“For an art historian, to work with Mayeur Projects in New Mexico is a real opportunity. We are on the lands of the historic land art but also on those of the advanced research regarding ecology, a really big contemporary universal cause. I finish at the moment a work for French “Actes Sud” publisher, entitled “An ecological Art”. Plastic creation and Anthropocene: an immersion in the American West, the particularly sensitive zone since the 1970s in conservation and in the environmental protection, offers the opportunity to meet numerous local actors, and to exchange, in the frame in particular inter-university debates were set up by Mayeur Projects. Finally, meeting artists, numerous in the perimeter Albuquerque-Santa-Fe-Las Vegas, is always a big value for a first-hand work” Paul Ardenne
Mayeur Projects has now its representation as a sculpture (a visual “dispatch”), in current NMHU Media Arts & Technology department show: “DISPATCH:Trolley”. Artist and Professor David Lobdell has been invited, with 8 other Las Vegas artists, to join a table with representations of 9 Las Vegas art spaces, in combination with a map of the New Mexico art establishment initiated in Spring 2016 by Santa Fe art groups SCUBA and Strangers Collective. David has chosen Mayeur Projects, as a project in Las Vegas, described by Christian as a flower between Atlantic ocean and Rocky mountains, between Eiffel tower and L.A. buildings, an art space whose owners are periodically suspended in the air, as suggested by the Air France Jumbo Jet. Thank you David!
We love Swiss artists’ Gerda Steiner & Jörg Lenzlinger’s ecological installations, between culture and nature.
In 2016, they create “Picnic”, at Museum for Contemporary Art PERMM, in Perm, Russia
Perm is an industrial town at the foot of the Ural Mountains.
In December, when the days are short, the sun is rare and a long winter ahead,
the people of Perm are invited for a walk, a picnic and a winter sleep.
1 floor: Walking area
The walking area is a homage to the origin, the complexity, the diversity and the beauty of live. Eleven different projections, onto turning mirrors and curtains, create a kaleidoscopic colorful atmosphere. Every moment brings new unique compositions, which never will be repeated, because of the different length of the video loops and the constellation of the turning objects.
The growing salt altar is a tribute to the hundreds of years during time in which Prikamie was the main salt source of Russia.
2 floor: Picnic area
The picnic area is a public space. It is a place to meet, to sit down, look, talk, drink and eat. The daylight enters the room. The visitors can look outside to the city landscape and inside into the picnic landscape, which consists of 3 different crystal lakes, a 40 meter long wall painting, a big round rotatable picnic table, Siberian firework (made out of the dry plant of the Giant Hogweed), tree trunks, rootstocks, candy-pill-insects, geological treasures from Perm region and many many other surprises.
3 floor: Sleeping area
This space is for the winter sleep. The visitors can wear a bear costume and choose one of the 12 various shelters to go for a sleep. The bears are asked to write down their dream. The dreams of Perm are like pearls.
Lucie Laflorentie thinks the presence of an artist in residency in a very different manner. She likes to connect the visitors to the art in research, to the art being made. Works may be presented in a more or less accomplished shape – spread without stake in global installation or in articulation with others, as she did in her recent residency at “Maison Salvan”, in Southwest of France – http://maison-salvan.fr/?p=5010 . Lucie Laflorentie likes to proceed to attempts; it is exactly this latent state of the development of the creative process, situated between the guess and the “binding” that is the cutting edge of one of our favourite artists and future guest. Lucie likes to share some specific land art related experiences, like “wandering towed in echo in the atmospheric cinema – Performance – 2012, when she drove the family owned truck with viewers on a towed trailer, topped with an immense mirror cutting the space and reflecting the landscape. “Mise en abyme” which Robert Smithson would not have denied probably.