other works, in the organization of group exhibitions, for example. It also appeared, on another level, during my work for the documenta X website, where copy, image, design and art appeared without hierarchy, equally weighted.

DB: You are not the only one who works polyvalently” as a curator, artist, critic and collector. Others, like Peter Weibel, Chris Dercon or the gallerist and artist Rüdiger Schöttle work similarly. Do you see yourself as related to them?

SL: What actually interests me is the cooperation; creating something with other artists. This also has to do with the question of power structures; with how a cooperative effort functions. At the Centre pour limage contemporaine I am active as a curator, not as an artist, and I organize the exhibitions. But this does not hinder me from suddenly developing a cooperative project with Kogler, Mullican and Bayrle, because I may be dealing with a specific issue and Im interested in the opinions of these artist. Many curators began as artists. I believe that the author” of an exhibit is an important person, even when people like, for example, Jean-Christophe Ammann says that this person stands completely in the background.

DB: What value do you place on your various activities? Is one more important than the other?
SL: Of course I always place emphasis on one, but this changes continually. It depends on the moment, on opportunities, on projects.

DB: So your work as an artist is not more important than your work as a curator or collector?
SL: This question doesnt work on this level. My preference depends on the context, the location of the exhibition, the topic, on the people. Of course I follow the ideal of perfection and try to bring everything together, although this never works. Lastly, I play with this back and forth, with the ideal of perfection and the will to disseminate.

DB: A large portion of not only your artistic work focuses on the question of identity, the relationships between the I” and the environment, I” and the masses, I” and society. One of your favorite quotes is Le moi est une assemblée générale” (The I” is a general collective).

SL: Exactly this question of multiple identities stands in the center of the exhibition Version Simon Lamunière” at attitudes” in Geneva 1998. The title, also, at the same time, the point of departure: As a word, version” signifies first a thing that takes on various forms, a thing that develops and changes. Second, version” refers to the series of exhibitions I initiated in 1994 with Version 1.0, and in 1996 continued with Version 2.2, in the Edition Version Box 1997 and www.version.ch, and, this year, in the exhibition Change World Version 2000. The Simon Lamunière” is actually the label the binds the various activities, topics and confrontation of Version Simon Lamunière. So, for example, I distributed small stolen fragments of works by artists like Kilimnik, Paik, Kabakov, Acconci, Dion, Sze, Green, Gonzalez-Torres and others to the visitors. Id collected these over a certain period of time. The list of these works” was astonishingly similar to those in comprehensive exhibits of contemporary art. The project dealt with erasing, reassembling and redistributing” the work. At the same time, I showed the works of other artists, like the videos of Carsten Höller and Claude Closky or the photographs of Candida Hoefer with the penguin in the zoo, all of which had to do with the topics at the exhibition. I also invited guests to an open forum at which the various topics were discussed: the Massen,” die Kinder-Überraschungen, and, together with the anthropologist Béatrice Pellegrini, the penguins and the ways in which we humans interpret animal behavior and then project these interpretations onto ourselves. These situations of encounter and confrontation are what is important.

FFC57F