184 pages, format 21.6 x 27.9 cm, Swiss binding
Printed in 350 copies – once a year
56 young international artists
“STATEMENT”: NONFICTION LAUNCHES ITS THIRD ISSUE
ON THE AESTHETICS OF ENGAGEMENT
After a second “On Nature” edition, NONFICTION continues its forward-looking work by signing a third issue dedicated to the aesthetics of the commitment of young international creation. NONFICTION 03 “STATEMENT” is a trend book for image and creation professionals, halfway between curatorial study and creative monitoring, taking the position of a stripped-down presentation invoking timeless texts to leave place to the image and to the imaginary.
Starting from Godard’s quote “we don’t do political art, we do political art”, we invite you to discover the work of 56 young international artists who explore the taking of a position in the 2.0 era: Are there aesthetics of commitment specific to our time?
The young creation makes self-affirmation a way of entering into commitment: How to reclaim History and its symbols? What affirmation of the body in new complex, fluid and hybrid existences? What does kitsch tell us about forms of oppression? How to approach and divert the codes of the event?
Thus History is reread in the light of individualities. The paintings of Bony Ramirez, the photos of Nicholas Galanin or the installations of Matthew Angelo Harrison question historical certainties by contextualizing aggression, making oppressed points of view visible. In dialogue with Toni Morison and AiméCésaire, Ruben H Bermúdez adds: “And you, why are you black? “. Far from propriety, Léa Porré dares to question our scapegoats and our collective responsibility in writing a Manichean history, in the guise of the man behind the king, Louis XIV.
The following pages see bodies and matter scroll by, as an affirmation of resistance to dematerialization and the physical and moral barriers that the era imposes on us. Thus the black body in Shannon Bono, the disabled body in Berenice Olmedo, the female body in Kubra Khademi, the trans body in Apolonia Sokol find a voice. Far from sexualization, the ecofeminist lyrics of Carol JAdams resonate with the cut-up bodies of Athena Papadopoulos, calling for a society of “care” for an intersectional struggle of oppressed bodies. Gertrūda Gilytė, Diana Georghiu or Gígja Jónsdóttir complete the marketing of the feminist concept with performances that derail well-being.
But the era of the self is also that of an aesthetic of humor, intimacy and sincerity. The kitsch and saturated images, bordering on ugly, will not displease journalist Alice Pfeiffer, whose recent essay sheds a very current light on Aida Bruyère’s “nail art”, Sadie Barnett’s iridescent sofa or the interior neon pink by Hannah Neckel. Beyond touching, this aesthetic of saturation is a glaring affirmation of domination, as evidenced by the fictional narrations in purple tracksuits by Sara Sadik and the tight mini skirts by Marilou Poncin, echoing this famous graffiti of the RER Parisien in the years 1980: “The forms of your oppression will be the aesthetics of our anger”.
Laughter turns yellow, it’s time to act. With Ndayé Kouagou or Leïla Berkaoui, language becomes performance and the text a resistance, not unlike the hope inspired by Amanda Gorman’s investiture poem. Raised fist and solidarity, from Array Collective, selected for the Turner Prize, to Marie Serruya’s colorful mini Trump, contemporary actionism is also an affirmation of the right to innocence and fragility.
Once again the young creation takes the full measure of its role and offers imaginaries acting on the transformation of the world.