Andreas Walden
Westra Aros
2010

Les Joynes
Form Lab II
2010

NOAH ANGELL & RANA HASSANIEH Treignac Projet 12.09 - 25.10.2009 Treignac Projet presents Noah Angell, and Rana Hassanieh in an exhibition on the questions of the structure and use of architectural and filmic space. The works of both artists demonstrate an unease with order which has advanced into methodology. Here familiar forms are subjected to manipulation according to an improvisational logic, redirecting their use and their agency as carriers of meaning and ideology. NOAH ANGELL Noah Angell produces short films that are built from select passages of other films. By fusing source materials of divergent origin, he edits material so that new critical readings and undetected potentialities appear. His short films re-orchestrate cinematic convention and present the productive capabilities of refusal. This procedure illumines our role in contributing to a film’s meaning. By reconfiguring the facade of authorship, the site of the film experience is made animate again through the violence of the cinematic edit. RANA HASSANIEH Rana Hassanieh’s architecturally based installations use local detritus and materials often found within deserted locations, assembling dynamic new structures from old. Hassanieh’s installations are simultaneously a revitalization of spatial components and a summoning of the accumulated histories of a location. Her work arouses potent supplementary functions in buildings that are still charged with the event of their abandonment. This will be the third in a series of interventions by Rana at this site since 2007

EMMA HOLMES Treignac Projet 08.2009 Emma Holmes presents her new collage series of self-lit assemblages, furthering her exploration of city life and the ubiquity of the image. Loosely assembled but meticulously arranged constructions lean against the gallery walls from a shelf or the floor. Magazine clippings as well as painted elements and disparate objects are lightly clasped on sheets of acetate or Perspex, overlapping and obscuring each other to make the homogenous image. All of this is backlit by the cool glow of fluorescent tubing. Holmes’s works speak in the syntax of advertising and the grammar of geometry, subverting the power of idealised images. Her structures materialise the moment of passing pages with the collisions of images from both sides of the page, which are then integrated into a coherent whole. Her subjects range from iconic artworks and museum viewing, to urban living, with the city taking a leading role in her play on the domination of perspective. Her exploded fragments come together to capture a world in constant motion. Echoing a denial of the self-evidence of the vanishing point, multiplicity floods everything including the eye of the beholder. Scenes unfold in this vantage-less landscape of plural viewpoints, requiring that we acknowledge the fluidity of the city, and understand the multiplicity of the self from beyond the language of anxiety. Emma Holmes was born and grew up in Spain until the age of 12, then moved from Chicago, to Chile and then to Devon, Vermont, Mexico, and finally to London.

Tombs of the Fantacy Undead
Bart Wells Institute
London
11.2002

Caroline Warde
Emma Holmes
Goshka Macuga
Cedar Lewisohn
Sam Basu